KASEYA CENTER
A new, state-of-the-art broadcast facility at the home of Miami Heat, powered by Grass Valley technology.
RAJADAMNERN STADIUM
The oldest Muay Thai stadium in Thailand revamped with a new audio system from KV2 Audio.
ALINMA STADIUM
CUE deliver a spectacular, immersive visual experience at the home of Al-Ittihad, with a fan-driven light show.
AMERICAN EXPRESS STADIUM
Solotech and L-Acoustics deliver the perfect audio upgrade to match Brighton & Hove Albion’s ambitious plans.
The Principality Stadium is undoubtedly one of the most iconic stadiums in Europe. Having hosted huge sporting events and eradefining tours, it’s become one of the go-to venues in Europe. One of the reasons for its success is the fact that the team behind it have never stood still – and that’s certainly been the case recently, with a whole range of upgrades across the board. We’ve taken a deep dive into the new lighting system from Musco Lighting, along with input from Ross Video and PMY. Not only that, but there’s the recent audio revamp from NEXO, too. It’s taken the stadium to the next level. Check out the cover story on page 12.
Elsewhere, we’ve covered the spectacular show that is Super Bowl LIX, with L-Acoustics delivering audio perfection for Kendrick Lamar’s incredible performance, and PixMob taking it up a notch with the visuals.
Over in Bangkok, we’ve covered an interesting project from KV2 Audio, who provided a state-of-the-art system for Rajadamnern Stadium – the oldest Muay Thai stadium in Thailand.
There are features on American Express Stadium in Brighton, as well as an eyecatching project at Alinma Stadium, in which CUE put together an immersive, fan-led visual experience at the home of Al-Ittihad.
Our Team Talk column is from Renkus-Heinz, discussing how beam steering technology is the perfect solution for stadium sound. Also, don’t forget to check out our interview with Tapio Rosenius, the man behind the exciting Poet Creator software.
There are plenty more venues and technology inside, too!
I hope you enjoy ISSUE 41…
Sam Hughes Editorial Director
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MONDO | STADIA is published by Mondiale Media Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK
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TEAM TALK
006 Michal Poplawski | Renkus-Heinz
THE FULL PITCH
012 Principality Stadium | Cardiff, Wales
028 Super Bowl LVIX | New Orleans, USA
VENUE FOCUS
BROADCAST
038 Kaseya Center | Miami, USA
AUDIO
044 Angel of the Winds Arena | Everett, USA
052 American Express Stadium | Brighton, England
058 Rajadamnern Stadium | Bangkok, Thailand
064 Alinma Stadium | Jeddah, Saudi Arabia
EXTRA TIME
068 LED Studio | Navori Labs
070 WORK PRO Audio | CVA Series
072 CODA Audio | APS-Pro Series
074 Pioneer DJ | XPRS2 Series
076 The Face of Age Verification | George Vaughan
080 Full Time | Poet Creator Software
Michal Poplawski - Export Sales & Marketing Director, Renkus-Heinz
When it comes to sound system design for stadiums, the challenges are significant: long throw distances, open-air reflections, structural obstructions, strict aesthetic constraints, and a need for clarity across every seat in the house. It’s a tough job — and for decades, integrators have leaned on traditional line arrays to get it done. But there’s another option worth serious consideration: digitally steerable arrays. While once considered niche — commonly used in reverberant houses of worship or transit hubs — today’s steerable loudspeakers, especially when paired with powerful new tools from Renkus-Heinz, are increasingly a smart, flexible, and reliable solution for stadium environments.
What Makes Beam Steering So Useful?
At its core, beam steering is about controlling where your sound goes — and just as importantly, where it doesn’t. Traditional point-source or horn-loaded arrays disperse energy over wide angles, often wasting output on walls, ceilings, or empty seats. Beam steering solves this by allowing sound to be electronically directed to specific audience areas.
Technically speaking, steerable arrays work by using multiple drivers with precise digital signal processing to shape and direct acoustic beams. This improves speech intelligibility, eliminates hot spots and dead zones, and ensures more consistent coverage from front row to back — even across 30 to 50 meters of seating.
It used to be that implementing this kind of control required time, expertise, and multiple beam configurations, especially in complex venues like stadiums. But Renkus-Heinz has simplified the process significantly.
The heart of that simplification is OmniBeam, the latest beam-steering algorithm from Renkus-Heinz. Integrated into the current release of RHAON II, OmniBeam replaces the trial-and-error of older systems with a single, intelligent command: Snap to Audience. With just one click, OmniBeam calculates optimal beam angles, steering parameters, and FIR filters based on user-defined audience areas. The result is significantly faster setup (by orders of magnitude), greater accuracy, and a more intuitive design process — even for integrators who haven’t worked with steerable systems before.
For stadium applications, the impact is dramatic. Large venues that once required walking from zone to zone with test microphones and tweaking coverage in software now see uniform results in less time and with fewer hands. OmniBeam’s finetuning tools still allow for granular control, but most of the heavy lifting is handled automatically.
RHAON III: Control, Reimagined
That automation is made even more powerful by the all-new RHAON III platform that debuts in June. A complete refresh of Renkus-Heinz’s control and monitoring software, RHAON III brings modern design, improved performance, and smarter workflows to audio system configuration.
Built for both Windows and macOS, RHAON III was designed from the ground up to be faster, more reliable, and more scalable than previous generations. One key change: it ditches thirdparty network discovery tools in favor of a custom-built protocol designed specifically for Renkus-Heinz devices. That means more reliable device detection, even on large or complex networks.
Its workflow is split into three intuitive modes:
- Identify: Discover and label devices quickly on the network.
- Control: Configure DSP, apply OmniBeam settings, and manage system parameters.
- Monitor: Get real-time feedback on loudspeaker health and performance. With its modern interface and performancefirst architecture, RHAON III helps integrators configure large systems more confidently, with faster deployment, fewer support calls, and better long-term reliability — especially reassuring for high-stakes venues like stadiums.
A System Built for Stadiums: IC Live X
Of course, software is only half the story. The loudspeakers themselves need to match the performance demands of large venues — and that’s where Renkus-Heinz’s IC Live X Series comes in.
As the next generation of the popular IC Live family, IC Live X was purpose-built to offer maximum flexibility, power, and precision in a modular format. The system includes three freely combinable steerable array modules — ICLX, ICLXL, and ICLLX — plus a matching subwoofer. These modules can be configured to meet the needs of nearly any stadium, whether you’re covering a single stand or a full bowl.
Each unit uses a newly designed ASM waveguide, placing high-frequency compression drivers coaxially in front of 8-inch woofers to deliver excellent clarity and tightly controlled dispersion — even at long distances. Arrays can scale up to 12 modules in a single vertical column, offering performance
comparable to large traditional arrays, but with much more precise control and less visual impact.
Need more control in the low end? The ICLXL and ICLLX modules extend steerability into lower frequencies, allowing integrators to target bass coverage just as precisely as mids and highs — particularly valuable for installed systems in stadiums where off-axis containment matters.
What sets IC Live X apart is its hybrid design — a cross between point-source, line array, and beam-steering technologies. That flexibility makes it the ideal “one-size-fitsall” solution for challenging large venues. And of course, freely-downloadable RHAON control software ensures that setup, configuration and commissioning is fast, efficient, and painless.
While IC Live X represents the future of steerable sound, its predecessor has already proven itself in real-world stadium use. At the Ballpark of the Palm Beaches, spring training home to the Houston Astros and Washington Nationals, Renkus-Heinz IC Live arrays are installed throughout the facility to provide intelligible, full-range coverage across the 6,500-seat main stadium. With no overhangs and only a limited number of mounting columns available, integrators relied on beam steering to aim sound precisely at the seating areas without affecting adjacent zones. Twenty-four arrays were installed on lighting poles and architectural columns, ensuring powerful, evenly distributed sound throughout
the venue — all without unsightly traditional arrays or multiple delays.
Similarly, at Croke Park in Dublin, Europe’s third-largest stadium with a capacity of 82,300, Renkus-Heinz IC Live systems were deployed to address the unique challenges of the Hill 16 open-air terrace. This iconic section, accommodating 10,000 spectators, lacked overhead structures for traditional speaker mounting. Instead, six IC Live Dual columns and three IC Live single columns were installed on existing angled pillars. The beamsteering technology ensured focused coverage across the terrace, delivering SPLs of 102dB(A) at 30 meters while maintaining uniformity within ±3dB(A). This setup provided clear announcements and music without disturbing neighboring areas, showcasing the precision and effectiveness of Renkus-Heinz solutions in complex stadium environments.
Beam steering may still be unfamiliar to some integrators and consultants working in the stadium space, but it’s a powerful, proven technology — and Renkus-Heinz has made it easier than ever to deploy. With the IC Live X system offering unrivalled flexibility and performance, OmniBeam drastically reducing setup time, and RHAON III providing a rock-solid control and monitoring backbone, stadium sound just got a lot simpler — and a lot better.
For venues that demand precision, power, and consistency across every seat, beam-steering arrays are no longer an exotic solution. They’re just smart system design.
Sound, tailored to your space. Beam steering at its best.
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Cardiff, Wales
The Principality Stadium in Cardiff, Wales, has long been a symbol of world-class sports and entertainment, hosting international rugby and football, as well as becoming a go-to venue for major global tours.
One of the reasons behind the stadium’s success has been the ambition and drive of the team behind the scenes, and that has continued further with Principality Stadium recently enhancing its infrastructure to meet the demands of modern events. One of the standout features of this revamp is the complete overhaul of the stadium’s lighting system, designed and delivered by Musco Lighting, that now positions it at the forefront of integrated, sustainable stadium illumination. The new system, completed in time for the 2024 Autumn Internationals, represents a significant technological leap forward, bringing together elite-level sports lighting, fully immersive entertainment capabilities, and a custom control network - all while significantly cutting energy consumption.
Musco Lighting’s relationship with Principality Stadium dates back over a decade. As Chris Limpach, Director EMEA at Musco Lighting, explained to MONDO | STADIA: “We first got involved with Principality Stadium in the lead-up to the 2012 Olympics. At the time, the stadium needed to upgrade its lighting system ahead of the Games, and that’s when we came on board. Darren Crossman (Head of Facilities & Safety at Principality Stadium) was leading the project on their side. It was a fantastic collaboration from the very beginning.”
That original installation from Musco Lighting remained operational without issue for over ten years. But, with LED solutions having rapidly evolved since then - and with UEFA Euro 2028 on the horizon - conversations about a nextgeneration system began in earnest.
“About four or five years ago, Darren began expressing interest in moving to LED,” Chris continued. “He was keen on the flexibility, the creative capabilities, and, of course, the energy savings that come with LED technology. From there, we began working with the stadium on an annual basis to review budgets and evaluate the feasibility of an upgrade.
The real turning point came when the UK and Ireland were awarded UEFA Euro 2028. That became the catalyst for it all.”
Working together on the project, both the team at Principality Stadium and Musco Lighting recognised that a deeper level of integration was required to meet modern demands.
“We were reaching the end of the previous system’s lifespan,” explained Alex Luff, Head of Event Sales & Operations at Principality Stadium. “Back in 2012, when we had the Olympics here, we upgraded our lighting - right at the point when LED technology was starting to emerge, but it hadn’t quite matured yet. So, at the time, we opted for a Musco system, and it served us really well.”
The decision to move to LED wasn’t just about longevity. It was about strategic transformation.
“Originally, the plan was simply to replace floodlights with newer floodlights. But when we sat down and really analysed
what we needed, it became clear we had to take a much more holistic and integrated approach. It couldn’t just be a onefor-one swap - we needed something that met the broader demands of today’s needs when it comes to touring or huge sporting events,” Alex added.
The project’s success hinged on a deeply collaborative approach between Musco Lighting and the Principality Stadium operations and facilities teams. This extended from the initial design to installation logistics and final commissioning.
“It was incredibly collaborative,” said Chris. “I can’t speak highly enough of Darren, Alex, and the entire team at the stadium. They were clear about their goals and transparent about the budget. We sat down with them to understand what they wanted to achieve, and from there, our job was to figure out how to maximise what was possible and deliver something truly unique.”
“From the very beginning, the discussions were really productive. The design phase, in particular, was exceptionally well handled - very detailed,” noted Darren. “The engineers put in a tremendous amount of effort, working closely with us to make sure we ended up with the right solution. That even extended down to things like the custom design of the bracketry, which was needed to mount the new system onto our existing infrastructure.”
That ambition included a number of innovations that really took the venue to the next level in terms of its capabilities.
Darren explained further: “For the past 25 years, the aisle lighting at Principality Stadiun has been purely functional - something of a nightmare for lighting directors, really. It used to be a big spotlight mounted in the upper tier that shone straight into your eyes. Working closely with Musco, we’ve been able to completely rethink that.”
Now, thanks to the precision of the new LED system, the shutters on the aisle lighting are incredibly tight – meaning that there’s no light bleed at all.
“That allows us to meet health and safety standards, which is obviously paramount, but it also gives us lighting that blends in much more naturally with the environment. It’s no longer distracting or intrusive in the audience’s line of sight,” said Darren.
Chris added: “For sure, the aisle lighting, has been a real success of the project.. It allows the stadium to go completely dark while maintaining safety in the aisles. It looks amazing and is fully controllable and colour-changing.
“Another big differentiator is our control system. It’s been custom-built specifically for these kinds of integrated stadium applications. While lighting control technology has been around for a long time in theatre and live events, we’ve developed a system that’s intuitive enough for the venue’s in-house team to use, but also secure and robust enough to be safely handed off to visiting concert crews and promoters. That level of flexibility - without compromising safety or control - is vital really.
“We also installed inverted RGBW fixtures to create striking roof lighting effects and integrated the necessary infrastructure - power, data, and control points - so touring productions can plug in directly and take control of the system.”
The installation itself was a meticulous exercise in design precision and systems integration. Musco worked alongside McSherry Electrical to ensure minimal disruption to the venue’s packed calendar.
“This was a testament to the early planning put into the project,” Darren said. “Because of that, we were able to decommission the old system without impacting our major events. It was all delivered on schedule, to the correct specifications, which was incredibly reassuring.
“As soon as the Speedway event wrapped up in early August, we were able to move forward with the full installation process. Everything was completed on time, and it was a real relief to see it all come together so smoothly - especially given the typical conversations I have with event holders who are used to those last-minute challenges. This time, we had the confidence that everything was taken care of, and it was fantastic to see that in action.
“Musco and McSherry were fantastic. The guys who came in to do the work were brilliant. From my perspective, managing the building from the facilities side, I couldn’t have
asked for more. They gave me full confidence that I could step back and let them get on with the job. I didn’t need to be hands-on with them every day - they had it completely under control. It was absolutely flawless.”
A major emphasis of the upgrade was the seamless integration of lighting for both live sport and entertainment. Musco’s team brought deep expertise from the concert and touring world, which had a major impact for the stadium.
“What’s unique about Musco is that our dedicated entertainment division is made up entirely of professionals who come directly from the entertainment world,” said Chris.
“These are people who’ve been out on tour, who’ve worked as lighting programmers, lighting directors, and console operators. They’re the ones who’ve done the work, hands-on, for major shows and events. Some of our team members have toured with artists like the Arctic Monkeys and David Guetta - they bring that high-level experience into our projects.”
This crossover perspective helped shape a system that is fully promoter friendly.
“We included a brand-new, standalone network as part of the lighting package,” Chris explained. “That ensures everything is safe, secure, and easy to access. As soon as a production team arrives, they can plug in and take control seamlessly.
It’s a purpose-built solution, designed by people who truly understand the demands of both the venue and the show.”
Musco’s sports lighting systems continue to be the solution of choice at major
and arenas around the world, including Principality Stadium in Cardiff, Wales.
They
“That kind of flexibility gives us a unique selling point,” said Alex. “It reassures show producers and promoters that when they bring a tour to Cardiff, they’ll be able to fully realise the production potential for their artist.”
The new system had its official debut during the Six Nations clash between Wales and England, using the stadium’s retractable roof to create full blackout conditions.
“For that match, we rolled out a fully configured, time-coded light show for the first time,” said Alex. “The game had an afternoon kick off, and we had full blackout conditions in the main bowl, thanks to the retractable roof. With the additional lighting fittings we designed with Musco, it wasn’t just about the RGB LED floodlights - we had 24 other lighting points, I believe. These were integrated into their own fibre network with bespoke bracketry, giving us a wide range of configuration options.
“We can now incorporate everything from lasers to gobos to moving lights, and we added all of that into the show, taking it to the next level. At the end of the day, we’re in the business of sports entertainment!”
This capability has completely transformed how fans experience events at Principality Stadium.
“It’s not just about the 80 or 90 minutes of play on the field. It’s about all the other layers of the experience that we offer to our fans,” Alex continued. “The number of images and photographs taken of the stadium, showcasing the lighting, really showed us we were on the right path. It’s very ‘Instagrammable,’ as is now often said!”
Beyond the visual impact, the system has delivered outstanding technical results, with performance now meeting or exceeding current broadcast standards for UEFA, FIFA, and World Rugby.
“With this upgrade, the stadium now meets the most current lighting requirements for UEFA, FIFA, and international rugby,” said Limpach. “And, while we’ve significantly improved the quality and performance of the lighting, we’ve also reduced energy consumption - which is a great combination.”
Darren offered even more insight: “A side benefit of the new
system is that we’ve gained back around 250 kilowatts into the stadium’s energy reserves, which has been really useful. It’s actually just slightly more than half of what the old system used to consume, which is amazing.”
As the stadium enters a new era, the possibilities for further innovation continue to unfold.
“We’re not stopping here - we’ll be working closely with Stadium FX, Musco, and our other partners to develop the next version of the show. We’re eager to continue delivering new, exciting experiences with this incredible technology we’ve put in place,” said Alex.
“The feedback so far has been incredible. We survey all our fans after each series, and the response was overwhelmingly positive. They were really impressed by how the stadium had transformed in just six months.
“Fans said the atmosphere felt completely different compared to what they were used to before. Looking at the Six Nations, the responsewas genuinely fantastic - not just from the fans, but also from the pundits and media. When the lights went down during live broadcasts, one BBC commentator even referred to it as ‘Super Bowl-esque.’”
One early moment of validation came in the form of a photograph.
“When the system was installed, we thought, ‘This looks really, really good.’ However, the real confirmation came from one of the promoters, who sent us a live photograph of the aisles. The feedback we got was, ‘Is that a render?’ That’s how accurate the renders were compared to reality,” said Alex.
With their first concert season using the full system set to kick off in summer 2025, Principality Stadium is poised to set a new benchmark in hybrid venue lighting.
“It’s been everything we’d hoped for from when we first began discussing this project, but we’re constantly pushing to take the experience to the next level. As they say, you’re only as good as your last event,” concluded Alex.
And with Musco Lighting’s expertise and the stadium’s unwavering commitment to innovation, that next event is sure to be another showstopper.
Streamline match-day production while delivering a truly immersive experience for fans with the Unified Venue Control solution from Ross.
Our tailored end-to-end production solutions combine the power of production control room technology with LED content management systems to enable sports venues to deliver the best possible fan experience.
Explore the solution by visiting: rossvideo.com/sports-venue
As one of the most iconic sporting venues in the UK, Principality Stadium has long been synonymous unforgettable moments in front of packed stands. But in today’s digital-first era, live experience is no longer defined solely by what happens on the pitch or stage. Increasingly, it’s shaped by the seamless integration of technology that enhances fan engagement, streamlines operations, and maximises commercial opportunities. In response to these rising expectations, Principality Stadium has undergone a significant transformation, led by PMY Group and powered by Ross Video’s Unified Control Solution.
Commissioned by the Welsh Rugby Union (WRU), the stadium’s recent overhaul touches nearly every aspect of its technical infrastructure. The result is a venue that is just one of a handful in Europe boasting a full Ross Video Production Studio - a move that strategically positions Principality Stadium at the forefront of global venue innovation.
The scale and complexity of the project, managed end-to-end by PMY, underscores the stadium’s commitment to futureproofing its infrastructure. The deployment encompassed upgrades to the Wi-Fi network, core LAN, structured cabling,
and Exterity IPTV systems, alongside a complete refresh of the stadium’s production studio.
But the technological evolution goes beyond connectivity and infrastructure. The most transformative development lies in the integration of Ross Video’s Unified Venue Control Solution, a decision made following meticulous research by the team at the stadium.
“Similar to other projects, we reached the end of the useful life of our old system,” said Alex Luff, Head of Sales & Operations at Principality Stadium. “We decided to conduct a benchmarking exercise to see what was best in class in the market, both in Europe and North America, and also to understand where we needed to be for the future. Technology moves fast, and as soon as you install something, it starts to become outdated. So, we looked at the current trends, the demands, and what promoters were asking for.”
Following a comprehensive tender process, Principality Stadium chose to partner with PMY, a longtime collaborator with a proven track record of stadium projects across North America. Together, they engaged Ross Video’s Sports & Live Events team to come up with a tailored solution.
The result is a fully synchronised ecosystem that enables venue operators to control content across large-format LED screens, IPTV systems, audio infrastructure, and lighting.
“When presented with the Ross Unified Control Solution, PMY Group and the Principality Stadium immediately recognised the creative, technical, and business benefits of integrating the production control room technology with the LED content management system,” said a representative from PMY. “Specifically, by tying these systems together through the power of DashBoard venue control software, operators can now trigger fully synchronised events and graphics across all in-venue displays with the press of a button.”
The impact of this integration has been dramatic. From major sporting events like the Six Nations and Autumn Internationals, to global concert tours from Coldplay, Harry Styles, and Bruce Springsteen, the system has allowed the stadium to deliver dynamic, customisable visual experiences with ease.
“We explored what other venues had done, including some at Tottenham Hotspur Stadium, and visited a number of
locations to see how they had integrated Ross Live into their broadcast capabilities for stadium productions,” Alex explained further. “From there, we incorporated that knowledge into our design brief - not just for the large screens (the two jumbotrons and the middle-tier LED screens), but for the broader IPTV infrastructure as well.”
The stadium’s technical infrastructure now operates as a singular, cohesive unit. This includes integration with the NEXO audio system, and recent additions like a Musco ShowLight Entertainment system, which can also be controlled by PMY for tailored lighting designs.
“Now, we have a fully integrated ecosystem - your digital canvas, your soundscape, and your lighting infrastructureall working together seamlessly,” said Alex. “This integration has completely transformed the experience at Principality Stadium.”
The technology has also enabled a series of new initiatives that push the boundaries of fan interaction. During the Autumn Internationals, PMY introduced FanSee, a unique initiative allowing fans to stream live footage from their mobile phones directly to stadium screens—reinventing the
traditional fan cam. For the WRU’s “Road to Principality” community event, PMY produced livestreams that attracted over 184,000 views on YouTube, showcasing the value of the Ross Video-powered control room well beyond traditional broadcast.
The platform’s flexibility was also on display during Taylor Swift’s 2024 Eras Tour, where PMY deployed customised infrastructure to support production teams, security operations, and bespoke artist requirements. This included modifying Wi-Fi in dressing rooms, adapting fibre pathways for rapid stage load-ins, and managing the mid-tier LED system to deliver dynamic content feeds across 500+ IPTV screens.
From seamless Xpression graphics integration to live stream orchestration, PMY and Ross Video have created a production environment capable of evolving with each event.
Principality Stadium’s technology upgrade represents more than a refurbishment - it signals a shift in how major venues approach long-term infrastructure planning. By investing
in scalable, software-defined systems like Ross Video’s Unified Venue Control, and entrusting a globally-experienced integrator like PMY, the WRU has ensured the stadium is future proofed.
“The approach wasn’t just about hardware upgrades,” Alex emphasised. “It was about building a sustainable foundation - something that could be reconfigured, extended, and adapted in real time. That’s what today’s events demand, and that’s what our clients expect.”
With seamless integration across video, lighting, and audio, Principality Stadium now stands as a blueprint for venue technology worldwide - where operational efficiency meets creative freedom, and the result is an enhanced experience for every seat in the house.
Principality Stadium stands as a testament to innovation and sporting prowess. Formerly known as the Millennium Stadium, this iconic venue has etched its name in sporting history, playing host to the Rugby World Cup, FA Cup Final, Champions League Final, 2012 Olympics, and much more. Since its inauguration in June 1999, Principality Stadium has become more than just a sporting arena; it’s a symbol of national pride and a beacon for athletic excellence.
Moreover, it also serves as a versatile venue, hosting a diverse range of events, including music concerts, with the likes of Paul McCartney, Bruce Springsteen, Oasis, Beyonce, and Madonna, to name but a few, all having played at the stadium. Its adaptability and state-of-the-art facilities make it a go-to destination for entertainment.
Recently, Llanelli-based PAI Group/Vaughan Sound completed the design and installation of a new NEXO sound system at Principality Stadium. Home to the Wales national rugby union team, the 74,500-seat venue is one of just two European sports stadiums with a fully retractable roof and joins a growing number of national stadiums standardising on NEXO sound that already includes the Stade de France in Paris and Croke Park in Dublin.
“We’ve been involved in maintaining and upgrading the original system at the stadium for many years, and welcomed the opportunity to propose a new system which would both enhance the match day experience for fans and keep them
safe with the clear intelligibility and uniform coverage of every seat necessary for effective public address and voice alarm functions” commented PAI’s Project Manager, Stuart Williams.
PAI is a total service provider, dedicated to offering a full range of design, integration, and installation amenities.
Originally founded in 1964, Vaughan Sound is now part of the PAI Group and boasts almost 60 years of industry expertise and knowledge in providing cost-effective, future proof solutions. The Vaughan Sound team has designed and installed cutting-edge professional audio systems and public address, voice alarm, disabled refuge and induction loop packages to numerous sports stadia, pitches and recreational buildings across the UK.
Designed in conjunction with the NEXO Engineering Support team and drawing on NEXO line array and point source technology, the main system at Principality Stadium comprises 18 arrays of 8 x NEXO GEO S1230 with 10 banks of 3 x L18 subs and a delay line of 32 x NEXO P12 and 12 x NEXO P10 speakers.
The pitch coverage is provided by a further four arrays of 4 x GEO S1230 each, with under balconies on level three covered by 44 x NEXO P8s and VIP hospitality boxes around the stadium covered by 75 x NEXO ID24s.
A total of 41 x NEXO NXAMPMk2 powered TD Controllers are spread across six amplifier rooms with a fibre ring
connecting Dante™ and Q-LAN distribution networks, with remote control and monitoring from NEXO’s NeMo app together with system control and matrix routing from Q-SYS Core 610 processors. The Baldwin Boxall VIGIL3 integrates seamlessly for PAVA announcements and external sources are bridged into the system at locations including pitch side, the video studio and at the stadium bowl access area, known as the Dragon’s Mouth.
“Anyone that’s been to a rugby international at Principality Stadium will know all about the unrivalled atmosphere created by Welsh supporters” stated Mark Williams, Stadium Manager at Principality.
“The addition of a clear and powerful new NEXO sound system will enhance our renowned stadium experience, as well as helping keep the crowd safe throughout all of our world-class events, from major concerts to sporting events.
“Alongside the clarity of the sound, what’s particularly impressive is the coverage; from the back of every seating tier to the hospitality boxes and lounges, every seat in the stadium will get to experience the same outstanding sound this new system provides.”
Speaking on behalf of NEXO, Sales and Marketing Director Gareth Collyer added: “The team at PAI/Vaughan Sound has done a great job at Principality Stadium, and it’s good to see yet another national stadium choosing NEXO sound to ensure crowd safety and enhance the experience for fans.”
Tailor your user interface, your workflow and your operational style. Manage and create custom playlists, configure dynamic sports dashboards, and export your personalized launchpads to your web browser or Stream Deck for more flexibility during live events.
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The Caesars Superdome in New Orleans has seen it all, and then some. It hosted Super Bowl LIX on Sunday, February 9, its eighth NFL Big Game since the iconic domed venue opened in 1975. In that time, it’s also served as the Big Easy’s largest event facility and, more importantly, as its main refuge during storms. Even in 2005, when Hurricane Katrina damaged the structure’s outer cladding and forced its closure for repairs, the Dome’s eventual reopening became a powerful symbol of the city’s resilience and determination to rebuild and thrive. What also endures about the Superdome has been its sound. Each of those Super Bowls additionally hosted one of the event’s emblematic halftime music shows, including this year’s concert by 22-time Grammy Award winner Kendrick Lamar. Like a phoenix that it is, the Superdome arose and readied itself once again, this time with a completely new sound system brought in specifically for the halftime show and the game, and one that’s become a mainstay of highend concert performances globally: an L-Acoustics K2-based system, provided by ATK Audiotek/Clair Global, who have managed the halftime-event sound for nearly 30 years.
The Grid Above and Around the Gridiron
The system comprised 16 hangs of K2 arrays and eight hangs of KS28 subs. A dozen of those K2 hangs had K1-SB above; eight of the K2 hangs had closely-coupled K1-SB, while four of the remaining K2 hangs used K1-SB as a line extension.
The number of subs has been increasing over the last few years, reflecting the halftime shows’ production by Jay-Z’s Roc Nation company, which has steered the events in a hiphop direction since 2019.
This temporary sound system was similar to that used the past two years. It is, in fact, the third time that Kirk Powell, design engineer at ATK Audiotek (acquired in 2021 by Clair Global) and his staff – including show mixers Alex Guessard and Dave Natale, monitor mixers Tom Pesa and Chris Daniels, and systems engineer Johnny Keirle – have put a separate sound system up in the air in a Super Bowl venue. That process began two years ago, when State Farm Stadium’s roll-out grass field prevented the carts that had been deployed for decades to trundle PA components quickly out to the field for the changeover to Usher’s halftime show. Until 2023, the halftime-dedicated sound systems were used
exclusively for the music performances, with the installed house PA used for announcements and effects sound.
Since then, the temporary L-Acoustics PA systems have also handled all of the live sound in the bowl for the game and all related events, such as the Opening Night event at the stadium on Monday, where hundreds of media interview Super Bowl players and coaches for the first time during their only public appearance before taking the field for The Big Game. But because this year the temporary system was also being used for the entire game, there were actually a total of 200 K2, 40 K1-SB, and 64 KS28 – the largest such system yet deployed of any type for a Super Bowl. It also served as the first-listen opportunity ahead of the game and halftime events, as well.
“The halftime show is so different than what we’re doing for opening night, but we get a good handle on how the room feels,” Powell says. “Having a flown system makes a lot of difference because the coverage is better and it’s consistent – it’s there all day; we’re not moving it in and out during rehearsals. It’s the third time we’ve done this and it’s a continuation of just trying to improve and tweak and see if we can make it a little bit better than last time.”
The Superdome – the fifth oldest in the league and the second-ever domed NFL field – is an iconic relic from an earlier era of stadium architecture and a living historical record of sound-system design. “It’s got really deep underbalconies and that creates a big challenge,” says Powell. “You have to rely on the installed house system for the fill speakers you need to reach those areas. And acoustically speaking, there are other challenges, because it’s an older stadium that wasn’t updated like a newer stadium would be for acoustic treatments to address, for instance, the reflectivity of a lot of exposed concrete. Plus, it’s a big, roofed room. So yes, there are acoustic issues.”
But the L-Acoustics K Series was more than up to the challenge. “One of the biggest challenges was the trim height restriction, as no rigging elements could be lower than 153 feet from the field,” explains PA systems designer Johnny Keirle. “That forced me to design the system higher than ideal, which introduced coverage and tonal balance challenges, as well as potential temporal issues.
The flexibility of the K Series, particularly K2’s adjustable Panflex and rigging flexibility, was key in combatting these constraints. Narrowing the horizontal dispersion of the K2 using Panflex, and using K2 rigbars to allow for extreme curvature where needed, helped to both maintain coverage and tonal consistency despite the higher-than-optimal trim requirements.” Further, he adds, L-Acoustics’ Soundvision design software allowed for fast and accurate on-site optimization of the designs.
The event’s music component was substantial – in addition to the Kendrick Lamar halftime show, Louisiana jazz legends Jon Batiste and Trombone Shorty with singer Lauren Daigle also performed live – and the K Series assured they all had a great show. “With K Series, rather than having a public address-type system, I can design a system that delivers a true rock and roll experience, not just for the halftime show, but also for pre-game entertainment and the game itself,” says Keirle. “Both elements of the event – the game announcements and the halftime show – have different
criteria, and I approached the system design with both in mind from the start. The system was designed to deliver plenty of SPL and LF contour for the halftime show to hit with impact, while maintaining the clarity, intelligibility, and immediacy required for game announcements and referee calls.”
The Big Game had an unexpected ending: a lop-sided score that saw the Philadelphia Eagles prevent the Kansas City Chiefs’ widely predicted three-peat win. But what everyone got was a superb sonic experience via the L-Acoustics K Series arrays. “Everything went just as fantastic as we expected,” Powell concluded. “We had plenty of headroom with the L-Acoustics system all night long, and it sounded great for both the halftime show and the game itself. It was a win.”
Super Bowl LIX delivered an unprecedented spectacle, transforming the stadium crowd at New Orleans’ Caesars Superdome into a human-resolution screen of immersive effects that made fans part of the action. At the heart of this experience was PixMob, a Montreal-based company that has revolutionized the way audiences interact with live events. This year marked the 7th Super Bowl featuring PixMob’s fan immersion tech, where the newest invention from these Canadian tech innovators redefined how live entertainment is experienced.
Having previously worked exclusively on the Halftime Show in recent years, this year PixMob’s mandate was extended to the full game. The show kicked off with a pre-game performance dedicated to New Orleans’ resilience, featuring a marching band illuminated with PixMob’s synchronized LED wearable tech. Every fan in the stadium—all 75,000 of them—were given a PixMob LED wristband that collectively turned the crowd into an LED screen of animated visuals. Throughout the game, PixMob’s lighting effects reacted in
real-time to touchdowns, kick offs, and fan-driven moments, reaching its high point in an awe-inspiring halftime show by Kendrick Lamar featuring PixMob’s MVT “Human Screen” technology.
The enclosed environment of Caesars Superdome amplified PixMob’s immersive effects, offering a pitch-black canvas for visuals that mesmerized both live attendees and over 100 million TV viewers around the world.
“What makes MVT so exciting is that it controls the audience’s LED wearables like pixels on a TV screen. Each fan becomes an active pixel in a canvas of animated effects that transforms the typically dark stadium space,” said Jean-Olivier Dalphond, Partner & Chief Commercial Officer at PixMob.
Vincent Leclerc, Co-Founder & Partner at PixMob added: “MVT is transformative in that each show is entirely customized to the event or artist’s creative visions and designs. While our previous tech would cast waves of moving colours, now it’s casting motion graphics and content. It changes the game.”
12-15 SEPTEMBER 2025
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Miami, USA
The technology overhaul of the Kaseya Center, home of the Miami HEAT NBA basketball team, includes a new state-of-the-art broadcast facility powered by Grass Valley systems and technology.
The HEAT Group owns and operates the Miami HEAT NBA professional basketball team. The team has made several playoff appearances, including the NBA Finals in 2023 and 2020, and has won championship titles in 2006, 2012, and 2013. Their home venue, the Kaseya Center, located in downtown Miami, Florida, recently underwent a substantial technology upgrade, which included the installation of a state-of-the-art broadcast facility and new center hung scoreboard.
The HEATmap
The Miami HEAT sought to employ best-of-breed technology to enhance their in-venue broadcast production, leveraging an ST 2110 IP core infrastructure. Grass Valley provided production switchers, broadcast cameras, and professional services to support their needs, including one of the first deployments of the newly released flagship LDX 150 cameras.
“Prior to our upgrade in 2023, we were working in a 1080i HD control room which was launched in 2009 featuring a Sony switcher and cameras. We had a 22-year relationship with Sony,” says Ed Filomia, Senior Director, Broadcast Services,
at The HEAT Group.
With the new installation, Filomia and his team aimed to achieve higher-quality broadcasts and creative production capabilities to deliver a superior fan experience at Kaseya Center.
“Since 2021, we have been researching the development of Grass Valley’s IP fabric led by its switcher and cameras. We believed its switcher/camera combination was the best fit with the intended design of our new IP control room.”
Industry-Leading Technology
In addition to the hardware solutions, Grass Valley’s contribution to the overall project included commissioning, training, and event support. The deployment timeline was initially delayed due to the team’s post-season run to the 2023 NBA Finals, pushing project commencement back by two months. To mitigate the impact, the team rented a production truck for the first six weeks of the 2023 regular season, while all vendors, including Grass Valley, worked to compress schedules to minimize delays.
“The delay was naturally a welcome one for the HEAT as they’d reached the NBA Finals, and we wanted to ensure a similar success story for them off the court by keeping the project on track,” recalls Dave Herfert, Vice President of Sales, Grass Valley. “The added complexity brought new
challenges that we were able to overcome by compressing schedules to deliver a unique, tailored solution, which was extremely satisfying. It also represented the first use of Juniper switch fabric in an ST 2110 media core.”
The Miami HEAT team, which included Senior Engineer Blake Engman, technical lead on the project, decided on Grass Valley for a number of reasons, not least its industry-leading technology, including the K-Frame / Kayenne switcher, which is among the most powerful production switchers available. The LDX 150 cameras were configured in Native IP format within an ST 2110 IP core, ensuring cutting-edge broadcast capabilities. A key factor in the selection process was Grass Valley’s strong partnership with integrator Alpha, with whom it had previously executed a similar project with the Detroit Lions.
.Jeff Volk, EVP - Strategic Accounts, Sports and Live Events at Alpha, underscores the significance of this collaboration:
‘The Miami HEAT project was a testament to the power of teamwork and technology coming together to elevate the fan experience. By integrating Grass Valley’s cutting-edge solutions with our expertise in live sports production, we helped deliver a state-of-the-art control room that not only meets today’s demands but is built to evolve with the industry.’
This seamless collaboration between Alpha, Grass Valley, and the Miami HEAT organization ensured the new facility was primed for success from day one.”
Kurt Doster, Director of Arena Video Productions for The HEAT Group, explains the background to choosing Grass Valley as a core technical partner for the Kaseya Center.
“Grass Valley offered us the most forward-thinking future proof products on the market; the switcher giving us the I/O we desired, and the flexibility to have that I/O in higher resolutions with just a license provided peace of mind to accommodate future requests,” he says. “The cameras’ image quality and features again provided a flexibility that others could not offer. We know we have the product that will allow us to produce amazing imagery now and in the future.”
He adds that Grass Valley’s long-standing reputation for excellence was also a key consideration. “Grass Valley’s heritage did play a role in us evaluating if these tools worked for us. Knowing that the GV products have been used in our local production trucks for years gave us comfort in the durability and quality of the equipment and solutions.”
A Results Business
The resulting technology upgrade achieved the desired goal of significantly enhancing the fan experience with super-slo-mo capabilities and a powerful switcher system
enabling superior live event production. Grass Valley provided additional training and resources to ensure a seamless integration despite the scheduling conflicts.
“The benefits are] really all about flexibility. The learning curve on the GV products was small. In just a few days we were off and running adding new features to our shows that we were previously unable to produce,” says Doster in describing the benefits the Grass Valley solutions have brought to the team.
“We have full control of external systems using AMP and Ross Talk, and the ability to trigger complex multi-operator actions into the macro system of the switcher is allowing us to create unique and dynamic moments with the push of a single button.”
For Filomia, it’s all about the performance. “That is the greatest benefit. The rich imagery produced by the HDR cameras really stands out on our large LED displays, and the ability to collaborate with developers to create and improve a better system for all sports productions is what I like most about our decision to go with Grass Valley.”
As one of the key technology partners chosen by Miami HEAT to showcase their new facility, Grass Valley’s contribution has been compelling. “The people at GV have been great,” says Doster. “From all the additional training to conversations about upgrades and enhancements, the door has been opened by our friends at GV.
“Our partnership together is important to continue driving the technological needs of this ever-changing industry. Having this open dialogue during the install and since, I believe, has been beneficial to both groups.”
Looking ahead, the team at the Miami HEAT is considering adding more LDX series cameras and wireless camera solutions, with a multi-year Service Agreement set to take effect in spring 2025. In 2024, the team completed a Phase 2 technology upgrade of their center-hung video board, featuring a unique 3D flaming basketball with content playback triggered using the Grass Valley Kayenne switcher. And there are more opportunities for collaboration further down the road.
“This project demonstrates that we’re in a new era of live sports production, with technologies that are changing the game for organizations around the world,” concludes Alex Keighley, Senior VP of Sales, Americas at Grass Valley. “The capabilities we are able to deliver to our partners through the GV Media Universe are unmatched, and we’re excited about our future partnership with Miami HEAT and the innovations our collaboration will inspire.”
As Doster explained, the partnership between the organizations is helping to drive new production capabilities for live sports environments, strengthening Miami HEAT’s position as a leading global sports powerhouse while reinforcing Grass Valley’s leadership in broadcast production for live sports environments.
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Everett, USA
Opened in 2003, Angel of the Winds Arena houses three venues that host sporting events – hockey games, in particular - trade shows, music concerts, school functions, and a variety of other programmes. From its opening, the audio system in the 10,000-seat venue has been built around JBL Professional loudspeakers, but, after 20 years, the original system no longer met the needs of the venue’s packed event schedule.
“We just didn’t have enough,” stated Curtis Giboney, Technical Services & Special Projects Manager at Angel of the Winds Arena. “It wasn’t enough coverage, and the hockey team had to push the levels so much to fill the dead zones that it was ear-piercingly loud all the time.”
It was time for an upgrade, and solving these issues was the top goal for the new system.
Morgan Sound, headquartered only 13 miles south in Lynnwood, was selected to do the job. As well as the arena having utilised JBL loudspeakers for 20 years, Morgan Sound has relied on JBL for over 50 years, so upgrading to JBL’s latest VTX Series loudspeakers was an easy decision. At the heart of the coverage issue was the design of the roof, with the scoreboard hanging just near the lower level.
“The arena doesn’t come down evenly, so not only is there a sight-line issue, but you just can’t get energy from the scoreboard to the entire top of the arena,” revealed Morgan Sound’s Senior AV Consultant, Stephen Weeks.
“It’s a typical arena, with a big scoreboard in the centre, but the scoreboard is in the upper area and the arena is down below it. We modelled a system with VTX A8s, but couldn’t get the coverage needed. We went through a few different revisions and ended up with the VTX A6, because we needed a more distributed approach to coverage.”
The resulting design used more arrays than would normally be deployed in an arena context, with the arrays hung in a sharply curved configuration.
“Instead of hanging four arrays in the centre of the room, or six arrays in the centre of the room in stereo, we ended up with 14 arrays ringing the entire arena.
If we had done that with A8s, the number of amplifiers would have been doubled because the A8 is bi-amped, plus with A6s we could hit the 105 dB SPL the client needed for large events, while keeping the footprint and, therefore, a smaller visual distraction,” Stephen added.
“Ten of the arrays have 12 boxes, and it’s a pretty steep
curvature at the bottom of the array. The bottom box of the array points at the lowest seat, which sits right up by the dasher, and then the array curve ramps straight up and shoots all the way to the top of the arena. There’s a smaller seating section at the east end where they don’t have nearly as many bleachers, and we do two smaller seven-box arrays there.”
Stephen ended up with the system modelled in JBL’s Venue Synthesis software, which brought multiple benefits. He explained: “We were able to take the model and manipulate it as we needed, but we also used an export from Venue Synthesis to do virtual 3D walkthroughs with the client so they could see what the coverage was going to be. More importantly, leadership at the arena wanted to see what the sight line issues would be, especially with the LED scoreboard and all that happens there.
“Then our production team went out and flew an A6 array on a motor, as it would be installed, so that we could demonstrate proof of concept, and the entire leadership team of the arena could come out and approve it before we proceeded with the project.”
Two more arrays of seven VTX A6 cabinets each were hung
a quarter of the way into the arena, pointing straight down at the floor to make sure the players in hockey games could hear announcements and, of course, the music to pump them up. Other events, like trade shows, also use those arrays to cover the arena floor with announcements and music.
“Morgan Sound divided the arrays up into upper bowl, lower bowl, ice fills, and so on, so we can turn off different zones, which is a capability we never had before, when it was all or nothing. We’re wide open for hockey (all zones active), but for graduations we’ll turn off everything behind the stage,” Curtis detailed.
“When they do graduations in the space, they can use the down-firing speaker system as a basic speech PA when they’re seated on the floor. They can turn off the upper clusters and avoid energizing a reverberant space,” added Stephen.
Ticketing areas and entrances are covered by six AWC82 loudspeakers that can play prerecorded music to attendees who might be waiting in cold, rainy weather before doors open. Concourses use previously-installed JBL Control Series components, which Morgan Sound reorganised for cleaner networked operation.
As is often the case with installations into busy venues, Morgan Sound had to work whenever the venue wasn’t. So, when possible, things had to happen quickly.
“We pre-built all the arrays here at the shop, bolted them onto pallets, and shipped them to the venue. They came off their pallets and the riggers hooked them up and flew them straight into the air,” said Stephen.
Even with predictions from Venue Synthesis, it is impossible to know for certain how well a system meets expectations until it is installed and put into use, so the success of using VTX A6 as the main loudspeaker hung in the balance until that time.
Then, success was clear.
“It sounds great!” enthused Stephen. “The venue’s clients have nothing but good things to say. The hockey team in residence, the Everett Silvertips, is ecstatic.”
Morgan Sound’s Owner, Charlie Morgan, is reflective about a job in which he once again had the opportunity to serve a long-standing client with speakers from JBL, a supplier he’s worked with as long as he’s been in business: “I’m pleased we had an opportunity to reap the fruits of our labours while utilising our industry relationships built over the past five
decades. This project allowed us to shine a light on the depth of our capabilities.
“We have had a very long relationship with JBL. Some of our original concert boxes had serial numbers like 001! We’ve worked closely with the design teams down at JBL for a very long time and have good working relationships with them.
But, even after all these years, when we upgraded to the VTX loudspeakers, it was just a huge jump forward in the technology and what it can do.”
Curtis gives Morgan Sound a lot of credit for the success of the system upgrade: “It was a very, very smooth installation. Morgan Sound reutilised a lot of the wiring that was already in place, which saved us money.
“All the crew members from Morgan Sound are just very knowledgeable; I can’t speak any more highly of them. I’m so very, very glad I got to choose them for this project.”
Brighton, England
The American Express Stadium – known widely as the AMEX – is home to the Premier League’s Brighton & Hove Albion FC. The club, which has gained a reputation for its modern, forwardthinking approach, has, following a transformative system upgrade, taken a definitive step forward in sound technology, elevating the venue to the top tier of UK stadium acoustics. Previously, the AMEX relied on an ageing public address and voice alarm system. While it met basic functional requirements, it was no longer in line with the club’s ambitions to deliver a premium entertainment experience. Among its shortcomings were lacklustre audio fidelity, uneven sound coverage caused by the stadium’s asymmetrical design, and outdated analogue infrastructure that offered little flexibility for future upgrades.
To meet the club’s ambitious brief, Solotech was engaged to deliver a full design and integration of a new sound system. The solution was built around L-Acoustics’ worldrenowned loudspeakers and processing technology, delivering unprecedented clarity, control, and resilience. At the heart of the upgrade are the L-Acoustics A15i Wide and Focus loudspeakers, with a total of 121 Wide and 33 Focus units deployed throughout the stadium bowl. These enclosures ensure full-range, high-definition audio across every seating area. Low-frequency power is delivered by 48 L-Acoustics KS21i subwoofers, providing the kind of impactful bass that transforms music playback and entertainment programming.
Beneath the balconies, 37 L-Acoustics 5XT and 4 X8i compact
loudspeakers ensure that no corner of the stadium is left behind. These smaller enclosures were selected specifically to address intelligibility in covered and often acoustically tricky areas.
For amplification, the system uses L-Acoustics LA7.16i units, each capable of driving 16 channels with DSP and AES67 audio networking. This cutting-edge amplifier platform ensures maximum efficiency and precise tuning across the system. Audio routing, control, and processing are managed via a QSC Q-SYS DSP system, enabling real-time adjustments and comprehensive monitoring from a networked control interface.
A key consideration throughout the project was futureproofing. Solotech implemented redundant DSP cores and network switches to deliver failover protection, ensuring continued operation even in the event of a component failure. Additionally, with the stadium’s coastal location exposing infrastructure to corrosive sea air, all mounting fixtures were fabricated in stainless steel, and weather-resistant speakers and cabling were specified to guarantee long-term reliability.
The technical challenges of the AMEX upgrade were significant - and not just in terms of equipment. The project had to be executed within a strict two-month off-season
window. This narrow timeline required precise coordination across all stages: equipment delivery, rigging design, installation, calibration, and final commissioning. Further complicating matters was the global supply chain instability that affected the availability of high-end audio components. Solotech responded with advanced procurement strategies, including pre-ordering key elements, sourcing alternate suppliers, and designing a phased installation process that allowed progress to continue even when certain products were delayed.
Perhaps the most defining characteristic of the AMEX is its architectural asymmetry. Unlike conventional bowl stadiums, its varying stand heights and unique geometry demanded a bespoke acoustic approach. Solotech utilised advanced acoustic modelling software to simulate coverage patterns and ensure consistent SPL and frequency response throughout the stadium. Custom rigging solutions were developed in collaboration with structural engineers to integrate the A-Seriesarrays seamlessly into the existing stadium infrastructure.
One of the most striking elements of the project was the refusal to compromise. Unlike many stadium builds where budgets force difficult trade-offs, every component in this
system was chosen for performance, scalability, and longevity - there was no value engineering.
The result is a venue that not only meets the modern expectations of Premier League matchdays, but is now fully equipped to support concerts, esports tournaments, and other large-scale entertainment events. With its networked Q-SYS platform, the system can be easily expanded or adapted to accommodate future requirements, whether for new zones, alternative routing, or additional sources.
With the full force of L-Acoustics’ A-Series and KS subwoofer technology, the AMEX now delivers pristine speech intelligibility, rich musical reinforcement, and an engaging audio atmosphere that envelops every seat in the stadium. Raising the Bar in Stadium Audio
In every sense, this project sets a new benchmark for stadium audio in the UK. It demonstrates what’s possible when technical excellence meets strategic planning and a commitment to delivering the best for fans. What was once a functional but outdated PA system is now a fully integrated, digitally networked, weatherproof, and future-ready audio powerhouse. And, with the completion of this major project, The AMEX joins an elite group of stadiums that prioritise not only what the fans see, but what they hear, too.
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Bangkok, Thailand
Opened in 1945, Bangkok’s Rajadamnern Stadium – the oldest Muay Thai stadium in Thailand – stands as one of Thailand’s most revered sporting venues. Known as the birthplace of Muay Thai (Thai boxing) as a globally recognized professional sport, Rajadamnern is the world’s first dedicated Muay Thai stadium and has played a pivotal role in shaping the sport’s rules, cultures, traditions, and global reputation. The venue also stands out for its one-of-a-kind circular design, ensuring an unobstructed view from every seat. While the stadium’s historical significance remains unchanged, the grand vision of the Rajadamnern management team was to establish the venue as a premier global destination for sports and cultural experiences. Their mission was to create something unique; the time had come to reimagine Rajadamnern experience— especially its AV systems —to bring the venue in line with modern expectations.
To celebrate the stadium’s 80th anniversary in 2025, the management team conceived the idea of the world’s first “Immersive Muay Thai.” To help bring this vision to life, they enlisted production specialist Andrei Mazuruc of ShowOne Productions in Canada to lead the project. Rajadamnern and Mazuruc chose to work with KV2 Audio for the audio system, which was supplied and installed by KV2’s
distributor, Audio Gears in Bangkok.
According to KV2’s Technical Support Director for APAC, Leo Tanzil, the design turned out to be more of a challenge than he had anticipated. “Rajadamnern had a really bold vision for transforming the stadium to deliver a one-of-kind sporting and cultural spectacle, the world’s first full-on immersive Muay Thai experience,” recalls Tanzil. “On paper, the audio design looked as if it would be pretty straightforward – we just needed to hang four loudspeakers above the boxing ring facing each of the four quadrants – but no… Andrei quickly shot that idea down as didn’t want anything above the ring at all. Even the rigging from the previous audio and lighting system had to go. So, it was back to the drawing board…”
In fact, Rajadamnern and Mazuruc’s grand design saw the dome as a giant screen, like a planetarium, which meant that visually, there could be nothing that would impede sightlines or cast shadows on the projection – yet the audio system had to be powerful enough to provide crystal-clear commentary to every seat in the house as well as compelling immersive surround sound to elevate the atmosphere and energy of the fight.
“This was a real challenge,” admits Tanzil. “A design based on a distributed system of perimeter loudspeakers around the dome wasn’t going to work either as Andrei wanted the ring master’s commentary to sound as if it was emanating
from the ring – in other words, to be properly localised to the source – in addition to great immersive surround sound. And of course, the system had to be as compact and unobtrusive as possible.”
After modelling various options, it became clear that a solution based on KV2’s EX28 2.5-way full range active loudspeaker system would solve all the problems: “EX28 came to the rescue,” affirms Tanzil. “This loudspeaker is small enough to be placed at the corners of the boxing ring without intruding on the action, yet powerful enough to cover the whole stadium. Combined with the surround sound loudspeakers (also EX28s) with the proper processing, we were able to create the illusion that the sound originates from the boxing ring and minimise the effect of the reflection from the room.”
A total of 24 KV2 EX28s were used throughout the stadium; a pair of loudspeakers mounted on custom poles at each corner of the ring combined with a further 16 EX28s distributed around the perimeter deliver a crystal clear, dynamic audio experience to every seat. Eight KV2 VHD 2.18J subwoofers provide high-energy low frequency reinforcement and the system is driven by eight KV2 VHD 3200 amplifiers which maintain sonic integrity even at high volumes.
“In surround mode, each of the perimeter EX28s gives wide enough coverage that surround sound effect can be heard by everyone in the audience, no matter where they are seated,” continues Tanzil. “When paired with the distributed sub arrangement, even the low-mid frequencies can be localised in surround mode; yet in stereo mode the sub arrangement gives even coverage throughout the venue.
For control and distribution, Audio Gears installed four NST Audio VMX88 processors alongside two Netgear M4250 12M2XF network switches and a Drawmer DA6 distribution amplifier, ensuring flawless communication between all components of the system. The stadium’s existing Midas
M32 Live digital console was equipped with a DN32 Dante expansion card and incorporated into the new system, ensuring a smooth transition for sound engineers already familiar with the equipment.
By December 15, 2024, the installation was complete, just in time for the stadium’s grand reopening on December 21st, a grand event to celebrate going into the 80th anniversary of the stadium. With its audio upgrade, Rajadamnern Stadium has reinforced its reputation as the ultimate destination for Muay Thai while also cementing its place on the global stage. The transformation was immediately apparent, and spectators can now experience the fights with an unmatched level of auditory immersion.
Audio Gears are justly proud of the results they have achieved with the new audio system. “Even with the crowd cheering wildly in the Muay Thai dome, the clarity and cleanliness of the audio with zero distortion across all frequency ranges allowed us to easily achieve the desired SPL for show –and with plenty of headroom to spare,” says Audio Gears’ technical director Mile Sanguanpak. “It’s incredible what we were able to accomplish with so few loudspeakers of such a compact size. The KV2 system delivers a sonic experience like never before.”
“KV2 has unlocked a whole new realm of possibilities for Rajadamnern Stadium,” confirms Mr. Sarun Ladawon Chief Marketing Officer of Global Sport Ventures Co., Ltd. “Sound has always been a challenge in our circular dome setting, but with KV2, we can now hear details that were once impossible to capture. The clarity, depth, and power of the audio have transformed the atmosphere, elevating the entire experience. Today, I can confidently say that Rajadamnern Stadium boasts one of the finest sound systems of any stadium in Thailand—and undeniably offers a sporting and cultural experience unlike any other.”
Al-Ittihad, one of Saudi Arabia’s most storied football clubs, secured an impressive 4-1 victory over title rivals Al-Hilal in the Saudi Pro League at Alinma Stadium this past weekend. This win strengthens Al-Ittihad’s position at the top of the league table, furthering their championship ambitions and adding to their legacy as a leading force in Saudi football.
This milestone match also showcased a groundbreaking collaboration with CUE, a global leader in digital fan experiences for live sports audiences. Based in Nashville, Tennessee, CUE partners with major organizations across the NFL, NBA, NHL, and MLB, and expanded to Europe in 2022, working with renowned clubs like Tottenham Hotspur, Arsenal, the Boston Celtics, the Los Angeles Lakers, and the
Kansas City Chiefs. Partnering with a club of Al-Ittihad’s stature marks a significant milestone for CUE’s growing presence in the Middle East.
“The level of engagement we witnessed, with more than 50% of attendees participating in the light show, demonstrates the incredible passion of Saudi fans and the market’s potential for innovation,” said Jensen Blassage, Client Services at CUE.
Founded in 1927, Al-Ittihad remains Saudi Arabia’s oldest and most decorated sports club. With multiple Saudi Professional League championships and back-to-back AFC Champions League victories in 2004 and 2005, the club’s leadership on and off the field continues to set new standards for football in the region. This latest innovation reinforces their role as a trailblazer in the market.
One of the night’s standout moments was Saudi Arabia’s first-ever CUE-powered smartphone light show, sponsored by ROSHN Group, a leading real estate developer and prominent local brand. On the first day of promoting the event, over 8,000 fans downloaded the app by scanning a QR code. By the end of the match, more than 33,000 fans had downloaded it. The synchronized phone lights transformed the stadium into an immersive visual experience, ranking this activation among CUE’s largest fan-driven light shows.
“Witnessing the stadium light up on Saturday night, with the CUE-powered smartphone light show, was truly remarkable.
The overwhelming response from our fans, turned the venue into a breathtaking spectacle. We created an unforgettable experience, reflecting the passion and unity of our fans.
This event underscores our commitment to innovation and enhancing the fan experience at Ittihad Club matches,” said Omar Abulfaraj, Sponsorships, Sales and Matchday Director at Ittihad Club.
This activation also provided a new opportunity for ROSHN Group’s integration into the game day experience and elevated their presence as a major brand partner.
The brand’s involvement reinforced its commitment to
enhancing communities in Saudi Arabia through high-impact partnerships and fan-first experiences.
The event also introduced FanSee, CUE’s interactive livestream platform, letting fans share real-time videos directly onto the stadium’s big screens. Also sponsored by ROSHN Group, the feature was activated six times during the match, with over 30 minutes of total screen time. A total of 2,422 fans scanned in for a chance to be featured, with over 150 fan live streams making it to the big screen—including VIP highlights showcasing special guests in the crowd.
“Partnering with a club of Al-Ittihad’s stature is a significant milestone for us,” noted Jack Colton, CUE Commercial Manager EMEA, emphasizing the importance of bringing such immersive technology to new markets.”
This collaboration between Al-Ittihad and CUE marks a groundbreaking leap for fan engagement in Saudi Arabia, bringing cutting-edge technology to a rapidly growing sports market. The overwhelming fan response signals the beginning of a new era of innovation in the region, with AlIttihad leading the charge both on and off the pitch.
Is Your Stadium Built for the Future?
Stadiums are no longer just venues for sport - they’re evolving into dynamic entertainment and media destinations. As expectations rise, so do the demands on the digital infrastructure behind the scenes. It’s no longer simply about displaying content; it’s about creating immersive, intelligent experiences that engage fans, deliver value to sponsors, and streamline operations. We spoke with LED Studio and Navori Labs, two innovators at the forefront of stadium AV, to explore the technologies and trends shaping the next generation of venue experiences.
Are Stadiums Under Pressure to Modernise?
“Stadiums are now multimedia environments,” says Xavier Carreras, European BDM at Navori Labs. “Fans expect connected, real-time experiences across every touchpoint, from the moment they arrive to the second they leave. Venue operators, meanwhile, want a unified platform that delivers all of this- IPTV, LED ribbons, QSR, advertising, and more - without the complexity of managing multiple AV systems or disconnected workflows and without compromising features and quality. That’s where we come in.” “Venues are investing in LED systems that offer long-term impact, lower power consumption, and minimal maintenance,” adds Ryan Austin-Smith, Regional Growth Director at LED Studio. “The focus is on scalable, future-ready infrastructure, designed to evolve with fan expectations and technology.”
Can AV Systems Be Smarter and Simpler?
“With Navori QL, one CMS handles everything” explains Carreras. “Unlike other systems, Navori is natively compatible with any screen or OS, eliminating the need for middleware or vendor-specific hardware. Our system automates content delivery, supports emergency overrides, and ensures full synchronisation across every screen in the stadium, down to the frame.”
“Our modular LED displays flex around the space and the story,” says Austin-Smith. “Whether it’s a curved scoreboard or perimeter signage, or external digital kiosks we make it simple to deliver immersive, stadium-wide storytelling.”
How Are These Technologies Evolving?
“Our displays are brighter, significantly lighter & thinner, and more efficient,” says Austin-Smith. “They’re built for longevity, with features like quick-swap modules and mobile control for smoother match-day operations.” He adds, “It’s not just about resolution, it’s about resilience and sustainability. Our ECLIPSE technology enables zero power consumption when screens aren’t in use, helping venues reduce energy usage without compromising performance.” “Data-triggered content transforms static signage into a real-time communication tool,” Carreras adds. “Our system responds instantly to events, sensors, or audience data, delivering context-aware content the moment it’s most relevant. This not only enhances the fan experience, it also powers new monetisation models based on attention, not just airtime.”
Can Screens Actually Drive Revenue?
“LED delivers customisable wow factor,” says Austin-Smith. “It captures attention and gives sponsors more creative revenue opportunities”.
“With smart scheduling and real-time control, stadiums can offer premium, dynamic inventory,” he continues. Carreras agrees: “From programmatic ad delivery to real-time audience analytics and proofof-play reporting, Navori equips venues with everything they need to validate impact and unlock new revenue, whether from retail promotions, sponsor activations, or QSR up-selling.”
What Does the Future Hold for Stadium AV?
“We’re building smarter, greener, futureproofed systems,” says AustinSmith. “Lightweight displays lower infrastructure demands, make LED more accessible, and make upgrades easier.”
“Our platform is built to adapt,” adds Carreras. “Whether it’s fully cloudbased, deployed on-premise for full control, or hybrid edge-enabled, we support it. We enable stadiums to scale their AV strategy with complete flexibility. The real value is in enabling stadiums to respond instantly to changing conditions and deliver a consistent experience regardless of the tech environment.”
theledstudio.co.uk | navori.com
ORK PRO Audio, the installation and pro audio division of Equipson, has introduced the CVA Series of column vertical array speakers. Suitable for a wide range of applications, the new speaker series has been designed to offer precision sound and flexibility in a highly durable cabinet.
The CVA Series is a range of line array column speakers consisting of three models: the CVA 4, CVA 6 and CVA 8. Featuring two, four or six 5-inch woofers depending on model, and dual 3/4-inch compression drivers paired with line horns, the CVA Series delivers from 500W program power rating to 1300W at 8Ω to produce clear and powerful audio.
In addition to its exceptional sound performance, the CVA Series has been engineered with extreme durability as a top priority, further extending its appeal. Constructed from birch plywood with a sleek black, textured finish, the compact and lightweight design of each cabinet combines robust protection with an elegant appearance. Two Speakon input connectors on each speaker ensure compatibility with virtually any peripheral audio equipment, making the CVA Series an excellent choice for a wide range of applications including live events,
houses of worship, conference halls, auditoriums and many more. This flexibility of use means that the CVA Series is equally at home in both permanent installations and for portable use.
The CVA Series offers versatile mounting options, providing two U-brackets on each model together with adapters that allow for 10° directional tilts, along with an extension bracket for combining two column speakers into a single array. Additionally, a 35mm socket on the base of each speaker facilitates easy setup on standard speaker poles or tripods. Optional accessories are available for more advanced mounting scenarios, including a wall mount to allow precise angle adjustments and a flying frame for suspension setups, both sold separately.
workpro.es
Wide sound dispersion, 12mm birch plywood enclosures, and textured finished
Equipped with dual Speakon connectors, U-brackets and 10° tilt adjustment for easy mounting.
From 500W to 1300W program @8 Ohm
APS-Pro Series
The APS-Pro Series comprises two models. APS-Pro-D has a 10° cabinet angle for long throw and high granularity of control, whilst APS-Pro-S has a 30° cabinet angle for short throw and wide near field coverage.
Developed from the successful APS series, APS-ProS and APS-Pro-D are compact, 3-way, arrayable point source loudspeakers, designed for small and medium sized venues where a powerful and scalable solution is required. These latest CODA Audio additions bring unparalleled versatility to the sector by allowing for a perfect blend of precision and coverage.
Both models deploy new versions of CODA Audio’s Dual Diaphragm Coaxial Curved Wave Driver (DDC) for mid/high frequency. These new drivers are built to generate the appropriate 10° and 30° wavefronts at source, without having to rely on waveguides or flares. The dual 10” low frequency drivers are mounted on an aluminium baffle – CODA’s Dynamic Airflow Cooling (DAC). DAC allows for higher power handling and more headroom at low frequencies, giving higher sound pressure levels for longer, without power compression. Each cabinet has an unprecedented AES power rating of 1400W and a peak SPL a of 144dB (A weighted) per cabinet. Low frequency extends to 50Hz at -6dB - all from an enclosure that weighs only 27kg.
APS-Pro’s output directivity is controlled by a magnetic Instafit APSCoupler which combines all the elements of the loudspeaker into a single, pattern-controlled wavefront. With quick release grilles that require no tools, the new Couplers allow quick and easy changes to
coverage angles, enabling the flexibility to adapt to different venue layouts and requirements.
Mounted horizontally APS-Pro-D and APS-Pro-S respectively provide 10° and 30° vertical coverage and can be flown singly or with additional APS-Pro cabinets in vertical arrays to match a system’s output to any requirement. Horizontal coverage can be changed between 60°, 90°, and 120°, and asymmetrical configurations of 75°, 90°, 100°, and 105° by using different Instafit coupler configurations.
Mounted vertically APS-Pro-D and APS Pro-S respectively provide a fixed horizontal coverage of 10° and 30°, with variable dispersion now being in the vertical plane.
The ability to mix and match APS-Pro-D and APS-Pro-S models within a system provides the ultimate in precise coverage, sound quality, and ease of use. Seamless integration of the two models is achieved without the need for additional amplifier channels. With the capacity to drive three units per amplifier channel, it is possible to drive twelve units using a single CODA Audio LINUS DSP amplifier, ensuring optimal efficiency.
codaaudio.com
APS-Pro-D
3-way Passive Arrayable Point Source
APS-Pro-S
3-way Passive Arrayable Point Source
Unique 8.75” Dual Diaphragm Curved-wave-driver, dual 10” neodymium ultra-low distortion cone drivers
10° cabinet angle for long throw or high granularity of control
Unique 9” Dual Diaphragm Curved-wave-driver, dual 10” neodymium ultra-low distortion cone drivers
30° cabinet angle for short throw and wide near field coverage
XPRS2 Series
he Pioneer DJ branded XPRS2 Series from AlphaTheta is a range of high-performance powered speakers, purposebuilt for venues demanding sonic excellence, rugged reliability, and flexible integration. Combining Pioneer DJ heritage in audio innovation with next-generation DSP and Class D amplification, the XPRS2 range is engineered to meet the unique challenges of multi-purpose venues and events.
TThe line-up includes three full-range models — XPRS102 (10”), XPRS122 (12”), and XPRS152 (15”) — alongside two subwoofers, the XPRS1152S (15”) and XPRS1182S (18”). Each unit is powered by a highly efficient Class D amplifier delivering up to 2000 W peak power, ensuring clean, powerful output, capable of filling expansive spaces without compromising clarity.
At the core of the XPRS2 experience is its DSP processing, offering four pre-set modes (Live, Music, Speech, Monitor) and 16 customized user settings for tailored tuning. This flexibility allows sound engineers to adapt quickly to changing environments and acoustics with exceptional precision.
The XPRS2 Series couples the versatility and portability of the original XPRS Series with elevated performance and clarity, to deliver a highcalibre speaker system for mobile applications, live sound, spoken word, and fixed installations.
pioneerdj.com
Facial recognition is a technology on the rise across a number of sectors. From retail to travel and ticketing to hospitality, it’s fast becoming a credible alternative to more traditional forms of engagement and entry. George Vaughan
Over the past decade, sports venues around the world have increasingly begun to embrace facial recognition and facial analysis technologies as part of a broader push toward smarter, frictionless fan experiences. From streamlining stadium entry to personalising services inside the arena, facial technology is fast becoming a key enabler of operational efficiency, security and customer engagement.
Beyond entry and access control, facial technology is starting to impact retail and hospitality operations within stadiums. Facial age estimation, in particular, is emerging as a valuable tool - allowing fans to purchase age-restricted products like alcohol from self-service kiosks, mobile apps, or vending units without slowing down service or requiring staff intervention.
As stadiums continue to evolve into connected, data-driven environments, the role of facial analysis and age estimation technology is likely to expand - shaping everything from customer journeys to safety protocols, and redefining how fans interact with the venue at every touchpoint.
This overall rise has been fuelled by growing fan expectations for seamless, digital-first experiences - mirroring the speed and convenience they enjoy in online environments. At the same time, stadium operators are seeking to balance operational efficiency with privacy, security, and regulatory compliance, making modern facial technology - like Fujitsu’s privacy-first Age Assurance solution - an increasingly attractive option.
In today’s fast-moving retail environment, customer expectations are higher than ever. Convenience, speed, and seamless experiences have become non-negotiable - especially in self-service settings like self-checkouts, vending machines, online shopping and click-and-collect. Yet one aspect remains stubbornly challenging: age verification.
Whether buying alcohol, tobacco, vaping products, or other age-restricted items, customers frequently face frustrating delays or awkward encounters while staff verify their age. For retailers, this translates into slower transactions, reduced staff productivity, increased customer friction and - in the worst cases - abusive incidents towards employees.
Rethinking Age Verification for the Modern Stadium Stadiums and arenas today are not just places for sports or concerts - they’re destinations. With thousands of fans flowing through their gates for every event, these venues are becoming retail ecosystems in their own right, with high expectations around speed, safety and seamless service. Whether it’s a busy bar, a self-service beer tap, or even mobile ordering to a seat, checking ID for agerestricted products like alcohol often slows down service, frustrates customers and takes valuable staff away from higher-priority roles.
Additionally, in an era where unmanned POS and Frictionless bars are becoming more common place, the ability to serve everyone in a fair and legal fashion is increasingly important.
The Stadium Challenge: Scale, Speed, and Safety
A typical stadium or arena must serve tens of thousands of customers - often within narrow pre-match or half-time windows. Speed of service is paramount but current age verification methods create bottlenecks which can include:
• Long queues at bars and concession stands
• Staff pulled from other duties to manually check ID
• Increased risk of error or non-compliance
• Frustrated fans missing key moments of the event
• Potential flashpoints for customer aggression
Manual age checks don’t just slow down operations - they introduce friction into what should be a seamless experience and can often be labour intensive. For venues focused on premium fan experiences, operational efficiency and safetythis is a problem crying out for innovation.
Fujitsu’s Digital Age Assurance: Built for Stadium Environments
Fujitsu’s Digital Age Assurance is a frictionless, privacy-first technology solution that
combines real-time Age Estimation and secure Digital Age Verification to transform how stadiums manage the sale of age-restricted products. It’s designed to integrate seamlessly into every touchpoint in a stadium or arena, including:
• Bars & Concessions
• Self-service kiosks
• Mobile ordering apps
• In-seat delivery services
• Vending machines (alcoholic drinks, CBD, tobacco alternatives)
• VIP lounges and suites
With stadium-specific benefits including offline operation (perfect for busy environments), fast throughput and simple integration with existing POS systems, it’s the next step in fan experience innovation.
Age Estimation at Speed
As a companion solution, Fujitsu’s Age Estimation technology uses on-device AI to estimate whether a customer is likely to be over or under a set age threshold (such as 25) - in real time, with no delay and no stored images or personal data, making it the perfect tool for bars, self-service kiosks, VIP suites and vending machines. When an age-restricted item is selected - for example, a pint of beer at a bar or via an app - Age Estimation runs automatically and discreetly. If the customer is clearly over the threshold, the transaction proceeds instantly. If they fall under, the system can trigger a secondary verification method - either staff-assisted or via the fan’s own mobile device.
Digital Age Verification: Instant Authentication
For those under the age estimation threshold, Fujitsu’s Digital Age Verification provides a seamless way to verify age in under 3 seconds - entirely offline and without the need to produce physical ID.
Fans can pre-register via the stadium’s app using:
• Passports
• Driving Licenses
• Residency Permits
Verification data stays securely on the fan’s device - fully GDPR-compliant - with no sensitive data stored by the venue.
Once verified, fans can:
• Use their mobile device to verify age at kiosks, bars, or for in-seat orders
• Speed through transactions without the need for staff checks
• Enjoy a seamless, contactless service
This system is particularly valuable for loyalty schemes, VIP experiences, or fast-track customer lanes.
One of the less visible - but vitally important - benefits of digital age assurance is its impact on safety. Manual ID checks are often flashpoints for frustration, argument, or even aggression - especially in high-energy environments like sports or concerts.
By transferring the responsibility of age verification from frontline staff to trusted technology, stadiums can:
• Reduce flashpoints for aggression
• Protect staff from confrontational situations
• Improve overall safety and wellbeing for employees
• Demonstrate a proactive approach to fan experience & duty of care
Operational
• Faster Transactions = Higher Revenue - Speeding up service at bars, kiosks and vending machines means serving more customers in less time - critical in short half-time windows.
• Staff Productivity Gains - Free up frontline staff to focus on service, upselling and guest experience rather than manual checks.
• Enhanced Compliance - Meet or exceed regulatory requirements with digital audit trails and certified verification processes.
• Future-Proof Technology - Designed to work offline, across multiple channels and with simple per-device licensing for cost clarity.
• Privacy & Trust at the Core - Fan trust is critical - especially when dealing with personal information and Fujitsu’s system is built around privacy by design, meaning that no personal data - including images and videos - is stored on venue systems and all sensitive data stays on the fan’s device in a GDPR compliant fashion.
Stadiums and arenas are rapidly morphing into digitally-enabled destinations. Future legislation, shifting fan behaviour and evolving customer demands all require a new and innovative approach to meet these changes. AI will have a say in how things pan out and technologies like Fujitsu’s Digital Age Assurance offer a scalable, future-ready solution for stadium operators and looks to set a new standard in customer experience and operational excellence. It could be the next big game changer to enter the market.
MONDO | STADIA speaks to Tapio Rosenius, a Designer and Entrepeneur from Finland, who is leading the team that delivers the unique, game-changing Poet Creator Software...
Can you introduce yourself and tell us more about your career background?
My name is Tapio Rosenius. I’m a designer and entrepreneur originally from Finland, currently based in Madrid. For over two decades, I’ve worked internationally at the intersection of light, media, technology, and behavioural science. Today, I lead the team behind Poet Creator Software—a platform built to transform architecture into intelligent, responsive, and emotionally resonant environments.
Tell our readers about Poet Creator Software… Poet Creator Software is a unique real-time content and control system that fuses lighting, media, and data to bring all parts of a complex stadium building to life. Unlike traditional AV or lighting setups, Poet is built for interaction—automatically responding to crowd behaviour, and live data to create immersive sensory experiences. It enables venue operators, designers, and AV integrators to build programmable, experience rich AI-assisted environments more easily than ever before.
What capabilities does it deliver for stadiums and arenas?
Poet changes the visual experience of the venue for every event algorithmically. It offers a cost-effective way to brand and customise large and complex spaces to an immersive degree, creating a new revenue model through ambient branding and personalised experiences.
The system adds real-time intelligence to existing media facades, circulation zones, VIP areas, restaurants, and multifunctional spaces. It enables effortless control and automation of dynamic lighting, projections, LED screens, and sound— tailoring the visual language of the venue to any occasion.
This is done by combining live data—from crowd movement and noise, sports results, seasonal factors, and sponsor content—to generate large-scale lighting and visual interventions across public and VIP areas. Poet isn’t for pitch-side LEDs or show lighting. It’s designed to activate the connective tissue of the stadium—engaging fans during pre-event, event, and post-event moments.
How does it impact the fan experience?
Every visit becomes unique and perfectly contextualised. Fans experience a venue differently when all the spaces are alive and interactive. Poet lets lighting and media respond to goals, cheers, and ambient shifts—turning the whole building into an active, emotional journey. Lighting pulses, dynamic projections, and generative content build an atmosphere of real-time interaction. It’s about deepening emotion, presence, and memory with solid operational logic.
Does it contribute to the commercial and branding side of sporting venues?
Absolutely. Poet enables ambient branding at massive scale—from facades to vomitoriums to circulation and F&B zones—allowing for instantly deployable, responsive brand moments. Imagine the team colours flowing across the corridors and out to the media façade when they score or when the crowd gets going, announcing the energy of the game to the whole city.
At the same time VIP zones can be personalised
remotely with dynamic lighting, projections, and content and then made to be responsive and interactive . The ability to link AI sensors with generative engines makes dynamic branding faster, easier, and more valuable than ever before—creating even more commercial models.
Can it be used for operations and crowd management purposes?
Yes—this is one of Poet’s most powerful features. By tapping into live sensor data, the system can nudge crowd behaviour through light, media cues, and sound. It improves flow, enhances safety, and strengthens engagement. Wayfinding becomes a living, adaptive experience.
Tell us more about some recent Poet Software projects in stadiums and arenas…
A key example is Roig Arena in Valencia, designed by HOK and ERRE Architects for Licampa 1617. Poet is deployed across eight areas— from the multimedia façade and VIP lounges to vomitoriums and terraces. The system uses AI-powered cameras and microphones to gather data from the bowl and automatically generates visual content for lighting, projections, and LED surfaces. All the lights, projections and screens inside and outside can react to live basketball matches or concerts. There are special zones for direct
interactivity with fans. The sponsors and partners can do visual take overs accross the whole arena. The result is a programmable venue that shifts identity and energy at the speed of data.
Are there any new sporting venue projects on the horizon? There sure are! We’re currently specified for several upcoming venues in Saudi Arabia, Spain, and elsewhere in Europe, both new builds and retrofits. We’re actively looking for integration partners and forward-thinking operators in the US interested in adopting this technology. These next deployments will highlight Poet’s adaptability across geographies and cultures.
How do you see the future of sporting venues?
We see the future of stadiums—and all public spaces—as intelligent, adaptive, and emotionally rich. Poet Creator isn’t just a tool—it’s a mindset shift in how to design space, content, and connection. As real-time environments become standard, we’re here to help venues become more expressive, responsive, and alive.
A total of 37 LED displays create 23,000+ square meters of digital space throughout the stadium - more than 75% the square footage of the Grand Ole Opry.
THERE’S A NEW + square meters
It would take 683 acoustic guitars end-to-end to wrap around the full Ring of Fire
ROLLED OUT AND STOOD ON END, THE RING WOULD BE 693 METERS HIGH, MORE THAN 3.5 TIMES THE HEIGHT OF THE TALLEST BUILDING IN NASHVILLE.
(333 Commerce at 188 meters tall)
The Ring of Fire is the first of its kind ever made in professional football totaling
8,992
The East End Zone display will be 1.6 times larger than the previous end zone display.
2,769 It would take 60-INCH TVS
ROLLED OUT, IT WOULD BE MORE THAN 6 AMERICAN FOOTBALL FIELDS LONG