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MONDO-DR 36.6 SEPTEMBER / OCTOBER 2026 ON THE COVER Forest Seasons at DARK MATTER Photo courtesy of Eric Bauermeister EDITOR Todd Staszko t.staszko@mondiale.co.uk ASSISTANT EDITOR Daisy Thorogood d.thorogood@mondiale.co.uk ACCOUNT MANAGER Cameron Crawford c.crawford@mondiale.co.uk ACCOUNT MANAGER Bethany Price b.price@mondiale.co.uk MARKETING & EVENTS MANAGER Alice Clarke a.clarke@mondiale.co.uk MARKETING & EVENTS ASSISTANT Charlie Moore c.moore@mondiale.co.uk DESIGN & PRODUCTION Mel Capper, Jez Reid, Dan Seaton DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk EDITORIAL DIRECTOR Peter Iantorno p.iantorno@mondiale.co.uk CEO Justin Gawne j.gawne@mondiale.co.uk FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk CREDIT CONTROL ar@mondiale.co.uk GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214 ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Media Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

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F R O M TH E EDI TO R... As autumn settles in we’re delighted to bring you another packed edition, brimming with fresh stories from around the world – including an experiential museum celebrating the state of Montana’s culture that was 25 years in the making (p76), and a vibrant Sri Lankan multipurpose resort kitted out with bold red loudspeakers (p88). For our Big Interview, we sat down with Jason Ojeda, Founder and Owner of bespoke installation firm Global AV Group. Turn to page 20 to follow Ojeda’s journey in sound. Elsewhere in the issue, we bring you an extensive venue report on the AV systems enhancing houses of worship, a comprehensive look at Panasonic’s recent acquisition of HIVE, and conversations with Theory Professional and Outline. Additionally, we recently published our latest cruise ship supplement, this time shining the spotlight on Norwegian Cruise Line’s Luna vessel, complete with exclusive behind-thescenes coverage of all of its onboard entertainment venues. That is available both physically and digitally, so do get in touch to learn more. Enjoy the issue! TODD STASZKO EDITOR

IN THIS ISSUE . . . 14

INSIDE VIEW Panasonic & HIVE

THE BIG INTERVIEW Jason Ojeda, Founder and Owner, Global AV Group

REPORT Houses of Worship

IN FOCUS 60

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PRODUCT GUIDE Cables, Mics & Comms

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COMPANY PROFILE Theory Professional

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DIRECTORY

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BACK OF HOUSE Nick Broad, Projects Director, LSI Projects

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CO LL ABORATI O N I N TH E C OL ON Y In a strategic move for both parties, Panasonic acquired HIVE Media Control earlier this year, with the projection and display company working to utilise HIVE’s media control software in a new, non-hardware-focussed approach to advanced visual solutions. MONDO-DR sat down with Nigel Sadler, Chief Pollinator at HIVE Media Control, and Hartmut Kulessa, Head of Marketing Visual Systems at Panasonic Connect Europe, to talk through the move and what it means for each manufacturer. Why was HIVE the right acquisition for Panasonic at this point in your AV strategy? Kulessa: We’ve traditionally served the visual display market with projectors, displays and LEDs – that’s our core business. But we’re seeing systems in the marketplace get more and more complex, and a lot of that complexity comes down to getting the picture from the source to the display, or from the media server to the projector or display.To reduce that complexity and make things more efficient for the end user, we wanted to expand our technology portfolio to cover the entire workflow of a creator of an immersive experience, or a designer of a show. The future vision is to simplify that workflow and integrate software solutions along the whole chain, rather than working with individual pieces of software. That’s the vision behind this acquisition from Panasonic’s point of view.There’s a business side to it too, of course. We can now address a larger market with the same end users; instead of only offering projectors and LED displays, we can serve another product category as well.

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And on HIVE’s side, what opportunities does this create for you, and what does it mean to now be part of a larger portfolio? Sadler: Since I started with HIVE, we’ve been all about disrupting the industry – trying to get people to change the way they think about media delivery and what forms an AV or media system. That’s great: we have great ideas, great technology, great IP. But sometimes you hit a bump, and to get over it you need something behind you that can push you into the next stage. We’ve been fortunate in the past to partner with some great visionaries in the industry. Panasonic was a natural progression from that, because we’ve been working with them since the very beginning of the company. So, to us, this is just the next natural step. More than anything, Panasonic gives us the resources to move into that next stage. We have a headful of ideas, but turning those into reality takes help, and that’s what this gives us.

1 2 3

Hartmut Kulessa, Head of Marketing Visual Systems at Panasonic Connect Europe. Nigel Sadler, Chief Pollinator at HIVE Media Control. The BBC Earth Experience in Melbourne, a 360-degree immersive digital art installation supported by Panasonic and HIVE solutions.

You both used the word “disruptive” – how do you think Panasonic and HIVE together will create that disruption? Kulessa: The disruption is already here, in a sense. Instead of a 19-inch rack-type media server, you now have the HIVE media player on an SDM board that fits directly into a Panasonic projector, LED or display. You can already see that disruption, doing away with heavy media servers, extensive cabling and an increasing amount of equipment, which only adds more potential points of failure. That’s available today. What we want to do next is integrate those products further, so you might have a single cable running in, and you can control both ends, the display and the media server, from one place. Better integration is the next step. Sadler: A lot of Panasonic equipment, like most hardware, has a programming interface, and it makes no sense in this day and age to be opening ten different pieces of software to do essentially the same task. When you’re working directly with manufacturers, you can start melding those things together into one unified interface. We now have the ability to do that through this partnership. It’s not done yet, but it’s the direction we’re working towards. Kulessa: That’s what I mean by integrating the workflow across the entire production chain – having everything in a unified portfolio, instead of individual pieces of software. Sadler: And I can say this from our side: Panasonic hasn’t just come in, offered some money, and folded us into their portfolio overnight. We’ve been building towards this for a long time. I’ve known Hartmut for years, and we’ve worked on projects and concepts together. HIVE exists with its current product range because, over seven years ago, Panasonic told us they were going to put a particular technology into their interface and suggested we think about doing the same. That’s really where our current range comes from – it started with a recommendation from Panasonic. Kulessa: The discussions between our engineers have been ongoing for a couple of years. We’ve shared and exchanged roadmaps and talked about where we each wanted to go. So, we already had the right people connected, and I think that will let us move quickly from here, cementing the integration and engineering our products closer together.

So, was it seven years ago that you first partnered up? Sadler: Not quite. I always describe our relationship with Panasonic as beginning with the London Olympics in 2012. We did a lot of great projects with them over the years, including the BBC Earth Experience and the National Museum of Qatar. Frameless, a beautiful, long-running experience in London where Panasonic provided the projectors and we provided the playback systems, was where the first conversation about SDM began. That’s where we learned about SDM and what it meant, and where we started thinking there might be something we could do with it, because it fed directly into our vision for where we wanted to take the company. But our relationship with Panasonic began much earlier than Frameless. On that note – how do Panasonic’s and HIVE’s roadmaps intertwine? Sadler: The broader concept behind what HIVE is already doing is that we believe the media server is really just part of the display device and will naturally become part of it. Right now, we’re using the universal approach of taking a separate device and integrating it in, but I think those things are going to become one. It’s really just an extension of the technology already used in the display itself. So why not develop it that way? And that opens the door to all sorts of other possibilities. Kulessa: That’s exactly the vision we’ve shared from the beginning. We’ve always believed that the projector, display or LED is an output device – an endpoint on the network – but that media playback will be integrated into it at some point. We’ve also always believed that simply increasing compute power on a racktype media server isn’t the future, because it hits a limit. In immersive experiences today, you see hundreds of projectors, LEDs and displays; there’s a race for higher output counts and higher resolution, and an instinct to put all of that into one machine. We never believed in solving that by just increasing compute power on a rack server. I think that shared vision of everything coming together is what brought Panasonic and HIVE together.

Both brands are firm in stating that this acquisition takes a vendorfriendly approach and that you’re keeping brand independence. How will that independence be maintained? Sadler: One of the things that matters to HIVE is that we’re trying to change the industry, not just five products. So, it was important to us from the start that our output could be used by anyone, not just Panasonic. We’re getting a helping hand and real resources from Panasonic, and we’re helping each other massively, but we’re still building a product that can be used with any projector or display. That’s the independence we’re trying to maintain, and part of why we’ve kept the two companies separate. Kulessa: From our side, we want to be the accelerator of adoption for this technology, the lever that helps HIVE scale. That means we’re not restricting it to our own display devices. Our aim is to accelerate adoption and support that scaling process, for HIVE and for the wider market. How do you think AV professionals will benefit from this partnership over the next few years? Kulessa: First of all, end users can get higher quality, or the same

quality, at a significantly lower cost, and that’s always something customers are open to discussing. Alongside that, there’s the simplification of system design: fewer potential points of failure, less to transport, so it’s more sustainable in a way too. Ultimately, it’s cost reduction without compromising on quality or functionality. Sadler: From our side, I’d add that beyond the technical advantages, which are considerable, partnering with Panasonic gives us far greater access to the world, and as a result, far more support options. There will be offices and technical people all around the world, which is something a small company in England, as HIVE originally was, couldn’t achieve on its own. You can’t just buy that kind of reach; you have to inherit it by working with a partner. Kulessa: We’re really enjoying this partnership; we’re having a lot of fun with it. It’s honestly been one of the easiest strategic moves for us. Sadler: I’ve been through a lot of mergers, buyouts, and acquisitions, and generally they’re not the easiest of times. But this one feels different; it’s been a natural move. To us, it’s almost like two people finally getting married after 20 years of being together! www.hive.run eu.connect.panasonic.com/gb/en/projectors

Abo v e left and ri g ht: The n at ion a l mu seu m of Qa t a r , w it h v isu a ls su ppor t ed by Pa n a son ic an d HI VE. Phot o: An t on io Pa ga n o. L e f t : Fr a meless Lon d on , f ea t u r in g c olla bor a t in g syst ems f r om Pa n a son ic a n d HI VE. Phot o: An t on io Pa ga n o.

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“FOR ME, THE GOAL IS FINDING THAT BALANCE BETWEEN THE SCIENCE OF SOUND AND THE EMOTIONAL RESPONSE IT CREATES. THAT FEELING IS THE ESSENCE OF WHY WE DO THIS.” JA SON O J E D A

F ou n d e r a n d O w n e r , Global AV Group

IN T E RV I E W - J A S O N O JE D A | WWW.M O ND O D R .CO M

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Having spent years both behind the DJ booth and designing the sound systems that drive hospitality venues, Global AV Group founder and owner Jason Ojeda has developed a finely tuned ear for what works, and an equally keen sense of what doesn’t. Exposed to the music business from an early age, Ojeda has music in his soul, and his career has never strayed far from creating experiences through great sound. “My journey started when I was just nine years old, growing up in New York,” reflected Ojeda. “My uncle was an early pioneer in the mobile DJ business in the late 1970s, building audio and lighting systems that were so well-conceived they would still hold up today. “It became a family business. He built multiple systems, and our family would be hired for private events across Long Island, ranging from weddings and school parties to sweet sixteens. “As a youngster, I collected records while the older kids DJ’d. Then, at the age of 12, I was suddenly asked to fill in at an eighth-grade dance when the DJ didn’t show. It was a successful night, word got around, and that led to more local school gigs. “Things progressed, and by 15 I was running parties at a local nightclub, needing to be dropped off and picked up by my mother. Playing music and entertaining people became a passion. It was thrilling, addictive and, looking back, all a bit of a blur!” In the early to mid-1990s, Jason made his way through Long Island’s house music scene, earning gigs at leading New York City venues and securing residencies at clubs including Mirage and Limelight. He also began what would become a 10-year residency at C.P.I. in the Hamptons, then a major destination in the area’s renowned summer nightlife scene, all without management or a booking agent. That independence remains a point of pride. “Everything was done on my own terms, and that’s something I’m incredibly proud of. I think there’s an element of that missing from today’s DJ culture: the integrity, individuality and respect for the art,” he said. His transition into professional AV came following an unexpected turning point. After 10 years as a resident DJ at a Long Island club, he was abruptly let go on the day of a gig. “Around a year later, I was invited back as a guest DJ, but it ended up being a difficult experience,” he continued. “The owner, who had previously let me go, felt compelled to tell me what to play, and that went against everything I believed being a DJ was about. “I had never been a DJ for the perks or the celebrity that can come with reaching a certain level. It was always about the love of the music and the people. At the same time, I could see the industry changing, both in DJ culture and the nightclub business, and I knew I needed to think about what came next.” With that realisation, Ojeda turned toward his other passion: audio. He took a risk, borrowed against his mortgage, purchased an L-Acoustics sound system and began taking on events and rentals, ultimately laying the foundation for what would become Global AV Group. “I had previously built a few sound systems for a friend of mine who was a bouncer at a couple of clubs, and the results were surprisingly good,” said Ojeda. “I had no business cards or anything like that. Everything came through word of mouth, and things gradually snowballed. Along the way, I kept taking pieces of what I learned about sound systems and building on them. “It was around 2005, and those early experiences building sound systems made me realise I had another avenue I could pursue. So I bought the L-Acoustics system, took the leap, and that became my calling in professional audio.” Now with more than 20 years of experience designing audio systems for hospitality venues across the United States, Ojeda remains energised by innovation within the industry and the opportunity to continually improve the way sound is experienced. “There’s always room for innovation in an industry like sound reproduction,” said Ojeda. “Thinking outside the box is what keeps

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Abo v e to p : Ja son Oj ed a ( r ight ) ag ed 15 w or k in g pa r t ies f or TGI F. A b ov e: The Globa l AV Gr ou p New Y or k t ea m a t it s f a cilit y. Belo w: D j in g a t Roxy in NY C d u r in g t he ea r ly 2 0 0 0 s.

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me excited. I love the creative process of problem-solving, and I’m sure that same drive exists among loudspeaker and amplifier manufacturers around the world. “Recently, I was visiting a loudspeaker manufacturer that I have a strong relationship with, which allows us to have very candid conversations about what I’m seeing, the requests we’re getting from clients and what I believe the market is asking for. “One area where I believe there is still a significant opportunity is a highquality in-ceiling loudspeaker. There are certainly some products that perform better than others, but I still haven’t found one that delivers everything I’m looking for. It is something that has interested me for years: how can we continue pushing the performance of in-ceiling loudspeakers further? “When you look at how many of them are built, there are a lot of similarities in their approach and, ultimately, in the results. I shared some ideas with this particular manufacturer about how I think it could be approached differently. They responded positively, so we’ll see where it leads.”

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While Ojeda continues to see opportunities for innovation, another challenge facing integrators and their clients is the rising cost of professional audio equipment. “The cost of certain equipment has increased significantly,” he said. “What we’re seeing, particularly in electronics and amplification, is concerning. We want to specify great equipment that is reliable, performs at a high level and will serve the client well for years. But premium amplification has become incredibly expensive, and loudspeakers have increased considerably as well. “There are obviously many factors behind those costs, from components and materials to research, development and manufacturing. However, looking at it from the perspective of the end user, I think it is important that the industry remains mindful of how quickly those increases ultimately reach the client.” When it comes to aligning the performance of a system with a client’s budget, Ojeda is willing to explore a wide range of solutions. But there are certain principles of sound reproduction on which he will not budge. “For music-driven environments, we completely avoid 70V systems,” he said. “For me, it comes down to the listening experience. We recently completed a major installation across Caesars Palace in Las Vegas involving approximately 1,400 loudspeakers, and we chose not to use a 70V approach because music reproduction was such an important part of the application. “I recently held a demo in our own warehouse because I wanted to revisit and directly compare what I was hearing from a 70V system. “We’ve had situations where a client felt our proposed system was too expensive because we weren’t recommending a 70V solution. I understand the budget consideration, but I also have to stand behind what I believe will deliver the experience the client is expecting. “In another instance, a manufacturer suggested using the mid-high loudspeakers in 70V while keeping the subwoofers non-70V. We tested the approach, but to my ears it didn’t deliver the musicality or extension I was looking for. The result felt flat. “Another consideration is stereo imaging, which is extremely important to me because so much music is recorded and mixed to be experienced that way. “There’s something incredibly satisfying about listening to music the way it was recorded, hearing the instrumentation and vocals positioned within the mix as intended. I still smile at that. Even at home, I don’t have

“F R O M A N E N D- U S E R P ER SP E C T I V E , I T H I N K I T ’S I M PO R T A N T T H A T T H E I N D U ST R Y R E MA I N S MI N D FUL OF HOW QUICKLY THOSE I N CREA S E S U L T I MA T E L Y RE ACH TH E CL I E N T . ”

a surround system. I listen through two channels of audio because that’s the way I personally enjoy experiencing music. “Of course, creating that experience in a commercial installation comes at a cost. It can require additional channels of amplification and more processing, so there is always a balance between the ideal listening experience and the realities of the project.” “There are a lot of pressures facing the hospitality industry right now. Younger generations are drinking less alcohol than previous generations, ticket sales are under pressure, and food and labour costs have risen considerably. All of that makes budgeting a major challenge for operators. “For integrators, it becomes a careful balance between delivering something that fits comfortably within the client’s budget and creating a system we can genuinely be proud to put our name on. That’s an important distinction for me. It’s never simply about making a sale. It’s about understanding what the client truly needs and finding the best possible way to deliver it within the realities of their project. I believe that’s one of Global AV Group’s greatest strengths. “Another principle that has always been important to me is remaining independent in the products we recommend. I never want our equipment decisions to be driven by an incentive tied to what we purchase next. “For me, maintaining that objectivity is essential. Our responsibility is to help bring the client’s vision to life and recommend the right solution for that particular application. “When you pay attention to the market, understand the products available and really listen to what the client is trying to accomplish, you put yourself in a position to help them succeed. There is a loudspeaker for every application, and it’s our responsibility to understand the differentiators.” Another consideration that has become increasingly important to operators, owners and designers is aesthetics, and Ojeda believes the

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Photo credit: The Winner Takes it All, by Creative Technology, picture by Jorrit Lousberg

“ T HE FIT AND F INIS H OF A P ROD UCT HAS BEC OME A CRIT ICAL E LE M ENT IN TODAY’S MARKE T ”

P r e vi o us p a g e : S o c i a l h ub Sha c k 15 in Sa n Fr a n c isco f e a t u r e s a v e n u e - w i d e i n st a ll of NNNN lou d spea k er s y s t e m s ac r o s s i t s e v e n t spa ces, libr a r y, ba r s, a n d r e s t au r an t . A b o ve l e f t : J as o n O j e d a w it h Alex Noyola , Globa l AV G r o u p D i r e c t o r o f Pr o j e c t Ma n a gemen t , c elebr a t e t he c o m p an y ’s v i c t o r y i n t h e Rest a u r a n t c a t egor y a t t he M O ND O - D R A w a r d s 2 0 2 5 f or t heir in st a lla t ion a t New Y o r k e a t e r y C O C O D A Q (below ) . audio industry has made meaningful progress in recognising the importance of design. “The fit and finish of a product has become a critical element in today’s market,” he said. “A great example of that is what we’ve seen with the rise of 1-SOUND loudspeakers. “Last year, a longtime industry contact who had represented one of the major brands for many years told me he had never seen a manufacturer make such a strong impact on the market in such a short space of time. “I think a big part of that comes down to the combination of performance and design. The products sound great, but they’re also incredibly designer-friendly. That matters because the loudspeaker is no longer something that can simply be considered after the space has been designed. In many of the environments we work in, it has to become part of the design itself. “Considering the projects we’ve completed for clients across the United States, aesthetics have become incredibly important. When you can deliver the sound quality we expect while also giving the architect, designer and client something that complements the space, everyone wins.” While product quality and performance are essential, Ojeda places equal importance on the strength of the relationships Global AV Group builds with its clients, dealers and manufacturing partners. “Coming from the nightclub industry, I learned early on how important it is for people to do what they say they’re going to do. That experience shaped the way I approach business today, and why authentic, long-term relationships matter so much to me,” he noted. “We don’t just want vendors; we want partners. When we represent a brand, I treat it as if it were my own. We want the product to be specified properly, installed properly and represented in the best possible way. When we put our name behind a product on a project, our work becomes a reflection of that manufacturer just as much as it becomes a reflection of Global AV Group. “I also believe that extends beyond our own company. If there are five dealers representing the same loudspeaker brand in our market, I want all five of us to do great work. Every installation contributes to the reputation of that brand, and ultimately that benefits the manufacturer, the dealers and, most importantly, the clients experiencing those systems. “We’ve been fortunate to build relationships with some excellent partners, and we believe strongly in supporting them. For me, the best partnerships are built around people who share the same passion for the work and the same commitment to doing things the right way. “At the end of the day, this is a relationships business. Every integration company works hard to earn a client’s trust, and that

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L e f t : Globa l AV Gr ou p in st a lled o v e r 1,40 0 lou d spea k er s d u r in g a c o m p r ehen sive a u d io over ha u l a t C ae s a r s Pa la c e in La s Vega s.

trust is what leads to the next project, the next referral and, ultimately, a lasting partnership. When a client believes in what you do enough to recommend you to someone else, that means a great deal.” One partnership that has stood the test of time is Ojeda’s relationship with British manufacturer Void Acoustics. “I’ve worked with Void for around 16 or 17 years, having first been introduced to them when I was a partner at a previous firm,” said Ojeda. “They came to our workshop, and my first reaction was to how different the products looked. They were bold, unconventional and unlike anything else I was seeing at the time, and I loved that. “Then they turned the system on, and I was blown away. It was one of those memorable moments where the design immediately grabs your attention, but then the sound completely delivers on it. “I remember thinking, how can something that looks this distinctive sound and feel this good? What also resonated with me was the story behind Void. The company came out of a culture of people who were passionate about music and nightclubs, and wanted to create the kinds of sound systems they themselves wanted to experience. “There was an authenticity to that which I immediately connected with. It was a company built from a genuine passion for music and sound, and given my own background, that connection felt very natural.” Talking about equipment and events inevitably brings Ojeda back to the systems and experiences that shaped him, and he can recall countless moments when the right sound system transformed a space and created something unforgettable. “I remember the old EAW KF850 very fondly – that was some box,” he smiled. “I hosted an event at the Roseland Ballroom in New York City for around 6,000 people, and we had 12 stacks of KF850Ts with TAD compression drivers. It was an incredible system, and that night was truly special. “For me, getting lost on the dance floor is what it’s all about. It’s that feeling of being completely pulled into the music. For those few hours, everything else can disappear. That emotional connection is what has always driven me. “And I think that connection matters now more than ever,” he continued. “As a society, we’re becoming increasingly attached to our devices, and sometimes that comes at the expense of being fully

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present with the people that are around us. I catch myself doing it too. I can be sitting at dinner with friends or family and suddenly realise I haven’t put my phone down. Those experiences are supposed to be about connection, and I’ve always believed music can be an incredibly important part of maintaining that. “That’s why I believe we have a responsibility as integrators to think beyond whether a system simply meets a specification. The music needs to be clear, engaging and capable of creating an emotional response. Ultimately, that’s what the system is there to do.” Other than a very brief stint at a frozen yogurt shop when he was younger, the only work Ojeda has ever known has been DJing at parties and clubs, and building sound systems. “Now, at 53 years old, this industry has been part of almost my entire life,” he said. “I have an enormous amount of respect for it because it has given me so much in return. And I never want to stop learning. “I still seek out clubs, bars and restaurants around the world because experiencing different spaces and different approaches to sound continues to teach me something. “I recently had a meeting with an acoustician and told him I was planning a four-point system with loudspeakers facing one another. His immediate reaction was, ‘You can’t do that.’ “But some of the best nightclubs in the world have been designed using approaches that might challenge conventional thinking. We talked about Ministry of Sound in London, which he had experienced himself. “On paper, there are elements of a room like that which may go against what you would traditionally expect, but when you experience it, the result can be incredibly powerful. There’s an emotional, almost spiritual quality to the way the sound and the room come together. “That’s something I never want us to lose sight of. Measurements, modelling and technical fundamentals are incredibly important, but they are part of a much bigger picture. “Ultimately, people don’t experience a sound system by looking at a measurement. They experience it by listening to it and feeling it. “We get goosebumps for a reason. For me, the goal is finding that balance between the science of sound and the emotional response it creates. That feeling is the essence of why we do this.” www.globalavgroup.com

CPR B2ca rated options

VDC26263_VDC_I_AD_AW.indd 2

LSZH construction

Copper conductors

Designed for commercial AV

Reliable performance

26/08/2026 10:51

HOUS ES OF WORSH IP Au d i o v i s u a l u p gra de s a t worsh ip ve n u e s a r o und th e world.

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S ai n t M i c h ae l ’s A b b e y COMPANY: Whitwam AVI LOCATION: Farnborough, UK

Saint Michael’s Abbey is a small monastic community where Benedictine values and worship have been observed and preserved since the Abbey’s foundation in 1895. Living a traditional life of prayer, work and study, the community of monks at Saint Michael’s welcomed a recent upgrade of the Abbey’s AV, IT and security systems, a project led by specialist systems integrators Whitwam AVI. Brother Michael, a resident of Saint Michael’s Monastery responsible for overseeing the community’s operations, reached out to Whitwam AVI following a visit he made to Saint George’s Chapel in Windsor. “I appreciated the attention to detail which had been taken to respect the surroundings when installing the technology at Saint George’s,” recalled Brother Michael. “On seeing the customcoloured loudspeakers there, I knew this would be a great solution for Saint Michael’s Abbey.” Whilst the original enquiry was focused on upgrading the Abbey’s sound system, the project scope quickly grew, thanks to the commissioning of a full restoration of the Abbey. “Originally, we were designing for a new audio system, new microphones and a camera and video system to improve visibility for the Abbey’s organist,” said Ray Clarke, Operations and Engineering Manager at Whitwam AVI. “Following the restoration work, the project was then expanded to encompass the original requirement, plus a broadcast streaming system, CCTV and the integration of a site-wide networking solution across the Abbey and the Monastery.” Given the historic and sacred nature of the environment and the architectural constraints of installing new technology in a heritage building, the Whitwam AVI team carefully designed and commissioned various custom bracketry solutions and RAL colour-matched enclosures for both loudspeakers and cameras, to ensure that the new tech would blend in. Furthermore, customcoloured trunking was installed along the Abbey walls to ensure any cable runs were neatly contained. The audio system, which covers the nave, the high altar and the side chapels, consists of

pairs of Bose MA12 modular column array loudspeakers, ensuring even audio coverage throughout the Abbey. For the video, five Panasonic AW-UE50 PTZ cameras, also custom coloured, are installed at key locations throughout to capture proceedings during Abbey services. Aside from the live streaming functionality, the Abbey’s organist also benefits from an improved view of the venue via a 10-inch Lilliput video monitor, improving the accuracy of timings for musical elements of services. To ensure accessibility, a Sennheiser MobileConnect system was chosen for its ease of use, allowing hard-of-hearing users to listen to services via a smartphone app. A combination of Sennheiser gooseneck microphones and an Audio-Technica boundary mic for the high altar ensures crystal-clear speech pick-up. One of the key requirements was for Saint Michael’s to have the tools to stream its services online, as well as allow for events such as weddings to be shared with an extended audience. The broadcast system is based on Blackmagic Design hardware and an Epiphan Pearl Nano streaming solution. To maximise the technology and save on additional resources, Whitwam AVI proposed incorporating the broadcast cameras into the CCTV system. Using Antrica video encoders, the Abbey’s camera footage is sent directly to a HikVision NVR, which allows for smart monitoring of activity both within the Abbey and the wider monastery buildings. For video distribution, a networked solution via Lightware VINX encoders and decoders enables CCTV multi-view on an NEC 32-inch Large Format Display in key locations, such as the Abbot’s office. “It was important to deliver a system that will serve the Abbey well into the future; therefore, having the network infrastructure in place now will allow the system to grow as the needs of the monastery evolve,” concluded Clarke. “We’re proud to have been on board since the very beginning and to have had this opportunity to work with Brother Michael on a project that encompasses many different elements.” www.whitwamavi.co.uk

In Discus s io n: Bring i n g t h e co n gregat io n c lose r Carrie Kaumans, Channel Marketing Director, Ampetronic | Listen Technologies, journalist and Auracast Evangelist Phil Crieghton, and Per Persson, VP of International Sales and Business Development, Williams AV, discuss the ways in which Auracast™ can transform the worship experience for those with hearing loss. Houses of worship are meant to be welcoming spaces where people can find comfort, community, and belonging, but for people with hearing loss, the experience of attending services in a house of worship can be frustrating and lonely. “Trying to hear and understand speakers and vocalists often becomes even more difficult in churches where sound can bounce off hard surfaces, is swallowed in high ceilings, or drowned out by background noises,” explained Carrie Kaumans, Channel Marketing Director, Ampetronic | Listen Technologies. Assistive listening systems can help overcome these challenges, delivering clear, intelligible audio from the church sound system directly to end users’ ears. “Auracast™ broadcast audio-based assistive listening systems send highquality, low-latency audio to an unlimited number of Auracast-enabled devices over a broad range,” Kaumans described. “In houses of worship with an Auracast™ based system, anyone with Auracast™ -enabled hearing aids, Cochlear implants, earbuds, or headphones, can access a broadcast channel and stream the audio directly to their compatible device.” According to the World Health Organisation, more than 1.5 billion people worldwide live with some degree of hearing loss. Yet for Per Persson, VP of International Sales and Business Development, Williams AV, being able to offer a solution that will enable those people to better connect with services in houses of worship is a no-brainer. “Auracast™ delivers a clean audio feed directly to compatible devices, overcoming much of the distance and room acoustics that make speech hard to follow. For the congregation, that means clearer audio and more choice in how they listen,” said Persson. “There is no app to download and no sign-out desk to visit, and for congregants whose existing hearing aids rely on telecoil, venue receivers with headphones or neckloops give access to exactly the same feed,” he added. “For the venue, the Auracast™ one-to-many broadcast reaches an effectively unlimited number of listeners at once, while multiple streams can support needs such as interpretation. The result serves traditional assistive listening requirements while making clear audio available to a far broader group of people.” When UK journalist Phil Creighton experienced Auracast™ technology for the first time, it left him stunned. As someone with a severe hearing loss, Creighton has a desire to help others discover the life-changing properties of Auracast™, which led to the launch of aurahear.com – a website dedicated to Auracast™ news, reviews, interviews, and features. “The first time I experienced Auracast™ properly was at St Pauls Cathedral during a special event hosted by Samsung, Ampetronic, hearing aid manufacturer GN, and the RNID,” recalled Creighton. “The experience stunned me. I am so used to visiting venues and pretending to hear, hearing partial sentences, or the odd word, that I nearly fell to my knees. It was a shock to fully understand what the tour guide was saying through an Auracast™ microphone. GN ReSound’s excellent MultiMic+ is a matchbox-sized device that brings the technology anywhere. “Later in the summer, I took my daughter on a walking tour around London, and I could hear our guide on the streets, even outside a noisy

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A b o ve : S t Pa u l ’s C a t h e d r a l (p hot o c o u r t e s y o f Ph i l C r e i g h t o n ). R i g ht : S t M a u r i t i u s C h u r c h i n B e r g , S w i t z e r l an d , i s a h e r i t a g e s i t e t h at h as i n s t a l l e d an A u r ac as t ™ b a s e d s y s t e m .

pub, which is something that I would simply never have envisaged before Auracast™.” Installations of Auracast™ systems are relatively straight-forward. “There is no need to cut flooring or walls to run wire or loops, so they can be installed in historic and listed spaces,” said Kaumans. “St Mauritius Church in Berg, Switzerland, is a heritage site that has installed an Auracast™ based system. Transmitters are small and unobtrusive, available in white and black, and can be mounted on walls, poles, and ceilings. This helps them blend in with the church design and aesthetic while optimising broadcast range.” Persson added: “What makes Auracast™ especially exciting is that accessibility can become part of the broader audio experience, rather than something separate from it. “For houses of worship, we can design for accessibility from the beginning while also giving people more choice in how they listen. In spaces where distance, reverberation or background noise make speech difficult to understand, that direct connection to the audio can create a clearer

listening experience for anyone, regardless of hearing ability.” Kaumans concluded: “An Auracast™ system’s broad coverage gives worshippers greater freedom to sit and move throughout covered areas without being limited to designated seating. “Multiple channels can be used to offer different broadcast streams: assistive listening, language interpretation, or audio description. As the Auracast™ ecosystem grows, churches with Auracast based assistive listening systems can support dedicated receivers today while increasingly supporting compatible personal devices. “In doing so, they are increasing audio accessibility for everyone and ensuring all who enter can hear and are included because all are welcome and belong.” www.aurahear.com www.listentech.com www.williamsav.com www.bluetooth.com

Tran s fo rmat io n C h u rc h COMPANY: Riedel LOCATION: Tulsa, Oklahoma, USA

The Transformation Church, one of the fastest-growing and most influential digital ministries in the United States, has deployed a comprehensive communications system built around Riedel’s Artist intercom ecosystem, including an Artist-1024 matrix, Bolero wireless beltpacks, headsets and SmartPanels to support its growing production operations. Known for creating content that reaches tens of thousands of concurrent viewers each week and hundreds of thousands more throughout the year, Transformation Church relies on seamless communication between directors, camera operators, lighting teams, audio engineers, stage managers, and broadcast staff to deliver both live and online experiences. As production demands increased, the church recognised the need for a communications system that could provide greater flexibility, scalability, and reliability. “From day one, our previous communications system was operating at its limits,” said Keithan Carroll, Director of Production and Technology at Transformation Church. “When we moved to Riedel, the difference was immediate. The audio clarity was night and day. You don’t have to run everything at maximum volume just to understand what is being said, and that makes a huge difference during long production days — less listening fatigue.” Designed and deployed by Diversified in collaboration with Transformation Church, the system is centred on an Artist-1024 intercom matrix and supported by 50+ Bolero wireless beltpacks across 39 antennas, 40+ 1200 Series SmartPanels in both 1RU and 2RU configurations, and over 90 Riedel headsets in PRO and AIR variants. The solution supports teams working throughout the organisation’s three-story venue, which includes a 3,000-seat auditorium, production control rooms, studios, meeting spaces, and children’s ministry areas. General crew run lighter-duty earmuff headsets, while staff with specialised roles use custom single- and dual-ear configurations on the same system. Beltpacks also support Bluetooth pairing, allowing IFB-style host

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monitoring and personal calls to route through a single headset without device changes mid-show. “We can walk from one end of the facility to the other and stay connected,” said Carroll. “The coverage has been incredibly reliable, and the transition between antennas is seamless. We can step outside, get in an elevator, go pretty much anywhere in the building, and we’re confident we’ll still have comms.” SmartPanels have further streamlined operations by providing intuitive, color-coded interfaces that help users quickly identify channels, groups, and priority communications. The Artist matrix also gives operators persource volume control — something the previous party-line setup didn’t allow — so individual levels can be adjusted on the back end without affecting the rest of the team. The ease of configuration has also allowed communications management to be delegated to technical staff, freeing production leaders to focus on show execution rather than system administration. “What has stood out is the relationship,” added Tyler Tritten, Technical Director at Transformation Church. “Many manufacturers focus primarily on the integrator relationship, but Riedel has consistently shown that they care about the end user. Whether it’s proactive checkins or quick responses when we need assistance, that level of support has made a real difference.” When a Riedel regional sales manager visited the church unprompted, he identified an open issue and arranged a fix on the spot — direct manufacturer engagement that Tritten described as uncommon in his experience with AV vendors. “Transformation Church has built a production environment that’s designed for the future,” said Josh Harrison, Regional Sales Manager, South, at Riedel Communications. “As the church continues to expand its production capabilities and extend its reach to audiences around the world, its communications infrastructure provides a scalable foundation that enables seamless collaboration today while supporting whatever comes next.” www.riedel.net

Ch urc h o f S a n F ran c i sc o d e A s í s COMPANY: HK Audio LOCATION: Valparaíso, Chile

USB-C Audio (class compliant)

SDI & HDMI Inputs

Audio DSP & Mixer

SDI & HDMI Outputs

De-Embed/ Shuffle/Embed

Mic/Line Inputs

GPI I/O

Line Outputs

Headphone Outputs

MADI In/Out

The historic Church of San Francisco de Asís is one of the most significant National Monuments in Chile’s V Region and has reopened with a complete sound reinforcement upgrade featuring HK Audio’s SI Series P10j column loudspeakers. Installed by Audio Integra in collaboration with HK Audio, the system delivers outstanding intelligibility and discreet aesthetics – meeting the complex acoustic and heritage requirements of the landmark space. First constructed in 1845, the church has long been an emblem of the city – so iconic that early sailors used it as a visual reference point when approaching Valparaíso, earning the city its nickname, El Pancho. After suffering three major fires in 1983, 2010 and 2013, the building has now been fully restored, with the 2024 renovation marking a new chapter for the historic site. For this latest restoration, Audio Integra and HK Audio worked closely on detailed acoustic simulations to determine the most suitable loudspeaker solution for the church’s two main areas. According to Alfonso Verdugo, Media Manager at ProSound Chile, the SI Series P10j proved to be the ideal choice. “Two major factors influenced the decision,” said Verdugo. “The church needed a solution that was elegant and compact enough for a protected heritage building, while still delivering consistently high audio performance. After three fires in 20 years, it also required a system with a robust security rating for clear emergency warnings.” The P10j, a passive installation column speaker featuring ten 3-inch drivers, provided the perfect blend of power, detail and architectural discretion. “The acoustic simulations from HK Audio were extremely accurate,” Verdugo continued. “They precisely predicted the final results and according to three independent studies, this system is considered the best tested among Catholic churches in Chile to date.” Like many large, historic churches, the main challenge at San Francisco de Asís was excessive reverberation impacting speech intelligibility. The P10j successfully overcame these issues, providing focused coverage and exceptional clarity while maintaining a natural listening experience throughout the space. Beyond performance, durability and safety were essential. The SI Series P10j meets IP55 environmental standards and is certified to EN 54-24:2008, ensuring suitability for both humid conditions and emergency-use scenarios. Since reopening, the system has been met with enthusiastic feedback. “Being part of something this meaningful for the city of Valparaíso is truly special,” said Verdugo. “Users love the sound and the look of the speakers – it’s rare to find a solution that is both elegant and acoustically impressive at the same time. It perfectly reflects the level of respect required for a renovation like this.” www.hkaudio.com

Edge

ONE One Box. Countless Solutions.

Post-Production Studio Floors Suites

Remote Production Pro AV Installs

Live Event Venues

Feature availability is subject to the selected licensing configuration.

Ho pe C hurc h COMPANY: Ayrton LOCATION: Singapore

When Hope Church in Singapore wanted to add to its lighting stock, the church returned once again to Ayrton products, purchasing a consignment of Ayrton Eurus and Huracán Profiles to increase its existing inventory of Eurus Profile and Ghibli fixtures. Purchased through Ayrton’s exclusive distributor for Singapore, Total Solution Marketing (TSM), Hope Church Lights Team explained why the Ayrton fixtures were their go-to choice: “We already have a great relationship with both Ayrton and TSM, who have always offered excellent post-sales service and technical support, and we find Ayrton fixtures to be both highly versatile and very reliable,” said a representative from the church. “These lighting fixtures offer precise and reliable positioning across the models we use in our church, and their fast, smooth movement, especially when triggered through position palettes, has significantly improved our workflow. “The strong beam output of both Eurus and Huracán Profiles has helped us achieve our artistic vision with greater impact.” In addition to regular worship services, Hope Church Singapore hosts a variety of events at its 1,400 seater auditorium, so versatility and flexibility are key to the right fixture choices. “We first purchased the Eurus Profile in 2021, adding to that stock a couple of years later and once again in this latest investment, choosing to complement them this time with Huracán Profiles,” explained the Hope Church Lights Team. “We find the Huracán Profile to be an exceptionally versatile fixture,

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offering an extensive gobo selection, powerful light output, and a broad beam range. It has been instrumental in enhancing our church lighting designs, particularly in adding rich textures and colours to side walls for immersive atmospheric effects. We especially value its flexibility, from creating stage washes to producing tight spots, along with both light and heavy frost options. The ability to maintain strong visual effects, even with coloured outputs, has truly elevated the creative possibilities of our lighting setup. “Ayrton fixtures are also impressively well-built, with a robust housing that reflects high-quality engineering. The integrated water-cooling contributes to the fixture’s overall stability and ensures long-term durability, and minimal fan noise is an additional bonus. “Our new Eurus and Huracán Profiles have significantly expanded our creative possibilities, allowing for a wider range of programming and design across various lighting states. Whether it’s for a song presentation, dance segment, or our weekly praise and worship services, these features have greatly enriched the visual impact and versatility of our lighting designs.” Vijay Thaygarajoo, Ayrton Regional Sales Manager, added: “We’re honoured by Hope Church in their confidence in choosing to add the Ayrton Huracan Profile and Eurus to their lighting inventory, and by doing so, to continue to push creative boundaries and embrace technology that elevates both the visual experience and emotional connection of their productions.” TSM’s director of Strategic Business Partnerships, Ming Hee, added: “We are very glad the Eurus Profiles have fitted in so well to the regular services and many other key events for the Church over the past years. It is important for us as a company to hear Hope Church Lights Team’s vision for this venue, and this purchase is evidence of the healthy partnership that exist between us, and proof that Ayrton continue to offer products that are consistent and feature-rich. TSM will continue to support Hope Church to achieve higher grounds in their production.” www.ayrton.eu | www.tsm-int.com

Igl es ia M á s Que Ve n c e d o re s COMPANY: Musitempo LOCATION: Santo Domingo, Dominican Republic Pho t o: Alejand r o Al v are z .

Musitempo was entrusted with the complete design, integration, and commissioning of a state-of-the-art worship venue for Iglesia Más Que Vencedores in the heart of Santo Domingo. The project scope covered all disciplines required to deliver a worldclass performance and worship environment, including acoustic design, sound reinforcement, and lighting systems. “From initial modelling to final system tuning, the objective was to create a space capable of delivering exceptional clarity for spoken word while maintaining the emotional impact and sonic depth required for high-level musical performances,” said Musitempo Chief Technology Officer Fernando Hernández Voigt. “This venue holds a unique distinction within Latin America, as it is one of few where both its musicians and audio engineers are multiple Grammy Award winners, setting an exceptionally high benchmark for performance standards. “As a result, the level of quality, precision, and consistency delivered had to meet – and exceed – the expectations of world-class users operating at the highest level of the industry.” A critical foundation of the project was the development of an acoustic study based on detailed simulations using EASE 4.3, where the architectural geometry was modelled in both 2D and 3D to evaluate the interaction between materials, reflections, and system output. The design targeted a controlled reverberation time (RT60) ranging between 1.5 and 2.5 seconds, with a carefully balanced average of approximately 1.7 seconds in the mid-frequency range – achieving a delicate equilibrium between warmth for musical performance and intelligibility for speech. This balance was particularly critical given the dual-purpose nature of the venue, where both sermons and high-energy live music must coexist without compromise. To achieve this, special acoustic panelling was set up at the rear wall and in the ceiling at significant height to preserve clarity across the entire audience area. The sound system was designed around a Meyer Sound platform, ensuring consistency, headroom, and sonic precision across all operating conditions. The main system is built on LEOPARD line array technology, configured in L-R stereo hangs consisting of eight elements per side, and eight 900-LFC subs in cardioid setup, consisting of four boxes per hang

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for powerful yet controlled bass response. Stage front fill is covered by four Ultra X20 loudspeakers, with four USW-112P Subs recessed under the stage for additional low-end. DSP is handled by a pair of Galileo Galaxy 816 processors. At the control level, the system features two DiGiCo Quantum 225 consoles at FOH and at monitor position, providing a powerful and flexible mixing environment capable of supporting demanding productions. Discussions with the engineers focussed on their needs from the system. “With the Worship Director also being multiple Grammy and Latin Grammy Award winner Juan Luis Guerra, their FOH engineer, Allan Leschorn – also a multiple Latin Grammy winner - is well accustomed to solutions from Meyer Sound and DiGiCo, as both are on their rider preference when touring,” added Hernández Voigt. “They were closely involved in consultation, and we brought in some additional consultation for acoustic design and system prediction by the hand of application engineer Guillermo Sanchez, and lighting design from Hjalmar Gomez, who is the touring LD for the Juan Luis Guerra and 440 band. “After installation, the new audio system’s optimisation and tuning was overseen by Oscar Barrientos, Latin America Technical Service Manager, Meyer Sound.” For the lighting solutions, Musitempo supplied a fully integrated lighting solution using Martin Professional fixtures, including 12 ERA 800 Performance luminaires, eight ELP CL profile fixtures, and eight ELP PAR units, controlled via an Obsidian NX1 console to enable advanced programming and reliable show operation. “This project stands as a testament to Musitempo’s capability to deliver fully integrated, high-end solutions where acoustics, sound reinforcement, and lighting come together seamlessly,” concluded Hernández Voigt, “and the project’s successful delivery was also made possible through the leadership of Project Manager and Construction Engineer Jaime Jimenez, whose commitment extended beyond conventional construction management. “Through dedicated training and specialised studies in auditorium design and construction abroad, he played a pivotal role in ensuring the venue’s architectural, structural, and technical elements came together to achieve the project’s ambitious performance goals.” www.musitempo.com

Evangelic a l C hine s e C h u rc h COMPANY: Elation Lighting | Morgan Sound LOCATION: Seattle, USA Photo: Fra s e r B r e arl e y .

A newly installed Elation lighting rig with Obsidian NX4 lighting control system has been installed as part of a wider AV upgrade at the Evangelical Chinese Church of Seattle by Morgan Sound. The project marks a major step forward for the 200-seat church as it transitions from a traditional worship style to a more contemporary, dynamic environment designed to engage a younger generation. Led by Fraser Brearley, Sales and Systems Associate at Morgan Sound, with Art Howard as Project Manager and Jamey Atkins and Steve Gregory as lead installers, the Morgan Sound team designed and implemented a fully-integrated AV system. “The church’s old audio and lighting system was extremely basic,” said Brearley, who served as lighting designer and sales technician on the project. “They only had a few Parcans running off an NSI dimmer pack, so it was time for an upgrade. Working closely with Elation rep firm Audio Source and Jim Graham, who was instrumental in assisting with product selection and demos, Morgan Sound selected Elation fixtures that fit the space both aesthetically and functionally. Two FUZE SFX LED spot FX moving heads and six full-colorspectrum KL PAR FC LED units, both in white housings, were installed behind the stage on a power-and-DMX integrated pipe, resulting in a tidier look, while front lighting is handled by two FUZE PROFILE LED framing moving heads and five full-color KL PROFILE FC ellipsoidals, also mounted on a power-and-DMX integrated pipe. Outdated fluorescent uplighting was also replaced with KL PAR FC fixtures, which were placed on a soffit

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between the sanctuary’s side windows. For control, Morgan Sound specified an Obsidian Control Systems NX4 console – Morgan Sound’s preferred platform for most of their projects. “The NX1 is great for small venues but is still very powerful, and the NX2 works well for clubs,” Brearley stated. “For this install, we went up to the NX4 to have the motorised faders, the color picker, the bigger screen, and more DyLOS zones. It’s a great console.” Morgan Sound also incorporated NETRON data distribution nodes, using one EP4 Ethernet-to-DMX gateway for the powerand-DMX integrated pipes and three EP2 units to manage the soffit uplights. “They were super easy to set up and have been rock solid for us,” he said. The new system creates a wealth of new possibilities for the church, and they are already introducing more engaging activities for young people, a key factor in attracting and retaining young attendees. Brearley offers one example: “For a summer camp, they used the FUZE PROFILE and SFX heads to create an aurora borealis effect in slow movement and pastel colors, which was really beautiful. That was something that would have been impossible before,” concluded Brearley. Morgan Sound has helped the Evangelical Chinese Church of Seattle achieve its vision of transforming to a vibrant, modern worship environment that resonates with the younger demographic, a transformation made possible in part by a dynamic Elation lighting system. www.elationlighting.com | www.morgansound.com

Mugello-KH2P I

Precision engineered for world-class venues. Chosen for the new Rabat Ice Hockey Arena in Morocco, Mugello-KH2P I delivers exceptional speech intelligibility, controlled directivity and powerful, consistent coverage throughout one of Africa’s most modern multipurpose arenas.

Designed for acoustically demanding environments, it provides the performance and flexibility required for international sporting events, live entertainment and everything in between. www.k-array.com

Freedo m C hurc h COMPANY: EAW LOCATION: Acworth, Georgia, USA

Freedom Church has opened the doors to its new 1,000-seat auditorium, and the growing congregation’s sound now matches its size. With the support of leading professional services organization HWPco, MessengerAVL designed and integrated a system built around Eastern Acoustic Works’ (EAW®) Newport Series line arrays that give the church the clarity and consistency it needed for a room unlike most. Freedom Church had outgrown its previous 300-400 seat sanctuary, where four services ran every Sunday. Its new auditorium solved the space problem but created a different one: a steeply raked, amphitheater-style layout with a small flat floor and seating that rises sharply toward the back. Standard coverage patterns would not reach every seat evenly. MessengerAVL, long-time users and advocates of EAW technology, turned to the brand’s Newport Series line arrays along with additional supporting loudspeakers, subwoofers and amplifiers to meet the church’s ambitious audio goals. Chad Rigler, Manufacturer Representative for EAW, has worked with MessengerAVL for years and credits their deep familiarity with the brand as a driving factor in the project’s success. “I showed them EAW, and they’ve just fallen in love with the brand ever since,” he said. MessengerAVL’s Director of Product, Parker Gann, echoed the sentiment: “We’re fans of the product and the people. The EAW team has been great. They’ve supported us really well across a number of projects.” Freedom Church’s leadership first heard EAW during a demo several years ago, where the ADAPTive series left a strong impression. When EAW later introduced the NT206L line array, MessengerAVL immediately knew it was the right fit for the new auditorium. “When it launched, I immediately saw it as a night-and-day improvement over the church’s existing system,” said Gann. “We contacted the tech director and made the decision to replace the speakers, and fortunately, there was still enough time to make the swap.” To handle the room’s asymmetrical shape, MessengerAVL designed a system that could deliver precise coverage from front to back. The

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final deployment includes 22 NT206L line array modules (11 per side), MKD1294 loudspeakers for outside fills, an MKD826 for center fill, MKC50s for front fills and four flown RSX218 dual-18-inch subwoofers, all powered by EAW’s Dante-enabled UXA4807D and UXA4403D amplifiers, with the NT modules operating self-powered. “It’s a big and very unusually shaped room for what most churches build,” Gann explained. “There’s a very small flat floor and then just straight raked audience all the way up. So, it’s the perfect room for line arrays where you need ‘J’‑shaped, asymmetrical coverage.” MessengerAVL wired the system with per-box processing, allowing Gann to EQ each speaker for its specific seating zone. He also took advantage of EAW’s rotatable horizontal dispersion fins to control energy in the long upper rows. “We rotated the horizontal dispersion fins in the top four boxes of the line array,” he says. “By flipping the fins from 110 degrees to 80 degrees, we were able to get more focused energy on the top rows without slamming the sidewalls, which at the time were untreated.” Rigler highlighted how the Newport Series simplifies this process: “The NT206Ls are designed to be hung and deployed quickly, requiring only minor adjustments. There’s far less time spent on the extensive backend work that was previously necessary.” The plan paid off immediately. “I was surprised at how fast it tuned,” Gann said, “and Resolution software did a good job. What we saw there matched what we were hearing in real life.” Freedom Church immediately noticed the difference compared to their previous system. “The sound quality is much clearer,” Gann confirmed. “They’re very impressed by the clarity, especially in the back of the room.” With the auditorium now open, Freedom Church plans to use the space for worship services, youth events, conferences and other large gatherings. The EAW system that MessengerAVL built gives them the headroom, clarity and coverage needed to support the church’s continued growth. www.eaw.com

MORE CHANNELS MORE FX MORE CREATIVITY

Go o d S hepherd C h u rc h COMPANY: DiGiCo | KLANG LOCATION: Charlotte, North Carolina, USA

Started in 1991, the Good Shepherd Church in Charlotte now holds four Sunday worship gatherings – three in English and one in Spanish – as well as for people all over the world through its online services. Leaders at the Good Shepherd are as tech-savvy as they are devout, and its technology choices, including the addition of a DiGiCo Quantum225 FOH console paired with the new KLANG:vokal+ as part of its IEM mixing world, reflect that. “Our previous console was about 16 years old and definitely showing its age,” said Good Shepherd Worship Arts Pastor Chris Macedo. “It lacked some of the capabilities we wanted, such as virtual soundcheck, automation features, and easy integration with external processing, so it was time for an upgrade.” When evaluating replacement options, the church initially didn’t look at DiGiCo solutions, figuring that the brand’s products would be out of its price range, but the Quantum225 “changed everything,” Macedo said. “Our technical director saw it, and it immediately stood out as a unique opportunity. It landed just above the price range we had been considering, but it made entering the Quantum ecosystem possible in a way that simply hadn’t been possible before. Without the Q225, we would not have been able to make that move.” The church purchased the console from Charlotte-based dealer/integrator World-Class Acoustical Visual Elements (WAVE), which upgraded the room’s acoustics and re-tuned the sanctuary’s existing PA at the same time, collectively revitalising the space. Good Shepherd’s technical team personally handled the installation of the console, and although they had not mixed on a DiGiCo desk prior to putting in the Quantum225, the crew’s impressions were very positive. “There was a noticeable increase in overall fidelity and clarity,” says Macedo. “The mix now feels more detailed and articulate, and the workflow improvements were also significant; moving between layers, organizing inputs, and navigating the console are far more efficient than what we had before.” The Quantum225 controls Good Shepherd’s FOH mix – with 48 inputs typically feeding into the desk – while the KLANG system handles all monitor mixing. A significant portion of the church’s audio infrastructure is Dante-based, accommodated via a DMI-DANTE64@96 card primarily used to receive audio from the DSP and route out to a DiGiCo DQ-Rack that services the drums and feeds wireless in-ear monitor system. Building upon the KLANG:vokal platform that the church first implemented in 2021, the church also recently enhanced its original KLANG:vokal processor with the :vokal+ upgrade, which boosted it to 64 mono channels on each of the 12 immersive in-ear mixes, and KLANG parametric Root/Intensity EQs for all 64 mono inputs and all 12 mixes. “The KLANG:vokal+ upgrade brought us from 24 channels to 64, a huge step up,” he said, “and gave certain musicians, such as our drummers, tons more flexibility in terms of setting up the percussion space for everyone. “They can put exactly what they need on their KLANG:kontroller or their iPad, set it, and forget it.” Macedo says the immersive 3D capability of the KLANG:vokal+ has given everyone onstage a fantastic space in which to perform. “All of our vocalists and our drummers use it,” he said. “A lot of our inputs are in stereo, so having that immersive space really helps them to dial in the width and the placement of everything inside of the mix. And they love it!” In addition to the musicians, the house engineers are equally pleased – with so much of the monitoring in the hands of those who benefit from it the most they can focus on what the audience is experiencing. “The user experience is far superior and it really allows us not to be limited by what’s available on the console, because the :vokal+ is really doing all the work,” he said. “So it allows our front of house to really focus on front of house, and we don’t have to have someone who is constantly watching monitors. I mean, week to week, we sometimes never even touch the mixes. It just works rock solid every time, and it makes Sunday very, very easy and enjoyable.” www.digico.biz

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/ Every stage, every night

Elevate your live sound with rock-solid reliability Say goodbye to feedback loops and bulky floor monitors. The 3000 Series IEM delivers clear, high-fidelity audio directly to the performer’s ears, giving them total control over what they hear. Easy to deploy and simple to operate, it’s the ultimate upgrade to achieve a cleaner stage and a studio-quality live mix every single night.

learn more at audio-technica.com

3000 Series IEM

Ho l y T rinit y C hurc h COMPANY: Electro-Voice | Dynacord LOCATION: Stratford-upon-Avon, UK

Holy Trinity Church in Stratford-upon-Avon is more than just a typical parish church. As the place of William Shakespeare’s baptism and the site of his burial, it is also a major tourist attraction, with a claim to be the most visited parish church in the UK. Alongside its position as a tourist hotspot, the church is an active house of worship, meaning that when it wanted to upgrade its sound system it needed a reliable, high-quality solution for services, spoken word, contemporary worship with a full band, and special events. It turned to NoiseBoys Technologies to find a solution that could help it meet this challenge. “Their old 100V system was coming to the end of its life,” recalled Phill Beynon, Director of NoiseBoys Technologies. “They wanted a solution that could handle both speech and music, and extend the coverage into different spaces to create a multi-zone system. Dynacord’s IX series networked DSP amps together with Electro-Voice’s EVC series speakers and LRC columns seemed like a really good fit for the project.” EVC-1082 loudspeakers cover the main body of the church. Models with the narrow 90° by 60° dispersion angle and rotatable horn for longer throw were selected for the nave, while the wider 100° by 100° variants evenly cover the side aisles, delivering clarity of speech and the full audio range required for mixing a live band. An ELX200 subwoofer, which can be plugged in when required and removed when not, enhances the full range coverage. LRC-1100 Line Radiator Column loudspeakers were selected as fills and delays for areas of the church such as the choir stalls and chancel. In architecturally sensitive areas the sleek enclosures and the compact SwifTilt mounting system keep the column speakers discreet and as

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close as possible to the wall, respecting the church’s architecture. “For historically significant areas like the chancel, where Shakespeare’s grave is, being able to use just use LRCs in that room was really good because they blend in with all the old dark woodwork in there,” said Beynon. “They’re good for filling in those areas where you need something discreet to do that job.” A pair of Dynacord IX30:8 and an additional IX15:4 amplifier power the system, with their line inputs utilised as Dante break-ins. Control is split via the amps’ built-in mixer and an Allen & Heath sound desk, the former providing simple control for day-to-day use, and the latter more handson mixing for services and events. SONICUE Sound System Software was used to set up the fully networked Dante audio system and design a customized GUI for the TPC-1 touch panel controllers, allowing staff and volunteers easy access to the main controls and the ability to switch between different operating modes. “They’ve got the touch screen TPC1, which has got a diagram of the church on it, and they can mute and unmute certain parts of it as they need to,” noted Beynon. “All they have to do really is turn it on and push one preset button and it’s ready to go during the week.” With the system installed, the feedback has been overwhelmingly positive. “The first Sunday we had the system in place I was leading a service, and just hearing people’s feedback and encouragement after, it was night and day,” reflected Reverend Matt Ford, Associate Minister for Outreach and Nurture at Holy Trinity Church. “I’d constantly be walking out at the end of a Sunday morning service a bit hoarse and croaky, and I thought finally, I’ve got a system that can back me up.” www.electrovoice.com | www.noiseboys.co.uk

When Was the Last Time You Checked Your Assistive Listening System? BECAUSE HEARING EVERY WORD MATTERS The mics get checked. • The lighting gets dialed in. • Every detail is thoughtfully prepared. But assistive listening? It’s often overlooked—until someone can’t hear.

In worship spaces, accessibility is about more than requirements—it’s about serving every member of your community. A system that isn’t tested, maintained, or fully equipped with receivers isn’t truly serving your congregation. Listen Technologies provides complete assistive listening solutions designed to ensure every message is heard clearly, by everyone in the room. From hearing loop and RF systems to the latest in Auracast™ broadcast audio, our solutions are built for reliability, simplicity, and inclusion.

Accessibility doesn’t end at installation.

Because when everyone can hear, everyone belongs.

Evaluate your system. Support every listener. Strengthen every connection. Learn more: www.listentech.com/assistive-listening The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. The Auracast™ word mark and logos are trademarks owned by Bluetooth SIG, Inc. Any use of such marks by Listen Technologies Corporation is under license. Other trademarks and trade names are those of their respective owners.

St Marga ret ’ s C hu rc h COMPANY: Audio-Technica | DM Music LOCATION: Halstead, Kent, UK

Hertfordshire-based AV installer DM Music has been a specialist in church sound and audio visual solutions for more than 30 years, and in that time the company has built a reputation for delivering flexible solutions in sympathy with the historic nature of the churches in which they frequently work. Recently, DM Music has turned to Audio-Technica’s System 20 PRO wireless when a client has required a simple-to-use, discreet and flexible solution for clergy and other users. The 2.4GHz system offers plug-and-play functionality, a range of microphone/transmitter options and is scalable to 20 channels, making it ideal for HOW applications, as DM Music Project Manager Alex Jones, explained: “We’ve installed System 20 PRO wireless in a variety of church situations over the last couple of years and there are several aspects of the system that make it well suited for our clients,” said Jones. “The ability to remotely locate antennas away from receiver units via standard Ethernet cable really helps to ensure good coverage without complicated antenna distribution systems and the fact that the range includes boundary microphones – which we’ll sometimes use at the altar – is really useful. The drop-in charging stations are extremely convenient too, as is the license-free nature of System 20 PRO as a 2.4GHz solution.” Among DM Music’s recent such projects is St Margaret’s Church in

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Halstead, Kent. The picturesque, flint-walled church dates back to 1855 and, typical of this kind of historic house of worship, required an unobtrusive, simple-to-use audio solution. “The Audio-Technica wireless system has made a real difference for us,” said Reverend Tim Edwards, Rector of the United Benefice of Knockholt with Halstead. “It has been straightforward and intuitive to use and has helped us provide clear, reliable sound for services and events at the church.” With four channels of System 20 PRO wireless fitting into a single 19inch rack space, the solution packs a great deal into minimal space, something else that DM Music’s clients appreciate. “For many churches, four channels are often enough radio mics for their clergy,” continued Jones. “The fact we can run these on a single System 20 PRO receiver with no additional antenna equipment keeps costs down and makes the installation discreet and unobtrusive. “In general we find that wireless, rather than wired, systems are a good choice in many situations. The lack of cabling, minimal set-up time, the fact that we can place boundary mics on altars rather than miking up clergy etc, makes them a great option. “And the System 20 PRO’s combination of excellent coverage, discreet, flexible installation and balance of cost and quality is very appealing for many church projects.” www.audio-technica.co.uk | www.dmmusic.com

30th EDITION

PARIS 25 & 26 NOVEMBER

2026

JTSE.FR

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Pro Tapes® - exhibiting with our UK A&E distributor

on stand D32-D34 at PLASA

Fi rst Ba pt ist C hurc h COMPANY: Martin Audio LOCATION: Carthage, Texas, USA

First Baptist Church has transformed its worship experience with a major audio upgrade, replacing a PA system that had remained largely unchanged since the church’s construction in 2003. The new installation centres on Martin Audio’s TORUS constant curvature array technology, delivering significantly improved coverage, clarity and consistency throughout the sanctuary. Over the years, the church’s worship style and musical programme had evolved beyond the capabilities of its ageing sound system. Uneven coverage, deteriorating loudspeakers and amplifiers, and a lack of intelligibility all contributed to the decision to invest in a modern solution capable of meeting both present and future requirements. To design and install the new system, the church turned to RP AVL, led by founder Ray Priszner. “I stepped away from a Technical Director role at a mega-church in the Houston area to found RP AVL in 2022,” said Priszner. “I missed helping churches and working alongside volunteer teams to increase their skill set in serving their local church. “This project started because of a relationship with a pastor who felt called back to his home church in Texas. In his prior church I had installed a smaller Martin Audio system which he really loved.” The church sought a system that would provide natural, clear sound, ensure even coverage across the congregation, and remain scalable as the ministry continued to grow. Speech intelligibility was a particular priority, ensuring voices would remain clear and present within the mix. Having previously experienced the Martin Audio TORUS system at InfoComm, Priszner was confident it would meet the brief: “I was very impressed with the tonality, imaging and HF coverage,” he recalled. The sanctuary itself presented several acoustic challenges as it is wider than it is deep with a stepped ceiling, meaning it exhibited a number of frequency anomalies. Acoustic treatment formed an important part of the overall project,

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while Martin Audio’s DISPLAY software played a key role in system design and optimisation. “Importing the room rendering and modelling with different Martin boxes made the process seamless - ultimately choosing the TORUS T820 and CDD6 to be the optimal boxes for the space,” said Priszner. “I’m very impressed how accurate the DISPLAY modelling was compared to the physical deployment of the system. Using SMAART I measured numerous positions within .2db of DISPLAY’s predictions. This alone has given me additional confidence when designing and implementing Martin Audio solutions.” The final system comprises two hangs of four TORUS T820 elements per side, supplemented by a pair of SX218 dual-18-inch subwoofers and a pair of Martin Audio CDD6 loudspeakers for outfill coverage. Power is provided by two Martin Audio iKON IK41 amplifiers. “Using the TORUS in single box resolution really helped with the coverage throughout the space,” noted Priszner. “With the constant curvature design, shading to the front rows without the need for front fills was a huge win.” The performance of the CDD loudspeakers alone made an immediate impression during commissioning. “I had just finished tuning the CDD6s when the worship pastor walked in and was amazed at the sound,” said Priszner. “I turned and looked at him to inform him that the only thing on was the outfills. His jaw dropped.” Reflecting on the project, Priszner believes the installation has achieved exactly what the church set out to accomplish. “The overall project was a huge success for this client,” he concluded. “They no longer have different areas in their room where the sound is louder or softer, and the clarity and fullness of the system is allowing them to experience worship and the word as never before.” www.martin-audio.com

St. Berna rd C at ho l i c C h u rc h COMPANY: Hylite LED | PKK Lighting LOCATION: Middleton, Wisconsin, USA

St. Bernard Catholic Church is shining brighter than ever following the successful installation of a state-of-the-art LED lighting system. By upgrading to the HyLite LED Lotus Lamp, the church has not only embraced modern energy efficiency but has also dramatically enhanced the beauty and functionality of its sacred space. “Facing either a re-lamp using outdated PAR incandescent lamps or a complete LED refixturing and dimming control upgrade reaching 6-figure costs, the HyLite Lotus Lamps provided the most elegant solution allowing us to drastically improve St. Bernards light quality and show a reasonable energy saving ROI for around the same labor cost as a simple re-lamp,” said Chris Driscoll of PKK Lighting. The Lotus Lamp was selected specifically for its versatility. To ensure every corner of the sanctuary was illuminated in clear, warm light, a mix of 40/60W and 100/150W dual-wattage models were installed. The Lotus Lamp restores the natural beauty of the sanctuary with an exceptional Colour Rendering Index (CRI) of over 90. It ensures that every architectural detail and liturgical colour appears true and vivid, just as they would under natural sunlight. The church’s architecture presented unique challenges, and its high vaulted ceilings and specific focal points like the altar meant that the installation had to utilise various beam angles: 15°, 25°, 40°, and 120°. By using these specific lenses, even light coverage was achieved. This custom approach eliminated dark spots and glare, and allowed

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the architectural details of the church to truly stand out. The light is directed downward onto the pages of the hymnal and the beauty of the sanctuary. The result is a space that feels more open, sacred, and most importantly, easier to see. Beyond the immediate visual upgrade, this system offers long-term peace of mind. Rated for up to 60,000 hours of lamp life, these LED’s drastically reduce the need for frequent, difficult bulb changes in high ceiling applications. This install-and-forget reliability means less maintenance and worry-free lighting for years to come, allowing the focus to remain on ministry rather than building upkeep. For the reader, the lectern now sees double the light intensity, making it easier for lectors to share their message without eye strain while the altar has seen a nearly five-fold increase in brightness, but perhaps the most vital change is in the pews. Previously, lighting was uneven, ranging from very dim to moderate, now, the entire seating area enjoys a consistent light, making it much easier for parishioners to read hymnals and prayer books. This upgrade represents more than just new bulbs; it is an investment in the community. By switching to high-efficiency LED’s, St. Bernard is significantly reducing energy consumption and maintenance costs, ensuring that resources can be focused on mission and ministry for years to come. www.hyliteledlighting.com | www.pkklighting.com

The next Era of haze:

AURA ONE LEaTCon

Hamburg Messe

6.-8.10.2026 Stand A1 - D04

Fo oth ills C o m mun i t y C h u rc h COMPANY: Pliant Technologies | Pro Connect Group LOCATION: Portland, Oregon, USA

Pro Connect Group, a full-service production, rental, and sales company, has successfully deployed Pliant Technologies MicroCom XR Wireless Intercom System to enhance communication workflows at Foothills Community Church in Molalla, Oregon. The project was led by Justin Blake Hamilton, principal and account executive for Pro Connect Group, who chose MicroCom XR for its exceptional value, performance, and simplicity. “MicroCom XR was the perfect fit for this church because it’s easy to use, affordable, reliable, and provides flawless coverage,” said Hamilton “MicroCom XR allows the congregation to communicate from the production booth, through the lobby, and into the sanctuary. Since the install, they haven’t had a single issue with the system.” Foothills Community Church needed a compact but capable wireless communication system that could support a small, distributed production team. The MicroCom XR system connects camera operators, the lighting technician, video director, and graphics operator, all across a 125 ft distance from the auditorium, separated by the church lobby and walls. “They are very happy with the system,” said Hamilton. Hamilton praised the MicroCom XR system not only for its consistent audio quality, but also for its rugged hardware and intuitive user experience, which he claims are key factors in the success of installations like this one, where full-time technical staff might not always be present. “What really sets MicroCom XR apart is the combination of broadcast-grade audio clarity and a tough, compact build that stands up to everyday use,” he concluded. “It’s a plug-and-play solution that doesn’t require a steep learning curve, which is crucial for churches and small teams.” Founded to serve live production, house of worship, and the corporate event markets, Pro Connect Group delivers end-to-end solutions that balance technical excellence with hands-on support. The success of its MicroCom XR deployment at Foothills Community Church is a testament to its commitment to quality and reliability in every install. www.plianttechnologies.com | www.pcg.live

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Look Solutions Fog machines made in Germany Look Solutions GmbH & Co. KG Bünteweg 3 · D - 30989 Gehrden Phone: +49-(0)5108-91 22 10 www.looksolutions.com · info@looksolutions.com

Episc o pa l C at hedral o f St . Ph i l i p COMPANY: Renkus-Heinz LOCATION: Atlanta, USA

The Episcopal Cathedral of St. Philip first opened in 1962 and has since become one of the largest Episcopal congregations in the United States. Its Gothic Revival architecture stands out against the modern city backdrop and creates an inspiring acoustic setting for the choir and pipe organ. However, the same could not be said for the cathedral’s ageing audio technology. In need of an upgraded sound system to support weekly services, the cathedral turned to Renkus-Heinz for a modern solution. With stone walls, high ceilings and hard floors, the Cathedral of St. Philip is a highly reverberant space, making speech intelligibility almost impossible with the existing system. “The previous sound system had been in place for over twenty years, cobbled together over time with parts that didn’t match,” said James Denmon of Dynamic AV Systems, who led the installation project. “We were approached by the consultant, Newcomb & Boyd, who had been tasked with delivering an upgraded solution that would optimise clarity and minimise reverberation. The regional representative for RenkusHeinz, Griffith Sales Associates, pointed them in our direction due to our experience with houses of worship and the ICONYX system.” In order to design a system that would address these architectural and acoustic challenges, Newcomb & Boyd created an EASE model of the cathedral, allowing them – in conjunction with Dynamic AV Systems – to determine which loudspeakers were best suited to the space. “We have worked with Renkus-Heinz plenty of times in the past. Knowing that speech intelligibility was the main goal, their ICONYX steerable system was the obvious solution for this venue,” Denmon said. “At the front of the hall we deployed two IC24-RD Digital Steerable Line Array loudspeaker systems as mains, supported by two IC8-RD arrays for the transepts at the sides. “Through to the back of the room we installed ten IC16-RD columns. The ability to steer sound directly to the audience is a real game-changer for acoustically complex venues such as this cathedral.”

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Throughout the installation process, the cathedral continued to rely on the existing system for regular services. Despite the added complexity, the Dynamic AV team carefully worked around the legacy equipment, ensuring that worship services proceeded without interruption. However, when it came to controlling the system, there were some initial network challenges. “The customer wanted to stick with their existing network provided by their IT company, but this simply wasn’t feasible with the updated solution,” explained Denmon. Ultimately, Dynamic AV developed a dedicated AV network, utilising Dante for intuitive, userfriendly FOH control. “We were able to get the system aimed, delayed, and equalised, with the flexibility to adapt for different scenarios. Wherever you are in the room, you can hear at least one of the IC loudspeakers,” said Denmon. For smaller services or events with fewer than 100 people, staff can easily turn off the back arrays to leave only the front IC24s, removing unnecessary loudspeakers for pristine clarity, while the full system delivers unmatched coverage to the entire congregation. The interior aesthetic is also a key part of the cathedral’s character, making it an essential aspect of the installation. While the previous system had not taken this into account – messy cables on display and bold loudspeakers – Dynamic AV Systems made sure that the RenkusHeinz system would minimise visual disruption. “The loudspeakers were custom-painted in a colour specified by the client to match the stonework,” Denmon revealed. “Working with the electricians, we also created custom-painted wire molds to run up the stone columns. Some elements now blend in so well that people were asking when the new system would be installed.” With the new system in place, the cathedral’s acoustic challenges have been resolved, while the experience for parishioners has been fundamentally enhanced to ensure more connected and immersive worship for years to come. www.renkus-heinz.com

More Capacity, More Range

IBC Stand 10.D29

E ag l e m o n t C h u rch COMPANY: EM Acoustics LOCATION: Beaumont, Alberta, Canada

When Eaglemont Christian Church recently embarked on an ambitious expansion project, audio quality was high on the list of priorities. With a growing congregation and a vision to create a purpose-built sanctuary, the church leadership understood that clear, natural sound would be essential for both worship and spoken word. The project brought together several key players, including Comtec Associates Ltd. as the consultant, dbi Systems Integration as the AV integrator, and Contact Distribution as the supplier. Central to the audio solution was British manufacturer EM Acoustics, whose loudspeakers were chosen for their clarity of voicing, consistency, and compact design. “A group of us from Eaglemont Church visited other facilities in the greater Edmonton area to listen to a few installations showcasing other audio systems,” recalled David Cacka, co-lead of audio at Eaglemont Church. “Whilst those other loudspeaker systems were certainly capable and a definite upgrade in terms of clarity and intelligibility, their application in our new facility ultimately lacked the natural, open voicing qualities of the EM Acoustics R10, and the very even sound field coverage of the Reference Series.” A new dedicated sanctuary auditorium was developed by Comtec Associates and dbi Systems were awarded the integration project via a tender process. “From the beginning, it was clear that the church wanted highperformance and reliability, and that meant EM Acoustics was a natural fit,” said Jordan Van Dyke of dbi Systems Integration. Lance Spratt of Comtec Associates recalled: “Through EASE modelling and simulation for evaluation, the EM Acoustics R10s demonstrated impressive coverage consistency and pattern control in a less-thanideal acoustic environment. “The boxes exhibited good mid-band pattern control, and the simulations indicated that interactions between boxes were well behaved. As a result of the simulation outcomes, EM Acoustics’ R10s were approved for inclusion as a viable solution.” The main Auditorium loudspeaker system consists of four R10 loudspeakers for even audio coverage throughout the room, supplemented by five smaller EMS-61 loudspeakers deployed as balcony fills to ensure consistency across all seating zones. A single ST-218 subwoofer delivers rich low-frequency content, and two DQ20D DSP amplifiers with Dante onboard ensure powerful and flexible system control. “The R10s gave us that perfect combination of form and function,” said Van Dyke. “The loudspeakers are compact, which helped a lot given the low ceiling height and crowded rigging space, but they still deliver tremendous output and good pattern control. Plus, the rigging hardware made installation convenient.” Today, the new sanctuary at Eaglemont Christian Church stands as a testament to thoughtful design and quality integration. For members of the congregation, the experience is intelligible – music is vibrant, speech is clear, and the audio system never gets in the way of the message. For the volunteer technical team, the consistency and reliability of the system offer peace of mind. “The result is a great sounding space with minimal visual impact,” confirmed Van Dyke. The installation allows the team at Eaglemont to focus on their ministry, not the technology and as Eaglemont Church continues to grow and serve its community, its audio system, quietly powerful and elegant, will remain a key tool in its spiritual and cultural mission. www.emacoustics.co.uk

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BUILT FOR MORE The new High Output family of loudspeakers expands the Sonance Professional Series into spaces that demand greater SPL, variable coverage control, and low-frequency performance.

The High Output family is available in pendant, surface mount, blind mount in-ceiling, and two-piece in-ceiling configurations, all sharing consistent voicing for seamless mix-and-match deployment. Built for foreground music in environments with high ambient noise, the compression driver delivers the clarity and SPL headroom to keep music clean and intelligible. Interchangeable horn assemblies ship in the box, allowing installers to adjust between 80° or 120° coverage in the field without special tools. A high-excursion 8-inch woofer extends low-frequency response to 41 Hz on select models, reducing system complexity.

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Laus a nne C at hedra l COMPANY: Nicolaudie Architectural LOCATION: Lausanne, Switzerland Pho t o: R Ginroz .

A new lighting installation for the Lausanne Cathedral was completed in 2025 and at its heart is the DINA DR1 from Nicolaudie Architectural, which according to the project LD, Jean-Yves Soetinck, “was chosen for the structure of the project itself: five distinct nocturnal states, two event scenarios and seasonal variations had to coexist within a single programming logic.” The DINA DR1 manages the exterior lighting, coordinating five distinct states for the facade alongside a unique liturgical scenario, following a complex schedule designed by Soetinck that uses the Solar Almanac and offsets to ensure the programming triggers at the correct moment everyday, unconstrained by a fixed time. Phase one takes place at twilight every day with a duration of 30 to 40 minutes, creating a warm amber veil around the Cathedral. During this phase the remaining natural light helps to highlight the natural surface of the stone. Regarding the precise yet variable triggering DINA DR1 performs for the amber state, Soetinck noted: “The DINA DR1 is what makes the amber phase possible, its relevance resting on synchronisation with the fall of natural light, as it does the seasonal drift of the reduced states.” As twilight ends, phase two begins. The intensity of the fixtures is increased, bathing the structure in warm, 2700K light. One of the challenges during this phase is to ensure the Cathedrals’ beauty can be witnessed from around the city without the light impacting nearby residents. This required absolute precision with levels that can be

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recalled by the DINA DR1 at a moment’s notice. After 22:30 in winter and 23:00 in summer, phase three begins with the light levels softening, some accents are withdrawn entirely while maintaining visibility of the architectural highlights, until a blackout begins at 00.30. In addition to the human impact there were also ecological challenges as the north facade of the Cathedral looks onto the Sauvabelin hillside, a key habitat for Alpine bats and swifts. As a result, to minimise environmental distraction, from March 15th September 30th each year the DINA DR1 blacks out the north facade for all phases to protect these species. Nicolaudie Architectural also provided use of the Nicolaudie Cloud Control service for the project, ensuring 24/7, worldwide remote access, so that programming or maintenance can be conducted without interruption to the existing program. “Our priority was standardising the entire control chain cost-effectively without compromising on features,” concluded Soetinck. “The DINA DR1 gave us precise control, complex triggering, and seamless cloud management that fit our workflow perfectly. “The trade-offs specific to a monument of this complexity are settled in dialogue, not in a manual. A single control environment across the whole chain finally secures protocol consistency, repeatable settings and maintenance the operator can carry without multiplying skill sets.” www.nicolaudie.com

Ch ri st Fellow s hip COMPANY: Diversified LOCATION: Palm Beach Gardens, Florida, USA

Christ Fellowship, one of the ten largest churches in the United States with over 14 physical locations and a global online audience, set out to elevate their Palm Beach Gardens broadcast campus to lead their post-pandemic growth strategy. Already their exclusive partner for ongoing campus expansion, Diversified was tasked with creating the most compelling hyper-real online message capture in the church world today. The end product needed to serve the local congregation, 13 additional South Florida campuses, and a worldwide YouTube audience. The project followed a multi-year planning process that included extensive demonstrations, technology evaluations and intentional design decisions around how the campus would support current production needs and growth for the future. Diversified worked to replace aging, decade-old systems with a state-of-the-art Ultra High Definition, High Dynamic Range–ready cinematic broadcast video system. Every component was selected for its role in delivering the highest performance alongside a minimum of a decade of reliability without compromise. The design featured Sony cameras and video switchers, a Ross video core with Furio Robotics, Riedel production intercom, an advanced Netgear production network, precision key lighting from Martin Professional and CHAUVET Professional, and a campus-wide fibre backbone built for future growth. The installation includes three control rooms, 2,000 strands of fibre and 50 miles of CAT6A, SDI and fibre cabling. The result is one of the most hyper-realistic message captures in the church world, a true best-in-class broadcast. Engagement at physical campuses during message playback is at an all-time high, while online reach continues to expand. With dependable, world-class systems in place, the team that used to spend Mondays troubleshooting now spends them preparing for the next Sunday. www.onediversified.com

Oscars kyrka n COMPANY: d&b audiotechnik LOCATION: Stockholm, Sweden

A familiar landmark in the Östermalm district of Stockholm, Oscarskyrkan (Oscar’s Church) is a large 19th century building which can hold up to 1,200 worshippers in its three-aisled interior. Knowing the challenges of church sound systems, Mono Plus, provided a d&b solution with a difference for a recent audio upgrade. Typical of its Neo-Gothic style, the ornate interior of Oscarskyrkan features high pointed arches and vaulted ceilings, with large stainedglass windows and stone surfaces. Such spaces are renowned for being acoustically challenging, and for a long time Oscarskyrkan had suffered with intelligibility issues – a distinct problem for a church hosting a programme of services, concerts and other cultural events. When the time came to renew and improve the sound system, the church’s management team turned to the expertise of Jacob Julin of Mono Plus. “When they decided on a replacement, they wanted a sound system that looked like their previous one – the same shape of boxes and positions,” said Julin. Importantly, in a protected building such as Oscarskyrkan, this like-forlike replacement would enable the work to be undertaken without the need for additional permissions. It also allowed Julin the opportunity to take a different approach. “The d&b E8 cabinet is very close in size to the church’s previous units and was therefore a perfect match,” he explained. The high reverberation times typically found in churches of this type tend to make the E-Series, with its fuller range, a choice to be

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avoided. However, in a happy coincidence, Oscarskyrkan is unusual in this respect. “It has a relatively short reverberation time, around three seconds, so the acoustic situation is actually quite good,” admitted Julin. “We expect church interiors of that age and style to have a much longer reverb – five seconds or more. “The Gustav Vasa, for example, another Stockholm church where we provided a d&b solution, had a reverb time of seven-and-a-half seconds – the most extreme we’ve had to deal with.” This installation sees 16 E8 cabinets, plus eight 4S as outfills to serve some additional benches along the wall, beyond the main seating – and another providing foldback for the organist. A pair of 12S-Subs complete the main system, which can effectively be used for live performance. The further extremities of the space see the familiar 24C and 16C column cabinets, with the whole system driven by eight 5D amplifiers. Specifications included colouring the cabinets in two distinct shades of grey to blend in with the architecture. “There was an architect involved with ensuring the colours matched the interior,” said Julin, “and they were very happy with what d&b could do in that regard. “The result is fantastic,” concluded Julin. “They love it. People talking through the system have really noticed that they are now heard in a way that they were not before. They feel that the room responds really well, so they love their ‘new hall’.” www.dbaudio.com

FOC U S 60

FOREST SEASONS AT DARK MATTER Berlin, Germany

MINT XL Leeds, UK

DUBAI FIVE LUXE JBR Dubai, UAE

BOTANICA Manama, Bahrain

REELWORKS Denver, USA

MONTANA HERITAGE CENTRE Helena, USA

THE THEATRE AT GREAT CANADIAN TORONTO Toronto, Canada

DOTS BAY HOUSE Hiriketiya, Sri Lanka

W CLUB Sihanoukville, Cambodia

THEBARTON THEATRE Adelaide, Australia

M o n t an a H e r i t ag e C e n t r e , H e l e n a, U S A .

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IN BR IEF Dynamic installation Forest Seasons utilises kinetic light to demonstrate the changing of the seasons. An expansive new multimedia installation by light and media artist Christopher Bauder at Dark Matter in Berlin has transformed the Transformator Art Hall into a 1,000 sq m walkable forest, shaped by the changing cycle of the seasons. Forest Seasons unfolds a dynamic annual cycle every 45 minutes, continually reimagining spring, summer, autumn, and winter. Light, colour, and movement reflect renewal, growth, departure, and stillness. Nature becomes a resonant space for human emotion. Technically, the work is based on a choreographed interweaving of laser light, projections, kinetic elements, and musical atmosphere. Utilising more than 50 Robe fixtures and 34 Kvant Berry Lite lasers, at the heart of the installation are dynamic kinetic lighting effects, including 390 KINETIC LIGHTS Rod Pixel 180 fixtures, and 96 KINETIC LIGHTS WinchM cables with LED bulbs. Also deployed is 35 Eurolite TMH-46 wash lights and five Martin Professional Atomic 3000 LED strobes, with atmospherics coming via two MDG Atmosphere ATMe Hazers and four MDG Atmosphere ATMe Fog machines. Within the space, trees rise with crowns formed from drawings of light. Moving video projectors cast shifting visual landscapes, while falling leaves and artificial suns introduce kinetic accents. The visual score rests on the finely balanced soundtrack by Dutch musician Chris Kuijten, which is played back through the venue’s in-house L-Acoustics sound system. www.darkmatter.berlin

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MI N T X L EMEA

LEEDS / UK

Photos: Mint Leeds

A ne ar two-de c ade relation ship be twe e n promote r and i n staller lan d s in a pe rma ne nt 2,500-c apacity ven u e on Le e ds’ W oodh ou se L an e. When Mint XL opens its doors on Friday 25 September, its main rooms will be running on a permanent Funktion-One sound system installed by the same audio partner that has worked with the venue’s promoters for the best part of 20 years. The 2,500-capacity venue occupies the former PRYZM site inside Leeds’ Merrion Centre, and lands at a point when plenty of UK nightlife operators are closing rooms rather than opening them. Mint XL offers an encouraging example of the UK entertainment industry finding fresh purposes for existing club spaces, transforming a onceempty venue into a new experience. For Mint XL, Mint – the team behind Mint Festival, Mint Warehouse, and the original Mint Club – has built a multi-room venue designed to run electronic music programming, touring live shows, private hire, and corporate bookings side by side. Its long-term audio partner is Audio Plus, run by owner Stefan Imhof. The relationship goes back to 2008, when Audio Plus won the contract to fit the original Mint Club with a Funktion-One system. A Mint Warehouse installation followed, and – helped along by what Imhof called the UK’s largest Funktion-One rental inventory – the company has since supplied systems and engineers for every Mint Festival, Cocoon in the Park, Newsham Park Festival, and Mint Terrace Party to date. Mint XL adds a permanent installation to a working relationship already built on festivals and one-off events. “We are excited to be working on Mint XL, as we can now translate the vibe of the large Mint Festival main stage to a permanent club installation,” said Imhof. “Using the latest Funktion-One VERO VX range and XTA DPA amplification, just like on our festivals, sonically the Ballroom promises to deliver a large-format club experience not yet seen in the UK.” The approach is specific, rather than building up from a typical club rig, Audio Plus has taken the touring system Mint uses on its festival main stage and made a permanent version, running VERO VX through XTA DPA amplification in the venue’s largest room. The Club and Cage rooms carry the same bass concept at a smaller scale. Both are built around Funktion-One’s F124 horn-loaded 24-inch subs, the same units used in the Ballroom, paired with the brand’s newest top-box range, Evo 2 and Evo 2L. Imhof described the combination as familiar territory for Mint regulars, comparable to the system deployed at a Mint Terrace Party, “but even more powerful.” DJ monitoring follows the same festival-to-club logic. Imhof exclaimed that “DJs will be delighted” by the set-up. PSM318 booth monitors, “FunktionOne’s legendary monitoring system,” as the Audio Plus owner refers to them, already in place at Mint Warehouse and on Mint’s festival stages, are in every booth across the new venue, giving touring DJs a consistent reference point regardless of which room they end up playing. Away from the main systems and booth monitors, the integrator positioned smaller Funktion-One speakers through areas that fall outside the primary coverage of the larger rigs, keeping fill consistent at the edges of each room rather than letting it drop away.

None of that works without treating the rooms themselves, and Audio Plus has specified tailored acoustic treatment across every space in Mint XL, targeting the hard surfaces typical of a converted club shell. “By absorbing unwanted room surface reflections, the musical experience becomes more direct and involving, significantly less tiring – a lot like an outdoor event,” Imhof explained, linking a well-treated room to the openair clarity Mint’s festival crowds already associate with the brand. The venue itself sits inside the Merrion Centre, owned and managed by Town Centre Securities, close to Leeds’ universities and its established nightlife and transport routes. TCS Asset Management Director, Charles Newman, called Mint XL “a fantastic new addition” to the centre’s leisure offer, pointing to the dense student population on its doorstep as one reason it should draw both students and the wider city. For Mint, the brief was always to build something big enough for largescale electronic music programming and touring live shows without losing what made the old rooms special. As the Mint team put it: “the focus on experience, connection and music remains exactly the same.” They added: “Mint XL is a huge step forward for us as a brand. For years we’ve operated just outside the city centre through Mint Warehouse and previously Mint Club, so being able to bring something of this scale directly into the heart of Leeds feels incredibly exciting. “We’ve completely reimagined the space from the ground up with production, atmosphere, and experience at the centre of everything. Leeds has such a rich nightlife legacy, and we’re proud to be bringing new life back into a landmark city centre venue with a project of this scale.” Imhof detailed how he believes the project has been a success, and he looks forward to seeing the response of clubbers when they attend the launch party on 25 September, headlined by Craig Richards and Enzo Siragusa alongside Fumiya Tanaka and Sonja Moonear. “Mint XL promises a cutting-edge club experience, using the latest available high-quality loudspeaker technology, carefully planned with an eye for detail – making sure that wherever you are on the dancefloor, you get to experience the music in the best way possible,” he concluded.

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TECHNICAL INFORMATION AUDIO 10 × Funktion-One Vero VX90 Loudspeaker 17 × Funktion-One Evolution 2 Loudspeaker 8 × Funktion-One Evolution 2L Loudspeaker 21 × Funktion-One F124 Bass Loudspeaker 2 × Funktion-One Evolution X-SH Loudspeaker 1 × Funktion-One Evolution X Loudspeaker 8 × Funktion-One Evolution 2-SH Loudspeaker 7 × Funktion-One F101.2 Loudspeaker 1 × Funktion-One F1201.2 Loudspeaker 1 × Funktion-One F81.2 Loudspeaker 6 × Funktion-One PSM 318 Loudspeaker www.audioplusuk.com

IN BRIEF AV Stumpfl’s PIXERA powers gigantic beachfront screen at luxury Dubai hotel Photo: Adrian Chambre

Dubai’s future-forward architecture continues to push what is possible across the city, and the 21-million-pixel LED façade at FIVE LUXE JBR hotel is no exception. Billed as “Dubai’s most glam beach resort”, the Ibiza-inspired hospitality venue features a striking large-format LED installation that synchronises immersive visuals with live poolside DJ sets, creating a seamless fusion of hospitality, nightlife and digital art. At the heart of the installation is a single AV Stumpfl PIXERA four media server. Tasked with driving an impressive 3,840 by 5,472 pixel LED display, PIXERA ensures flawless transitions between pre-rendered 3D sequences and real-time generative content, maintaining a continuous 24/7 stream for hotel guests, beachgoers, and visitors across the beachfront. Following its work on another FIVE group property in Ibiza, creative technology partner UNIT9 was commissioned to adapt their original Ibiza graphics concept for the Dubai location, while significantly expanding the technical aim of the system. “With visibility of the LED wall from the beach area, this allows the graphic content to be viewed not just by beachgoers, but also by those around the hotel property, and even patrons in their rooms,” said Lorenzo Venturini, Notch designer at UNIT9. “Getting this installation to work flawlessly with impactful content was an absolute must.” The client’s brief initially centred on adapting existing Ibiza content, while adding the element of realtime generative visuals capable of responding dynamically to DJ performances. The vision meant that UNIT9 needed a tightly integrated workflow to combine Notch, TouchDesigner, Chataigne and additional control systems. Managing this complex ecosystem demanded a media server platform capable of handling highresolution playback, real-time rendering and more simultaneously. AV Stumpfl’s PIXERA four provided the backbone for this workflow from the earliest stages of development. “The PIXERA four comes with a ton of power and the utmost dependability, which is what we needed from the beginning of this project,” said Venturini. “We started running tests locally before delivering the files to make sure everything ran without an issue, and the PIXERA worked perfectly.” www.pixera.one

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BO TÁ N I C A EMEA

MANAMA / BAHRAIN

Photos: Arjun Sureshlal

T h i s vi s ually striking c oc ktail ba r re af f irms its s t a t u s as a h ig h -e nd, a e sth e tic ally ple a sing n i g h t l i f e ve nue by ma king th e bold de c ision t o u n d e r g o a c omple te ma ke ove r, e nsuring e ve ry a s pe c t of th e spa c e is up to da te .

“Like everything in life, first impressions matter,” is how Giannis Nestor, Music and Entertainment Managing Partner at Botánica in Manama, Bahrain, summed up the thinking behind the venue’s newly completed refurbishment. This push to focus on instantly impressive visuals doubles as a fair description of the brief handed to the space’s lighting designer. Botánica is a premium cocktail bar that sits in Adliya, one of Manama’s busiest nightlife districts, and looks to grab customers with its aesthetic; the retractable roof, an extensive drinks menu, and a giant palm tree at the centre of the room all lean into this. Earlier this year, the venue closed for a full renovation, floor to ceiling, as Nestor puts it, which included handing the lighting brief to Alex Douglas Design. Nestor reached for two high-end reference points to explain what Botánica was chasing with this upgrade. “We wanted the place to have that wow factor that stays constant throughout the whole night, just adapting with the mood: mellow at the start of the evening, then moving to a high pulse, high energy atmosphere later at night,” he said. “The entire design of Botánica was inspired by nature: from the patterns and textures to the colours and materials used throughout the space,” Nestor stated. “Because of that, the lighting and sound had to become part of the experience as well, not just supporting elements. We believe that nature is already beautiful on its own; our role was to simply build around it, respect it, and let it shine.” That philosophy shapes how the room is meant to feel across a full night. “After a long day at the office, you walk in, and you see the warm, natural golden lighting – not too dark, not too bright, but perfectly balanced,” Nestor said. “During the early hours, we wanted a space designed to help you relax, sip your favourite drink, enjoy a great bite, and leave the stress of the day behind.

At the same time, the atmosphere prepares you for what comes next. As the evening unfolds, Botánica transforms from a chillout place into a proper nightout experience.” Lighting Botánica Douglas ‘Dougie’ came onto the project directly through Botánica’s management. “Alex was personally selected by the management team because of his outstanding reputation and proven professionalism in the industry,” Nestor explained. “After reviewing the concept and design vision for Botánica, he took full ownership of the lighting design and creative direction. We trusted his expertise completely, giving him the freedom to create without limitations. We believe that when talented people are empowered to do what they do best, exceptional results follow.” From Dougie’s side, the job meant taking responsibility for the complete lighting scope. He began: “Botánica has been around in Bahrain for some time now. This year, the owner decided to undertake a complete refurbishment of the space from top to bottom, bringing in an award-winning design firm to lead the architectural redesign. My role was to develop and manage the full lighting design scope for the project.” An open-air layout with a retractable roof means the rig has to shrug off both direct sun and the fine dust that comes with a Gulf climate, so weatherproofing was a running theme in Douglas’s spec. He built the system around Prolights’ outdoor-rated Astra Hybrid330IP – four IP65 hybrid moving heads chosen to cope with that open-air exposure – supported by a pair of CHAUVET Professional COLORado PXL Curve 12 pixel-mapped battens for beam work and movement along the room’s architectural lines. A pair of Prolights Mini VersaPars and two Prolights LumiPar 7IP outdoor par cans, also IP65-rated, act as

A b o ve : Alex Douglas Design, ‘Dougie’, programming the lighting for Botánica.

the DJ key light and accentuate the palm tree centrepiece. Thirty Astera NYX wireless bulbs, screwed into standard sockets throughout the space, supply the warm-white glow Nestor describes for the early hours, without any new cabling to fit them in. Dougie then detailed how this changes throughout the night: “Whilst these NYX bulbs are used in warm-white at opening, when in full club mode, they become far more dynamic – we are chasing them and using a whole host of RGB colours.” Two Portman P1 Evo blinders survive from the previous installation, kept on for their warm, tungsten-style glow, and an Antari F-6 Fazer adds atmosphere once the room shifts into party mode. Dougie runs the whole rig from an Avolites T2 on a Windows PC, with an Akai MIDI controller wired in alongside it so the resident DJs can trigger looks themselves mid-set. The Prolights fixtures reached Bahrain through Pro Lab, the brand’s regional distributor across the GCC. Facing obstacles throughout the build Fitting new fixtures into a space that had only just been rebuilt around a specific look was, unsurprisingly, one of the harder parts of the job. Nestor said: “One of the biggest obstacles we faced was figuring out how the new equipment would be installed in such a way that doesn’t affect the new design and aesthetic of the place. We had to find creative solutions for finding the right place to install and how to ensure they are mounted right, given the new interior.” However, this difficulty proved to be no match for the team involved in the integration, as the managing partner explained, “When you work with the right people, professionals who are experts in their field, these setbacks

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become much easier to manage and overcome.” Timing added its own pressure. Nestor continued: “We initially had just 35 days to complete a full refurbishment, which presented a significant challenge for everyone involved. Success depended on meticulous planning, precise coordination, and disciplined execution. Every stage of the project was scheduled with surgical precision to ensure that multiple teams could work efficiently and simultaneously.” The renovation itself ran to 40 days in the end, and Nestor called it “a remarkable achievement considering the scale of the work,” particularly set against, in his words, “the recent tensions affecting the wider region across the Middle East, which created additional logistical and operational challenges” for a project that had been in planning for around six months. Central to delivering the refurbishment on schedule was fit-out contractor Alliance Projects. “With such a tight programme, execution was everything, and Alliance Projects were instrumental in ensuring the build stayed on track,” Nestor said. “Their coordination and ability to deliver within a demanding timeframe were major factors in our ability to complete a project of this scale in just 40 days.” The disruptions caused by regional tensions reached Dougie directly. Although Botánica reopened to the public in April, he wasn’t able to get back to Bahrain to finish programming the lighting system until months later. “The venue has actually been open since April, but due to the regional situation and travel restrictions caused by the conflict, I was unable to travel over and finalise the programming of the lighting system,” he says. The last pieces of the scope – on-site programming and the highresolution photography that goes with it – only wrapped up in the past month.

TECHNICAL INFORMATION LIGHTING 4 x Prolights Astra Hybrid330IP 2 x CHAUVET Professional COLORado PXL Curve 12 2 x Prolights Mini VersaPar 2 x Prolights LumiPar 7IP (IP65) 30 x Astera NYX wireless LED bulbs 2 x Portman P1 Evo 1 x Antari F-6 Fazer CONTROL: Avolites T2 Akai MIDI controller www.alexdouglasdesign.com www.botanicabh.com

Bringing music to the club The audio changes were smaller in scope but followed a similar brief to create the ideal nightlife atmosphere. Nestor stated: “As the layout of Botánica evolved, the sound system had to evolve with it. Our goal was to create a more balanced and immersive audio experience that complements the atmosphere of the venue. To achieve this, we added two additional subwoofers, bringing greater warmth and depth to the sound while reducing the harsh frequencies that can often cause listener fatigue.” The work went to Sky Audio, a partner Botánica has worked with for three years. “Throughout the process, we remained mindful of both our customers and our team, ensuring that sound quality and volume levels are enjoyable without compromising hearing comfort,” the managing partner said. Betting on high-quality kit Behind the finished room sits a deliberate procurement call that Dougie credits to Botánica’s owners. “One of the reasons I enjoy working with this venue team is that they have made a conscious decision to move away

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from purchasing imitation products and instead invest in reputable, genuine brands,” Dougie said. “The long-term reliability, support, and overall quality make a significant difference in both the installation and the end-user experience.” For Nestor, the choice to complete a full club makeover was definitely worth it. “It was undoubtedly a bold decision and a significant investment,” he said. He also felt extremely positive about how the finished result landed with the people who commissioned it, and the work of the professionals involved in bringing the space to life. “The outcome exceeded all expectations. Dougie transformed the vision into an immersive experience where light, atmosphere and emotion work together seamlessly. The result was nothing short of stunning and became an essential part of Botánica’s identity.” Nestor concluded by observing the finished space: “There were risks involved, but we believed in the vision. Today, we are proud to see that vision become a reality, transforming Botánica into a destination that reflects our ambition and creativity.”

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I N BRI E F ReelWorks Denver installs L-Acoustics DJ to transform its spatial audio capabilities. ReelWorks Denver is a 2,000-capacity concert and events space at the heart of the city’s vibrant River North (RiNo) Art District. The venue already billed itself as a fully immersive experience with projection mapping capabilities and intelligent lighting, but its sound system dated back to 2007 and needed updating. ReelWorks brought in local integrator Brown Note Productions, and the result puts the venue at the leading edge of live electronic music: an L2D spatial loudspeaker system paired with L-Acoustics DJ, the first complete solution for turning stereo mixes into true, 3D spatial audio, live. With it, ReelWorks becomes only the second venue in the Americas, after The Breakbeat in Chico, California, to make L-Acoustics DJ a permanent centerpiece, with both installations delivered by Brown Note. “We had completely outgrown what that old room could do,” recalled ReelWorks Denver Director of Operations Basil Osman. “It was fine for corporate events, but the moment we set our sights on hosting real concerts, we knew we needed to be operating on a completely different level.”

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At the core of L-Acoustics DJ is the company’s proprietary Source Separate technology which uses low-latency machine learning to split any stereo track into discrete stems – its beats, basslines, melodies, and vocals – and routes them straight into a spatial mix engine, so a DJ can position and move each element anywhere in the room in real time. The sound system’s design centers on three L2D arrays flown left-center-right above the main stage. “L2D was essential to this system,” said Matt Bauer, Senior Integration Project Manager at Brown Note Productions. “The compact arrays preserved sightlines, the LCR arrangement drives the immersive imaging, and the cardioid behavior keeps energy off the DJ booth so the artist can hear exactly what they are doing.” Osman concluded: “I believe we have the most advanced sound system in the region with L-Acoustics DJ and L2D. It’s aurally the perfect fit with what’s happening visually, and I just love this system. It’s so clear and crisp – it hits you in all the right places.” www.l-acoustics.com | www.brownnote.com

M ON TANA HER I TA GE C E N TE R A M ER IC AS

MONTANA / USA

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I n t e g r a t e d p r o j e c t ion, LED, a u d i o , a n d i n t e r a c tive te c h n o l o g i e s p o w e r th e v is i t o r e xp e r i e n c e i n th is new m u s e u m w h i c h t r ac e s M o n t a n a ’ s h i s t o r y and c u l t ure .

After nearly two decades of planning and five years of construction, the Montana Heritage Center opened in December 2025 with a focus on engaging visitors with an interactive and educational journey. Utilising dynamic LED displays, synchronised projection, spatial audio deployment, motion sensing, and a smattering of touchpoints, the museum tells Montana’s story from its earliest inhabitants through to the present day, bringing to life the land, cultures, and important milestones of the state. “Our goal is to provide curated, educational experiences for those who wish to learn the deeper story,” said Darby Bramble, Education Officer with the Montana Historical Society (MHS) at the opening. “We want to offer students and lifelong learners the opportunity to enrich their trip to Helena.” To tell the story clearly and deliver it seamlessly, MHS enlisted international AV and technology services company Electrosonic to design and engineer a complex system architecture, in collaboration with digital experience design firm RLMG. Within the 16,000 sq ft Homeland Gallery, RLMG designed over 20 media pieces that provide a well-modulated visitor experience – from immersive spaces within historic mines and homesteader cabins, to interactives that dive deep into archives. The media focuses on storytelling in both sweeping and intimate ways, involving a diversity of voices throughout history to today. Electrosonic brought in technology partners SNA Displays for the LED solutions, with Christie Digital providing more than 18 projectors across its Captiva and GS Series to deliver bright, detailed imagery in key exhibit spaces. The museum features 42 LED display faces across nine exhibits, all supplied by SNA Displays, using a mix of 1.2mm, 1.9mm, and 2.5mm fine-pitch LED technology, while RLMG created media that responds to visitor movement and touch, allowing exhibits to synchronise video, sound and lighting. Electrosonic Senior Project Manager Nikhil George takes up the story: “SNA Displays were a strong fit for the exhibit requirements and collaborated with the overall project team to deliver several of the museum’s LED-based experiences, while we selected PIXERA Two media servers as the primary media playback platform for many of the museum’s projection and LED experiences, delivering synchronised content across multiple exhibits. “The system distributes content to both projection and LED display systems while maintaining timing through networked synchronisation and timecode integration.

“ CA R EF U L S P E AKE R P LA CEM E NT , S Y S T E M T U NING, A N D C O O RD I NAT I O N WI TH E XHI B I T D E S I G NE RS H ELP E D C O NT AI N AU D I O WI TH I N I ND I VI D U AL E XHIB IT A R EA S W HI L E M AI NT AI N ING A C OH E S I VE VI S I T O R EX P ERI E NC E T HRO U G HOUT TH E G AL L E RY . ”

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“Additional processing was utilised where required for display mapping, blending, warping, and resolution management. “Fiber-based transmission utilising Extron hardware was used in select locations where longer cable runs were necessary, particularly for some LED display systems.” Across the galleries, visitors encounter interactive installations depicting Indigenous history, wildlife, mining and transportation, and any stories are shared in the original languages of Montana’s sovereign nations, with the museum’s lighting design overseen by Available Light. One of the centrepiece exhibits is the Mineshaft Experience, where fine pitch LED video walls and ceiling, spatial audio, synchronised lighting, and a vibrating floor recreate the journey of miners descending underground. “The Mineshaft Experience utilises Buttkicker tactile transducers integrated into the exhibit for the desired haptic effect,” said George. “Low-frequency effects are routed through dedicated audio channels to create vibration and movement sensations that enhance the immersive experience and simulate the feeling of being inside an active mine environment.” The main viewing screen in the Mineshaft Experience is made from SNA Display’s 1.2mm BRILLIANT Interior video technology, while the ceiling and both angled sides employ a 2.5mm pitch from SNA Displays’ BOLD Interior line. Combined, the Mineshaft Experience LED covers approximately 175 sq ft of digital canvas. Elsewhere, BOLD Interior LED is also utilised at the Washington Way entrance, and the Celebrating Montana exhibit, where motion sensors

and touchpoints trigger origin tales and scenes of village life that play in sync with sound and lighting. The triangular screen on the exhibit’s back wall employs a 2.5mm pitch to tell contemporary stories from Montana’s sovereign nations. Measuring approximately 8ft 10-inches tall by 11ft 10-inches wide at its base (1,080 by 1,440), the 2.5mm BOLD Interior screen processes approximately 1.6 million pixels. Also used in Washington Way for projection are three Epson EB-PU2220B projectors. Amplification throughout comes from Q-SYS CX-Q network amps, with various models of JBL, QSC, Klipsch, and Danley Sound Labs loudspeakers selected for deployment across the exhibits. “The audio systems were tailored to the storytelling goals of each exhibit, ranging from localised speakers and interactive audio points to immersive multi-channel environments,” explained George. “Careful speaker placement, system tuning, and coordination with exhibit designers helped contain audio within individual exhibit areas while maintaining a cohesive visitor experience as people make their way through the gallery.” With Q-SYS managing the audio DSP and PIXERA the visual content, the overall system programming was programmed utilising Smart Monkey’s ISAAC network management. “One of the more challenging areas of the project was integrating the large-format projection, LED, audio, lighting, and show control systems so they operated as a single coordinated experience,” said George. “Maintaining synchronisation across multiple technologies and exhibit environments required close coordination between content developers, technology partners, and the installation team. “The Mineshaft Experience and Washington Way experiences were particularly complex due to the combination of immersive media and multiple integrated systems. “The majority of the exhibits were designed to operate automatically through scheduled start-up and shutdown routines to minimise dayto-day intervention by museum staff. “Interactive exhibits are primarily visitor-driven through touchscreens, motion sensors, push-buttons, and other physical triggers, so staff training focused on basic system operation, content management, and troubleshooting, rather than complex AV control. The goal was to make the system intuitive and easy to operate while maintaining reliability across the gallery.” The modern, software-defined AV architecture is centered around ISAAC, allowing the staff to manage and monitor multiple AV sub-systems with uniform workflows. This show control system, implemented by Smart Monkeys, Inc. connects media servers, projectors, audio systems, and PCs across multiple exhibit spaces, giving operators access to simple user interfaces for start of day, end of day, and timeline start/stop functionality. These technologies were organised around individual exhibits and museum zones, allowing the operations team to manage technology from the exhibit level all the way up to the entire facility. The exhibits within the Center are designed not only to educate, but also to evolve, with the integrated technology infrastructure allowing for content to be refreshed and expanded over time, ensuring future generations can continue to engage with Montana’s history through new stories and perspectives. “The Montana Heritage Center demonstrates how technology can deepen engagement with history and culture when it’s thoughtfully integrated into the visitor experience,” concluded Alex Westerh, Vice President of Marketing, Electrosonic. “Working alongside an exceptional team of partners, we helped create an environment where projection, audio, LED displays, lighting, and interactivity work together to bring Montana’s stories to life in ways that are immersive, educational, and memorable.” www.electrosonic.com www.rlmg.com www.snadisplays.com www.availablelight.com www.montanamuseum.org

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A B O VE: The in t egr a t ed t echn ology i n f r as t r u ct u r e a llow s f or c on t en t t o be r e f r e shed a n d expa n d ed over t ime.

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TH E T HEAT RE A T GR EAT CANAD I A N CASINO RES ORT TOR ONT O A M ER ICAS TORONTO / CANADA Photos: Neil Burstyn, ntbCreative

A l igned V i s i o n G r o u p s t e p s i n with a com p l ete a u d i o vi s u a l p a c kag e f or a v enue wi t h a d y n a m i c a n d varie d s how r os te r .

The Theatre at Great Canadian Casino Resort Toronto opened with back-to-back sets from Gwen Stefani and Blake Shelton for the resort’s Official Grand Opening Weekend, and the room made a bit of history in the process. The 5,000-capacity venue is home to the first permanent installation of Meyer Sound’s Panther line array in Canada, delivered by an integration team that was able to configure and refine both the venue’s complete audiovisual system and elements of building construction. Located ten minutes from Toronto Pearson International Airport, The Theatre is the flagship room for Ontario’s newest and largest casino resort, built with a brief that required a full audio, lighting, and video package. Great Canadian Entertainment (GCE) wanted a venue for concerts, comedy, and MMA shows on rotation, built to a standard that would attract Live Nation as a resident promoter. Working with the client’s AV Designer, AVIO Designs of Vancouver, BC, the system design and install went to Aligned Vision Group (AVG), an integrator that had already delivered GCE’s smaller venue at Pickering Casino Resort. “This was a natural continuation of the work we’d already done with one of their other venues,” began John Coniglio, Partner at Aligned Vision Group. “The client was trying to achieve a rider-friendly performance space for their venue as part of a wider hotel and theatre expansion.” AV Group’s relationship with GCE predates Pickering Casino Resort’s completion by several years. Coniglio was in dialogue with the operator’s construction team well before that first venue opened, a process COVID-19 stalled for roughly a year before Aligned Vision Group won the job on tender. For the larger follow-up, The Theatre, GCE tendered again rather than handing the integrator the work outright. Guy Wallace, Partner at AV Group, added: “It was their second theatre build in Ontario. This was going to be their flagship venue, to compete with similarly sized venues in the area. They wanted the same technical ability as their smaller venue but scaled up.” What meant Aligned Vision Group was an ideal integrator for The Theatre was its thorough process. The company got on site at the earliest stages of construction, reviewing cable routing before it was locked in and shortening runs the original plans called for, cutting copper costs and leaving the venue easier to modify later. AV Group also flagged incorrectly specified power switches outside its formal scope, before they became a problem for other trades.

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On this, Coniglio stated: “Anybody can supply boxes. The value you add is the knowledge of having worked in these environments long enough to help a client identify problems they don’t even realise they have.” Aligned Vision Group is seven years old, staffed largely by people who worked together for up to two decades at a previous company. “We’re a young company with an old amount of experience. Our clients know us by name, not just the company,” he continued. Panther takes the room The audio system’s headline is Meyer Sound’s Panther, in its first permanent Canadian install, chosen for output,

coverage, and a footprint compact enough to suit a room that reconfigures constantly, with the venue having a full soft-seat mode for concerts that can be pulled back for an in-the-round layout. Ian Robertson of GerrAudio Distribution, Meyer’s Canadian distributor who worked on the system architecture, explained: “Panther is Meyer Sound’s large-format line array, chosen for this project because of the size of the room and the requirement for high output, fidelity, and even coverage. It achieves what can be described as a studio-monitor experience at concert-venue scale – very unassuming, very high performance, with more than enough headroom for any incoming act.” The main left and right hangs combine 18 Panther L and six Panther W cabinets, backed by 22 900-LFC subwoofers flown beside and slightly behind the mains. Two twelve-box Leopard arrays overhead

carry delay coverage into the balcony, while 13 JM-1P cabinets cover centre, left and right immersive duties and 17 Ultra-X20s handle under balcony and front-fill positions. A pair of Ultra-X42 cabinets covers the VIP side balconies, and for fight nights, six UPQ-D3s fly in a ring over centre floor for 360-degree coverage and ring-side announcements. Wallace said: “The main hangs are only 12 boxes each, but they’re extremely loud with excellent coverage, whereas a traditional solution probably would’ve needed 16 – wider, heavier, longer, and deeper.” Self-powered cabinets also meant no amp racks to find room for, Conglio detailed. “You gain real estate because you don’t have amp racks, and real estate is key in these venues.” The amp room now holds just two racks: one for analogue tie-lines, one housing five of Meyer’s GALAXY 816 DSP processors. A sixth

Galaxy 816 sits at front-of-house purely as an interface, so a visiting engineer can patch in over AES or analogue while the resident console talks to the system natively over Dante. An Auvitran AVBx3, fitted with Dante and AVB cards, provide conversion of the Dante from the house consoles to AVB. For front of house and monitors, the client chose matching Midas HD96 consoles on dedicated road cases, fed via Klark Teknik AES50 fibre extenders and Midas DL231 splitters with dual mic preamps for redundancy, a signal chain designed to make life simple for an engineer who’s never set foot in the building. “Continuity of voicing is paramount,” Wallace said. “Panther, Leopard, the UPQs – they all sound like Meyer, so we can marry them together easily. We’ve gone through three firmware updates on this PA since we installed it, but there’s never a concern an update will change the voicing of a box. Meyer will not allow that. So, if we cross-rent boxes for a bigger show, we know they’ll sound the same.” Focusing on the visual The Theatre’s video brief was slightly narrower for Aligned Vision Group. The integrator specified the LED walls and left camera systems and switching to whichever touring production is in the building. Conglio noted: “They wanted the ability to drive advertising content and accept an input from something else for the video walls, so we provided a slim matrix system, then scaled and transported it over fibre.” AV Group built three LG fine-pitch DvLED walls at 2.9mm pixel pitch around that brief,

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a 9m-by-5m screen at centre stage, and matching 6m-by-3m walls either side, fed through the matrix and carried over fibre on Aurora Multimedia transceivers. Signage runs on 42 Samsung 55-inch hospitality displays through the lobbies and back-of-house, with Crestron touchpanels in the control rooms on the same network. Lighting leans heavily on Robe, with 24 Robin T1 Profiles and 22 Robin T1 Fresnels handling the bulk of the rig, backed by BMFL fixtures on RoboSpot remote-follow control, ETC Source Four LED Series 3 units for conventional-style coverage, and a dedicated run of Cameo EVOS W3 LED wash moving heads on the rear curtain. All of it is LED. “For us, there’s less point building a venue today with dimmers,” Coniglio said. “LED fixtures are bright enough now that there’s no need to touch tungsten.” Lighting data runs as sACN over a Luminex GigaCore network, kept deliberately separate from the venue’s main entertainment fabric. Wallace said: “That’s the one area where you’ll see the most growth and variability, with different productions coming in all the time. He added: “Luminex is easily configurable. You don’t have to be an IT professional to set one up.” The same logic drives the installer’s broader preference for wire over wireless. “Wireless is wonderful, but it’s problematic,” Coniglio said. “If we can do wired, we will.” This position was handy for this installation; The Theatre is so close to Toronto Pearson International Airport that it lies under its flight path, meaning wired was a suitable way to avoid network issues for either the planes or the venue.

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Running the room That wired-first instinct extends to the venue’s backbone: a large, fibre-based Netgear network that Aligned Vision Group designed, built and still supports remotely over VPN, carrying audio, video, and control on a switch fabric separate from lighting. “There aren’t many companies that can deliver an almost enterprise-grade network for the bandwidth these systems need,” Wallace said. Comms run through a ClearCom Arcadia matrix, bridging wired Helixnet stations at fixed positions with roughly 15 FreeSpeak II wireless beltpacks for crew moving through the building. Role-based channel profiles let anyone grab a beltpack and subscribe to whichever department they’re covering that day. The house mic locker is modest on purpose, since touring productions mostly bring their own. The wireless comms that are there run on Shure Axient Digital with ShowLink, which reassigns a channel automatically if it picks up interference mid-show. The design has held up largely as drawn, with one exception. The first time GCE pulled the seating back for an in-theround configuration, AV Group found gaps: VIP boxes near the stage lost coverage once the top rows of the main hangs were muted to avoid firing into the newly exposed rear wall, and standing-room shows exposed a hole between the seated-mode front-fills and the barricade line. “These are things we learned as we watched the venue get used – it couldn’t just have been predicted,” Wallace said. Aligned Vision Group added supplemental fills for the VIP boxes, plus top fills covering the first 20 to 30 feet in front of the stage for standing shows. The integrator looks at the finished product of the installation positively, owing to the venue’s operational evidence. Coniglio said: “Many of the shows use the technology as-is, with very few changes. They don’t have to tear everything down for the next one, they can add on and augment.” For a venue built to compete for Live Nation’s biggest routes through Ontario, this headroom is there by design.

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TECHNICAL INFORMATION Limited to the technology mentioned in article: AUDIO 18 x Meyer Sound Panther L Loudspeakers 6 x Meyer Sound Panther W Loudspeakers 13 x Meyer Sound JM-1P Loudspeakers 22 x Meyer Sound 900-LFC subwoofers 24 x Meyer Sound Leopard Loudspeakers 17 x Meyer Sound Ultra-X20 Loudspeakers 2 x Meyer Sound UPQ-D2 Loudspeakers 2 x Meyer Sound Ultra X42 Loudspeakers 10 x Meyer Sound UPQ-D3 Loudspeakers 16 x Meyer Sound MJF-210 Loudspeakers 4 x Meyer Sound 750-LFC Subwoofers LIGHTING 1 x Robe RoboSpot Motion Camera 22 x Robe Robin T1 Fresnel fixtures 24 x Robe Robin T1 Profile fixtures 12 x ETC Source Four LED Series 3 VIDEO 204 x LG LSCA029-RK LED 4 x LG CVCA LG Controller for dvLED MICS AND COMMS 10 x Shure SM58-LC mics 8 x Shure SM57/LC mics 1 x Shure Beta 52A mic 1 x Shure Beta 91 mic 4 x Shure SM81 mics 2 x ClearCom Arcadia-48 48 Port IP central stations 12 x ClearCom FSII-TCVR-IP-19 Transcievers 15 x ClearCom FSII-BP19-X4 Beltpacks PROCESSING AND CONSOLES 5 x Meyer Sound Galaxy 816 2 x AuviTran AVBx3M/ISM+r 2 x AuviTran AxC-DANTE 2 x AuviTran AxC-AVB 2 x Midas HD-96-24-CC-IP consoles 1 x Avolites D9-215 console 1 x Avolites D9-330 console 1 x Avolites Q3 www.alignedvisiongroup.com

D OTS BAY HO US E A PA C

HIRIKETIYA BAY / SRI LANKA

Righ t : V oi d A i r Moti on louds p ea k ers prov i de a s onic and vi s ua l c en terpi ec e above t he DJ b ooth a t Dots Ba y H ou s e.

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Digital Ear b r in gs pre mium au d io solu tion s to e nhan ce two d istin ct zone s at Dots Bay Hou se on Sri La n k a’s pictu r esqu e sou th coast.

Forming part of the Dots Ceylon Hotels network of properties across Sri Lanka, Dots Bay House is an intimate multipurpose resort which includes a restaurant, yoga studio, pool area, overnight rooms, and a nightclub catering for up to 1,000 revellers. First opened in 2015, the venue has evolved from a humble hostel into a lively, creative collective of multi-use spaces spread across its own plot of the beachfront in Hiriketiya Bay. With a working relationship with Mixmag Asia, international DJs regularly perform at the venue, and the ownership realised that the club’s sound system needed to be upgraded to bring it up to the expected standard. “As the venue hosts DJs and performers, we designed and installed a comprehensive audio solution covering both the club and restaurant areas, ensuring a consistent, world-class sound experience throughout the property,” explained Digital Ear Managing Director, Haren Perera. With a distributed system in the outdoor restaurant space, Perera selected Void Cyclone 8 loudspeakers, powered by Bias Q1.5 amplifiers. “Given the beachfront environment and the venue’s event requirements, these speakers needed to serve as powerful fillers during large events while also functioning as the main system during daytime operations,” explained Perera. “The Cyclone 8 provided the required depth and output, allowing us to achieve the desired performance without the need for additional subwoofers in these areas.” For the area covering the dancefloor next to the DJ booth, the venue wanted a statement piece that would be strong visually while delivering exceptional sonic performance. “Here we selected a pair of the iconic red Void Air Motion speakers, which have gone on to become a standout feature in guest photos, videos, and social media content,” continued Perera. “These were paired with a single Arcline 218 tour-grade subwoofer, which we chose for its compact enclosure and impressive SPL and power output, which was essential due to the limited space available on the dance floor.” For DJ monitoring, a pair of sleek Void Air 8 monitors was selected, providing performers with accurate and powerful monitoring while complementing the overall aesthetic of the venue. Void Bias Q2 and Q3 amplifiers power the Air Motion, Arcline 218 and Air 8 monitors. For Digital Ear, one of the main challenges of the project was the timeline, as the client needed the system to be operational ahead of the New Year celebrations at the end of 2025, but,

as Perera detailed: “Despite the tight deadline, we successfully delivered the project on schedule.” With Perera recommending Void Acoustics to the venue, the client visited several venues across the island equipped with Void sound systems and researched internationally renowned venues that had also chosen to deploy Void products. “Experiencing the performance first-hand and seeing how Void is implemented in world-class entertainment spaces gave them the confidence that it was the right choice for their venue,” added Perera. “When we first assessed the requirements of the venue and its spaces, it was clear that the system needed to deliver far more than just high output. “It needed to provide exceptional sound quality, withstand the demands of international performers, complement the venue’s aesthetics, and perform reliably in a beachfront environment. Void Acoustics offered the perfect balance of performance, aesthetics, and flexibility to meet these requirements.” The venue’s management are delighted at the impact the new sound system has had, with Dots Ceylon Hotels’ Managing Director Nawodh Hennayake commenting: “From the very beginning, we made it a top priority at Dots Bay House to deliver an exceptional sound experience for guests. “We are a venue that takes sound, lighting, and equipment very seriously. The quality of music and the calibre of artists we bring are at the core of our identity. Void was the perfect fit – not only for its audio quality but also for its striking design, which perfectly complements our brand. “We wanted internationally acclaimed artists to arrive and immediately recognise that Sri Lanka can deliver a world-class audio experience – and I believe our Void system has helped us achieve just that. “The results have gone beyond what we hoped for, and the system is now a defining feature of the venue, earning consistent praise from guests and performers alike. “It has elevated Dots Bay House’s reputation, and working with Digital Ear has been outstanding. From planning and installation to after-sales support, their professional, knowledgeable, and responsive team has been instrumental. “A sound system is a long-term investment and having a partner who is committed to offering ongoing support has been a key factor in our success.” www.dotsbayhouse.com www.digitalearsl.com

POWER IN STYLE DMH-640 _ Moving spotlight with 640 watt COB LED _ CMY color mixing for infinite color variety _ Zoom from 10° to 47° _ Frost filter + 2 gobo wheels

W CLUB A PA C SIHANOUKVILLE / CAMBODIA Photos: W CLUB and FEEL SOUND

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Camb od ia’s n ewest supe rclu b open s with a la rg e NEXO system at its h e a rt, pro misin g to d eliver th e same high-en er gy DJ se ts an d power fu l EDM sh ows a s i ts sister location .

L e f t : Th e NE X O a mplif ier s pow er in g S i h a n o u k v i l l e ’s W C LU B .

Cambodia’s W CLUB brand has a new home on the country’s southern coast, in the port city of Sihanoukville. It’s the second location after the flagship in the capital, Phnom Penh, already established itself as one of the country’s beloved electronic-music venues. The brief for the new Sihanoukville site was to go bigger still, as the venue owners set out to build one of the largest nightclubs in Southeast Asia, built around DJ sets and live EDM performances for crowds expecting intensity every night. Fitting the space with a powerful audio solution was therefore paramount. The job went to FEEL SOUND, a Cambodian audio integrator that also happens to be NEXO’s exclusive distributor in the country. FEEL SOUND CEO Mr. Kunliang Su explained that the pitch process was competitive. “Many brands competed for this project,” he began. “Ultimately, our team gained the trust of W CLUB’s investors through accurate acoustic simulation and meticulous attention to detail. We feel very honoured.” In practice, that meant showing investors how the finished room would perform before a single box went in, with Mr. Su detailing that the installation team presented the venue with coverage maps and predicted output alongside the product list. The brief itself, as Mr. Su put it, was “to build a landmark indoor electronic music party venue in Southeast Asia, delivering a festival level experience every single night.” For Mr. Su, there was only one system that could meet this brief. “Even before becoming NEXO’s exclusive distributor in Cambodia, I was a big fan of NEXO’s sonic character,” he stated. “Smooth, detailed French-style sound with outstanding vocal clarity and low distortion. Great off-axis consistency for even audience coverage. Bass is tight and fast rather than heavy-handed.” When it came to designing W CLUB’s system, he added, “A NEXO audio system was our first choice.” The result is a large, layered rig built around NEXO’s STM platform, a line array system designed to scale from

club-sized rooms up to full festival fields using the same handful of cabinet types. Main left/right hangs run nine STM M46 main modules alongside nine B112 bass modules per side, flown together in a single array. In front of the stage, 12 STM S118 were placed, with 16 RS18 units handling delay coverage further back in the room. P15 pointsource boxes take care of down and side fill, while NEXO’s newer hybrid Alpha+ system, in M210 and B218 form, covers out-fill and delay positions the main hangs can’t reach on their own. Six compact ID24 speakers cover the VIP area, and DJs monitor through a stereo pair of P18s on L18 subs. Twenty-two NXAMP Mk2 amplifiers power the whole system, with DiGiCo consoles at front of house, Shure wireless microphones, and Pioneer DJ turntables and mixers, serving the all-important W CLUB DJ sets, rounding out the production package. Translating this design from the page to the actual installation was its own challenge, Mr. Su said. “We only had 45 days from concealed cabling work through to hand-over. Against this, our team worked day and night covering design through to on-site implementation, and we completed everything on schedule for opening day.” The CEO described the brief itself as unusually open. “This project came with almost no design limitations,” he said. “The real challenge for our team was to maintain extremely high sound pressure levels while revealing even more sonic detail.” Pushing past 130 dB is the easy part of that brief; keeping the top end from smearing and the low end from turning muddy at that level, night after night supporting EDM shows, was the potential struggle. However, calibrated and running, the NEXO system delivers peak SPLs of up to 132 dB without losing definition. “The system does this whilst still maintaining excellent coverage consistency and outstanding sound resolution throughout the venue,” Su added. “Whether for live

performances or EDM parties, it brings out the full energy, impact, and detail of the music.”FEEL SOUND reported that W CLUB Sihanoukville has found its footing as one of the city’s nightlife landmarks, and for the installer, the project doubles as proof of what its exclusive distributed NEXO rigs can do at full scale. Mr. Su reflected on the project, from winning the contract to the completion of the venue. “Our technical capability and strict control over details allowed us to stand out from the competition. In the end, we successfully achieved our goal, and the result is truly inspiring.”

TECHNICAL INFORMATION AUDIO 18 x NEXO STM M46 line arrays 18 x NEXO STM B112 line arrays 12 x NEXO STM S118 subs 4 x NEXO Alpha+ B218 bass module 4 x NEXO Alpha+ M210 loudspeaker 8 x NEXO P15 loudspeakers 6 x NEXO ID24 loudspeakers 2x NEXO P18 loudspeaker 2x NEXO L18 sub-bass module 18 x NEXO RS18 subwoofers 22 x NEXO NXAMPmk2 amplifiers

Abo v e and left: The FEEL SOU ND t ea m in st a ll a la r ge, compr ehen sive NEXO sou n d syst em t o br in g t he mu sic t o W C LU B .

W C LU B - A PA C | WWW.M O ND O D R .CO M

HIGH POWER, HYBRID SOURCE SOUND REINFORCEMENT Shaping the Future by Celebrating our Past

Three decades on and NEXO Alpha systems are still thrilling live music audiences and clubbers with their characteristic power and presence. Now we’ve drawn on the spirit of that ‘90s classic to create Alpha +, a ‘three-box’ FOH system that combines the benefits of line source coupling with the easy deployment of point source speakers. Stacked on a mid-sized festival stage or installed in a club, it’s all Alpha, reimagined for the modern age.

nexo-sa.com

Thinking. Inside the box.

26 YEARS. ONE BRIGHTER FUTURE.

For 26 years, Absen has been pushing LED display technology forward. Now, we’re looking ahead. Our ﬁrst-ever ESG Report marks the next chapter in our journey towards a more sustainable, responsible and brighter future.

26 years of innovation | A future built to last.

PHOTO CREDIT | Reﬁk Anadol Studio Absen- europe.com

2025 ESG Report

V E N U E - A PA C | WWW.M O N D O D R .CO M

THE BA R TO N THE A TR E A PAC

ADELAIDE / AUSTRALIA

Cost-e f f e c tive and prac tic al pro d u ction pac ka g e tic ks all th e boxe s f or t his welllove d h e ritag e ve nue in South Au str alia. The Thebarton Theatre in Torrensville on the western outskirts of Adelaide is a 2,000 capacity performance venue which is synonymous with live music and touring bands. The ‘Thebby’, as it is known locally, has had a veritable Who’s Who of Australian musicians – and plenty of international artists – grace its stage and delight their fans, and has been in place for approaching 100 years. As with many heritage buildings, it has had its struggles and in 1979 it was saved from demolition by a family-owned business which paved the way for what it remains today – an iconic live performance venue. When plans were drawn up to renew the theatre’s house PA and lighting package during a period of extensive refurbishment of the building, the objective extended beyond a simple equipment upgrade. The system needed to deliver the performance expected from a modern concert venue while remaining practical for a busy calendar, during which visiting productions frequently arrive with their own technical requirements. Rather than investing in an oversized inventory, the project focused on providing a solution capable of covering the vast majority of events, while allowing for rapid changeovers when a tour came through with its own equipment. When attention turned to the PA, it required some careful thinking, as Andy Gayler, Managing Director at AJS Productions explained: “I proposed a cost-effective sound system that would be fit-for-purpose at least 80% of the time,” he began. “Something compact and capable of covering the whole space easily and clearly, with plenty of headroom, and yet can be quickly de-rigged and put back together again after a larger system needs to be brought in. “The Thebby has, for the most part, been a ‘stacks and racks’ venue – except it’s not racks so much anymore because everything

is now active and self-powered.” Gayler also noted how evolving dynamic productions have influenced investment decisions for performance venues, as more touring artists arrive with self-contained digital mixing and in-ear monitoring systems. “So many acts are bringing full IEM systems now with a pre-configured digital mixer – all they need is a power outlet,” he said. “It’s getting harder to justify a venue like the Thebby spending money on a dozen powered wedges – for example – when so often they won’t get used.” With budgets in place and an idea of what was needed for the venue, Gayler reached out to Corey Sleeman at National Audio Systems (NAS), who proposed a dBTechnologies VIO design for the PA system, which immediately ticked all the boxes. It came within the budget and delivered impressive sound levels and coverage throughout the room, with 16 VIO L1610 modules as the main L-R arrays, six VIO S218 subwoofers in ground-stacked configuration, and VIO X206 loudspeakers for front fill coverage. System management is handled through RDNet Control 8 and AuroraNet, providing comprehensive optimisation and day-to-day control. Despite the architectural constraints imposed by the historic building – including the impossibility of installing an overhead centre fill – the design achieves consistent coverage and excellent intelligibility throughout the venue. Sleeman, who is NAS State Manager for South Australia, Victoria and Tasmania, highlighted the benefits of selecting an active system for the Thebby. “For this venue, the advantages of an active system were a major factor in choosing the dBTechnologies VIO L1610 line array,” he said. “With amplification and DSP built directly into each module, the system delivers consistent, predictable performance across every cabinet – something that is

A b o ve a nd l e f t : The n ew a u d io a n d light in g e q u i p m e n t p r o v id es t he Thebby w it h f lexible a n d d e p e n d a b l e i n- hou se solu t ion s ca pa ble of s u p p o r t i n g t h e m a j or it y of pr od u c t ion s host ed t hr ou ghou t t he yea r .

essential for a house PA that needs to handle everything from high energy live shows to corporate events with minimal adjustment. “Both RDNet Control 8 and AuroraNet provide intelligent management and monitoring of the rig, and in a space with architectural constraints and a busy event schedule, that level of built-in intelligence is a significant advantage, as it eliminates external amp racks, reduces cabling, simplifies troubleshooting, and ensures the system remains reliable and flexible for any type of show.” With the option of deploying overhead fills denied by the ornate ceiling, Sleeman had to get creative to ensure every audience member received the same audio experience. “With no option for overhead front fills, we had to ensure that the main hangs carried more of the nearfield responsibility than they typically would. That meant tighter vertical control, more precise splay angles, and extensive modelling to guarantee the first rows received the same clarity and presence as the rest of the room. “To support this, we incorporated dB Technologies VIO X206 units as front fills along the stage edge. Their compact footprint and high output made them ideal for delivering the intimacy and articulation normally handled by overhead fills.” With the PA sourced from NAS, Gayler supplied the venue with a turnkey lighting packaged from its used inventory so it could meet the venue’s budget, in addition to chain motors, controller, Socapex power feed, distribution, and four trusses. “We had to get the venue back up and running because the operators were under huge fiscal strain having been closed for refurbishment for so long, so we sold them used but very good condition lighting equipment, including Vari-Lite VL4000 and Robe Robin 600 LEDWash fixtures and an MA Lighting grandMA2 light, which meant they had a working package,” said Gayler. “At the time we took on board all of the equipment maintenance, as our technicians are best placed to handle repairs – though that

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arrangement may change in the future,” continued Gayler. “For AJS, this project was as much as needing to see the venue survive, because there is precious few left in Adelaide.” With the venue having no production manager, an agreement was reached between local technical suppliers AJS and Novatech, who are both authorised to operate the venue’s equipment – meaning an incoming client can chose either supplier, who then effectively production manage the event. “The venue itself has no technical staff of its own, so we suggested the outsource route because there isn’t anyone locally who can fill that role, and there is not enough work to justify a full-time technical role,” said Gayler. The installation of the audio system was completed within a particularly demanding time frame, with commissioning carried out during the final weeks of the theatre’s wider refurbishment programme. Reflecting on the project, Gayler concluded: “NAS was a great help with the planning and commissioning of the system,” he said. “And everything was in stock – which might seem an obvious thing, but it wouldn’t be the first time a project was stalled or late because components aren’t available – NAS made sure it was all ready to go.” The new audio and lighting equipment provides the Thebby with flexible and dependable in-house solutions capable of supporting the majority of productions hosted throughout the year, while preserving the venue’s ability to accommodate larger touring specifications whenever required. The project demonstrates how thoughtful design can successfully balance operational efficiency, installation constraints, and performance within one of Australia’s most enduring live music venues. www.ajsound.com.au www.nas.solutions www.thebartontheatre.com.au

B USIN E S S

SHOW REPORT Mediatech Africa

100

INSIDE VIEW Outline

104

PRODUCT GUIDE Cables, Mics & Comms

108

COMPANY PROFILE Theory Professional

112

DIRECTORY

114

BACK OF HOUSE Nick Broad, Projects Director, LSI Projects

M e d i at e c h A f r i c a 2 0 2 6, K y al a m i G r an d Pr ix C ir cu it & In t e r n at i o n al C o n v e n t i o n C e n t r e , J o ha n n esbu r g.

MEDIATECH A F R ICA 20 26 EM EA

JOHANNESBURG, SOUTH AFRICA / 30 JUNE – 02 JULY

MONDO-DR’s Peter Iantorno reports from the show floor as South Africa’s biggest trade show for the AV, live and broadcast sectors returns following a seven-year hiatus. With the previous Mediatech Africa having taken place in 2019, it’s been a long wait for South Africa’s AV industry to get a local show of their own. And while final visitor numbers weren’t available at the time of writing, the show floor seemed busy throughout, with a range of visitors primarily from South Africa but also from elsewhere on the continent ensuring that the atmosphere remained lively. This was the first time the show had taken place at Kyalami Grand Prix Circuit And International Convention Centre, and it worked well as a

EX P O - M E D I AT E C H AF R I CA 20 26 | WWW.M O N D O DR.COM

venue, despite some limitations in terms of roof height, load bearing and the size of some of the halls limiting what was possible from a production level stand point. That said, the organisers’ decision to create distinct zones within the show proved to be a smart one, with the more boisterous live events technology exhibitors grouped together on one side of the venue and the typically quieter corporate AV exhibitors benefitting from a much more formal atmosphere on the other. The show also featured several outdoor areas, with an audio demo area, which was kitted out with a DiGiCo Quantum 225DS courtesy of DWR Distribution that was used to feed signal to all the demo systems on show. There was also a large outdoor performance stage, which was supplied and operated by Gearhouse and, after dark, Behind The Volt provided its South Africa-based KVANT Prestige Beam 600s for the KVANT Lasers showcase. Regional distributors were out in force, with the likes of BC Electronics, Electrosonic, Planetworld, Prosound, Stage One and several others taking large stands. Stage Audio Works and DWR Distribution took it one step further, with both making a splash by taking over their own respective halls at either end of the venue. DWR also made the most of the influx of visitors to south Africa generated by Mediatech by hosting its SOS Fundraising Dinner & Auction in aid of the much-deserving SOS charity to support members of the events industry during unexpected hardships. Mediatech Africa will return in two years’ time, from 27-29 June, 2028. www.mediatech.co.za

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Ken Kibiru and Hemanth Rao of MA Lighting. DWR’s Shae Webb and Loice Mpofu. Chris Mead and Mehdi Khelil of L-Acoustics. d&b audiotechnik’s Gianni Abruzzese with Stage Audio Works’ Gustav Barnard. Green Hippo’s Amit Singh. Stage One’s Peter Berry. The DWR distribution team and suppliers. Robe’s Tomáš Kohout and Josef Valchar. Frederic Kromberg of Klotz. The Planetworld team. Doughty Engineering’s Julian Chiverton with DWR’s Kristy Hartnady. Gerald Delen of Luminex. The Prosound team. Koy Nemanthian of Obsidian Control Systems.

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OUTL I NE He r e M O ND O - D R h ands ove r th e mic to Danie le Te bald i, Ou tlin e CT O a n d H- S e r i e s P r o d uc t Mana g e r, a nd O utline ’s Sa le s De velopmen t O f f i c e r , L a u r a G a f furini, a s th e y c a ndidly disc uss th e d evelopmen t of t h e H46 2 c o l u m n loudspe ake r and its H 1 02S sub c ompan ion . Laura Gaffurini: When it came to naming this series, does the letter ‘H’ carry any particular meaning, maybe linked to what its products are, and do? Daniele Tebaldi: ‘H’ is for Hercules — his mythical Pillars at Gibraltar marked the edge of the known world, outside of which there be dragons. A column-shaped loudspeaker seemed a fitting nod – Hercules’ Pillars holding sky and sea apart with the same strength Hercules brought to his Twelve Labours. There’s one further angle, a resurgence of ‘terra-piattismo’ (flat-earthism) seeping into electro-acoustics, too. Sound has its place in the three dimensions of space, plus the fourth – time. In science, naming a column-shaped loudspeaker after the Pillars of Hercules, is a demonstration against an anti-scientific drift. LG: How much of H-Series development came through feedback from stakeholders that signalled a need from customers for this type of solution? DT: We’ve learnt from our stakeholders how sound systems used to be judged mainly on sound, but now in this image-saturated age are judged firstly for its form factor, with column speakers having become first choice at weddings and poolside activities, hence drifting off their original function of concentrating energy in the horizontal plane. We took our time to distil our recipe, and

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it’s no secret that Outline has joined the party as last, at which H462 is tasked to safeguarding intelligibility in reverberant spaces (think lecture halls, congress centres, houses of worship, airports, malls), amidst a vast pool of offerings that seem to mostly act on the basis of ‘the louder, the better’ – which clearly is not our main concern. LG: Can you briefly describe what is happening inside a H462? DT: Six 4-inch drivers radiate with a heavy rear-side attenuation across the whole range; above (or below) them sits a twin-1-inch HF horn that can be mechanically flipped on its vertical axis — no motors, just Brescia-style mechanical ingenuity – enclosed in a stylish extruded-aluminium cabinet that fits equally at home in a modern meeting room with a standard residential-height ceiling, or in a cavernous hall. With a flashback to the previous question, our stakeholders warmly encouraged us toward the simplest mode of deployment and operation, at which you simply choose to turn the column for either downward or upward HF orientation before mounting it, slide the bespoke passive filter tilt-switch on its back correspondingly, aim the HF-horn anywhere between -15° and +5° for most exact coverage, and you’re done. Like in 1-2-3-voilà. Users get extra comfort from the fact that its overall 90° by 30°

dispersion is complemented by a most efficient, full-spectrum cardioid rear rejection, too, while its response extended across 95Hz - 19kHz warrants a full-bodied speech delivery with no need for a sub, as the dynamic capacity of the H462 can effortlessly accommodate a poorlyadjusted, or even unprocessed vocal live feed. LG: Ok, so completing the full spectrum – how did the H102S Sub enter the picture? Was it only at a later stage, something of an afterthought? DT: Matter-of-factly, as listening tests on H462 prototypes (with voice actors, ordinary business presenters, and liturgy ministers as live sources) scored better intelligibility than we had initially hoped, we felt the system deserved a complementary low-end companion, giving it a chance to correctly serve some serious music content, too, leading to a much wider application latitude. Who wouldn’t want the emotional lift of bass if it keeps as tight and controlled as the column itself? LG: What has informed the H102S design path, then, in terms of users’ application? DT: Since H462’s HF-unit can work from either vertical side, on the bottom or on top, we asked ourselves: why not tuck the column speaker onto a dedicated sub, taking advantage of its HF-unit ‘on-top-too’? First we investigated a cardioid sub driven by one single amp channel,

Far left: D a n iele Teba ld i, Ou t lin e C TO a n d H- Ser ies Pr od u c t Ma n a ger , a n d Ou t lin e’s Sa les D evelopmen t Of f ic er , La u r a Ga f f u r in i. Abo v e: The n ew H46 2 a n d H10 2 S ha ve been d esign ed f or u t most a c cu r a c y of voca lr an ge c over a ge in a cou st ica llycha llen gin g spa ces.

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for cost-and-simplicity logic — then realised this system could be used for parties, where any DJ staging their console behind the system would stand right where cardioid cancellation is at its best, which won’t ever make them happy at all. So we directed our ingenuity in view of a sub hosting a pair of separate systems in its cabinet, each with one own amp channel, at which you can DSP-switch them to either cardioidor omni dispersion at the push of a button. Having reached this point, as our H102S concept then required two amp channels anyway, we froze on our track, questioning ourselves as to why not add a third amp inside it, for driving the H462 directly on top of it? And, the more we toyed with the concept, the more we felt it had purchase. I mean, today’s event designers are growing increasingly cable-shy — and three built-in amps in a sub make for a nearly cable-free combo, in comparison to a tri-amped loudspeakers system… it felt like all tiles in the mosaic clicked snugly in place, at that point. LG: If logic serves you right, how hard was sourcing the electronics for that? DT: That’s where things got tricky, as a proper 3-channel amp did not seem to exist commercially — you could either overbuy into a 4-channel unit (which is both heavier and heftier), or downgrade to a 2-channel amp, and force users to drive the H462 on top with one external amp outside, delivering power via one extra loudspeaker cable, which inexorably spoils the effect. In that moment, it seemed we had been cornered by mass-market logic, the same one hitting us on the input signal(s) side: round-seated events need daisy-chained Dante sources with AES3 backup feeds, which is not what massmarket tends to push for poolside entertainment – and when mass-manufacturing won’t budge, smaller manufacturers like us have to activate side-vision and lateral-thinking. LG: So how do you get suppliers on board with that? DT: Luckily there are still some utterly competent players in this industry, passionate ones who feel inclined to romantic challenges — people who value research over volume, working to make things right even for our modest order sizes… they might be hard to find, indeed, but fortunately exist! LG: I have a thing for relentless optimists… What endusers’ perspective got distilled into this project? DT: More and more users now, refreshingly, think in terms of overall system efficiency and durability, rather than badge and bling — a slow, but real shift, and the interest we witnessed both at ISE and InfoComm totally confirms it. Instead of the usual offerings from the industry, they seem to value a different take on the subject, one that gives them room to serve their clients a different cup of tea. LG: It reads quite casually, but I’m under the impression that it clearly is not? DT: A loudspeaker should sound honestly correct and feel light-hearted about it. We fed H-Series prototypes with the most diverse signals, from poetry readings to noise-core-doom music in empty warehouses, we pushed volume to full limit, we lost track of lunchtime while listening to our beloved tracks — and we’re even happier to be doing it again, now that the first units are finally rolling off the line. LG: Thank you, Daniele, for this deep dive into one of Outline’s newest pillar on the market. I am very excited to hear what our partners first – and their customers later – will say about the H462 and H102S combo. www.outline.it

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Abo v e: The H10 2 S, a n a ct ivelyd riven , ca r d ioid , d ou ble 10 - in ch su bw oof er .

I‘M AN ARTIST

OLA MELZIG

Photo by Ralph Larmann

PRODUCTION MANAGER M&M PRODUCTION MANAGEMENT

I just love the new generation of the Artist user interfaces. The SmartPanel‘s intuitive workflow and its very visual layout are simply fantastic. I can customize it in any way I need, which is absolutely crucial for the big live events I typically work on.“

ARTIST INTERCOM

Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with ﬂexible licensing. Become an ARTIST www.riedel.net #iamanartist

PR OD UCT GU I D E: CABL ES , M I CS & COM M S

Audio-Technica System 20 PRO Audio-Technica’s System 20 PRO 2.4GHz wireless solution is designed to deliver hassle-free deployment by overcoming the typical challenges of conventional wireless microphones, including frequency coordination, complex intermodulation calculations and remote antenna cabling. Balancing ease-of-use with great functionality, System 20 PRO offers self-managing, plug-and-play operation that’s scalable to 20 channels. The transmitters included in each system are paired and ready to use out of the box and offer all-day operation on a full charge. Receiver units can remain docked in the half-rack chassis or be mounted remotely (up to 100m away) via Ethernet cable for added versatility. Up to five chassis can be linked using the included RJ12 cable to deliver 20 channels, with users free to choose the most effective operation mode for a given situation: Standard mode (10 channels) to minimise latency or HD mode (20 channels) to maximise channel count. Seamless setup and management are controlled via Audio-Technica’s Wireless Manager software, which is capable of managing multiple UHF, 2.4 GHz and DECT wireless systems from a single screen. In addition, AES128 encryption comes standard, providing security and reliable operatio www.audio-technica.com

DPA Microphones 6388 CORE+ Directional headset microphones are used in the most demanding environments, where high SPL, stage noise and the need for high gain-before-feedback put extreme pressure on performance. Expectations for natural sound, intelligibility, comfort and ease of use remain equally uncompromising. The 6388 moves beyond these conflicting demands. By combining CORE+ technology, highly controlled proximity and directional response and an optimised acoustic design, it delivers DPA’s renowned natural and authentic sound with exceptional consistency — fast and without complexity. Building on the legacy of the 4088 directional capsule, the 6388 takes performance further with enhanced feedback rejection, greater clarity and even more reliable real-world results. It represents a new benchmark where acoustic performance and ease of use come together. CORE+ by DPA capsule technology delivers clean, transparent sound with extremely low distortion. CORE+ ensures outstanding speech intelligibility, even in demanding live environments. Optimised voice capture with natural, authentic sound even with imperfect capsule placement. Excellent off-axis rejection and gain-before-feedback performance. The Act Headset Frame is DPA’s most established headset platform. It is widely used across theater, live performance and broadcast for its fast deployment, secure fit and consistent performance in demanding professional environments. Built around a durable, rigid frame design, it stays in place even during movement, making it the reliable choice for fast-paced productions and untrained users alike. www.dpamicrophones.com

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G U I D E - C A BLE S, M I CS & CO M M S

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Clear-Com FreeSpeak - Wireless Intercom FreeSpeak connects seamlessly across Clear-Com’s intercom ecosystem, supporting traditional RF-based wireless systems as well as cellular-based communication over private LTE and 5G networks. Whether deploying FreeSpeak II over dedicated RF infrastructure or FreeSpeak Cell over cellular networks, users can integrate beltpacks, matrixes, virtual clients, and AoIP workflows into a unified intercom environment. Allowing the freedom to design an intercom system that fits an environment. Choose traditional RF operation in the 1.9 GHz, 2.4 GHz, or 5 GHz bands, cellular-based communication over 4G LTE / 5G networks, or a combination of both. Deploy a standalone wireless system or integrate into a matrix platform. Support party line and point-to-point workflows. Whether the system runs over RF infrastructure, Ethernet, fibre, or cellular networks, FreeSpeak is fully adaptable. Offering multiple wireless technologies to reduce reliance on congested RF spectrum. Traditional FreeSpeak systems use managed RF bands for predictable performance, while FreeSpeak Cell operates over LTE and 5G cellular networks, bypassing RF coordination challenges entirely. This multi-technology approach allows productions to remain reliable even in complex or highly congested wireless environments. www.clearcom.com

Neutrik TRUE1 DATA Connector Series The NEUTRIK TRUE1 DATA Connector Series is a unified, high-performance data connectivity platform built on a single, standardised physical footprint. This innovative series streamlines professional AV system integration by utilizing a single mechanical architecture across three distinct media variants. This allows engineers to punch standard, uniform panels and seamlessly swap configurations between copper, fiber, and power-delivery systems. The series is divided into three specialised product lines designed to handle demanding modern network architectures, etherCON TRUE1, mediaCON TRUE1 and opticalCON TRUE1. Built for the rigours of touring, broadcasting, and permanent outdoor installations, the TRUE1 DATA series features heavy-duty, UV-resistant housing. It achieves IP65, IP66, and IP67 weather-resistance ratings when mated or fitted with sealing caps. This ensures maximum dust and moisture protection, bringing the legendary reliability of the powerCON TRUE1 standard to modern data distribution networks. www.neutrik.com

Pliant Technologies CrewCom CXD‑32CF 32x32 Pliant Technologies’ CrewCom CXD‑32CF 32x32 Dante/AES67 Digital Audio Network Interface is a powerful connectivity solution designed to expand routing flexibility and streamline integration across its established CrewCom wireless intercom system as well as any other AES67/Dante based source, including Pliant’s newly introduced CrewCom Flex™ frameless matrix IP platform. The CrewCom CXD-32CF 32x32 I/O Digital Audio Network Interface is a 32x32 48kHz I/O interface that provides audio routing from CrewCom Wireless using standard AoIP infrastructures. Ideal for broadcast, large‑scale productions, rental houses, theaters, and houses of worship, this half-rack device can be powered with either net power over a CrewNet copper connection or via the supplied 48VDC power supply (PPS-48V-02). The CrewCom CXD‑32CF supports Pliant’s broader technology roadmap, converging wired, wireless, and virtual intercom on a standards‑based AES67/SMPTE ST 2110 backbone. This enables hybrid, remote, and distributed workflows with no single point of failure. The CXD‑32CF enables a unified communications environment that scales effortlessly across locations, infrastructures, and production styles. www.plianttechnologies.com

Riedel Bolero Mini Weighing 165g and with a thinness of 28mm, Bolero Mini stas out of sight and out of the way. Despite its compact size, Bolero Mini delivers the full Bolero experience and can be deployed in all three network modes for maximum versatility. In Bolero Integrated mode, it operates seamlessly within Artist intercom environments, unlocking the flexible routing, intelligent redundancy, and extensive I/O connectivity that power some of the world’s largest productions. This mode supports networks with up to 250 beltpacks, accommodating up to 10 beltpacks per antenna through intelligent bandwidth management. Bolero Standalone Link offers plug-and-play simplicity, ideal for smaller productions, temporary projects, or when Bolero needs to connect to other systems without an Artist matrix. For standards-based IP workflows, Bolero Standalone 2110 (AES67) allows users to build an SMPTE ST 2110/AES67 network with no Artist required. Connecting to standard Bolero IP-networked antennas, Bolero Mini integrates effortlessly into any Bolero wireless system and is available in both 1.9 GHz DECT and 2.4GHz versions. This streamlined Bolero features four programmable buttons, dedicated volume controls, and a small push-pull connector. It also includes Bluetooth for headset or smartphone connectivity, as well as intuitive Touch&Go NFC registration. www.riedel.net

Easylink

CONTROL SERIES

Supports various motor configurations & channels Direct & Low-Voltage Control available Same interface across all versions Precise & safe control for every application

CHAINMASTER GmbH info@chainmaster.de • www.chainmaster.de

RTS Intercom Wireless Intercom Engineered by RTS for production teams who demand clarity, reliability, and complete control, NOMAD puts the power of a 16-key intercom key panel on the hip. With rock-solid DECT wireless, seamless roaming, and deep integration with RTSmatrix systems, NOMAD empowers crews to move freely. Each beltpack acts as a wireless RTS 16-channel keypanel, integrating directly with ADAM, ODIN, and other RTS digital matrix platforms. At its core, NOMAD is a full RTS endpoint, not a bolt-on or workaround, giving the team the same flexibility, interoperability, and confidence as a fixed panel. NOMAD’s AP-1000 access points convert DECT into Dante-compatible OMNEO IP technology bridging the gap between wireless mobility and modern IP workflows. Native compatibility with OMNEO (Dante) and ST 2110-30 ensures seamless communication across hybrid or fully IP-based systems while full ST2022-7 support ensures glitch-free audio. The TR-1000 beltpack features a bright, icon-based colour display and intuitive menu navigation. Four ergonomically shaped talk/listen buttons provide tactile confirmation even in complete darkness. Its durable, rugged housing is IP65 rated (dust-tight and water resistant) so it can take the hits while your crew stays focused. Built on a cellular-style architecture, NOMAD adapts to your production, not the other way around. Each AP-1000 access point supports up to 10 wireless beltpacks, and adding more access points extends coverage without complexity. NOMAD scales effortlessly keeping teams connected. www.rtsintercoms.com

S2CEB DUAL22HQ The flat-balanced DUAL22HQ scindex flat analog audio cable has been designed to deliver reliable, high-quality sound reproduction across all audio installations. It incorporates two 0.22 mm² conductors, each individually shielded by red copper covering, providing excellent protection against interference and interference. Its black PVC outer sheath, in flat 5 by 9 mm format, combines robustness, discretion and great flexibility, facilitating installation both in fixed installation and in mobile use. This flexibility allows for clean, durable and easy-to-implement wiring, even in demanding configurations. Particularly popular for the manufacture of custom audio cables, the DUAL22HQ is ideal for making RCA/RCA or RCA/Jack links. It is a highperformance solution for all Hi-Fi, home studio or audiophile connections looking for reliability, transmission quality and installation comfort. www.cae-groupe.com

sE Electronics V7X The sE Electronics V7 X is a dynamic instrument microphone designed to deliver powerful, natural and focused sound across a wide range of live and studio applications. Developed as the instrument-focused sibling to the acclaimed V7 vocal microphone, the V7 X features sE Electronics’s custom DMC7 X capsule which is tuned specifically to capture instruments with clarity, punch and depth. Its super cardioid polar pattern provides strong off-axis rejection, helping to minimise unwanted spill from neighbouring sources, particularly valuable on busy stages and in multi-microphone setups with an extended 30 Hz–19 kHz frequency response making it suitable for sources including guitar cabinets, bass cabinets, snare and tom drums, brass, woodwind, piano and acoustic instruments. An innovative internal capsule suspension reduces mechanical vibration, helping to minimise handling and stage noise while the robust all-metal construction is built to withstand the demands of touring. The V7 X also incorporates an aluminium voice coil, neodymium magnet and gold-plated XLR connector for reliable performance. www.seelectronics.com

Sennheiser Spectera Ecosystem Spectera’s simultaneous 32 I/O enables advanced flexibility for wireless mic, instruments, and in-ear monitoring applications in a single system. Configurations are completely flexible and can include up to 32 mic/line channels and 16 stereo IEMs serving your talent on stage or 32 interruptible foldback (IFB) across the crew. With Spectera’s bidirectional bodypacks, you have far more control and far fewer blind spots. Each Spectera SEK bodypack manages both an in-ear monitor and a mic/line input signal simultaneously. And with Spectera WebUI and SoundBase software, you have full remote control and monitoring of everything: IEM volume, audio level and settings, RF health, battery status, and more. So, you can spend more time in control and less time managing components and chasing surprises. For in-ear monitors, Spectera delivers unprecedented RF performance and stability — equivalent to digital wireless microphones. With Spectera, you get stunning IEM clarity and accuracy with ultra-low latency down to 0.7 milliseconds. At the heart of Spectera is Sennheiser’s wireless multichannel audio technology (WMAS) and its modulation and multiplexing capabilities, which make Spectera vastly more resistant to dropouts and RF fading than narrowband systems. Spectera also features built-in redundancy where it matters most: redundant power supplies, redundant Dante and optional redundant MADI audio I/O, and the ability to connect multiple antennas for redundancy, additional zone coverage, or additional spectrum capacity. www.sennheiser.com

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G U I D E - C A BLE S, M I CS & CO M M S | WWW.M ONDODR.COM

Van Damme Tourcat Hybrid 1xCat6A / 1x3x2.5mm Power multicore

Shure SLX-D+

The Tourcat Hybrid 1xCat6A / 1x3x2.5mm Power multicore combines a Cat 6A foil-screened data element with a 2.5mm² jacketed power cable in a single, flexible multicore. Designed as an elegant, single-cable solution for integrated data and power distribution and built to tour-grade specifications, it eliminates the need to run separate power and data cables, making it ideal for LED walls and any application where Cat 6A bandwidth is required alongside a power feed. The Tourcat Hybrid 1 x Cat 6A / 1 x 3x2.5mm Power and Data Multicore is thin and flexible to ensure a low overall diameter of just 17.2mm, providing the small form factor that professionals need. The Cat 6A element delivers rapid, high-bandwidth data transfer via ultra-pure oxygen free copper conductors with skin-foam-skin polyethylene dielectric and aluminium/polyester foil screen at greater than 115% coverage. The power element is rated at 20A and is compliant with the HO5VV-F harmonised standard. www.vdctrading.com/

When there’s an audience, clarity is essential. SLX-D+ provides crystal-clear digital audio quality with >118 dB dynamic range and 2.8ms latency. Plus, embedded Digital Feedback Reduction software (DFR) is poised to catch unwanted noise before it happens. Able to perform in more places – with less frequency bands to manage – SLX-D+ wireless systems maintain stable signals from an expanded frequency range of 138MHz – offering compatible channels up to 11 per 6Mhz and 14 per 8MHz TV bands. For an expansive range of live performance and presentation applications, SLX-D+ offers multiple rack receiver options, including ½ rack single and dual receivers, and choice of standard or Dante full rack quad receivers, with a wide array of handheld, lavalier and headset microphone choices. SLX-D+ portable systems and components are ideal for on-camera cold shoe use or audio bag applications. Featuring Multi-Mic Mode to securely monitor and manage complex multi-channel configurations. From all-day presentations to nighttime performances, be ready with up to eight hours of use from either two included AA batteries, or optional Shure SB903 Lithium-ion rechargeable batteries and charging accessories. www.shure.com

Wisycom MPR60 Wideband IEM/IFB Receiver Designed for live events, high-end theatre, large-scale houses of worship, and broadcast and location sound, the Wisycom MPR60 Wideband IEM/IFB Receiver is a solution for uncompromised performance. Its new IFB Multichannel mode is available with a firmware update, and with the optional multichannel IFB license enabled on the MTK982, the MPR60 becomes a powerful high density IFB solution. In this mode, up to three independent IFB audio channels are transmitted on a single 200 kHz RF carrier, enabling up to six channels of IFB from one MTK982 Transmitter, the same RF robustness as Mono IFB and superior RF efficiency, three channels of audio in just 200 kHz RF bandwidth with four working modes: IEM Stereo Multiplex, IFB wideband, IFB narrow band and three channels IFB with new firmware v1.3.0. With automatic Audio Power Limitation the device intelligently adjusts the output control by measuring the impedance of the in-ear headphones. www.wisycom.com

TNI-WX INDOOR AND OUTDOOR SURFACE MOUNT LOUDSPEAKER

Designed & Engineered In the UK Since 1968 www.hhaudio.com

IP65

THEORY PROFESSIONAL THEORY PROFESSIONAL TALKS TO MONDO-DR ABOUT THE THINKING BEHIND ITS ORIGINS AND HOW THE DECISION TO CREATE A SMALL, DISTINCTIVE PRODUCT RANGE WAS DRIVEN BY A BELIEF THAT THE INDUSTRY WAS MISSING SOMETHING IT DIDN’T YET KNOW IT NEEDED.

In Theory Professional’s cinema demonstration room in Orange County, California, MONDO-DR watched a clip from A Quiet Place. It’s a film built on long stretches of near-silence broken by sudden noise, which makes it a useful piece of demo material. CEO and Owner of Theory Professional, Paul Hales, demonstrated how when the sound hit, it hit cleanly then dropped straight back to almost nothing. This gap between quiet and loud, reproduced as accurately as if you were hearing live noise, is more or less the whole point of the audio company, the CEO began. Founded in 2018 by Hales and launched into the commercial market in 2023, Theory Professional keeps its product range deliberately small. The manufacturer’s handful of loudspeaker, subwoofer, and amplifiedcontroller products can cover multiple use cases within the premium install market. Hales stated: “It’s quality over quantity. We don’t have 25 different ceiling speakers.” He mentioned liking a line a journalist once used to describe the approach: “The thing I like about Theory is they don’t do one cheaper speaker that’s good, one better, and one best. They just do best.” The Theory backstory Hales has been building loudspeakers since he was 16, when he made his first pair as a high-school project, after selling his drum kit to buy a stereo. A mechanical engineering degree from UC Davis and a company of his own, Hales Design Group, followed, then four years at QSC establishing its loudspeaker R&D department. It was at this time that some frustration set in regarding his focus. “I spent a little more than a decade in the high-end hi-fi industry in the 1990s. I kind of got burnt out on that whole market segment and wanted to concentrate on something new.” Alongside QSC, Hales was already running Professional Home Cinema, renamed Pro Audio Technology in 2010, now with an eye on the commercial market. It built speakers for private screening rooms that went on to furnish Hollywood houses. He went on to explain how 2018 was when he noticed a gap in the market: “I couldn’t identify a manufacturer that catered to the commercial foreground and background music segment that I would call premium, or high performance. We knew that we could make those speakers very high performance, and we

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knew that we would approach them in a way no other companies were approaching them.” To address this unmet industry need, Hales created Theory Professional. He detailed the initial thinking behind the brand: “From conception, we knew that if we were going to bring any real value to an already saturated market, we needed to be different. We knew that we could make speakers very high performance, and we knew that we would approach them in a way no other companies were approaching them. “So, we concluded that if we could offer something truly different and fill the void that exists at the premium end of the market, we could make an impact; we could actually offer something new and valuable.” The brand continues to evolve; last year, Theory introduced new loudspeakers and loudspeaker controllers aimed squarely at portable and installed sound reinforcement applications. Hales explained that this occurred as numerous AV consultants, AV integrators, theme park engineers, and end-users visited Theory’s Californian cinema demonstration room and were excited at the systems’ ability to deliver “massive sound with high-fidelity accuracy.” He said that they wanted access to this clear and accurate sound for their larger projects. After a couple of years of that reaction, Theory brought in Marc Bertrand, formerly CEO of sound reinforcement specialist Adamson, and started building for live sound. The result, rolling out through 2025 and 2026, is the SR Series: compact passive and powered loudspeakers and subwoofers, up to the newly previewed SR-221.3, a single full-range box the company calls a “rock concert-in-a-box.” Behind the systems The size of the operation is a surprise, given the high-quality technology. “We’re tiny, but very capable, very tenacious, very... scrappy,” Hales commented. Hales just hired a new president and industry veteran, Rafael A. Nevares, to run operations and scale the companies, but they intend to keep the same “scrappy dynamic”, he assured. “It’s a lot of work, we all work hard, but we all love it and believe in it, so it doesn’t feel like work per se.” Staying small isn’t a phase he expects to grow out of, either. “We are going to grow, but we want to keep this same dedicated smaller mentality. If we became a

C O M PA N Y P R O F I LE - TH E O RY PR O F E SSI O NA L | W W W.MONDODR.COM

CEO and Owner of Theory Professional, Paul Hales. 2 Theory Professional’s p9 pendant speaker. 3 The full Theory SR family.

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giant corporation, we’d worry about gaining so much inertia and so much bureaucracy and so much management and product design committee, where it becomes difficult to not end up in the exact same place as your competitors.” The motivation behind Theory’s dynamic, high-output sound engineering can be partially explained by an anecdote from Hales. Raising his kids near Disneyland, he’d hear unamplified musicians busking through the parks, including one time, a single saxophone player. “I noticed just how big and bold and powerful the sax sounded. It was loud and big and rich and effortless, and even though he was playing loud, it didn’t hurt your ears. There’s a scale to live sound that residential audio systems can’t replicate.” His conclusion was that most audio companies benchmark against their last product or a competitor’s, not the real thing or actual live audio. “They don’t stop and go, well, what does this sound like compared to that guy blowing the saxophone?” Every product decision at Theory chases this. The company pairs high-power amplification with heavy onboard DSP, and every transducer in a Theory product, without exception, is designed and built specifically for it. “We’re not grabbing drivers from known manufacturers and sticking them in our own enclosures,” Hales said. “Everything’s bespoke.” Theory Professional systems have found a wide range of homes. “For whatever reason, and I don’t think we know the answer to this, most of the larger commercial projects we’ve been working on over the last couple of years have all been prominent sports venue-related.” Beyond that, the products can be found in high-end leisure areas, offices, amusement parks, and a variety of other venue types, given the flexibility of the kit. When asked

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about the next step for Theory Professional, Hales said: “I’m excited to get into the live sound space and performance spaces more. These guys love music and sound; it’s not just about the tech and the gear.” He noted that the reason Theory is able to explore different areas of the industry is because of his and his team’s lack of fear to try new things. “Everybody who works with or for Theory understands that the mission is for us to be the best that we possibly can and offer our customers a completely fresh, wonderful experience from what they’re used to,” the CEO stated. Hales concluded by calling the crew behind Theory Professional “unicorns.” He attributes this to the fact that “they’re rare, they bring good fortune, and they’re not afraid to be a little bit different!” www.theoryprofessional.com

A bo v e: A pa ir of Theor y Pr o f e s s i o n a l’s SR- 2 2 1.3 syst ems, an n o u n c ed ea r lier t his yea r .

A RE Y OU LISTED CORRECTLY? Subm i t o r u p d a t e y o u r com p an y ’ s d e t a i l s t o d a y

wts@mondia l e. co. u k

1. Ayrton MagicBlade Neo

MagicBlade Neo is an infinitely modular linear fixture and the latest innovation in Ayrton’s Creative Series. Built on the foundation of the new MagicDot Neo, it features five independently controllable moving heads, spaced just 3mm apart, and this close proximity of the moving heads is continued between individual MagicBlade Neo fixtures, the design ensuring precise alignment of multiple units for continuous, unbroken lines of light. Five individual 120W RGB-L multi-chip LED sources, each paired with a high-efficiency 100mm optic integrated into a perfect sphere, give rise to a gamut of 4.29 billion colours, including a virtual CTC channel and Virtual Tint channel, high CRI, and an output of 5 x 17,000 lux at 5m. Designed for stage lighting, MagicBlade Neo is specifically engineered for both indoor and outdoor use, including demanding environments such as coastal areas. www.ayrton.eu

2. K-array KSCARDIO412P

At its core, the KSCARDIO412P features four 12-inch neodymium magnet woofers, providing low-frequency response down to 35 Hz. The system delivers up to 138 dB SPL, ensuring consistent performance in demanding environments. Its cardioid configuration enables effective rear attenuation, improving directivity and reducing unwanted stage spill. The system supports both mono-amp and bi-amp configurations, offering flexibility depending on the application. The enclosure is made of birch plywood with a polyurea coating, designed to withstand intensive use and transport conditions, and is available in black or custom RAL finishes. With its controlled dispersion and solid construction, the KSCARDIO412P is a reliable solution for professional sound reinforcement systems requiring both output and directivity control. www.k-array.com

3. Powersoft PRIMA

The PRIMA Series is compact 4-channel professional amplifier range for installed audio systems requiring reliable low-to-mid-power amplification without unnecessary complexity. Available in two versions differentiated by power output, PRIMA 164 and PRIMA 324 are designed specifically for applications where signal processing is already handled upstream or where DSP is not part of the system architecture. Both PRIMA models support Hi-Z and Lo-Z operation, with each output channel independently configurable to suit the connected load. Auto Setup automatically optimises the amplifier’s operating parameters on first start-up, reducing commissioning time and simplifying on-site deployment. The compact half-rack form factor means PRIMA can be deployed in a variety of ways, including as a standalone unit, behind a display, or beneath a conference table. www.powersoft.com

4. Symetrix Cognio Platform

Cognio represents a fundamental rethinking of how AV systems are built, combining distributed intelligence with code-free control into a single platform powered by DesignOps, the patented software that underpins the next-generation hardware and software platform. By seamlessly connecting its modernized software application with a distributed approach to smart devices, Cognio unifies design, configuration, commissioning, control, and ongoing operation into unified, streamlined workflows in which a single device can power multiple spaces, or multiple devices can support a single space, allowing systems to scale naturally across rooms, buildings, or entire campuses. Rather than starting with fixed hardware, Cognio enables AV professionals to design workflows based on rooms, zones, and signal flows, then add hardware later, delivering unprecedented flexibility and scalability in AV design. True pre-hardware emulation lets designers perform AV line checks before installation, allowing them to confirm that audio and video signals are present and functioning properly from their desk, before ever setting foot on site – saving teams time and money. www.symetrix.co

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A D IND EX Absen

Adamson

Allen & Heath

Antari

AREAL

111

Audio-Technica

AV Stumpfl

beamZ

Broadweigh

Chainmaster

105

CHAUVET Professional

Clear-Com

Celestion

DAS Audio

DPA Microphones

Dynacord

EM Acoustics

Fenix

10,11

Fohhn

Funktion-One

Genelec

Global AV Group

HH Audio

107

JTSE

K-array

Konig & Meyer

113

KV2 Audio

L-Acoustics

LaserAnimation Sollinger

LAWO

LINK

Listen Technologies

Look Solutions

MONDO-DR WTS

111

NEXO

Outline

Panasonic

IBC

Pharos

Pro Tapes

RIEDEL

103

ROBE

12-13

ROE Visual

Showven

Sonance Professional

Starway

Steinigke

Symetrix

Van Damme Cables

Yamaha

COMPACT

STAGE The Mix and Match space-saving stand system

Create your ideal lighting or speaker stand with durable base plates in various sizes and matching extension rods – or choose a complete stand from the K&M Compact Stage series. With smart design, exceptional stability, and optional weight plates, this system oﬀers maximum ﬂexibility for stage, rehearsal room, or studio. Convenient carrying bags ensure safe and easy transport. Discover space-saving stands tailored to your needs.

Made in Germany

5 year warranty

k-m.de/us

W WW. M OND OD R. C OM | A D IND EX

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How have technological advancements in both software and hardware helped a company such as LSI Projects? The technology has changed enormously during my career – from a Strand Tempus 24, my lighting desk of choice back in the day, to what is available today – it’s very, very different! Systems that once operated independently are now increasingly interconnected, with lighting, audio, control and other venue systems sharing network infrastructure. Software has probably changed project delivery just as much as the hardware. Drawings, documentation and project information can now be shared almost instantly and modern equipment also gives us far more diagnostic information. An installer today needs an understanding not just of electrical and electronic systems, but increasingly of networking, software and system integration. That’s one of the things I still enjoy about the industry – no matter how long you’ve been doing it, there’s always something new to learn.

NICK BROAD THE PROJECTS DIRECTOR AT LSI PROJECTS REFLECTS ON MORE THAN 30 YEARS WORKING IN AN EVER-EVOLVING INDUSTRY…

How did your journey in the venues and installation world develop? My career started with work experience, which led to holiday work at festivals, car shows and small productions, before moving into installation. I trained as an electrician while also working on mechanical stage engineering installations. This gave me a practical grounding and, importantly, taught me how things get installed on site. I first started getting paid to do this in August 1992, and I still have the handwritten payslip, prepared by David Whitehead’s mum! David, a co-founder of Stage Electrics who sadly passed away in 2013, gave me that first opportunity and, without it, I would not be doing what I do today. Over the years I’ve worked across installation, contracting and consultancy, moving through project and contract management, and also spending several years as a theatre consultant. My current role has me overseeing our projects from conception through design, procurement, installation and commissioning, right through to final handover. From conception to completion – what are some of the toughest hurdles a Project Director faces before completion and handover? One of the biggest challenges is that no project exists in isolation. On a theatre or performance venue, we are normally one specialist contractor amongst a very large construction team, and for many of the people involved, it’s the first performance venue they’ve ever built. Our work also tends to come towards the latter stages of the construction programme, so when things get squeezed, we are one of the trades expected to make up some of that lost time. We’re dependent on many things being ready before we can finish our own installation – power, containment, finished spaces, access and, increasingly, network infrastructure, so there is always a certain amount of controlled chaos towards the end of a project, but that’s also part of what makes the job interesting.

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How do you stay in touch with updates and developments in lighting, audio, and staging technology? A lot of it comes through the people around me. I’ve had the privilege of working with some amazing people throughout my career and have learnt a huge amount from them. Many have gone on to do great things within the industry, and it’s always nice when our paths cross again. We have some very knowledgeable people at LSI Projects specialising in different disciplines, and I’m certainly not going to pretend I’m the expert on every new bit of technology, so knowing who to ask is quite important. Events such as ISE, PLASA Show and ABTT are still a great way of seeing what’s new and talking directly to manufacturers, consultants and others within the industry, and they’re also a good excuse to catch up with friends. What are the keys to a successful AV installation, and what plays a larger part – budget or the creative concepts? The starting point must be understanding what the client and creative team are actually trying to achieve. The best installations aren’t necessarily the ones with the biggest budgets; they’re the ones where the technology does what the venue and the people using it need it to do. Budget obviously matters, but I don’t think budget and creativity necessarily work against each other. Quite often, having some constraints makes everybody think a little harder about the best solution. From an installation point of view, simplicity and maintainability are very important. A system can be incredibly clever, but if the venue technicians can’t operate, maintain or adapt it easily, then we’ve probably missed something. Which projects have been most memorable and meaningful for you? This is very difficult to answer because I have been very fortunate to work on some fantastic venues during my time as a contractor, project manager, consultant and now at LSI. Some have been very large and prestigious projects, while others have been much smaller but just as rewarding. What tends to stick in my mind isn’t necessarily the size or value of the project, but the people involved and the challenges we’ve had to overcome along the way. There is still something special about going back to a completed theatre or auditorium and remembering when it was a building site full of scaffolding and cables. Seeing an audience enjoying a venue that you’ve played some small part in creating is still a great feeling. Having spent your entire professional career in stage technologies, what other interests do you have? Being from Bristol, I’ve always had an interest in the ballooning community and particularly the Bristol International Balloon Fiesta. You’ll often find me in a 4x4 chasing a balloon across the countryside to retrieve it. It’s a very Bristol thing, and I’ve spent quite a bit of time around balloons and the people involved with them over the years. There’s still something quite special about seeing the city’s skyline filled with balloons during Fiesta week. My daughters recently got me into Formula 1, and I enjoy getting to Silverstone when I can. I’m also involved in supporting my local community through a local church and have a general interest in cars, engineering and technology.

EM MONDO Fp PointSourceDoneRight.pdf

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The Reference Series emacoustics.co.uk

18/08/2026

14:15

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