Systems Contract News - September 2025 - 0381

Grotticelli

J. Pescatore

20 Welcome Back to the Ballpark

Grotticelli

Cavadi

SYSTEMS CHECK

It’s the Mint with the Hole

For those of you who have not seen me work a trade show, my schedule is generally wall to wall. When I’m not at an appointment, I’m visiting other exhibitors on my way to my next appointment. Sometimes, I get a little rebellious and experience a demo or attend an educational session.

What I rarely do is sit down and have a real lunch. Instead, lunch is usually some sort of protein bar paired with a warm diet soda I’ve been nursing all morning. If I do get to the press room for a meal, it’s generally shoveled into my piehole with very little elegance. If you want to keep your own lunch down, it’s not something you want to watch.

But a few years back, I got to add a bit of gastronomic fun to my routine. I started swapping snacks with Sam, who works for Wildwood Plus, a PR agency. I think she offered me some candy during a booth tour. I thanked her for “lunch” and that’s all it took; now, it’s our tradition.

For example, at ISE this year, I brought her an American delicacy, Sno-Caps. Sam brought me Polo mints, which were apparently inspired by Life Savers and have been around for more than 70 years. As an American, I was unaware of these, but they are well known in the U.K. They must be—when I would take them out in front of other attendees (yes, I share), someone invariably said, “It’s the mint with the hole!” Talk about an effective tagline.

That tagline got me thinking a lot about branding and some big branding changes in our industry recently. On the distribution side, there’s Almo Pro AV. Almo Professional A/V was acquired by Exertis in December 2021, which prompted a name change to Exertis Almo in Spring 2022. Three years later, at InfoComm 2025, the company made a splash with its new name, Almo Pro AV.

Dan Smith, EVP of Almo Pro AV, said the new branding was a refresh, not a restructure. No new owners, no new leadership, no real change to company strategy. “The rebrand reinforces our identity as a true AV specialist and dedicated industry partner,” he explained.

Integrators are making changes, too. Diversified refreshed its brand about two years ago. The new logo replaced the RGB color scheme of its stylized “D” with a blue gradient to represent the company’s “fluid transition towards a digital future.” They also added a new tagline, “Create the Unforgettable,” to encourage its clients to push technological boundaries.

Earlier this year, AVI-SPL debuted its new “Confidence and Curiosity” brand campaign in time for ISE 2025 in Barcelona. The move included new logo colors and a new website. “When confidence and curiosity meet, true transformation happens,” said John Zettel, CEO of AVI-SPL. “When our customers trust their technology to perform seamlessly, they gain the freedom to ask, ‘What’s next?’ This campaign celebrates these breakthroughs and the role we play in turning curiosity into actionable, measurable results.”

And the folks at AVI Systems went even further. As we reported in June, they changed their name to FORTÉ in an effort to reflect their expanding business focus.

So, how’s your brand? Does your branding reflect all that you do? If your customers had to invent a tagline for you, what would they say?

Integrators and distributors are more than resources for videobars and line arrays. Sure, you sell products, but you really sell solutions. You sell expertise. You sell services. You sell peace of mind.

A collection of loyal customers is one thing, and word of mouth can certainly help recruit new customers. But an effective branding strategy opens the door to new business and reinforces your message with existing clients. Maybe it’s time to update that logo or revisit that website design. Don’t be afraid to make your brand minty fresh.

CONTENT

Content Director Mark J. Pescatore, Ph.D. mark.pescatore@futurenet.com

Senior Content Manager Wayne Cavadi

Contributors Joseph Cornwall, Brittany DiCesare, Steve Greenblatt, Michael Grotticelli, Jennifer Guhl, Carolyn Heinze, Dave Van Hoy, Ian White Art Editors

Rob Crossland, Sam Richwood

Production Managers Nicole Schilling, Heather Tatrow

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Eleadership in sustainable, energy-efficient AV technology. Developed in response to the likely shutdown of the Energy Star program for commercial AV devices, the Ecofficient logo provides system designers, integrators, and end users with a clear, recognizable mark of Extron’s ongoing commitment to reducing power consumption, lowering operating costs, and supporting global sustainability goals.

Designed to be deployed across multiple product lines, the Ecofficient mark identifies Extron solutions engineered to minimize energy usage while maximizing reliability and performance. As organizations increasingly prioritize sustainability and environmental responsibility, the new Extron Ecofficient designation sets a new industry benchmark for delivering smarter, greener AV technology. The company is confident it will provide an indicator that speaks directly to the values of today’s AV professionals.

“The Ecofficient designation represents the best of what Extron delivers: engineering precision, forward-thinking innovation, and measurable efficiency,” said Casey Hall, chief marketing officer at Extron. “We created this initiative to help our customers confidently specify AV systems that meet today’s energy expectations without compromising performance.”

Resideo to Separate ADI Global Business

Resideo Technologies has announced its intention to separate its ADI Global Distribution business through a tax-free spinoff to Resideo shareholders. Following the completion of the separation, Resideo’s Products and Solutions business (“P&S”) will continue to operate as Resideo, while ADI will become an independent public company.

Jay Geldmacher, Resideo’s president and CEO, called the separation a “natural step.” He had previously announced his retirement but will now officially retire once the separation is complete.

Following the separation, Tom Surran, president of P&S, and Rob Aarnes, president of ADI, will continue leading Resideo and ADI, respectively. Additional corporate governance details for Resideo and ADI will be disclosed in the coming months, and all appointments are subject to board approval. The separation is expected to be completed in the second half of 2026, subject to satisfaction of customary conditions.

As a global wholesale distributor of low-voltage products, including security and audiovisual solutions, ADI has a portfolio of more than 500,000 professionally installed products. It serves both the commercial and residential markets across key specialty categories.

Resideo will continue to be a building products manufacturer focused on solutions that maximize comfort, help ensure safety, and deliver cost savings and value to homeowners and businesses. With an expansive network of 100,000 pro installers and more than 15 million installations per year, Resideo believes that it will be well positioned to grow its extensive portfolio.

Laia Technologies Opens New Demo Lab

Laia Technologies North America has opened its new Demo Lab in Fairfield, NJ. The company will be demonstrating, by appointment, its full breadth of cameras that work seamlessly with audio solutions from top manufacturing partners. The new lab allows customers to demo Laia hardware and software solutions via in-person demos or remotely via Zoom, Teams, Google Meet, WebEx, and other platforms.

“We’re pulling out all the stops, with a full assortment of our latest model PTZ and collaboration cameras,” said Gary Plavin, president, Laia Technologies North America. “And equally important: Your favorite audio providers such as Shure, Nureva, Sennheiser, and others have gear in our lab—all networked on NETGEAR— so you can see how our products work seamlessly and elegantly in an environment that’s like your next job’s environment.”

Laia leverages advanced software integrations and more flexible integrated AI to allow the seamless operation of Laia cameras with other AV system components for superior speaker tracking and more. Plavin said the company’s unique software helps eliminate programming costs around camera setup and deployment. “It’s about working with our AV ecosystem partners. Not just audio partners but also display and networking partners,” he added. “Our Demo Lab lets you see that with your own eyes, in an environment that’s like yours.”

Xilica Becomes First PAVSC Partner

The Professional Audio Visual Society of Canada (PAVSC) has its first partner: Xilica. Launched in July, PAVSC is a new national organization dedicated to supporting the Canadian AV channel and advancing the success of Canadian integrators, consultants, and manufacturers.

As the first official partner, Xilica brings more than two decades of experience to PAVSC. The move reinforces the company’s interest in building a stronger Canadian AV industry, providing a collaborative platform for professionals to grow, share knowledge, and shape the future of AV. Through its partnership with PAVSC, Xilica aims to share best practices, nurture emerging talent, and support local integrators with tools to succeed in today’s hybrid working and learning environments.

“As a Canadian company with deep roots in this industry, it’s an honor for Xilica to be the first partner of PAVSC,” said James Knight, CEO, Xilica. “We believe in strengthening the fabric of our AV community, creating opportunities for learning, collaboration, and growth. Together with PAVSC, we are very excited to help elevate the profile of Canadian innovation on the global stage.”

“We’re thrilled to welcome Xilica as our first partner,” added Greg Rushton, board member, PAVSC. “Their commitment to innovation makes them a perfect match for PAVSC’s mission. With partners like Xilica, we’re building a platform that reflects the diversity, creativity, and expertise of the Canadian AV industry.”

The new Ecofficient initiative from Extron reflects the company’s commitment to sustainability.

What We Learned at AV/IT Summit 2025

Jennifer Guhl

Setting aside the sports venues of previous years, the 2025 AV/IT Summit brought together industry leaders at Convene at One Liberty Plaza in Lower Manhattan for discussions centered on collaboration, innovation, and issues affecting the industry. Produced by Future B2B, it was the most successful summit to date, with more than 20 sponsors and record attendance.

Led by AV Technology’s Cindy Davis and SCN’s Mark J. Pescatore, the conference program featured forward-looking sessions, networking opportunities, and actionable insights aimed at shaping AV/IT convergence. Here are some highlights from the day’s program.

Bring the Pain

The summit kicked off with the new “Pain Points Panel,” an interactive discussion about challenges currently facing the industry, including reducing system complexity and enhancing collaboration between AV and IT teams. Matt McCleskey of Xyte emphasized the importance of designing AV systems that are cloud-compatible and AI-ready, enabling them to adapt and stay relevant as technology evolves. He noted that standardizing a consistent set of components will make systems easier to service and training simpler.

Pescatore emphasized the ongoing frustration of not involving integrators early enough in the design process, which could prevent costly changes and better aligned technology choices with business goals. This resonated with the audience, with one participant noting that integrators are often faced

with “nonsense” designs that they then must fix. The panel also emphasized the problem of AV being seen as separate from IT, often found in facilities but not included in the IT strategy. Bill Chamberlin from Verrex claimed that AV should be treated as an operational expense, like IT hardware, with planned upgrade cycles of three to seven years, helping systems from falling behind in security and features.

Cybersecurity Realities

During his keynote, Jared Timmins of Diversified described the rapid integration of AV, IT, media, and cloud workflows as a technological renaissance that demands a new approach to security, design, and operations. Once isolated, modern AV systems are now intelligent, flexible, connected environments, but they are becoming more vulnerable to sophisticated cyberattacks, including a 4,000% increase in AI-driven phishing attacks over the past year.

Timmins stressed to attendees that they must go beyond “fit-for-purpose” AV systems and adopt “secure-by-design” principles, making security an integral part of the design and deployment process rather than an afterthought. “If you wait, security becomes a liability instead of a strategy,” he said.

While software orchestration, microservices, and cloud-based infrastructure offer scalability and agility, they also add complexity and potential vulnerabilities. Technology is crucial, but the connection between AV and IT teams is equally vital, as many security breaches stem from social engineering rather than technical flaws. Teams need not only better tools but also enhanced training, shared standards, and earlier involvement from integrators, manufacturers, and enterprise IT.

Virtual Misconceptions

Virtual production is a rapidly expanding field that offers numerous opportunities and practical uses across various sectors, including corporate and higher education. However, it is often misunderstood.

Sony’s John Garmendi shared the “three Cs” of virtual production misconceptions: cost, complexity, and cinema. Many believe virtual production is only for Hollywood blockbusters, but there are many ways to get started small, such as greenscreens, AI-enabled tracking, or LED walls that can be scaled to fit your space and budget.

Matt Morgan of Ross Video emphasized that the key is asking the right outcome-oriented questions, such as what’s the purpose and how do we serve that purpose with the appropriate solution. Mark Metzger from AVIXA agreed, explaining that you can start small and scale as your needs grow, while still increasing engagement and production value.

Look to the Future

“The Future of AV Technology” session covered a variety of topics. Sharath Abraham from Jabra began by explaining how hybrid work has become the new norm, citing economist Nick Bloom’s research concerning return-to-office policies, with many companies often requiring at least one day in the office each week. Advanced Systems Group’s Michele Ferreira added that hybrid work has expanded beyond conference rooms into broadcast environments, maintaining workflows that were adapted during the pandemic.

Looking closely at modern conference rooms, users expect them to function as a seamless extension of other workday tools, including integration with apps and a consistent user interface. Rob Pickering from TRITECH Communications emphasized that the most successful organizations make training a routine part of their culture through ongoing messaging and drop-in sessions, rather than one-time training events.

The panel agreed that when it comes to AI, it’s important to understand it rather than fear it, focusing on using it to streamline operational tasks like filtering emails, automating research, and mastering prompting to maximize its benefits.

Lessons from Higher Education

Moderated by HETMA chair Erin Maher-Moran from Johns Hopkins University, a session devoted to higher education wasn’t focused on failures, but rather provided an opportunity to examine what’s worked, what hasn’t, and what we can all do better moving forward.

For example, Marcus Longmuir from The New School voiced frustration about a multi-room project that started smoothly but became overwhelmed by too many contractors, subcontractors, and project managers, which led to scattered communication and poor decision-making. “We ended up having seven

Diversified's SVP of innovation, Jared Timmins, offered a detailed look at cybersecurity for modern AV/IT networks during his keynote address.

final walkthroughs … and we still had, over the years, issues with all of the rooms,” he shared.

Tim Van Woeart from Rutgers University shared a cautionary story. Despite thorough preparation and testing, a crucial step was overlooked: network compatibility. This oversight caused AV switchers in 30 classrooms to lock up, requiring replacement and costing tens of thousands of dollars.

Even if everything goes perfectly, both panelists noted that well-installed systems can still be wasted if end users aren’t engaged or trained, which is why they emphasized ongoing support and faculty outreach. “If no one knows about it, or no one’s going to support it, it’ll then sit there in the system and just collect dust,” Van Woeart added.

AV/IT Convergence

As discussed during the “AV/IT // IT/AV” session, the rapid adoption of AI has compelled many to find ways to bridge the gap between AV and IT, with early collaboration being crucial for successful AI-enhanced experiences. Vanessa Jensen from Shure also pointed out that cloud monitoring and enterprise VLAN integration are becoming standard practices, with remote visibility, monitoring, and troubleshooting becoming game changers for many organizations.

With an IT background, Tom Nyhus of AVI-SPL

highlighted the complexity of network strategy and emphasized that you can’t use a one-size-fits-all approach when comparing dedicated AV networks to their integration into enterprise infrastructure. By using proper segmentation, VLANs, and firewalls, you can build networks that support both while reducing costs and maintaining performance and security.

NETGEAR’s Alex Pendleton emphasized the importance of reliable enterprise-grade hardware, demonstrated by NETGEAR’s success in penetration testing with Fortune 500 companies. He also noted that low-end switches often lack the features necessary for AV security.

Giving Voice to the AI Buzz

The summit wrapped up with a discussion of everyone’s favorite buzzword, AI, and how it’s transforming collaboration, workflows, and revenue models. Joel Carroll of Mersive highlighted how powerful AI can be in easing friction in meetings—and if you don’t even notice it’s there, that’s when we will know AI is truly effective. Meanwhile, Misty Chalk of BrightSign emphasized the impact on digital signage, highlighting that AI enhances real-time analytics and personalization by processing gaze detection, demographics, and emotions directly on the media player, allowing for instant content adjustments. AI can also influence speech-to-text and translation services by enabling instant live translations in multiple languages. Bill Bennett from ENCO Systems mentioned that it can even reproduce speech in synthetic voices modeled after the original speaker.

But AI isn’t perfect, with SCN columnist David Danto of TalkingPointz sharing that it is often “confidently wrong.” As a result, it must always be viewed as a tool that requires human oversight and editing of the final product. That’s why, when asked if AI is currently more hype or hope, most of the panel leaned toward hype, but recognized real potential if the Pro AV industry can figure out the best ways to utilize it.

SCN's David Danto joined the discussion on AI in AV at the AV/IT Summit.

Panasonic Connect Moves Forward after Projector Business Sale Collapses

By Mark J. Pescatore

Aplan for Panasonic to sell off its projector business to ORIX Corporation, a move that could have been worth close to $800 million, has collapsed. While there has been no official statement from Panasonic, a spokesperson told SCN the capital alliance with ORIX was terminated due to a discrepancy between the two companies' expectations regarding future business.

As reported last summer, Panasonic Connect had agreed to a strategic capital partnership with ORIX that would form a new company to operate Panasonic Connect’s projector business and related operations. Originally, the company was supposed to launch in April 2025 and continue to use the Panasonic name, with ORIX holding 80% of the shares and Panasonic Connect holding 20%. Panasonic Projector & Display Corporation was

announced on April 1, but the ORIX deal fell through in July.

Now, the plan is to grow the Panasonic Projector & Display Corporation as a wholly owned subsidiary of Panasonic Connect. The change will not directly affect new product development plans. Plus, the company is moving forward with its MEVIX subbrand, which was unveiled by Panasonic Projector & Display Americas (PPNDA) in June at InfoComm 2025 and covers various visual solutions, including projectors, dvLED, and flat panel displays.

“I want to assure stakeholders that this will not impact our operations. Our strategy remains unchanged under Panasonic Connect,” said Taka Uchida, CEO of PPNDA.

“We remain fully committed to establishing our new MEVIX brand as the leader in professional projectors and displays, and will continue with our strategy, maintaining the stability and innovation our customers depend on.”

Kinly to Merge with Yorktel

Yorktel, along with portfolio company One Equity Partners, has agreed to merge with Kinly to create a workplace experience and collaboration provider with expanded reach. The strategic merger is expected to significantly accelerate global growth and expand systems integration capabilities with a larger talent base and portfolio of managed services and technology offerings. Together, the merged company will serve more than 2,500 clients across 27 global locations with more than 1,600 employees. The expanded scale elevates the ability to deliver truly global managed services—from on-site support and proactive monitoring to remote management, cloud voice, and

AV lifecycle services—with greater consistency, capacity, and speed. This transaction is subject to regulatory approval and other customary closing conditions. Until approval is granted, Yorktel and Kinly will continue to operate independently.

“This acquisition is an intentional step forward to grow with purpose and is an example of what is still to come as we pursue our strategy and deliver advanced solutions to our global clients,” said Ken Scaturro, CEO of Yorktel. “We are committed to leading the next wave of agentic transformation—simplifying operations, reducing complexity, and empowering organizations to work smarter all while improving the customer experience.”

Clearwing Joins Clair Global

Clearwing, which offers production services and systems integration from its Milwaukee and Phoenix-based offices, has joined Clair Global. The alignment enables both companies to expand their capabilities while maintaining the personal, relationship-focused approach that has earned client loyalty over the past five decades.

Founded in 1976, Clearwing has earned its reputation by delivering audio, lighting, video, and rigging solutions for live events and permanent installations. Within its systems integration business, Clearwing has delivered solutions for a vast portfolio of museums, performing arts centers, educational facilities, houses of worship, arena and stadium venues, and themed entertainment applications.

Clearwing will maintain its brand, leadership, and team. Joining Clair Global provides Clearwing with access to greater resources, infrastructure, and support, enabling the company to serve clients more effectively and take on larger, more complex projects.

“Our rapport with Clair ownership and management has been undeniably positive and we are thrilled to offer our customers exponentially expanded production solutions," said Gregg Brunclik, founder and CEO of Clearwing. "Our staff will enjoy radically increased upward mobility potential for their personal and professional growth aspirations. This is a win from every perspective.”

For Clair Global, Clearwing’s addition strengthens its presence in key regional markets and brings in another team of top-tier professionals who uphold strong values and a focus on delivering outstanding results. “Clearwing’s people are smart, driven, and dedicated. They know their craft and their markets,” said Troy Clair, CEO of Clair Global. “We’re excited to support their growth and learn from what they’ve built.”

Taka Uchida, CEO of PPNDA

‘Sophie’s Stage’ Adds Auri

WYO Performing Arts & Education Center in Sheridan, WY, has installed Auri, powered by Ampetronic and Listen Technologies, for assistive listening in its Main Stage, known as “Sophie’s Stage.”

Originally opened in 1923, the building now known as the WYO houses two theaters and several multifunctional spaces. Accessibility is central to the WYO’s mission to inspire, educate, and entertain. The WYO accessibility committee is continually looking for ways to make performances more accessible and ensure that everyone who attends the theater has a positive, engaging experience.

Auri will complement the WYO’s existing hearing loop system, increasing accessibility to clear audio within the space. Auri uses Auracast broadcast audio, a new capability from Bluetooth technology, to broadcast high-quality, low-latency venue audio to an

unlimited number of Auracast-compatible devices and dedicated receivers within range. Theater guests with Auracast-compatible hearing aids, earbuds, headphones, or smartphones will be able to access the audio broadcast via their own device. The theater will have a limited number of Auri receivers for guests to borrow if they do not have an Auracast-compatible personal device. Beyond assistive listening, the WYO can use Auri to provide audio description for visually impaired guests, and the system can also be used to support delivery of language interpretation.

“The WYO is committed to making the performing arts and education accessible. We have fabulous performances planned and are excited to begin the next season with the Auri system installed,” said Erin Butler, executive director, the WYO. “Auri offers guests another way to access

Navori Labs Acquires Signagelive

Navori Labs has acquired Signagelive, a combination that creates what has been touted by Navori Labs as the world’s largest independent, channelonly CMS platform provider (by installed base).

By the end of 2025, the joint organization will boast more than 45 dedicated developers focused exclusively on delivering scalable, flexible, and data-centric signage technology. Offering an API-first, headless CMS architecture with advanced data integration, AI-powered analytics, and media monetization capabilities, the new Navori Labs Group is built for mid-sized to enterprise customers—particularly those operating in retail media and other dynamic, content-driven environments.

Former Signagelive CEO Jason Cremins and CCO Frank Larsen will complement the executive leadership team of the Navori Labs Group around Group CEO Jeffrey Weitzman, contributing their experience to drive the company’s strategic growth. In addition, Signagelive’s long-standing CTO, Marc Benson, will remain a key pillar of the Group’s technology leadership.

“What we’ve built is far more than the sum of its parts,” said Weitzman. “We’ve combined deep-rooted expertise, bold vision, and operational excellence into a leadership team that’s truly unmatched in CMS innovation and industry insight.”

Navori Labs now operates with a global footprint, serving customers with dedicated teams across the world. The company remains proudly Swiss, retaining its headquarters in Lausanne, while enhancing local support and regional sales presence across continents.

Both Navori Labs and Signagelive share a deep commitment to partner success and customer satisfaction. Their combined cultures are rooted in delivering digital signage software, channel-focused service, and long-term value for employees and clients alike. “This combination is a catalyst for transformation. It empowers our employees, energizes our partners, and delivers exponential value to our customers and prospects around the world,” said Cremins.

assistive listening within the theater. As Auracastcompatible devices become more prevalent, the WYO will be future-ready with Auri.”

INFiLED Opens Chicago Showroom

INFiLED has opened its newest showroom in Chicago, further expanding the company’s U.S. presence. Joining its existing LA Experience Center, the new Chicago Experience Center features LED displays for both fixed installation and rental/staging applications. The facility also features INFiLED’s repair service center, and it will serve as a hub for hands-on, certified INFiLED technical training.

With the Chicago Experience Center, INFiLED’s goal is to give customers the opportunity to experience a real-time demonstration of corporate and live event possibilities. Strategically located in the Midwest, the Chicago showroom offers easy access from anywhere in the country and will provide local AV industry experts for project consulting and technical guidance support.

Samuel Lee, INFiLED’s VP of operations and branch manager for Chicago, said the new facility is a “major milestone in our commitment to bringing cutting-edge LED display technology and customer support closer to our valued partners. At our new showroom, customers will have the opportunity to see, touch, and interact with the latest and most advanced LED display solutions.”

Products on show include INFiLED’s fixed mounted WV, WP, and WT series and a variety of hanging rental solutions powered by Green Hippo, along with its all-inone corporate solution, OrionLED series, showcased in its meeting spaces.

The WYO is using Auri for assistive listening in its Main Stage.

The new Chicago Experience Center showcases INFiLED fixed installation and rental/staging applications.

Vols Hoops Ready for Tip Off

Anew 11-display center-hung system graces Food City Center in Knoxville, TN, as Daktronics has partnered with the University of Tennessee to design, manufacture, and install a total of 24 LED displays. When basketball returns to the third-largest on-campus basketball arena for the 2025-26 season, the new system will be in place and ready to inform and entertain fans at every event.

“An essential part of our partnership with Food City is the chance to reinvest in the fan experience, and the upgrades to the videoboards are nothing short of impressive,” said Danny White, vice chancellor and director of athletics, University of Tennessee. “We are proud to have the most dedicated fan base in all of sports, and we are unwavering in our commitment to continually elevate their experience.”

Four main video displays each measure nearly 15 feet high by 24.5 feet wide. Four corner wedge displays fit between the main displays for a seamless experience. The main displays are each capable of variable content zoning, allowing each to show one large image or multiple zones of live video, instant replays, statistics, game information, graphics, animations and sponsorship messages.

Below the main displays, a ring display provides supplemental graphics and information to the main displays. On the underside of the center-hung, two displays are angled toward the sidelines to appeal to fans sitting closer to the court. All center-hung displays feature 5.9mm pixel pitch.

Circling the seating bowl, a 360-degree ribbon display is mounted to the seating fascia, measuring approximately 2.5 feet high and nearly 880 feet long. Plus, each corner of the arena features an 11x18-foot display board to bring additional views of replays, stats and messaging.

Outside the arena, two wide 9.5x25.5-foot marquee displays with 10mm pixel pitch welcome fans and guests. The displays can be used to promote upcoming events, show live games, and provide other messaging opportunities for the university.

Grass Valley, BeckTV Deliver Switcher Solutions at Intuit Dome

Designed to be the most technologically advanced arena in the United States, Intuit Dome, the new home of the LA Clippers in Inglewood, CA, installed an IP production infrastructure to support Clippers basketball, concerts, and other live events. The arena opened for the 2024-25 season as a premier destination for basketball and live entertainment.

To support the arena’s technological ambitions, integrator BeckTV recommended Grass Valley’s solutions, which offered the ability to provide the required flexibility, reliability, and scalability of the facility’s production operations. The installation included three fully native ST 2110 switcher systems, all paired with Kayenne control panels. The systems serve as the heart of production across three different control rooms, ensuring seamless operations for dozens of operators working on a variety of high-profile events.

“We needed a solution that could deliver uncompromised IP 2110 switching across all of Intuit Dome’s productions, and Grass Valley provided exactly that,” said Brock Raum, senior engineer at BeckTV. “The ease of use of the Kayenne panels ensures that operators can move between control rooms seamlessly, which is essential for a venue of this scale.”

Additionally, the collaboration with BeckTV, one of Grass Valley’s partners, delivered a seamless integration process. “This deployment, in collaboration with our trusted partners BeckTV, further solidifies Grass Valley’s leadership in large venue builds and elite sports productions,” said Alex Keighley, SVP of sales for North America at Grass Valley. “As more venues transition to fully IP-based workflows, Grass Valley continues to set the standard for innovation and performance in live event production.”

New Partnership for Daktronics, Grass Valley

Grass Valley and Daktronics have announced a strategic technology partnership that unites Grass Valley’s live production solutions with Daktronics’ large-scale LED displays.

The collaboration underscores a shared commitment to innovation, offering venue solutions that adapt to the evolving needs of modern sports and entertainment, setting a new industry standard for immersive fan experiences and scalable infrastructure. Several joint projects are already underway, initiatives that are leveraging the combined strengths of both companies to deliver seamless, end-to-end solutions that elevate the fan experience and streamline production workflows.

“This partnership with Grass Valley represents a

powerful alignment of complementary technologies,” said Brad Wiemann, interim CEO and president of Daktronics. “Together, we’re helping venues deliver fully immersive, end-to-end experiences that transform how fans engage with live events.”

Three Grass Valley switchers were installed across three different control rooms at Intuit Dome.

Food City Center will feature new LED displays for the 2025-26 season.

By Sean Wargo

As the tariff fog once again thickens going into the third quarter, the AV Index continues to reflect a relatively stable but cautious market. July’s AV Sales Index result, while slightly lower than June’s, is spot on the average for 2025 so far.

Industry drivers remain, including AI, cloud computing, managed services, display advancements, and audio enhancements, according to AVIXA’s recent demand studies. Yet these technologies are evolving dependent on use case refinement and adoption considerations, factors supporting steady investment in an uncertain economic environment, but not driving high-percentage market growth.

Market Appears Stable but Cautious in July

The share of those who saw sales increase dropped from June (down 7.9%), counterbalanced by an increase in those that saw sales stay the same (up 11.5%), with a decrease experienced by less firms (down 3.5%). These results are reflective of the difficulty in taking risks for new projects when the pricing environment is uncertain, making investments hard to plan for the long term. Behind the scenes, firms are doing everything they can to mitigate the effects of tariffs or take advantage of the short-term leverage they provide.

The AV Employment Index showed even less variability than the AV Sales Index, with a tenth-of-apoint difference month to month. However, the index shift was similar, with more firms seeing the employment level stay the same (up 5.6%) than either

increase (down 2.8%) or decrease (down 2.9%). While there is always demand for highly skilled Pro AV professionals, especially in the new technologies, the overall market appears stagnant largely due to the macroeconomic environment.

The Pro AV Business Index report is derived from a monthly survey of the AVIXA Insights Community, a research community of industry members that tracks business trends in commercial AV. The report comprises two diffusion indexes: the AV Sales Index (AVI-S) and the AV Employment Index (AVI-E). In each case, an index above 50 indicates an increase in sales or employment activity. For more information about joining the AVIXA Insights Community, visit www. avixa.org/AVIP.

Sean Wargo is the VP of market insight for AVIXA.

LEA PROFESIONAL announced its partnership with AUDIO VISUAL ASSOCIATES (AVA), a manufacturer’s representative based in Missouri. This partnership promises to bring LEA’s technology catalog to Missouri, Kansas, Nebraska, Iowa, and Southern Illinois customers. AVA has built a reputation for dedicated service and technical expertise across a wide range of professional and commercial AV projects. It creatively connects customer-focused manufacturers with valueadded dealers to ensure end users receive superior products and quality service.

MIDWICH and AUDINATE announced a new U.S. distribution partnership aimed at accelerating access to scalable, networked AV solutions. The partnership enables greater channel effectiveness and improved management of subscription renewals, term licenses, and support and maintenance agreements. As part of this strategy, Audinate is refining its channel approach to enhance focus and deliver an elevated level of service to its partners and customers. Midwich will offer Audinate’s technologies, supported by Midwich Plus, the company’s technical services team.

PLEXUSAV has signed a distribution agreement with PAG to represent its products in Canada. Under this new agreement, PAG Canada will lead all facets of PlexusAV engagement in Canada, including strategic business development and sales execution across all provinces and territories, technical onboarding and training tailored to integrators and specifiers, pre and post-sales support for seamless product adoption, and marketing and promotional efforts, including live demonstrations and regional events.

TRANSFORMATIONAL ENTERNTAINMENT GROUP (TEG) has named Austin, TX-based PROVIDEO & SOUND its new representatives for the Texas, Oklahoma, Louisiana, and Arkansas (TOLA) territory. ProVideo & Sound represents a portfolio of top-tier AV brands, connecting manufacturers with dealers, integrators, consultants, and end users through trusted relationships, technical expertise, and regional market knowledge.

ACT ENTERTAINMENT has appointed two members of the lighting sales team to newly designated sales territories.

JONATHAN SCHNEIDER and ASHA WASHINGTON have been named as regional outside sales

LYNX Technik Appoints New Executive Leadership Team

LYNX TECHNIK appointed new executive leadership, with MARKUS MOTZKO as CEO and VINCENT NOYER as CTO to guide the company forward. Founder and longtime CEO Winfried Deckelmann will transition out of daily operations and continue to support the company as a member of the supervisory board, where he will serve as chairman.

Motzko brings

extensive experience in production processes, manufacturing optimization, and technical leadership. Since joining LYNX Technik, he has led production and administration, focusing on operational efficiency and long-term growth. Prior to joining the company, Motzko held roles in the industrial and medical semiconductor sectors.

Noyer, previously director of product marketing, assumes the CTO role with more than two decades of experience in the broadcast and live sports industries. Before LYNX Technik, he held senior positions at Ross Video, where he helped drive the success of the PIERO sports graphics solution.

reps, Schneider for the SouthCentral U.S. and Washington for the Southeast U.S. Schneider was a media server engineer, lighting tech, and crew chief with Upstaging for the last 11 years. He worked on various tours and served as the Hippo and network tech with the WWE for eight years. For the last five years, Washington has served as an inside sales rep and, most recently, outside sales rep for Barbizon Lighting Company. Earlier, she was the technical director for the Beaufort County School District.

ATLASIED appointed DIRK GREEF as regional sales manager for Germany, supporting the company’s ongoing international growth and presence across Europe. Greef joins AtlasIED Europe GmbH and will be based in Germany. Greef has more than a decade of experience in the industry, having held essential sales roles in both integration and distribution. In his new role, Greef will focus on expanding AtlasIED’s footprint throughout Germany.

D&B AUDIOTECHNIK named JOCELYNE BUCKNER as VP of marketing. In her new role, Bückner leads the company’s global marketing strategy, driving brand growth and market expansion as well as developing and executing a comprehensive marketing roadmap. Bückner brings extensive experience in all facets of marketing, including brand management, PR, digital, performance, and product marketing. Having worked at d&b audiotechnik from 2016-2023, she has a deep understanding of the company’s culture, values, and spirit.

CHRIS KONTOPANOS has joined DPA MICROPHONES as the company’s new regional sales manager for the Mid-Atlantic territory, which includes Washington D.C., Delaware, Kentucky, Maryland, North Carolina, Eastern Pennsylvania, South Carolina, Tennessee, Virginia, and West Virginia. In his role, Kontopanos oversees sales of DPA Microphones, Austrian Audio, and Wisycom solutions. Kontopanos comes to DPA from Digital Video Group (DVG), where he was senior broadcast account manager.

The NEUTRIK GROUP has appointed LUKAS VON ARX as its new CEO. He officially takes on the leadership of the globally active company headquartered in Liechtenstein. von Arx brings a wealth of international experience and leadership expertise in the cable and connectivity industry. Most recently, he joined BizLink in 2022 as president and managing director of BizLink elocab in Canada, and took over global responsibility in 2023 for the Tailor-Made Business Unit, overseeing nine sites and approximately 1,000 employees.

SOTARO NISHIDA was appointed executive officer and SVP of audio at YAMAHA CORPORATION OF AMERICA (YCA). Nishida has been with Yamaha for more than 20 years. In this newly created role, Nishida oversees both the Consumer Audio and Professional Audio departments, focusing on enhancing customer satisfaction while expanding the breadth and depth of Yamaha audio solutions. Before joining YCA, Nishida was the CEO of Yamaha Unified Communications (YUC).

Jocelyne Bückner

Dirk Greef

Asha Washington

Chris Kontopanos

Sotaro Nishida

Lukas von Arx

Jonathan Schneider

From Left: Vincent Noyer, Winfried Deckelmann, and Markus Motzko

Acknowledging Attributes

Manage Relationships Better by Understanding Personality Types

By Steve Greenblatt and Brittany DiCesare

AV companies, like those in any industry, consist of core roles that require team members to have specific skills and knowledge while taking on particular responsibilities related to their positions. While qualities such as aptitude, attitude, and motivation contribute to an individual’s success, history has shown that those who excel in specific roles tend to share a common set of personal attributes. There are no guaranteed formulas for success in business or elsewhere, but understanding the personality types needed for various roles within an organization can help leaders and managers hire the right individuals and effectively manage them, leading to successful careers and maximizing their contributions.

DISC-Based Assessments

Many systems exist for assessing and describing personality types, each with its own spin, flair, and focus. What is common among them is they can be used to identify the typical characteristics associated with individuals who are best suited to comfortably and successfully serve in typical business roles. One specific method that is easy to remember is the DISC.

D (Dominance)

I (Influence)

S (Steadiness)

C (Conscientiousness)

While everyone is a blend of all four characteristics, one primary type stands out from the others. Each person can be referred to by their primary type, such as “High D.” In general, D and I personality types are fast-paced, while S and C personality types are slow-paced. I and S are more people-oriented, while D and C are more task-oriented.

By recognizing personality types and their related traits that correlate with typical industry roles, leaders and managers can build functional teams, communicate effectively with team members, and better understand how to set them up for success. To do so, you must recognize the distinct differences that exist among the roles.

Engineers, programmers, finance, and accounting professionals (High C) tend to be detail-oriented, logical, precise, analytical, risk-averse, and like to

work independently. They struggle with ambiguity, rushed decision-making, and guesswork. Project managers and business leaders (High D) tend to be goal-oriented, driven, and determined to succeed. They are confident, quick to act, and want commitments. They tend to avoid getting bogged down in details and can be close-minded.

Salespeople and trainers (High I) tend to be people-centric, outgoing, energetic, and persuasive— and enjoy being the center of attention. They dislike being slowed down by rules, processes, and paperwork. Technicians, customer service, technical support, HR, and administrators (High S) tend to be patient, cooperative, dependable, people-oriented, and loyal. They resist change and avoid conflict.

While each person is unique, those in typical industry roles are identifiable by a shared set of values and tendencies. As a manager and leader, it is essential to understand how to educate yourself and your team to interact and work effectively with those in similar and different roles. Working with people with similar roles tends to be easy and natural, because they possess a lot of the same characteristics and familiar behaviors; however, those in different roles can be challenging because they have some opposing traits and styles that require adaptation, adjustment, and effort to work with them effectively.

Adjustments in communication and approach are two key areas that can enhance effectiveness in managing team members, improving interaction between different roles within a team, working with those in leadership, and establishing effective relationships both within and outside an organization, whether with clients, vendors, or in networking situations.

Vary Your Approach

For example, when managing or interacting with engineers, programmers, finance, and accounting professionals, be factual and detailed in what you need from them. Provide them with clear information and examples of the results or outcomes that you need. An email may be better than a conversation or phone call. Avoid putting them on the spot, pressuring them for quick response, or forcing them to work in groups. They need time to think, process, and offer a response or deliverable they are confident is accurate and representative of their best work.

On the other hand, it’s best to manage or interact with salespeople and trainers in person or on a call

rather than in writing. They are engaging and want others to interact with them. They value attention and desire recognition for who they are and what they do. They are motivational and work well in teams. If you inspire them with an idea, they will rally others to join in. They are not detail-oriented by nature, so it is best to pair them with someone who is inclined to handle paperwork and will be responsible for follow up.

While they are also people-centric, technicians, customer service, technical support, HR, and administrators are more low key and slower paced than salespeople and trainers. Their most endearing qualities are their care and compassion for others, as well as their eagerness to serve. They are loyal, sensitive, and consistent. Making them feel valued and appreciated (not taken advantage of) will go a long way— conversely, a lack of sensitivity or unexpected change will cause stress and anxiety that will limit their ability to perform and trust.

Working with project managers and business leaders requires decisiveness, directness, and clarity. They only want the details that matter and don’t want to waste time. They are confident, impatient, and results-oriented by nature. While they get the job done, their “ready, fire, aim” approach can lead to negative consequences. Supporting these resultsdriven individuals by being trusted to deliver for them will go a long way in gaining their favor. Additionally, matching them with someone who understands their tendencies and can handle the details and delicate aspects of social interactions and relationships will be favorable.

Understanding diverse personality types within an organization is essential for fostering collaboration and enhancing overall team performance. By leveraging the strengths of those who serve in the various roles in an organization, leaders can create a balanced and effective working environment.

Recognizing and adapting to the unique attributes and communication styles of team members not only facilitates smoother interactions but also empowers individuals to thrive in their roles. Prioritizing awareness and effective communication sets the stage for a more harmonious and productive workplace where everyone can excel.

Steve Greenblatt, CTS, founder, and Brittany DiCesare, CTS, director of sales and operations, provide specialized software and services for the Pro AV industry at Control Concepts. Contact Steve at steveg@controlconcepts.net.

Around the World

Pufferfish’s Patterson Explains the Appeal of Spherical Displays

By Mark J. Pescatore

SCN: How long have you been with this company, and what are your responsibilities?

Stephen Patterson: From May 2025, I’ve had the privilege of leading Pufferfish Displays, a tight-knit team of innovators. Like any CEO, I set the vision, secure resources, nurture culture, and keep our investors, partners, and board aligned. But in a company our size, those high-level duties blur into daily activity: I still jump into road maps, review supply chain issues, and help pack when deadlines bite. I also run our sales and marketing, meeting customers and partners, shaping go-to-market strategy, and amplifying the Pufferfish story.

SCN: How important are immersive and interactive technologies to today’s museum experience?

SP: In museums, visitor expectation has flipped from passive observation to active participation. Immersive and interactive technologies now underpin engagement, learning, and repeat visits. Studies show that when digital experiences are easy, useful, and entertaining, visitor satisfaction and intention to return rise sharply. Our own data echoes that: Since we added touch-responsive capability to PufferSphere, over 90% of clients specify interactivity, even those who initially asked for a passive display. Immersive tech has moved from “nice to have” to essential infrastructure for storytellers.

SCN: What is it about spherical displays that make them so appealing?

SP: Spherical displays resonate because they line up with how we already understand our world: People instinctively walk around to build a 360-degree mental model—and when touch enabled can literally take the world in their hands. In NOAA classroom trials with Science On a Sphere, students’ Earth science knowledge gains comfortably outpaced flat-screen lessons, with improvements approaching 40%. Field work at the University of Glasgow showed the sphere transformed an everyday walkway into a mini theater, drawing crowds who stayed to watch and interact. Museums report the same magnetism: Visitors linger longer than at comparable flat displays because the format feels novel, social, and aesthetic.

SCN: Beyond its spherical shape, of course, what makes the PufferSphere unique?

SP: Beyond its spherical form, the PufferSphere stands out because of the ecosystem wrapped around it. Every unit ships with PufferOS and PufferBuild, a no-code,

drag-and-drop authoring tool that lets teams import images, video, and data, then wire up touch gestures in minutes—no developer required. Our in-house agency, PufferStudio, goes deeper, functioning as a full graphics, motion graphics, and data visualization house that can help bring customer stories to life for any display canvas, often positioning the sphere as the interactive hub that drives those companion screens. Not only can we develop the content, but our software developers help bring that content to interactive life.

SCN: You also offer a half-sphere option, the PufferHemi, so I have to ask: Which model is more popular?

SP: While the full PufferSphere is still the headline act, accounting for roughly two-thirds of the systems we ship in an average year, interest in the PufferHemi is accelerating. The half-sphere inherits our multitouch engine, but because its projection area is halved, it delivers double the pixel density and double the peak luminance of our other models. We developed an interactive travel dashboard/ rebooking engine for a global cruise brand using the Hemi in the passenger lounges.

SCN: Are your spherical solutions used more for temporary or permanent displays?

SP: It’s almost an even split between temporary activations and permanent projects. Museum galleries, university visualization labs, and corporate lobbies can run on an 8-10-year life cycle and generate recurring content-update work. The other half is fueled by rentals for trade shows, product launches, and touring exhibitions/events. This balance keeps cash flow steady while ensuring the technology stays highly visible to new audiences.

SCN: Considering the unique display landscape, how do you create and manage content in the spherical world?

SP: We treat the sphere as both a canvas and a computer. Because we build the hardware, firmware, and media server stack in house, our creative team can drive every pixel exactly where it needs to be, whether that’s a satellite data layer wrapping a globe or a kinetic brand reveal spinning across an LED floor and a PufferSphere in perfect sync. Whether it's a globe, LED cylinder, or a hybrid

setup, the content lives in one master timeline. Our studio doesn't just “make it fit the ball.” We design

Stephen Patterson

Position: CEO

Company: Pufferfish Displays

Overtime: Outside the boardroom, I’m rarely indoors. I spend time kayaking Scotland’s lochs, cycling trails, or walking the family dog, often with his wife and kids in tow.

for the curvature, ensuring every project hits the floor running and keeps performing long after the launch day.

SCN: Sustainability remains an important consideration for many projects—are spherical displays energy efficient?

SP: Our laser-phosphor light engines, adaptive brightness control, and high-reflectance coatings mean a 900mm PufferSphere can typically draw less power than a 3x3 LCD wall while delivering twice the impact. We are currently looking to incorporate proximity sensors to reduce idle consumption further. Beyond the electronics, we ship in FSC-certified, carbon-offset crates, use sustainable hardwood pedestals and are auditing every tier-one supplier against ISO 14001. Rental units are refurbished and re-homed to extend life. We’re mapping product footprints under ISO 50001 and are working toward full B Corp Certification, so customers can specify immersive storytelling without enlarging their carbon footprint or budget, whichever metric matters most to you right now.

SCN: Finally, is Pufferfish expanding its (forgive me) sphere of influence and developing any new display shapes?

SP: Absolutely. While the sphere remains our signature, the underlying PufferOS engine is shapeagnostic, most recently a bell for a client. If you can sketch it, we can simulate it in our sandbox, validate content workflows, and design custom enclosures to bring your ideas to life. That means integrators get one tool chain and one support team no matter the geometry, letting them dream beyond the globe without taking on additional risk. We don’t

manufacture, our creative teams have real-world experience of developing both software and content for any existing or

A PufferHemi is being used by a cruise brand as an interactive travel dashboard/rebooking engine in passenger lounges.

BUSINESS VENUE AV

Welcome Back to the Ballpark

Venues Leverage Pro AV to Attract Live Audiences

By Michael Grotticelli

Live venues for both sports and entertainment are facing unprecedented challenges. Pro AV systems can keep people engaged, but how you implement these solutions goes a long way to providing an immersive experience for those in attendance.

“The entire experience from arriving at the venue to the end of the evening must be unique and [something] you can’t get anywhere else,” said Aaron Beck, director of live performance venues for Diversified. The integrator created a highly immersive art exhibit for the Museum of Art and Light in Kansas. “From the arrival and preshow experience in high-end lobbies to the performance, it must be unique to set the venue apart. High-end technology inside the venue, in the lobbies, VIP seating, and food and beverage options all play a part in the audience’s expectations.”

Pro AV technologies such as cameras, LED screens, multichannel audio systems, augmented reality (AR) graphics, and lighting play a vital part in creating these unique experiences that audiences now expect. “Immersive is a big push these days, but to achieve fully integrated productions, there needs to be a blend between the creative and technology. You can have the best systems in the world, but without the design team to create the content, the technology is just gear,” Beck explained. “Immersive audio that surrounds the listener is a hot topic, along with new visual technology using higher quality LED and lighting that’s a must these days.”

Immersive Expectations

Metinteractive, which provides Pro AV solutions for architecture, communication, and technology, has worked with a wide range of sports and entertainment clients, including the University of Connecticut at Storrs and Sacred Heart University in Fairfield, CT. Jeffrey Mele, CCO at Metinteractive, said there are a finite number of venues that are trying to push the limit with technology—sometimes at the expense of the art and with little consideration of sustainability in their business plan.

“They are spending high and sometimes irrational amounts on technology,” he explained. “Most others are starting to accept a more ‘MP3’ version of quality: still good, but not what it used to be. Sports venues, however, are concentrating on how to expand their

product beyond their four walls and solving the basic physics issue of there are just so many premium seats.”

At Panasonic Professional Video and Audio Systems, senior project manager Jim Jensen said that one current trend that helps create a more immersive experience is leveraging multiple camera angles for unique points of view. This is often accomplished by using PTZ cameras that can be strategically placed without interruption to the audience. The use of fixed PTZs and box cameras has become increasingly important to the live sports experience because they can be installed cost effectively.

“Having multiple PTZs doesn’t put a strain on the production staff but can be controlled from a single operator during the live production,” Jensen said. “Another trend we’re starting to see is the use of cameras with technology to mitigate moiré on LED wall displays in the live event space.”

Jensen was recently involved in a remote project that incorporated Panasonic’s PTZs and its Media Product Suite Platform, which leverages auto tracking. The project consisted of operating Panasonic’s equipment from Creative Technology’s control center in Henderson, NV, to produce a live event in San Jose, CA, without compromising quality, responsiveness, or client experience.

The compact footprint of Panasonic’s PTZ cameras made them ideal for event spaces requiring discretion and minimal disruption. The Media Production Suite served as the control center, enabling a single operator to manage multiple PTZ units remotely. This eliminated the need for camera operators in each room, reducing operating costs and enabling the remote operator to simultaneously manage each PTZ camera on the network, significantly optimizing overall device management.

According to Jensen, new technology needs to be evaluated based on whether or not it brings production value and if there are efficiencies when considering a technology. “Fixed PTZs are a perfect example. Although there may be an added cost of purchasing additional PTZs for a live event, the clear benefit is the enhanced production value due to multiple, unique points of view,” he explained.

Set the Mood

“When it comes to large venues, there has been significant development in visual technology in recent years,” said Brian Duffy, strategic account manager, live entertainment, at Panasonic Projector & Display Americas. “Years ago, the Jumbotron was a key milestone in event tech, as it helped create a cohesive audience experience regardless of where people were sitting in the stadium. You could be at the floor level or the bleacher seats and all view the Jumbotron for a close-up look at the performance or game, and be able to see the performers’ and athletes’ expressions.

“In recent years, stadiums have expanded on this concept with more projection-based designs,” he continued. “Projectors blend well into set design, which is important for concerts that are looking to create a specific, cohesive visual experience. Instead of needing a large black box hanging in the middle of the show, projection can make a screen out of almost anything in the set or stadium design.”

Duffy added that the flexibility to transform existing infrastructure through projection technology allows for unique visual experiences. For example, singers can now immerse audiences in the world of their music, as projection mapping lets them show visuals and photos that coordinate with the lyrics. This gives audiences a better understanding of the emotion behind the music and helps them connect more to the experience.

Myriam Calaber, EMEA venue sector industry engagement executive at VITEC, reiterated that Pro AV solutions like video walls play an essential role in the stadium experience as well. They help create an immersive atmosphere and maintain the audience’s engagement with animations or messaging from sponsors as well as player highlights and stats. But today’s consumers also expect video streaming and Wi-Fi as basic services available in a venue. “Sports fans go to the match to watch their favorite team play, and yet they are always connecting to their mobile devices,” Calaber explained. “Digital signage displays also play an ever-growing role. Not only can these screens transform the look and feel of a venue, depending on the event’s profile, but they also communicate the right

Pro AV solutions help maintain audience engagement at stadiums.

PTZ cameras from Panasonic and others can help sports venues create a more immersive experience with less of a strain on the production staff.

message in the right place, driving the audience to the points of interest throughout the venue. These seemingly simple touchpoints contribute to the critical mission that must be achieved by the venue … a continuous, multi-sensory experience that keeps attendees engaged.”

The Price of Engagement

New technology can be expensive, even when implemented correctly as part of a larger in-venue workflow. This is where strategic planning becomes critical.

“Venue operators face a significant challenge to keep pace with evolving technologies and improve the visitor experience, all while maintaining budgets and generating additional revenue long term,” Calaber

said. “To me, the path forward has to start with a thorough and collaborative reflection on the available market solutions, and the guidance from experts allows venue operators to make informed technological choices.

“Based on my experience in the video sector, determining the right location for each of the screens is also a strategic choice to maximize their impact without overinvesting.”

Calaber added that venue operators can also integrate mobile applications to provide services like action replays, AR, or statistics. These applications can be enriched and updated without additional investment beyond excellent Wi-Fi coverage within the venue.

The venues that will thrive over the next decade are

those that recognize adaptability as their greatest competitive asset. AI and IP video systems won’t just support operations—Calaber said they will be core to how venues grow, engage audiences, and build new revenue streams.

“Venues must adapt to their audience’s expectations, not the other way around,” she explained. “In an era where technologies are evolving every day, leadership teams of stadiums and arenas need a vision not just for today, but for the next decade. The definition of what entertainment means and what it takes to achieve that level of immersion has evolved. That is what operators need to embrace. AI and IP video systems can be a powerful tool that operators can leverage to do just that in a conscientious and sustainable manner.”

However, Calaber said the discussion about how live venues are evolving needs to center around not just talking about better tech, but fundamentally reimagining what a venue can be. “We are witnessing an evolution in real time,” she noted. “Operators and audiences together are redefining what a venue can be. Technology is part of what led us here. I believe that the future of successful venues will be the ones that leverage these tools and experiences to bring us together.”

From left, Aaron Beck, Jim Jensen, Myriam Calaber, Jeffrey Mele, and Brian Duffy

AV in Overdrive

By Carolyn Heinze

Since 1956, the Indianapolis Motor Speedway Museum, located inside the track of the Indianapolis Motor Speedway itself in the enclave suburb of Speedway, IN, has been celebrating the landmark racing venue and auto racing in general. Across 80,000 square feet, the museum features more than 150 cars on display and more than 55,000 artifacts. Each year, around 140,000 people pay a visit.

Recently, the museum underwent a renovation that included the deployment of a curved video exhibit made up of Absen NX Series LED modules with a 1.8mm pixel pitch and a mounting system designed and built by Draper. With the goal of drawing guests into the excitement of race day, the L-shaped structure features an end wall that’s almost 16 feet tall and 19 feet wide connected to ceiling display that’s 61 feet long and 19 feet wide that display images of airplanes flying overhead, cannons going off, fireworks, and, of course, the track.

“We really wanted to provide guests the experience of what it’s like to be on the grid—that immersive experience of what that morning feels like,” Mandi Bender, VP of operations at the Indianapolis Motor Speedway Museum in Indianapolis, said in a video produced by Absen. “When the cannon goes off and the fireworks are happening, that’s all happening above you and it’s just really fantastic.”

Pieces In Place

Absen NX Series LED panels come in multiple sizes. For this display, the company supplied a combination of panels measuring 960x540mm and 240x540mm. “It’s a longer panel and a narrow panel for the end wall and the ceiling,” explained Ken Kalish, sales director for key accounts at Absen.

Clair Global Integration collaborated with Absen

and Draper on the display’s design. Philip DiPaula, director of immersive systems at the company, explained the importance of conducting accurate discovery prior to mounting the exhibit. “The challenge was the coordination of fitting the mounting frame into the building, attaching it to the building structure, [and] distributing the weight loads in the way that we required,” DiPaula recalled.

Because the AV team was working in an existing building, one that had undergone some modifications, it couldn’t rely on the documentation dating back to the original construction of the facility. “There were LiDAR [Light Detection and Ranging] scans done so we knew where the beams were that we could attach to in reality, not what the blueprint said,” he added.

Clair Global also needed to remain in regular contact with the media team that was producing the display’s content—in this case, Boston Productions. “They wanted to be able to pre-vis this wall, so we had to try to get the wall installed early in the process,” DiPaula said. He added that the media team needed to

take into account the curvature of the display, something it couldn’t do at its own offices.

Grant Wylie, director of AVMS product management at Draper, relayed that when suspended LED displays that serve as ceilings are connected with LED wall elements, it’s usually at a 90-degree angle. “In this instance, we needed to be able to not only support that,” he noted, “but then create a curved structure.”

Instead of using curved LED panels, Draper had to create a faceted curve out of flat panels, where each row of cabinets along the line of the curve is slightly angled. For this exhibit, the tolerance target between each row was 0.18mm, one-tenth of the pixel pitch, when the display heats up and expands. “Our goal is that once everything is turned on and it’s running and operating—and the display is heated up—that the spacing between those flat LED cabinets are positioned at an angle that matches exactly what the pixel pitch is on the rest of the display,” Wylie explained.

When developing the faceted curve, Draper’s team

A curved video exhibit that runs 61 feet across the ceiling creates an immersive race day experience for visitors.

Because Draper created a faceted curve out of flat panels, the museum was able to save money by not investing in curved LED display technology.

Indianapolis Motor Speedway Museum Immerses Visitors in Pole Position

opted to treat each row of LED panels as a separate display. “That way, each row expands in and out on its own depending on what content is [being shown] and its brightness value, instead of linking them all together and then having the whole thing expand,” Wylie said.

Calculating for heat expansion involves several variables, including data provided by the manufacturer, the past experience and knowledge of those designing the mounting structure, and what type of content the display will be running. For example, at the Indianapolis Motor Speedway Museum the exhibit shows a lot of bright images, like a clear blue sky. This means more heat, which, in turn, results in more expansion. “We were anticipating somewhere between 0.7mm to almost 1mm expansion

per LED cabinet—and that’s pretty much at the module level of the ceiling section,” added Wylie.

Accounting for Maintenance

Not only does this approach make the viewing experience seamless, but it also preserves the life of the LED panels. If Draper didn’t take their expansion and contraction into consideration, the ceiling would expand, crushing the corner section where the curve and the flat end wall meet. Wylie noted that this approach also alleviates the need to shut down the display entirely to let it cool down prior to servicing, something that could take a couple of days.

Plus, LED displays featuring faceted curves make for a more economical solution because clients don’t need to invest in curved technology. “The end user is

MUSEUM AV BUSINESS

buying LED cabinets that are flat, which is a more standardized product,” Wylie said.

DiPaula noted that during the design phase, he and his team at Clair Global also needed to consider how technicians would service the panels on the ceiling portion of the display. Traditionally, LED panels are serviceable from the front; a tech may simply pop them out to access the components within, while power connections are made through the back of the cabinets.

However, at the Indianapolis Motor Speedway Museum, power is fed to the cabinets from above. The structure is open on the sides, making it easier to service power connectors that are close to the edge because a tech can make the reach. “We tried to make the points where the power initially hit the wall closer to the edges so that you had access to the primary feed,” DiPaula explained.

DiPaula added that the display is slightly elevated from the floor to enable the museum’s cleaning crew to vacuum underneath it. That attention to the grittiest of gritty details mandated a solid working dynamic between all the disciplines involved in executing this project, DiPaula acknowledged. “It was a real team effort,” he said. “It was, ‘Let’s work together to solve things.’ And that was what made it a good experience.”

From left: Ken Kalish, Philip DiPaula, and Grant Wylie

By Ian White

TPremium Sound for Every Seat

There's a New Approach to Stadium Audio Refurbishment

he modern stadium is undergoing a profound transformation. The economics of venue operation have pushed stadiums beyond their traditional role as sports arenas that come alive on game day and fall silent the rest of the year. Today’s economic realities demand that stadiums function as year-round, multi-use facilities that provide sustainable returns on investment—typically funded through a combination of private investment and tax revenue deferrals.

This shift is fundamentally changing how we approach stadium audio design, moving beyond basic PA functionality to deliver concert-grade systems capable of supporting everything from major sporting events to intimate corporate gatherings and even weddings. The challenge lies in creating audio systems that can seamlessly transition between these diverse applications while ensuring every seat receives premium sound quality. This requires a sophisticated understanding of acoustic principles, advanced modeling techniques, and innovative solutions to overcome the unique challenges that outdoor stadiums present.

Multi-Use Imperative

The driving force behind modern stadium refurbishment is clear: Facilities must generate revenue from more than just sporting events to remain

financially viable. Market research indicates that successful stadium operators are increasingly diversifying revenue streams, with non-sporting events now representing a significant portion of annual facility income. This shift is driving unprecedented growth in the sector, with the global sports facilities market expected to surge from $132.4 billion last year to more than $1 trillion by 2034.

Not surprisingly, this economic reality is pushing stadium operators to demand PA systems that deliver concert-grade audio with the flexibility to handle vastly different event types. The implications for audio design are significant; a system designed exclusively for football announcements will not meet the performance standards required for pop concerts, while a concert-focused system may fall short of the speech intelligibility essential for sporting events.

As venues compete with increasingly sophisticated home viewing experiences, providing premium fan experiences has become essential for drawing spectators away from their couches. This is driving the rapid expansion of fan zones, premium clubs, and hospitality areas that extend well beyond the traditional stadium bowl. These spaces require their own sophisticated audio solutions, tailored to create intimate experiences that justify premium pricing.

Premium seating areas present unique acoustic challenges. Corporate boxes and club areas often feature glass fronts, hard surfaces, and complex geometries that can create acoustic dead zones or excessive reverberation. Moreover, these spaces

frequently operate independently of main bowl events, requiring flexible zoning capabilities and separate source feeds. The audio solution must maintain the premium atmosphere these areas command while ensuring seamless integration with the broader stadium system during major events.

Touring Act Advantage

Perhaps the most compelling argument for investing in concert-grade stadium audio systems lies in their ability to support major touring acts without requiring extensive temporary installations. When a stadium’s permanent audio system meets professional touring standards, artists can integrate directly with the house system, dramatically reducing setup time, costs, and logistical complexity.

State Farm Stadium in Phoenix exemplifies this approach perfectly. The venue’s installed K2 system has become a cornerstone for both sporting spectacles and world-class entertainment, hosting multiple Super Bowls, college football national championships, and NCAA Final Four games alongside an impressive roster of touring acts. Over recent years, artists including Taylor Swift, The Rolling Stones, Beyoncé, and U2 have all utilized the house system as their primary or supporting audio infrastructure. This integration offers substantial benefits for both venues and artists. While touring acts still travel with their full complement of audio trucks, venues with concert-grade house systems eliminate the need to unpack and deploy this equipment, dramatically reducing load-in time, labor costs, and setup complexity. For stadiums, this capability transforms them into preferred destinations for major tours.

The key lies in installing systems that meet or exceed touring industry standards for coverage, power, and sonic quality. When permanent installations can serve as delay fills, side fills, or even primary systems for touring acts, stadiums unlock new revenue potential while offering artists the reliability and performance they demand from their audio systems.

Technical Challenges

Stadiums present a fundamental acoustic challenge: Hard surfaces like concrete, steel, and plastic seating create excessive reverberation that renders speech unintelligible. The solution isn’t more power, it’s precision. Modern line array systems create tightly controlled coverage patterns that direct sound exactly where needed while minimizing harmful reflections— and advanced modeling software allowing engineers to optimize performance before the first speaker is hung.

Environmental conditions are audio’s invisible enemy. Wind deflects sound from intended zones, while temperature and humidity shifts alter propagation speeds, destroying timing across vast seating areas. Successful systems fight back with strategic placement, sophisticated signal processing, and real-time compensation tools that let operators

Modern stadiums need audio systems that can seamlessly transition between sports events to concerts.

adjust coverage patterns on the fly as weather evolves.

Stadium crowds also generate acoustic chaos, reaching 120 decibels that rival rock concerts during critical moments and overwhelming even the most robust PA systems. Success demands sophisticated frequency management and enormous dynamic range, with systems engineered to slice through deafening crowd energy while maintaining pristine speech intelligibility and musical clarity throughout the venue.

Community relations have become increasingly important for stadium operations, with recent legal battles highlighting growing concerns about stadium noise disturbing residential neighborhoods. Forest Hills Stadium in New York exemplifies the solution: Precision-engineered line arrays reduced off-site sound levels by 10 to 15 decibels compared to the previous system, enabling the venue to secure permits after initial denials.

Modern approaches emphasize using controlled coverage patterns to focus sound toward intended listening areas. Advanced acoustic modeling now incorporates neighborhood impact assessments, allowing designers to predict and minimize sound spillage before installation and ensuring communityfriendly solutions from the outset. The result proves that exceptional audio performance and good

neighborliness aren’t mutually exclusive.

STADIUM AUDIO BUSINESS

Sustainability has moved from optional consideration to essential requirement in modern stadium design. The green technology market is driving stadiums to implement automated facilities management, renewable energy, and waste reduction systems. This extends to audio design, where manufacturers are incorporating recycled materials and developing systems for reuse rather than replacement.

Industry leaders like L-Acoustics are pioneering circular economy models through partnerships to enable the recovery of neodymium magnets from various sources while already manufacturing products with more than 40% recycled material content. LEED certification has become critical for new construction and renovations, with sustainable acoustic solutions contributing significantly to point accumulation, making environmental responsibility a competitive advantage for forward-thinking venues.

Best Practices for Implementation

Successful stadium audio refurbishment begins with thorough site analysis and stakeholder consultation. This includes acoustic measurements of existing conditions, evaluation of structural mounting points, assessment of power and data infrastructure, and

community impact studies. Early engagement with local authorities and neighborhood groups can prevent costly delays and modifications later in the project.

Many stadium refurbishments benefit from phased implementation approaches that allow continued operation during construction. Audio systems can often be installed and tested during off-seasons, minimizing disruption to scheduled events while ensuring thorough commissioning and optimization.

As stadiums continue to transform into year-round entertainment destinations, the challenge for audio professionals lies in balancing these competing demands while addressing environmental concerns and community relations. Success requires marrying technical expertise with a deep understanding of venue operations, event programming, and stakeholder needs.

As we look toward the future, the stadiums that thrive will be those that recognize audio not as an afterthought, but as a fundamental component of the overall guest experience. The future of stadium audio lies in systems that are simultaneously powerful and precise, flexible and reliable, sustainable and spectacular—truly bridging the audio gap for every seat in the house.

Ian White is the global business development lead for sports facilities at L-Acoustics.

By Dave Van Hoy

WAutomating Infrastructures

Orchestration Is the Future of Cloud-Based Production

hen you’re at the starting gate looking to automate your cloud infrastructure, there’s a dizzying array of options, opinions, and information to sort through. Let's look at the new terms involved and what I see as critical best practices for moving forward with cloud automation—specifically for Pro AV, production, and broadcast workflows—based on what we’ve deployed and learned at ASG.

As we move further into software-defined production environments, the ability to dynamically spin up, reconfigure, and shut down systems will be a requirement, not a luxury. These automation and orchestration questions are an extremely important part of the conversation.

Our clients don’t want to spin up systems with a single setup and leave those machines sitting there, turned on 24 hours a day in a single configuration. This is also true for the economics, especially in public cloud where you’re paying for use by the minute.

We’re creating software-defined production

systems for podcasts, vodcasts, and small productions for a client. Each of those has a similar but different workflow. On some days, the studio needs to function like a traditional multi-cam setup; on other days, it’s configured for automated production where a single, non-technical user can trigger the entire process.

That’s only possible because we’re using automation and orchestration to make the system adapt to the requirements of the given workflow at that moment. This is a real-world example of what I see as the future of cloud workflow automation.

Defining the Cloud

Before jumping into solutions, it’s essential to define what we mean when we talk about automating cloud infrastructure. Are we talking about public cloud? Private? Hybrid? Are we referring to automation of instantiation (the spinning-up of systems), automation of operations, or orchestration?

It’s useful to think of cloud automation in three layers: Instantiating your infrastructure. This is about building scripts that spin up your environment from scratch every time you need it. It’s the key to keeping cloud costs down,

especially in public cloud, where you don’t want your machines idling and racking up charges.

Automating system processes. Once your system is running, automation can handle tasks like media ingest, scheduled recording, or switching workflows, depending on production type. These are operational automations.

Orchestration. This is the smart layer. Orchestration makes decisions about which automations to run, when to run them, and how to respond when something unexpected happens (like a resource issue in one cloud region). It’s the conductor, not just the player.

All this falls under the topic of automating your cloud operations and can apply in a public cloud, hybrid, or even software-defined on-premise workflow.

Virtual Machines vs. Containers

In the ecosystem of software-based broadcast, media, audio, and video tools, we're used to seeing applications that are designed to run on physical machines in our space, whether it's running on a server in an equipment room, laptop, or desktop, each of those applications is designed to run in its specific native operating system. To run those in the cloud, we often drop them into virtual machines (VMs).

These VMs can be a virtual Windows desktop, virtualized Linux server, or virtualized macOS. You’re running the same operating system that you'd be running on a machine, on your desktop. It’s just living inside of a container called a VM. When we run applications in VMs, they're not optimized to take advantage of all of the ways virtualized systems can maximize the value of large hardware systems.

Running a VM, especially a Windows-based one, in public cloud is expensive. Windows OS isn’t officially supported in the cloud by Microsoft, so you must license it as Windows Server, which can cost an order of magnitude more. A license that might cost $100 on a local workstation suddenly costs thousands in cloud. Add to that the fact that many broadcast tools are tuned to specific hardware (like SDI cards or GPU timing) and virtualizing them gets even trickier.

Despite those challenges, this is how we made cloud-based production work during the pandemic. We spun up Windows VMs running legacy apps to enable remote collaboration, and we got everyone working again. But it’s not an optimal way to operate applications in a shared resource such as public cloud or even private cloud.

The internet runs its applications in a very different way, where you build an application, and that application is a complete set of code that executes within a virtualized hardware environment. That set of code is called a container.

In a fully containerized workflow, every application—whether it’s a graphics engine, replay tool, or video switcher—is its own container. They all share hardware resources more effectively and can be scaled up or down as needed. Unlike VMs, containers are designed to be lightweight, portable, and highly efficient. They just hold the application code and its dependencies, not an entire OS.

We’re seeing vendors begin to containerize core tools, and new developments are increasingly cloud-native from the start.

In a properly containerized workflow, for example, instead of a Windows VM running a switcher, a Linux VM running a processing engine, another Windows VM running real-time graphics, and another Windows VM running instant replay, I would have each of those applications in its own container. The most commonly used containers are Docker (a platform for building and running containers) and Kubernetes (the container orchestration system that can manage multiple containers across many machines). Almost everything you interact with on the web is in a Kubernetes container.

Containers are designed to get the highest degree of efficiency out of the hardware they're sharing. One of the most important developments here is Red Hat OpenShift, which has become a powerful platform for private cloud and on-premise deployments. The goal would be that if I build a Kubernetes container for a video switcher, I should be able to run it on Red Hat OpenShift, Google Cloud, AWS, or Azure with absolutely no changes to the code.

That kind of portability is revolutionary. For developers, it means writing one application instead of separate Windows, Mac, and Linux versions. That’s a huge efficiency win—and it’s already how the entire internet operates. Not only does it enable greater efficiency, but also the widest range of methods to deploy your applications.

Moving media-specific applications to containerized architectures is not a trivial task. It means rewriting low-level operations—like how a graphic gets displayed—rather than relying on OS-specific calls. That’s why progress is somewhat slow, but it’s happening. We’re seeing vendors begin to containerize core tools, and new developments are increasingly cloud-native from the start.

Starting with Automation

At ASG, we’ve been automating cloud deployments for more than five years. The most fundamental and widely used tools for automation are Terraform, along with scripting tools like Ansible. These allow us to create infrastructure-as-code, where a script can spin up a complete environment: virtual machines, container clusters, storage pools, network configurations—everything.

Today, we can automate the instantiation of everything from a VM to a virtual production system. Instantiating these applications from the ground up is

super time consuming and can be incredibly complex. For example, if you've got Windows instances and you haven't done this, you must manually install Windows on that VM every time you spin up a new VM. With Terraform, the whole process can be one click.

Once you’ve mastered automating the instantiation of your technical infrastructure in either public or private cloud, you likely will want to run process automation. This involves the tools you’re already familiar with, such as a Ross OverDrive production control system or a Skyline DataMiner platform, which is probably one of the most widely deployed methods for automating the execution of a show. It can be deployed on prem or in cloud. This is considered workflow automation.

In addition to workflow automation, there are several other types. Automated ingest scheduling triggers cloud-based recorders at pre-defined times or based on metadata triggers. There's also automated mixing, especially in virtual or remote-controlled studios, and post-production triggers, which are like kicking off a transcode or transferring media to editors. These operational automations bring the same efficiency we’ve always had on-prem to cloud-native systems.

Orchestration: The Next Level

Where automation is about repeating a task, orchestration goes further and provides multi-step direction. For example: Automation: “At 1 a.m., record the feed.”

Orchestration: “At 1 a.m., record the feed—but first, check if cloud resources are available, choose the optimal region, spin up ingest and storage, wait for readiness, then begin recording. Once done, transcode the file, move it to shared storage, and notify the editor.”

We recently helped a client deploy a media orchestration platform called Embrace that does exactly this. The system

allows them to request the resources they need for a show. It could be five editing workstations, three with specific plug-ins, and a Nexus storage instance with 100TB—all deployed simply with the push of a button.

A lot of what’s being marketed as orchestration today is really just automation. That’s not necessarily a bad thing—automation is hugely valuable— but we must be careful with our terminology. If we tell a client they’re getting orchestration, but we only deliver a script that spins up a VM, expectations will not align.

True orchestration includes intelligent resource selection (region, availability), conditional execution of tasks, workflow-aware decision making, and automated error handling and recovery. In other words, orchestration doesn’t just run tasks—it knows which tasks to run, when, and why.

As AV professionals, system integrators, and technology partners, our job hasn’t changed—we still need to deliver the right solution for our client’s needs, at the right price point, and with the right expectations. What’s changing are the tools and the vocabulary. We now have Terraform instead of patch bays, container orchestration instead of SDI routers, and scripted ingest schedules instead of button pushes.

But the goal remains the same: Build systems that work. Efficiently. Reliably. And most importantly, with the flexibility to evolve. Cloud automation, and ultimately orchestration, is how we get there.

Dave Van Hoy is the president of Advanced Systems Group, LLC. Contact him at dvh@asgllc.com.

TriCaster Turns 20

Vizrt Celebrates the Evolution of an Early Disrupter of the Status Quo

By Michael Grotticelli

Throughout the history of professional video production, transformative technologies have democratized their use and disrupted the status quo of expensive, proprietary solutions. Twenty years ago, the TriCaster was such a product, and it remains that way today under the ownership of Vizrt.

Introduced by NewTek at the NAB 2005 convention, the TriCaster—so named for its ability to input and output live and pre-recorded video, record it, and stream it over the internet—was initially a kludgeylooking silver box loaded with software that was working so hard it began to overheat after the first day of demonstrations and had to be restarted every hour or so for the remainder of the show.

However, its value was significant and clear to everyone who saw it, as the year ushered in a rapid increase in the evolution of technologies that needed content to make them useful, such as broadband, social media, and the internet on mobile phones.

To meet this growing revolution in desktop video, the initial TriCaster model integrated live video switching, broadcast graphics, virtual sets, and other production features into a portable and compact device. It was essentially a "TV studio in a computer," as some marketing materials at the time claimed.

From its humble beginnings as production switcher for SD video that used a keyboard and mouse instead of a traditional switcher panel, today's version of the same integrated production system is more advanced, less

expensive than the sum of its features, and just as capable of handling high-quality content as any other solution. In fact, it's used to produce some of the most high-profile online content, such as part of FOX Sports’ coverage of this year’s NFL Super Bowl telecast.

Indeed, the nascent TriCaster has come a long way.

“It's amazing how the TriCaster has gone from people looking down their nose at it as not suitable for professional production to doing part of the Super Bowl this year,” said Chris McLendon, senior product manager for Vizrt’s TriCaster, 3Play, and Viz Connect products. “Even top-end broadcasters are having to stretch their budgets and get the most bang out of their buck. One of the ways to do that is to multitask products and have a single system do a lot of different things. That’s the concept that TriCaster was founded on.”

An Amiga Disruptor

TriCaster was originally developed by NewTek, a company founded in 1985 in Topeka, KS, by Tim Jenison and Paul Montgomery. The company eventually moved San Antonio, TX, in 1997, and was sold to Vizrt in 2019. NewTek’s history started with video capture hardware and editing software for the Commodore Amiga platform.

“I joined Vizrt in 2022, and from what I’ve been told, there was a lot of rebel outlaw mentality in the beginning of NewTek,” said McLendon. “They had a small group of really smart people, and they got together and went to trade shows, and they looked at how people were doing things and literally said, ‘Let's shake it up and do something completely different.’”

“NewTek was a major force in ushering in the historic digital television transition,” said Brian McKernan, former editor of Videography magazine, which covered the fledgling company extensively. “Innovative products such as the popular TriCaster were a natural extension of that.”

One of those innovative products was the famous Video Toaster.

“NewTek’s founders were personal computer enthusiasts as teenagers who built their company based on that perspective,” McKernan explained.

“They instinctively recognized the value of what the 'off-the-shelf' and very affordable Commodore Amiga personal computer offered to the television production industry because of its special display system. Combining the Amiga’s unique 'Blitter' and 'Copper' chips, NewTek developed the broadcast-quality Video Toaster, which provided video producers at all levels with a video switcher, DVE, character generator, paint, and the Lightwave 3-D animation system. It was an immediate hit with everyone from Wayne’s World to Disney Studios.”

Continuous Upgrade Path

TriCaster systems utilize a customized version of Windows as their operating system, specifically a Long-Term Servicing Branch (LTSB) or Long-Term Servicing Channel (LTSC) variant. This means they are not standard Windows operating systems and focus primarily on security and stability. It's a specialized version designed for TriCaster’s specific hardware and live video production.

Over the ensuing years, the TriCaster was incrementally improved with new features and better signal support for professional workflows. At NAB 2006, NewTek announced TriCaster PRO, which introduced professional video, audio connections, and virtual sets (using proprietary NewTek LiveSet technology) to the TriCaster line. Next came TriCaster STUDIO, the first TriCaster to support six cameras, and then TriCaster BROADCAST, the first model to deliver SDI video and audio support.

In early 2009, NewTek introduced 3PLAY, a portable multi-channel HD/SD slow-motion replay

The TriCaster Vizion is the company's most advanced system, with multiple hardware

The Video Toaster was a precursor to NewTek’s TriCaster integrated production system.

system. TriCaster TCXD300, the first HD TriCaster, came in 2009, and in 2010, NewTek introduced TriCaster TCXD850, a 22-channel HD model in a rackmount form factor.

At the IBC 2025 show in Amsterdam, NewTek introduced its IP networking protocol, Network Device Interface (NDI). The predecessor to NDI was called AirSend, which was primarily used as an IP video tool for TriCaster users. The system included the world’s first natively integrated NDI video switcher.

Among the many influential features added to the TriCaster is Live Call Connect, which allows users to integrate remote callers from videoconferencing applications like Zoom, Microsoft Teams, Discord, and Slack into productions. This feature, introduced as part of the TriCaster 2 Elite systems, proved to be highly beneficial when remote working became the norm during the pandemic. “Vizrt/NewTek was one of the first people to say, 'If you've got a Skype caller, you should be able to pull that directly into a broadcast,'” said McLendon.

That system was one of its best-selling TriCaster products ever. It has since been replaced with the new TriCaster Vizion system, which offers advanced graphics, AI-powered tools, and configurable SDI/IP I/O. The AI tools are built on the Nvidia framework, particularly those leveraging GPUs. “They were ahead of the curve in terms of remote collaboration, and it’s another example of the company being innovative,” McLendon said. “Vizrt has an entire roadmap for adding AI-powered tools in the future. This includes some gaze correction that can automatically trim shots where the talent has moved out of frame.”

Software Legacy

idea of doing full productions in one integrated system.

"I think the fact that you now see so many multitasking products is a testament to the founders seeing an opportunity to make video production easy and affordable," he offered. "That's the legacy, because the TriCaster concept

was so simple. It is one system that has multiple capabilities, enabling customers to avoid having to buy and learn five different systems. What was once a disruptor is now the most cost-effective and efficient way to produce and distribute professional audio and video content.”

Looking at its underlying architecture, the TriCaster was, in effect, an appliance built on a Windows platform for the first 15 years or so. However, over the past few years, the company has focused on more software-only features. To that end, Vizrt now offers TriCaster Mini S, a software-only solution that customers can use with their own hardware. Another option is TriCaster Vectar, a cloud-based 4K production system.

“That's one of the reasons why we can do some of the things that we can do that others can't—because it was always built on software," McLendon explained. "The hardware was just a vehicle to get to where customers want to go. The challenge was that the hardware was not good. Well, now we've gotten to a point in time where the hardware, even consumer hardware, is amazing in the things it can do. So, as hardware processing gets better and faster, it will only improve TriCaster’s performance."

Today, the Vizrt TriCaster product line includes models for practically any application, from on-premise production to cloud and software-based solutions. So, where does the TriCaster stand in the pantheon of paradigm-shifting technologies for video production? McLendon argues it revolutionized the

Pro AV a la Carte

Carts and Mounts Deliver Support and Flexibility for Today’s Displays

By Wayne Cavadi

Everyone loves a new dvLED display or the latest classroom technology that enhances the learning experience. But what about the support systems for these shiny toys and the latest innovations? After all, a dvLED display isn’t much without something holding it in place.

Carts and mounts may not be glamorous, but they are imperative in large-scale rollouts or assembling systems in the boardroom. We caught up with some industry experts to discuss the latest innovations and features, as well as tips for your next installation.

Racking Up Innovation

Most manufacturers agree that innovation stems from understanding the needs of both the integrator and end user. “We recognize the challenges of fitting more system devices behind large displays and the need for those devices to be easily accessible if a problem arises,” said Beth Peterson, director, product management, Chief, a Legrand | AV brand. “Innovation can be as simple as integrated cable management or eliminating time-consuming steps, such as site surveys.”

Take the Chief Velocity outdoor triple pedestal system, for example. This modular outdoor digital signage pedestal mount, which supports Samsung and LG 55-inch outdoor displays, was designed for drivethru menu boards and wayfinding signage. Its modular design allows for single, double, or triple displays and easily accommodates future expansion. It was crafted for easy installation and its open back allows easy access for maintenance.

One of the common trends in any Pro AV

technology is ease of use, and that holds true with recent innovations in racks and mounts as well. According to Joe Wentworth, senior product manager, Peerless-AV, these AV accessories are becoming sleeker, slimmer, and more modular to ensure an aesthetically pleasing finish and a safer, more efficient installation. “Features such as integrated cable management and power outlets, configurable X/Y/Z alignment, tool-less hanging, and easily adjustable builds are gaining popularity, opening the possibilities for more complicated configurations and future adaptability,” he added.

Another innovation gaining momentum is the use of Unistrut-based mounting systems. “This is especially true for video walls and menu boards,” explained William Bear, VP of sales and marketing, Crimson AV. “Integrators and general contractors already know and use Unistrut, so being able to drop in mounting hardware that’s designed to work with those components is a big win. It shortens install time, reduces the learning curve, and creates a more scalable, repeatable solution—something that’s especially valuable in multi-location rollouts.”

Let the Good Times Roll

Not all displays are permanent installations and often need to be ready to roll from room to room. When evaluating AV carts—whether for corporate, education, healthcare, or rental applications—Bear said safety, mobility, and flexibility are key considerations. This includes looking into UL weight rating and tip testing to ensure the cart can safely support the specified load, plus height adjustability, integrated cable management, a wide wheelbase for added stability, and smooth rolling, locking casters to simplify mobility.

mobile cart as a solution to meet these requirements. Crafted for displays ranging from 50-98 inches, the M90XL is an all-in-one mobile cart, built for durability, performance, and aesthetics. It offers shelf options that make it ideal for demanding commercial environments. Two side shelves, a top shelf, a front/ back heavy-duty steel shelf, plus a full back panel cover system deliver a clean, professional appearance. Other features include four height settings, tilting vertical brackets, cable management, and easy transport.

“Carts with easily maneuverable builds and storage options allow for effective transportation from room to room, while keeping all AV components stored together,” explained Wentworth. “Height adjustability and support for a wide range of display sizes also ensure the cart is ready to use for any purpose.” Other features to look for include built-in organization tools like power outlets and cable management, as well as a slim build and wide-set wheels.

“At Chief, we prioritize the quality and safety of our products, ensuring they meet UL tip standards and are built to last,” Peterson added. “We’ve all seen the school district buy closeout-priced carts from Amazon, only to have to replace them the next year because the casters have buckled and they aren’t holding up to heavy use. Considering storage is essential, such as whether it offers a shelf or storage bin for items that need to stay with the system when it moves from one classroom to another.”

For example, the Peerless-AV SmartMount flat panel carts combine durable support with adaptable setup. These carts are designed with all the requirements of a mobile display setup in mind, making them suitable for diverse professional and educational environments, which earned them HETMA approval. The tubular design ensures a minimalistic and portable setup by concealing all cables internally. Plus, the rear ABS molded cover maintains a clutterfree appearance and offers convenient storage for cables, media players, or mini PCs.

Crimson AV M90XL Heavy-Duty Mobile Cart

Chief Velocity Outdoor Triple Pedestal System

Peerless-AV SR860 Flat Panel Cart

Wall Mounts: Best Practices

Getting a wall mount placed correctly and securely the first time is imperative to avoid delays and additional costs, especially in large-scale rollouts. Unfortunately, that is not always the case, as there are mistakes aplenty in mount installation. According to Wentworth, common mistakes he has seen are overloading the mount, insufficient anchoring, limited rear access for serviceability, and poor cable organization. All these pose safety hazards and damages to displays and aesthetics.

Peterson said a common mistake has been not planning for the inevitable servicing a room system will require. “Our Chief pullout extension accessory can attach to several of our standard wall mounts,” she added. “It allows one technician to troubleshoot instead of needing two to remove a large display from a wall to access behind it.”

Bear recommends a five-step process to streamline installation. Each step carefully prepares to avoid the mistakes made, including requesting bulk shipping for large projects, standardizing mounting and height templates, checking for stud spacing, pre-assembling whenever possible, and using leveling features and micro-adjustments.

It’s important not to overlook the preinstallation process. As Wentworth noted, gathering accurate measurements and weight calculations can avoid those alignment errors and ensure the mount can safely support the display.

Placement is a key decision. “It’s important to consider easy access for serviceability or future replacements,” Wentworth said. “Features like open-back wall plates and internal wire channels allow for easy cable routing and future maintenance without having to remove the entire system.”

To ensure everything is properly installed, mounts are designed with features critical in avoiding these installation pitfalls. “Ensuring compatibility is a top priority in the buying process,” Peterson said. “We provide the Mountfinder tool, which features hundreds of thousands of models researched over the past 25 years, along with their specifications matched to our range of mounts. Eliminating guesswork in compatibility allows us to continually support our AV integration partners.”

Wentworth added that built-in adaptability tools, as well as simple installation tools, aid in making future adjustments more efficient. These include quick-connect and release clamps, micro-tilt

CARTS AND MOUNTS TECHNOLOGY

adjustability, and alignment tools. Additionally, he added, tools like built-in cable management and universal display size and weight support also allow for easier management for safe, long-term use.

“I often hear from customers that the secret to a stress-free mount installation is to stick with the

mount you know well,” Peterson said. “When designing our mounts, we focus on quick installation. The key is selecting mounts with post-installation leveling and micro adjustments. These features enable a ‘close enough’ alignment initially, followed by quick fine-tuning at the end.”

From left, William Bear, Beth Peterson, and Joe Wentworth

TECHNOLOGY PRODUCTS

Wisycom BFL2

The BFL2 RF-over-fiber system comprises the BFLR2 receiver and BFLT2 transmitter, which deliver laser technology with dual RF channels for seamless deployment of diversity microphone antennas and extended IEM/IFB coverage. Built for portability and performance, each BFL2 module integrates an optical gigabit SFP interface, high-speed Ethernet switch, and advanced access point supporting Bluetooth and LoRa wireless control. The system enables superior signal integrity across diverse production environments. Its RF-over-fiber platform unlocks new possibilities for wireless audio applications where traditional rack-mounted MFL systems are impractical. By addressing one of the most critical challenges in wireless transmission—maintaining dynamic range consistency despite fluctuating signal strength—the BFL2 delivers RF performance that surpasses conventional coaxial systems. Mode switching is available via the intuitive onboard control panel or remote management through Bluetoothenabled iOS and Android devices.

Cleerline SSF-TKITE-200

Cleerline’s new SSF-TKITE-200 Basic Fiber Testing Kit is a qualification testing solution designed to support technology integrators in the field as they install a single-mode or multimode fiber optic network infrastructure. It enables on-site installers to ascertain cable and termination integrity, quickly determining signal dB loss over distance using an optical light source (OLS) optical power meter (OPM) testing platform. With a convenient LCD display, Cleerline’s new OLS/OPM test kit is an easy-tooperate qualification solution that includes everything installers require—from SC and LC reference cables to 2.5mm and 1.25mm one-click cleaners and more—in a durable carrying case designed to withstand field use. It offers up to 100 hours of runtime using nine AAA

Custom Channels Custom Channels Pro

Business music service provider Custom Channels has introduced Custom Channels Pro, a licensed music solution designed specifically for digital signage integrators and CMS providers to bundle music with signage. Custom Channels Pro enables partners to easily add background music to signage deployments—without hardware or licensing headaches—turning music into a strategic selling point and reliable recurring revenue stream. The service is compatible with platforms including Navori Labs, BrightSign, TrueSyncMedia, and Pickcel designed for use in retail stores, restaurants, hotels, resorts, and medical offices. Custom Channels Pro offers several key benefits, including plug-and-play music integration (no code, no hardware), fully licensed and brand-compliant music, tiered wholesale pricing for multi-location deployments, and add-on, in-store messaging capabitilies.

d&b audiotechnik 25D/D25

Based on the company’s most advanced amplifier DSP platform, both the 25D and D25 models integrate Milan networking for precise synchronization, streamlined configuration, and enhanced interoperability. The amplifiers also offer full compatibility with d&b’s software suite, including ArrayCalc, ArrayProcessing, NoizCalc, and R1 remote control. Both models provide the optimal output voltage for mid-size sound reinforcement requirements. The D25 is optimized for mobile applications, while the 25D is tailored for installation. Both 2 RU models feature a 4.3-inch color touchscreen for intuitive device configuration and real-time status monitoring. They support up to 16 input channels, including eight Milan input channels, four analog inputs, and four AES3 channels with corresponding link outputs. Enhanced energysaving features, high power efficiency, and an automatic wake-up function further support sustainable operation.

SCT TS1

The new TS1 under-table mounting solution from Sound Control Technologies simplifies AV equipment installation, cable management, and service beneath the meeting room table surface. The two-piece system allows integrators to prewire the main shelf and then slide it into the bracket for a quick, clean install. Three mounting positions—two angled and one parallel to the table—make it easier to access devices during setup or service without removing the entire system. Key features of the TS1 include an adjustable clamp to secure gear in place, multiple cable tie anchor points for organized cable routing, a dedicated area for power supplies, and ventilation cutouts to promote airflow and cooling.

Visionary 5 Series

Visionary has expanded its 5 Series with three new wall plate models. The DuetE5-WP-C wall plate encoder combines USB-C and HDMI inputs into a sleek, two-gang wall plate. It enables AVoIP encoding of both 4K60 4:4:4 video and USB sources from USB-C or HDMI-equipped devices, making it ideal for BYOD environments. Building on the functionality of the DuetE5-WP-C, the DuetE5-WPC-BT model introduces integrated Bluetooth audio support, enabling users to wirelessly connect mobile devices and stream audio directly into the AVoIP network. Rounding out the lineup is the DuetD-5-WP, a wall plate decoder designed for clean, in-wall installations. All three models support AES67 and Dante audio networking, VLAN tagging, and standard PoE power, and features a 45-degree Ethernet connector for easier installation.

TASCAM MP-800U

The MP-800U SD/USB player with Bluetooth receiver, USB DAC, and FM tuner provides a wide range of options for music playback in restaurants, hotels, and similar PA and sound reinforcement environments. As both system integrators and the public move away from the use of CD media, the new MP-800U commercial multimedia player is adept at handling a variety of audio sources as a single device. This includes the ability to play audio from PCs, smartphones, streaming audio, SD memory cards, USB flash drives, and more. It can playback WAV, MP3, and AAC files—enabling the unit to accommodate most popular audio file formats. The SD card slot and USB-A port are located on the unit’s front panel for easy access. For maximum versatility, the MP-800U provides both stereo balanced XLR outputs and unbalanced RCA outputs.

LG LAPA Series

LG Electronics USA is expanding its dvLED lineup with new 136-inch and 163-inch All-in-One displays (LAPA series). Designed for fast, one-day installation, LG’s latest LAPA series models feature a true all-in-one design, combining built-in loudspeakers, embedded webOS controllers, and a simplified power and signal setup. Each module attaches easily to the supplied landscape wall mount using the provided tools—and once secured, a single power cord powers the entire display, simplifying connections and ensuring a clean, tidy installation. The LAPA series delivers Full HD resolution, 500-nit brightness, and fine pixel pitches of 1.56mm (136inch) and 1.88mm (163-inch). An optional dedicated stand is available, allowing users to easily position their display depending upon installation requirements. Plus, front-access servicing makes repairs a breeze. The LED module can be swiftly detached with the included magnetic tool and replaced without any cabling hassle.

Theory Professional SR Series

Telycam Explore XE

The SR Series is a new line of passive and powered loudspeakers specifically designed for sound reinforcement applications. The four new multipurpose loudspeakers and four manifold subwoofers are built-to-order in the U.S. and unite lively dynamics, high maximum output level, and refined acoustic performance. Surprisingly compact, the powerful, high-fidelity SR models won’t impede on aesthetics—they can be installed discretely in tighter locations. The eight models are available in black and white, as well as passive or active versions depending on the installation need. Available upgrades include custom paint matching and weatherizing (passive versions only). Features include ergonomic handles, multiple fly points, industry-standard mount points, and pole cups. Optional accessories include the Theory SplitYoke multipurpose mounting brackets and an intelligent Caster Kit and Dolly Board that bring portability to larger SR Series models.

The Explore XE 4K PTZ camera is specifically designed to bring broadcast-class quality and capabilities to the Pro AV market. Featuring a 1-inch Sony sensor, phase detection auto-focus (PDAF), and 20x optical zoom, the new Explore XE offers superior light sensitivity, dynamic range, and shallow depth-offield along with exceptional contrast and clarity. The Explore XE camera features an array of outputs, including 4K60 via HDMI or NDI HX3, 4K30 over USB-C, or 1080p/60 video scaled from the 4K image via 3G-SDI. External audio sources can be brought into the camera from a mini-XLR input with phantom power or a 3.5mm analog input. FreeD protocol support transmits precise pan, tilt, zoom, and focus data for seamless integration with AR and VR production solutions. Additional key features include native AI-powered auto-tracking, local recording to a microSD card, dual tally lights, and POE+ support.

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MODULAR FLOOR BOXES

By Joseph Cornwall

AAn Invisible Revolution

It’s Time to Define the New Role of Bluetooth in Pro AV

little over a millennia ago, in 979 AD, Harald Gormsson ordered numerous public works, helping him consolidate economic and military control of Scandinavia. From the reconstruction of the Jelling runic stones to building the oldest known bridge in southern Scandinavia, this ancient ruler overcame significant challenges, coalescing what was then a deeply fragmented society. King Gormsson, known as Bluetooth, “won the whole of Denmark and Norway” by uniting the warring Scandinavian tribes.

In the late 1990s, the king’s achievement in uniting disparate elements would be celebrated by a new wireless technology being developed to unite different communication protocols (such as those for PCs and cellular phones) into a single, universal standard. The name “Bluetooth” was suggested as a temporary codename by Jim Kardach of Intel, who was reading a historical novel about Vikings at the time. The idea resonated and the name stuck. It even inspired the Bluetooth logo, a bind rune combining the Elder Futhark runes for Harald’s initials, H and B

While Gormsson provided the symbolic namesake for Bluetooth, the technological core enabling its robust wireless communication owes a significant debt to an unexpected innovator: Hollywood film star Hedy Lamarr. Roughly 80 years ago, during World War II, Lamarr co-invented a communication system that introduced a groundbreaking concept critical to modern wireless technologies.

Lamarr’s innovative idea was a radio guidance system for Allied torpedoes that utilized spread spectrum and frequency hopping technology. The core concept was to rapidly switch radio frequencies during transmission, making it extremely difficult for enemies to jam the signal or predict the next frequency. Bluetooth employs Adaptive Frequency Hopping (AFH), a spread spectrum technique of frequency hopping based on Lamarr’s creation.

Ubiquitous and Advanced

A quarter century after its introduction, we find 4.7 billion Bluetooth integrated circuit chips being shipped annually. A market report from May indicates that shipments of Bluetooth devices could exceed 5.3 billion units in 2025 and approach 8 billion by 2029.

Bluetooth is the most ubiquitous and pervasive wireless connection technology in the world. So why isn’t Bluetooth the hottest topic in commercial AV?

It may be because many AV professionals are not fully aware of the significant advancements in Bluetooth Low Energy (BLE), Auracast, Periodic

Advertising with Responses (PAwR), and Direction Finding. They associate “Bluetooth” with older consumer experiences, not the robust, scalable, and precise capabilities now emerging.

AV training and curriculum rarely offer any Bluetooth instruction, contributing to the knowledge gap. It’s time for us to take a much closer look at BT in AV.

Bluetooth uses 79 channels (40 channels for BLE) in a pseudo-random hopping sequence, making it exceptionally difficult for unintended parties to intercept or jam the signal. Plus, advanced Bluetooth devices can classify channels as “used” or “unused” based on interference, dynamically adjusting the hopping pattern to avoid noise and improve overall performance. Add in encrypted payloads and we see that Bluetooth is a very secure system.

BLE allows for a host of new, interesting, and AV-centric applications. It’s specifically designed for ultra-low power consumption while maintaining a surprising communication range (more than 300 feet in free space). It’s designed to stay in a “sleep” mode most of the time and only “wake up” to transmit small bursts of data when needed. This allows devices to operate for months or even years on small coin-cell batteries. While they share the “Bluetooth” name and operate in the same 2.4 GHz ISM radio frequency band, BLE and Classic Bluetooth are different protocols, with modern devices typically being dual mode.

Some of the new BLE capabilities are astonishing. Imagine if your Bluetooth device didn’t just know that another device was nearby, but also exactly where it was. That’s essentially what Bluetooth’s Angle of Departure (AoD) and Angle of Arrival (AoA) features are all about. These new capabilities allow devices to figure out the relative location and travel direction of other Bluetooth LE radios. Think of it as giving Bluetooth devices a sense of spatial awareness, allowing it to become a powerful tool for asset tracking or indoor wayfinding.

scenarios. PAwR enables encrypted bi-directional communication between a central hub and thousands of ESL devices while remaining synchronized and consuming very little power. This significantly enhances the efficiency and security of managing vast networks of IoT devices in retail and other similar environments.

Auracast is a groundbreaking new feature of BLE Audio that introduces a one-to-many audio broadcast capability. An Auracast transmitter broadcasts one or more audio streams, along with advertising information (metadata) that describes the available streams. An Auracast receiver such as hearing aids, earbuds, or headphones picks up the digital stream and converts it into audio, while an optional Auracast Assistant device (often a smartphone or smartwatch) helps users discover, select, and manage the broadcasts. And yes, the audio stream can be encrypted for security.

Unlike older assisted listening systems, Auracast delivers flexible, high-quality, and universal one-tomany audio broadcasts to an unlimited number of compatible Bluetooth audio receivers simultaneously. Compared to the coverage limitations, interference susceptibility, and reliance on specific hardware inherent in older ring-type systems like hearing loops, Auracast and Bluetooth LE Audio offer improved audio quality, lower latency, and better power efficiency.

ABI Research estimates that more than 60 million venues worldwide could potentially benefit from Auracast, and the Royal National Institute for Deaf People (RNID) anticipates mass adoption to accelerate as major smartphone platforms fully support it at the operating system level, support that is rolling out now and is only expected to grow.

Real World Applications

PAwR is a game-changer for applications requiring high-volume, ultra-low power communication with numerous devices. A prime example of its use is Electronic Shelf Labels (ESL) for retail applications.

Imagine a large supermarket where thousands of digital price tags need to be updated frequently and reliably, yet consume minimal power to ensure long battery life. Before PAwR, there was no standard for secure, connectionless communication for such

Bringing together its historical ingenuity with its modern marvels, Bluetooth, once a silent workhorse, is poised to redefine the commercial AV landscape. Its evolution from simple device pairing to sophisticated capabilities like Auracast’s unlimited broadcast audio, precise Direction Finding for spatial awareness, and PAwR’s efficient large-scale communication, transforms it into an indispensable and secure tool. The time has come for AV professionals to look beyond outdated perceptions and embrace Bluetooth’s powerful, ubiquitous, and quietly revolutionary role in shaping the future of integrated systems.

Technology evangelist Joseph D. Cornwall has been part of the AVIXA faculty since 2010 and was named a member of the SCN Hall of Fame in 2024. Contact him at AV_Educator@outlook.com.