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ProAVLMEA January–February 2026

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION January–February 2026

REAWAKENING THE LOST WORLD OF ATLANTIS

AVI-SPL pulls out all the stops at the resort’s famous attraction

MDDI (P) 068/04/2025 www.proavl-mea.com

FEEDING THE MACHINE

SOUND WITHOUT SPILLAGE

FOHHN’S PASSION FOR PRECISION

MAKING VISION EGYPT’S BEYOND GEMAT SHINE AUDIO SAE Singapore: MDDI (P) 068/04/2025

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Contents

Volume 23 Issue One

January–February 2026

Editor’s Letter As the industry turns the page on another year, January offers a rare opportunity to take stock before the calendar fills up again. If there is a defining characteristic of the Middle East and Africa market right now, it is probably recalibration. Opportunities remain vast, but the last 12 months have been a reminder that growth is rarely linear. In some territories, momentum has softened and expectations have been quietly adjusted. Elsewhere, stability and consistency have become the new competitive advantages. The UAE continues to stand out as a market built on predictability rather than spectacle. Dubai and Abu Dhabi have delivered steady project pipelines and increasingly mature end users who understand the long-term value of AV investment. At the same time, secondary hubs such as Turkey and Qatar are beginning to reassert themselves. These may not be the loudest successes, but they appear the more sustainable.

NEWS 4 News 26 Powering down with Rachael Hamilton 28 Distribution 30 Appointments

Spending time onsite remains central to what we do at Pro AVL MEA, and conversations with end users often prove more revealing than any press release ever could. What stands out today is how much more demanding those discussions have become. Clients are asking sharper questions, challenging design assumptions and pushing integrators to justify decisions in detail. That shift should be welcomed. It points to a market that is maturing, even if it leaves less room for weak execution. Of course, none of this exists in a vacuum. Political uncertainty, economic pressure and shifting regional priorities have the potential to disrupt even the best-laid plans. But the bar has been raised and is unlikely to come back down. This issue reflects that reality. The focus is less on spectacle and more on execution. As 2026 begins to take shape, the opportunities remain firmly on the table. Happy New Year!

Email: sluckhurst@proavl-mea.com

FEATURES 32 Sound serving the spectacle 34 A sonic shake-up at Swingers 36 Putting fintech in focus 38 COVER: Atlantis’ Lost World 42 40 Precision and diplomacy at IISS 2025 42 Feeding the machine at WooHoo 44 Making Egypt’s GEM shine 46 Controlled coverage at Bar du Port 44 48 Sami Yusuf comes to Jordan BUSINESS 50 Letters 52 PROFILE Fohhn’s passion for precision 54 PROFILE Shure MEA’s sound strategy 56 TECH Sound without spillage 52 NEW PRODUCTS 59 The industry’s most

comprehensive product news

ANALYSIS 82 Phil Ward explores broadcast trends in venues

Sue Gould

Carolyn Valliere

Caroline Moss

Karen Wallace

Sales associate

Contributing editor

Editorial coordinator

rlawn@proavl-mea.com

sgould@proavl-mea.com

cvalliere@proavl-mea.com

cmoss@proavl-mea.com

kwallace@proavl-mea.com

bmeikle@proavl-mea.com

Nick Smith

Chris Yardley

Jack Stennulat

Adrian Baker

Marne Mittelmann

Sue Su

nsmith@proavl-mea.com

cyardley@proavl-mea.com

jstennulat@proavl-mea.com

abaker@proavl-mea.com

circulation@proavl-mea.com

ssu@proavl-mea.com

General manager

Digital media manager

Advertising director

Video editor

Digital content creator

Published by:

Spa House, 18 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2EP, United Kingdom TELEPHONE: +44 (0) 1892 676280 WEB: www.proavl-mea.com

Production manager

Circulation manager

Bea Meikle News editor

Guangzhou manager

LICENCES: Singapore: MDDI (P) 068/04/2025; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

PRINTING: Times Printers Singapore

COVER: The Lost World Aquarium at Atlantis, The Palm

January–February 2026 PRO AVL MEA 3

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NEWS

Al Ain Museum reopens with Auditoria UAE

With its partners at the Department of Culture and Tourism Abu Dhabi, creative and production company DAE Global invited Auditoria to design and deliver the full audio and show control systems and sound design content creation for the reopening ceremony of the UAE’s first museum, Al Ain Museum. Staged outdoors between the museum’s entrance and Al Ain Oasis, the event used projection, narration and performance to tell the story of Al Ain. The production combined large-scale visual storytelling with a highly detailed audio environment, designed to immerse audiences in each chapter of the narrative. “The challenge was to create an immersive and engaging sound field that felt natural and emotionally connected to the storytelling, while keeping the technology invisible within the environment,” noted Ethan Curry, system engineer, Auditoria. With just eight weeks from concept to delivery, Auditoria’s team worked closely with DAE’s creative and technical departments, alongside Musicom for music content, Luke Halls Studio for video content and Bruno Poet/ Electric Blue Design for lighting. To achieve consistent coverage and spatial interest across a large outdoor grandstand, the system was built around a layered loudspeaker design. Over 300 L-Acoustics 5XT and 50 SB10i loudspeakers were integrated into the seating structure to provide nearfield stereo for every listener. These were complemented by KARA II and X6i speakers concealed within the stage fascia and a rear-surround layer of X12s to enhance depth and localisation.

WORLD

Bolstering its technology portfolio, Biamp has entered into an agreement to acquire assets of ClearOne, including intellectual property and brands. The deal expands Biamp’s offering to include signal-processing designs and patents.

At the centre of the control infrastructure, a dual-engine DiGiCo Quantum 7 console and dual-redundant Ovation replay systems delivered timecode-based playback across 128 channels of MADI, distributed via a fully redundant Optocore network. Spatial processing was handled by a pair of dualredundant L-Acoustics L-ISA II processors following timecode to trigger programmed snapshots containing object trajectories and room engine changes to enhance the spatial experience. As the design evolved, Auditoria made key refinements in the final weeks to improve spatial detail and reduce visual impact. “We transitioned from a wide-stereo concept to

a layered system design, which improved immersion and preserved the clean visual lines of the stage and museum façade,” added Curry. “The show was a beautiful theatrical experience, highlighting the history of Al Ain through the ages, brought to life with technology, performance and creativity,” Curry concluded. “To deliver a project of this scale in such a short time frame, with that level of care and collaboration, was a real achievement.” www.auditoria.systems www.digico.biz www.l-acoustics.com

Dirk Ulrich takes on Apogee Electronics WORLD

Apogee Electronics has been acquired by Dirk Ulrich’s newly founded Rockforce Tech Holding, parent company of Manley Labs, uniting two long-established names in professional and high-end audio. The announcement marks a significant moment for the Santa Monica manufacturer as it approaches its 40th anniversary.

Biamp acquires ClearOne assets

Founded in 1985, Apogee is known for its digital audio converters, recording interfaces and software tools used by artists, producers and engineers worldwide. Co-founder and CEO Betty Bennett described the acquisition as a natural next step for the company. “We’ve reached an exciting moment in Apogee’s evolution,” said Bennett. “To

continue growing in today’s rapidly shifting audio landscape, Apogee needs expanded resources, new energy and a broader operational foundation. Dirk brings all of that. His experience leading Brainworx and Plugin Alliance, and now Manley Labs, makes him uniquely equipped to guide Apogee into its next chapter. I’m profoundly proud of what our team has built and I’m confident this partnership will elevate both companies in meaningful ways.” Ulrich commented that the move will create a complementary ecosystem between Apogee and Manley Labs: “Apogee has an extraordinary heritage and a loyal user base. Bringing Apogee and Manley together creates a powerful platform for professionals and creators, whether they are working in analogue or digital. It’s all about the sound.” Apogee will continue to operate from its Santa Monica headquarters and maintain support across its hardware and software portfolio. Both companies expect the combined engineering capabilities to accelerate new product development and extend their global reach.

Over the past two decades, ClearOne engineers have worked to advance the state of audio conferencing with contributions in DSP, acoustic echo cancellation, microphone array processing and beamforming/beamsteering techniques. The acquired assets include designs and several patents related to beamforming microphone arrays and associated audio signal-processing technologies. “ClearOne helped set benchmarks in professional audio, particularly in beamforming microphones and core DSP,” said Rashid Skaf, Biamp president, CEO and co-chairman. “Bringing these assets into Biamp strengthens our already deep audio engineering foundation and will enhance future product innovations across our portfolio. Our mission remains delivering the most reliable,

best-sounding experiences in the market, and these assets align squarely with that goal.” According to the terms of the agreement, Biamp does not assume any obligations to continue selling, supporting or developing ClearOnebranded products. The manufacturer stated that its focus is on the integration of selected IP and designs into future Biamp solutions in ways that elevate performance and provide ease of deployment and longterm value for customers. www.biamp.com

www.apogeedigital.com

Dirk Ulrich (directly in front of neon sign) is pictured with the Apogee Electronics team

www.clearone.com

www.rckfrc.com

4 PRO AVL MEA January–February 2026

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ATEM Mini Extreme ISO G2 lets you build a high end broadcast studio! ATEM Mini Extreme ISO G2 makes it easy to create professional multi camera productions for live streaming! Simply connect ATEM Mini Extreme and you can live switch up to 8 high quality video camera inputs for dramatically better quality images. You can even sync your recording to Blackmagic Cloud, so you can edit your live production with DaVinci Resolve anywhere in the world!

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NEWS

DiGiCo welcomes J-Lo to Uzbekistan UZBEKISTAN

Jennifer Lopez recently graced the stage of Tashkent’s Bunyodkor Stadium as part of her Up All Night: Live in 2025 tour, marking the country’s first performance of an American A-list artist. YASTREB-Sound supplied the entire audio system for the concert, deploying an L-Acoustics solution with mixing courtesy of DiGiCo consoles. The setup was designed by YASTREB-Sound’s chief system engineer, Eduard Asadov, who worked in close collaboration with Lopez’s touring system engineer, Matt Coplon. The solution featured L-Acoustics K1 and K2 arrays, L2 elements, plus KS28 and SB28 subs, alongside a Quantum 326 at front of house and a Quantum 338 at the monitor position. To ensure optimum sound quality for the large number of fans in attendance, the team said that they took careful consideration when calibrating the system. Renowned sound engineers César Benítez and Craig Doubet both tour the world with Lopez. Monitor engineer Benítez also counts Ricky

Martin and Enrique Iglesias amongst his clients, while Doubet is a FOH engineer with over 30 years of professional experience, including 20 years mixing in the world’s largest arenas. “The Quantum 326 is on another level,” Doubet noted. “I really enjoy working on this console. It offers an enormous channel count,

exceptional flexibility and powerful onboard tools like Mustard and Spice Rack processing, along with True Solo and customisable Macros. All these features streamline the workflow and enable quick, precise adjustments, whether it’s fine-tuning Jennifer’s vocals or managing the full band mix.”

He added that the integrated Fourier Audio transform.engine also provided additional stability, ultra-low latency and expanded creative options for fine dynamic processing. DiGiCo’s latest v20 upgrade has further expanded the console integration with the transform.engine, enhancing the Quantum 326’s capabilities for engineers and artists alike. For both YASTREB-Sound and Asadov, the project highlights the potential for similar high-profile projects in the region. “The most important thing is a happy audience. And, of course, the FOH engineer I hand the system over to,” Asadov concluded. “With the power of DiGiCo consoles at our disposal, we are even better placed to serve the needs of highprofile international touring artists – and if the engineers are satisfied, we’ve done our job.” www.digico.biz www.l-acoustics.com www.yastreb.uz

Rohde & Schwarz buys Munich Innovation Labs WORLD

L–R: Rohde & Schwarz’s Dr Alexander Orellano, Stefan Taing of Munich Innovation Labs and Sebastian Richter from Rohde & Schwarz

Rohde & Schwarz has acquired Munich Innovation Labs, a software specialist with headquarters in Munich.

Founded in 2015, the company develops and markets AI-based software solutions for domestic and international security.

Rohde & Schwarz hopes the acquisition will strengthen its position in the data analytics solutions market, particularly in the field of open-source intelligence (OSINT). The growing demand for data analytics solutions and platforms is currently driving significant growth in this sector. The acquisition will allow Rohde & Schwarz to better serve existing market segments and open up new business opportunities. At the same time, Munich Innovation Labs will benefit from Rohde & Schwarz’s sustainable investment in research and development. Sebastian Richter, Rohde & Schwarz’s president monitoring and analytics, explained: “Open source intelligence has become an indispensable tool for security agencies. I am very pleased that Munich Innovation Labs will now be part of Rohde & Schwarz. They are a success

story and have become a well-established player on the market. The acquisition is a strategic addition to our portfolio and will benefit the customers of both companies. Both Rohde & Schwarz and Munich Innovation Labs have first-rate analysis platforms that we will continue to develop synergistically in the future.” The two Munich Innovation Labs founders, Stefan Taing and Jens Elsner, will remain in management positions with the software specialist for the long term. Together with their Munich Innovation Labs team and their new Rohde & Schwarz colleagues, they will continue to advance the development of the software developer’s unique portfolio of services with their expertise for leading-edge technology. www.mi-labs.de www.rohde-schwarz.com

PRG establishes Qatar presence QATAR

PRG has strengthened its regional footprint with the launch of new operations in Qatar, marking another milestone in the company’s continued Middle East expansion. The move follows PRG’s successful delivery of high-profile projects across the country, including the FIFA Fan Festival, World Aquatics Championships and AFC Asian Cup opening ceremony. As Qatar continues to build on its growing reputation as a global destination for live entertainment and international sporting events, PRG sees the new base as a key driver of its long-term growth strategy in the region. Since its entry into Saudi Arabia in 2021, PRG Middle East has continued to expand its inventory, facilities and technical expertise to support local and international clients. The company’s investment in the latest

Heading up the new Doha operation is Harry Lister, who has been appointed general manager of PRG Qatar. Lister brings extensive experience in the Qatari events sector and maintains strong relationships with key clients. He will also continue in his existing role as director of account management for the Middle East, ensuring collaboration and consistency across regional projects. “Qatar represents an exciting and important market for PRG’s future,” said Lister. “With the country’s growing investment in entertainment and live events, our presence here allows us to better serve clients and deliver world-class technical support on the ground.” production technology has helped reinforce its position as a technical delivery partner for

events agencies, designers and promoters across the Gulf.

www.prg.com

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NEWS

L-Acoustics launches new application team MEA

Prosistem sees Yamaha demand in Turkey TURKEY

Prosistem Distribution is reporting increasing demand for Yamaha’s Rivage PM and DM7 digital mixing platforms in the country, with recent sales spanning rental companies, permanent venues and the touring sector. The Rivage PM series has been supplied to several major users including Istanbul’s Atatürk Culture Centre (AKM), while the smaller-format DM7 has also been adopted by several permanent venues and freelance engineers. Prosistem attributes this growth to product exposure and an expanding training programme. Since May 2024, the company has delivered Yamaha workshops across Istanbul, Ankara, Izmir and Antalya, with the most recent two-day session in Istanbul attended by 150 professionals. Training was led by sound engineers Timuçin Aksuer and Aziz Berk Erten, supported by Prosistem’s technical team, with additional sessions at Opus Sound Warehouse in Izmir. The programme focused on console workflows, technology advantages and comparisons with other brands. “Following the training, several participants stated that the consoles were impressive, highly usable and that

they plan to add them to their technical riders,” commented Prosistem’s Eren Ertekin. In a similar vein, Yamaha systems featured prominently at the Istanbul Festival, where Prosistem supplied Rivage PM5s and DM7s for FOH across 30 performances during the 17-day show. The consoles were provided free of charge to allow engineers and rental partners to evaluate the systems in real-world conditions. “The Yamaha consoles were used for almost all concerts throughout the festival,” said Ertekin. “The engineers particularly appreciated their functionality and the advantage of being able to optimise the expansion slots.” Prosistem reported that the deployment had a direct impact on the market, with post-event sales totalling 10 PM3/PM5 systems with RPIO devices and 70 DM7 consoles with Rio interfaces. “Seeing several major rental companies proceed with purchases has been extremely rewarding for our entire team,” added Ertekin.

L-Acoustics recently launched its new Middle East, Africa and Eurasia application team with a technology showcase at Dubai’s Theater of Digital Art. The event marked the first major regional appearance for the three-person team and underscored the company’s commitment to providing world-class technical support in one of its fastest-growing markets. The Dubai showcase drew more than 125 industry professionals for a day of demonstrations highlighting the company’s L2 line source array and L-ISA immersive audio technology. The sessions covered a range of vertical markets, including live events, sports venues, themed entertainment, hospitality and houses of worship. Attendees experienced live L-ISA DJ performances and interactive workshops led by the newly formed application team. The new regional structure is led by Mehdi Khelil, head of application – MEA and Eurasia, reporting to Vikram Kirby, global director of application operations. Supporting him are application engineers Adriaan van der Walt (Middle East – L-ISA) and Luke James Brookes (Middle East and India). Khelil has over 15 years’ experience in the Middle East’s live entertainment sector, most recently as senior operations manager at Etihad Arena. Van der Walt is an L-ISA specialist with front of house mixing credits including The Voice, while Brookes previously managed audio operations at Dubai’s Coca-Cola Arena. “The establishment of this dedicated application team represents our commitment to meeting the evolving technical demands of

the Middle East, Africa and Eurasia markets,” said Kirby. “With Mehdi’s leadership and the combined expertise of Adriaan and Luke, we’re positioned to deliver exceptional technical support and drive innovation in immersive audio experiences across the region.” Throughout the day, presentations showcased real-world L-Acoustics deployments across sports venues in Doha and Munich, themed entertainment spaces in Al Wasl, Ephesos and Artechouse NYC as well as hospitality and corporate environments. The team also introduced Creative Live Support Services, offering CAD drafting, consultant masterclasses and design assistance tailored for local projects. This expansion follows a broader restructuring of L-Acoustics’ sales team under director of sales EMEA Tim Völker, with Chris Mead as head of sales, Middle East, India, Africa and Eurasia. The company has seen a 30% workforce increase in two years, driven by strong growth across all market sectors. “Our expanded application capabilities in the Middle East reflect the region’s growing importance in the global entertainment and events landscape,” added Khelil. “The Dubai event is an ideal opportunity to bring our combined expertise directly to our clients and partners, demonstrating the technical support and innovation that L-Acoustics is known for worldwide.” www.l-acoustics.com

www.prosistem.com.tr www.yamaha.com/2/proaudio

L–R: Luke James Brookes, Mehdi Khelil and Adriaan van der Walt

Netgear and Riedel join forces WORLD

Netgear and Riedel Communications have entered into a global technology partnership to advance AVoIP solutions. The collaboration brings together Netgear AV’s managed switches with Riedel’s video infrastructure technologies to streamline IP-based signal distribution for broadcast, live events and commercial AV. The first step of the alliance begins with Riedel carrying Netgear’s M4350 series switches, bringing them together with MediorNet MuoN A processing SFPs to

deliver ST 2110 Gateway functionality for decentralised signal distribution over standard IP networks. “We are always looking for ways to streamline workflows and enhance

reliability for our customers,” said Louis Caron, senior product manager video at Riedel. “Partnering with Netgear allows us to offer a proven networking backbone that complements our media-over-IP solutions

and supports the evolving needs of the broadcast and AV industries.” Richard Jonker, VP of marketing and business development at Netgear, added: “We are excited to develop our roadmap of hardware and software in support of Riedel’s applications, which are at the core of this latest wave of innovation in the market.” www.riedel.net www.netgear.com/broadcast

8 PRO AVL MEA January–February 2026

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GTX 7C | GTS 16C CAR DI O I D LI N E AR R AY SYST E M

Hall 7 Booth D700 Demo Room B2

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NEWS

Cameo lights up the Turkish Riviera

TURKEY

The Swandor Kemer Hotel on the Turkish Riviera has undergone a large-scale renovation, with the lighting at its two outdoor

stages – the Show Center and Xone Club – updated with a Cameo system supplied and installed by Turkish distributor Alkor Proje.

Operated by the Pegas Group, the resort accommodates up to 3,000 guests and offers concerts, DJ sets and theatrical performances across the two venues. The 2,000-capacity Show Center serves as the main stage, hosting live dance, acrobatics and theatrical shows produced by the hotel’s in-house team. To match the 160m² LED backdrop, Alkor Proje required fixtures that were both powerful and weatherproof. “The Zenit W600 wash lights were the perfect solution here and offer brilliant colours,” explained Murat Şerbetci, CEO, Alkor Proje. “Especially for dance scenes, the Opus H5 delivers powerful beams that can stand out against the bright LED wall.” The IP65-rated LED wash lights are complemented by Flat Pro 18 G2 RGBWA outdoor spotlights for filling dark areas and Opus H5 beam spot wash hybrids for dynamic beam effects in high-energy dance sequences. For natural, camera-friendly illumination, F4 T LED Fresnels provide accurate skin tones and vibrant costume rendering.

After the main shows, entertainment continues at the Xone Club, the resort’s open-air nightlife venue hosting DJs. Alkor Proje designed a lighting concept balancing concert requirements with a club-style ambience. Zenit W600, Flat Pro 18 G2 and Zenit W600 D wash lights were chosen for high-impact colour and strobe effects, while Thunder Wash 600 RGB units provide background lighting. F4 T Fresnels illuminate faces and costumes, and Otos H5 IP65 beam spot wash hybrids light the audience with farreaching beams. “We used products that will still be competitive in years to come, without the need for immediate new investment; a decisive factor that has satisfied the customer as well as us,” said Deniz De ğ irmenci, business development and sales manager at Alkor Proje. www.cameolight.com

Al-Hisn Big Time Studios accredited by ARRI SAUDI ARABIA

Al-Hisn Big Time Studios is one of the Middle East’s largest and most advanced film and TV production facilities. Located west of Riyadh and inaugurated by Saudi’s General Entertainment Authority (GEA) chairman His Excellency Turki Alalshikh, it plays a key role in Saudi Arabia’s Vision 2030 initiative. Al-Hisn Big Time Studios is ARRI’s largest VP project to date and the first ARRI-accredited VP stage in the region. Working with entertainment and hospitality expert Sela, ARRI handled consulting, design, construction and integration. The facility spans 10,500m² of studio buildings within a 300,000m² complex. The VP volume features a 15m 360° turntable overhead rain system and 300m² of LED panels. Stage A covers 5,000m², divisible into three studios with movable partitions and an indoor water tank. Stage B houses a museum showcasing ARRI’s history with vintage equipment. The production village includes a 50m x 50m outdoor pool,

His Excellency Turki Alalshikh (centre) accepting the ARRI Stage Accreditation with (L–R) Kevin Schwutke, Jannik Abelt, Dr Benedikt von Lindeiner and André Rittner from ARRI

150,000m² backlot, suites, production offices and fully equipped editing rooms. At the Joy Forum, a global entertainment and media conference in Riyadh under the GEA, the manufacturer presented its Stage Accreditation to His Excellency Turki Alalshikh. Kevin Schwutke, SVP corporate development, brand and new business at ARRI Group, said: “It has been an incredible honour to be part of this ground-breaking project. I would like to thank our partners at the GEA, Sela, Al-Hisn Big Time Studios and specifically His Excellency Turki Alalshikh for making this vision a reality.” The studios are equipped with the ALEXA 35, SkyPanel X, Orbiter and Signature Zoom lenses from ARRI. The ARRI Stage Accreditation is a global certification recognising studios that meet the manufacturer’s criteria for image quality, studio design and workflow reliability. www.arri.com

Whether you need a mic or a full technical solution

DWR Distribution

provides Lighting, Audio, LED Displays & AV equipment across Africa www.dwrdistribution.co.za | sales@dwrdistribution.co.za 10 PRO AVL MEA January–February 2026

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Web XR/vi Duba outfitt volum Serie ceilin regard XR/VP used and c The is par was d to han filmm to imm produ acces workfl broad For t selec from Serie “stud togeth LED d The panel chose and i pedes techn lightin shoot is for DBmk cinem for cl depth the fl Toge a 5m volum and c enviro came for ex Furth panel for ca For Armo bump surfa ensur can w and c INFiLE anoth Brom powe integr virtua also c Engin and o based respo of the VP fa sound suite

NEWS

INFiLED drives Dubai VP studio UAE

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Web3 Productions’ flagship XR/virtual production facility at Dubai Production City has been outfitted with a complete LED volume featuring INFiLED’s Studio Series. The immersive, floor-toceiling creative environment is regarded as one of the largest XR/VP studios in the UAE and is used for a range of film, broadcast and commercial work. The new INFiLED-powered stage is part of the wider Web3TV hub. It was designed from the ground up to handle everything from traditional filmmaking and live broadcasts to immersive augmented reality productions, providing clients with access to real-time extended-reality workflows, in-camera VFX and broadcast production. For the project, Web3 Productions selected a tailored configuration from the manufacturer’s Studio Series, encompassing a modular “studio-to-go” concept that brings together ceiling, backdrop and floor LED displays in a single system. The ceiling incorporates LED panels from the ARmk2 Series, chosen for their lightweight design and integrated truss brackets and pedestals, making it easier for the technical team to create dynamic lighting and content rigs above the shooting area. The main backdrop is formed from panels from the DBmk2 Series, said to deliver cinematic-grade fine pitch visuals for close-up shots and shallow depth-of-field filming. Meanwhile, the floor utilises DFmk2 panels. Together, these elements form a 5m-high, floor-to-ceiling LED volume that surrounds both talent and camera, enabling immersive environments and complex camerawork without the need for extensive postproduction. Furthermore, all Studio Series panels at Web3TV are engineered for camera-facing performance. For durability on the floor, ArmorLED construction, retractable bumpers and hard-wearing cabinet surfaces have been leveraged to ensure that the DFmk2 modules can withstand heavy loads and constant crew movement. INFiLED’s LED bonding adds another layer of protection. Brompton Technology processing powers the LED volume which is integrated into a Disguise-based virtual production workflow that also connects real-time Unreal Engine content, camera tracking and on-set monitoring. Dubaibased CVD Productions was responsible for the audio side of the build, with the Web3TV VP facility complemented by soundproof podcast rooms, editing suites and recording booths

within the same creative ecosystem at Dubai Production City. Following installation, the Web3 Productions stage has already welcomed high-end clients, including Rolls-Royce, which used the INFiLED LED to create environments for a recent campaign for its new Spectre EV. The space is equally suited to commercials, dramas, music content and broadcast-style shows focused on crypto, AI, fintech and entertainment thanks to its capacity for multicamera shoots and live production. www.bromptontech.com www.infiled.com

CONTROL ROOMS MADE SIMPLE We’ve taken the complex and made it simple. Experience Aetria at ISE 2026.

See us in Hall 5: Booth 5C500

datapath.co.uk

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NEWS

DAS ignites the Asian Youth Games BAHRAIN

SAW supplies Caudan Arts Centre with a DM7

Following a 12-year hiatus, the third Asian Youth Games returned with a grand opening ceremony featuring a DAS Audio sound system. The audiovisual setup for the spectacle was provided by Dafeng Industry, a Chinese company in the cultural and sports sector and exclusive partner of the Olympic Council of Asia (OCA). Held in Manama at Exhibition World Bahrain, the event featured over 4,000 athletes from 45 countries competing in 28 sports. Dafeng Industry collaborated with DAS to deliver an audiovisual show that combined technology with a strong local cultural identity. The project

a simple product adaptation to a true ecological collaboration. Both companies noted that this evolution laid a solid foundation for their joint work at the Asian Youth Games in Bahrain. To ensure that the creative concepts were executed effectively, a joint team of DAS engineers and Dafeng technicians worked closely throughout the entire project. They took part in planning, system adjustments and onsite coordination, covering every stage of the process, such as installation, calibration and optimisation of sound effects at each phase of the ceremony.

marked Dafeng’s global debut as the main producer of opening and closing ceremonies for high-profile international events. For the opening ceremony, Dafeng said it worked to integrate international technology while embracing Bahrain’s history and cultural identity. This included incorporating elements of traditional Gulf music and planning the installation in a way that respected the cultural environment of the venue. Dafeng noted that it placed particular value on DAS’s commitment to sound solutions for sporting events, as well as on its rigorous production and quality control processes. Aligning with this, the Spanish manufacturer’s global CEO Manuel Peris travelled to China to meet with Dafeng’s president. During this meeting, both parties explored different cooperation scenarios and the details needed for technological implementation, evolving from

Taking into account the acoustic characteristics of Exhibition World Bahrain, DAS designed a custom sound solution to deliver uniform coverage and optimum clarity. The main system was configured in L-R arrays of eight EVENT-28A and two EVENT-118A subwoofers per side. Out fills were courtesy of two arrays with six EVENT-28A per side, while eight EVENT-28A were used for the delay area. Front fills consisted of six EVENT-28A, reinforced by 16 EVENT-218A for low-frequency support. In addition, the stage was equipped with 12 EVENT-M210A monitors. According to the team, the stability of the system and the sound quality received high praise from both the ceremony’s general director and the audio manager, and at the end of the event the organising committee sent an official letter expressing its recognition and gratitude.

MAURITIUS

Opened in 2018, the Caudan Arts Centre is a privately owned theatre and cultural hub in the Mauritian capital of Port Louis. Playing host to an average of 135 shows per year, this busy 431-seat venue reportedly offers some of the best technical facilities in the country. The centre has recently made an investment in its live mixing technology with the purchase of a Yamaha DM7 console, supplied by Stage Audio Works (SAW). “We have a beautiful, high-performance space here at the Caudan Arts Theatre, with excellent acoustics and an exceptional PA system,” commented Kooshal Dwarka, technical manager and head of sound at the venue. “Since the very beginning, we have worked closely with Stage Audio Works. When it was time to upgrade our front-of-house kit, I reached out to the SAW team right away.” Dwarka sought SAW’s advice during negotiations on the mixing console upgrade. While they had enjoyed a good experience with their hardworking Yamaha CL1 and CL3 for more than six years, the in-house team knew an upgrade would unlock new levels of control and creativity over their mixes. “The DM7 stood out as the right choice for us,” continued Dwarka. “It would have a lot of the features of the Rivage series, in the right size format for us and offered a huge amount of flexibility in terms of user controls and customisation.” Making this purchase means that the Caudan Arts Centre is the first venue to own this

console in Mauritius, setting a benchmark and maintaining the theatre’s reputation as a leading venue. The DM7 has quickly become a firm favourite for Dwarka and the team. “One of the main motivations for me was the 120 inputs and 48 outputs in a compact console,” he confirmed. “This really opens up creative possibilities in terms of routing and bus mixing, which we are increasingly experimenting with. For its size and price, you get an extremely flexible, powerful and elegant console that saves a lot of time in live event situations.” The Yamaha DM7 not only meets the Caudan Arts Centre’s needs today, but it is hoped the upgrade will serve them well into the future, both creatively and technically. With the DM7, the centre is confident that more international artists will be drawn to the venue and the scope of the productions it hosts will expand. The relationship between the Caudan Arts Centre and SAW ensures Dwarka always has trusted advisors on hand for advice. “Stage Audio Works know us and they know the venue. They will always help us find the best value solution for our specific requirements. The DM7 meets our creative and technical demands, and gives us the high level of confidence we need when running back-to-back shows. Supported all the way by Stage Audio Works, this purchase has truly helped us to level up.” www.stageaudioworks.com www.yamaha.com/2/proaudio

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Coral Sound & Light upgrades with VTX UAE

Coral Sound & Light has strengthened its live sound capabilities with the addition of a new JBL Professional VTX system delivered by local Harman distributor, Masterpiece. The upgraded inventory includes 20 VTX A8 line arrays and 10 B28 subwoofers, powered by pairs of Crown IT4x3500HDS and IT12000HD loaded VRacks. The system was selected to deliver full-range clarity and deep low-frequency extension suitable for large-scale events across the hospitality and entertainment sectors. The company put the new system to use on a recent high-profile event at the Hampton

Hotel in Ras Al Khaimah, where it was reported to have delivered “crystal-clear sound with powerful dynamics”. Masterpiece general manager Simon Daniel commented: “This collaboration with Coral Sound & Light highlights our shared commitment to delivering top-tier sound reinforcement for every occasion. Together, we continue to set new standards in professional audio performance across the UAE.” www.facebook.com/coralsoundandlight www.masterpieceproav.com

12 PRO AVL MEA January–February 2026

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NEWS

Southern Lighting invests in grandMA3

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SOUTH AFRICA

Johannesburg-based film lighting rental specialist Southern Lighting has expanded its inventory with the addition of MA Lighting’s grandMA3 compact and compact XT models, supplied by DWR Distribution. With more than five decades of experience supporting film, TV and events, Southern Lighting’s decision to upgrade was driven by the growing demand for MA3 proficiency among operators. “Freelancers are now being trained on MA3, and with so few experienced LDs left in the country, we have to accommodate everyone’s needs,” said Southern Lighting’s Sean Boyce and Vincent van Niekerk.

The company first rented a grandMA3 unit for the T20 Auction, where LD Lardo Botha used the console for the first time. “Patching and grouping lights is super easy. The capabilities of the MA3 are incredible – it’s not a console that will sit on a shelf,” noted Botha. Southern Lighting’s next major project is The Bachelor reality television show filming later this year. “Their prerequisite was two MA consoles,” noted Vincent. “So, we’re thinking ahead. We’re not just catering for one show – we’re preparing for the future.” www.dwrdistribution.co.za www.malighting.com

L–R: Southern Lighting’s Vincent van Niekerk, Jaques Pretorius, Kevin Stannett and Duncan Riley of DWR and Lardo Botha from Southern Lighting

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Adriatique energise Jordan with KV2

JORDAN

Swiss electronic duo Adriatique made their Jordanian debut at The Cliff, an openair venue by the Dead Sea, using a KV2 Audio system supplied by Triad AV. The event was promoted by Overground, a local live event promoter that collaborates with Triad AV to bring international artists to the region. “We are the exclusive suppliers for Overground,” said Amjad Marar, GM of Triad AV. “Adriatique is one of many artists we’ve worked with over the last two years, and we deployed a KV2 Audio system to deliver the best live sound experience.” Triad AV, with over 25 years’ experience designing events across genres, works exclusively with KV2 Audio, praising its unmatched power and reliability. The team

designed a system tailored to the venue, featuring VHD1.0, VHD2.0 and VHD2.16 main stage hangs, plus two VHD2.0 units on the dancefloor for optimal coverage. Side fills used ES1.0 and ES2.6 speakers, while backstage and DJ areas had matching setups. Twelve VHD4.18 subwoofers delivered tight, controlled low frequencies, essential for Adriatique’s electronic sound. “For an electronic act such as Adriatique, precision and clarity are essential,” said Marar. “KV2 always delivers ultra-precise, high-quality performance. Adriatique’s gig lived up to expectations, and feedback on the audio quality has been overwhelmingly positive.” www.kv2audio.com

14 PRO AVL MEA January–February 2026

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NEWS

RCF opens regional office in Dubai UAE

Reinforcing the company’s commitment to supporting its customers and partners in the Middle East, RCF has opened a new regional office in Dubai. The Italian manufacturer hopes the expansion will enhance its proximity to the local market and strengthen relationships with distributors, rental companies, integrators and consultants. To lead this initiative, Yannik Dahms has been appointed Middle East technical business developer for RCF and TT+ Audio. He brings extensive experience as application engineer at RCF France. With

a solid background as an instructor and systems designer, he will now play a key role in enabling RCF technologies throughout the region. The Middle East office serves as a technical and educational hub, supporting regional partners and fostering the adoption of RCF and TT+ Audio solutions in both touring and installed sound markets. Sales will continue to be managed via RCF’s official distributors in each country. RCF’s Middle East sales coordinator, Luca Ombrati, commented: “The new space further demonstrates our commitment to

the region. Our team and distributors will continue to ensure that customers benefit from best-in-class products, locally available and tailored for their applications.” “We’re eager to contribute to the entertainment and cultural landscape in an impactful and sustainable way,” concluded Dahms. “I can’t wait to bring the knowledge and experience of our RCF Engineering Support Group to this growing region as we deepen our over 75-year legacy.” Yannik Dahms

www.rcf.it

MORE INFO

Shure establishes Strategic Alliances team WORLD

Shure has announced the formation of a new Strategic Alliances team to advance its ecosystem strategy and deepen relationships with technology partners across unified communications and professional audio markets. The team’s creation is said to underscore the company’s commitment to fostering collaboration within the unified communications and professional audio sectors by deepening relationships with technology partners and accelerating innovation through strategic engagement. It will focus on three priorities: building alliances to enhance integrated solutions, José Rivas increasing ecosystem participation

through industry forums and partner initiatives, and enabling transformative collaborations that open new revenue

streams and accelerate customer adoption of next-generation technologies. “By connecting the dots among alliances, partnerships, engagement and ecosystem development, this team will help us capture new opportunities,

scale faster and deliver greater value for Shure and our customers,” commented José Rivas, vice president and chief sales officer, Shure. The new organisation will be led by senior director Boris Seibert, who joins the company from Logitech, where he served as a global sales leader driving B2B transformation and go-to-market execution. The team also includes members with backgrounds at Avocor, AVer, Zoom, HP and Jabra, alongside experienced Shure leaders transitioning into the group. www.shure.com

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NEWS

SPAA and NMK elevate WSD 2025

GatesAir bought by private equity firm

NMK Electronics has partnered with the Sharjah Performing Arts Academy (SPAA) as an exclusive technology provider of the Pause & Play stage at World Stage Design (WSD) 2025. Hosted for the first time in the Middle East, WSD 2025 welcomed participants from over 80 countries, featuring 140 exhibitors, more than 300 participants and facilitators, and nearly 1,200 attendees in total. The Pause & Play stage embodied the academy’s vision of blending creativity, education and sustainability with worldclass technology at its forefront. “Hosting World Stage Design 2025 was a truly significant milestone for Sharjah and for SPAA,” said Jacqui George, director, WSD 2025. “It marks the first time this global event has been held in the Middle East, opening new cultural dialogues and creating opportunities for exchange between international and regional designers, educators and students.” The Pause & Play stage was designed as a space where conversations, performances and moments of reflection were elevated through

Saothair Capital Partners has completed the acquisition of GatesAir through a newly formed affiliate. The private equity firm is focused exclusively on investing in middle-market manufacturing and industrial companies and made the move to accelerate

breakthrough technologies that will define the future of over-the-air content delivery,” commented Spicek. Kevin Madden, co-founder and managing partner, Saothair, commented: “GatesAir holds a strong and enduring position in the

the development of technology and drive global expansion. GatesAir is headquartered in Ohio, USA and boasts manufacturing facilities in Illinois and Italy. Founded in 1922, the company designs, manufactures and installs missioncritical wireless, over-the-air content delivery and public safety communications equipment designed to enable broadcasters around the globe to create, transport and transmit radio and TV content. Through the acquisition, Barbara Spicek will continue to serve as president and chief executive officer at GatesAir. “Saothair’s partnership empowers us to accelerate innovation, bolster customer support, expand our market leadership and deliver the

global broadcast industry, built on a century of innovation and reliability. We are excited to partner with Barbara and her talented team to further scale the business, broaden its geographic presence and expand its portfolio of turnkey broadcast and communications solutions.” Richard Lozyniak, co-founder and operating partner of Saothair, added: “GatesAir has earned the trust of broadcasters worldwide through its customer-first culture and dependable solutions. We look forward to building on that foundation of trust while investing in the next phase of growth.”

UAE

technology. As the driving force behind the stage, NMK delivered a complete ecosystem of audio, video, lighting and control by integrating L-Acoustics speakers, Shure microphones, Allen & Heath mixers and Chauvet Professional lighting. “For SPAA, hosting World Stage Design 2025 has been both an honour and a milestone event,” explained Diego Biagioni, lead tutor – technical skills (sound), SPAA. “It shows that world-class design, education and collaboration can thrive in this region. Pause & Play was our way of bringing the world together through performative arts expressions.” Alex Kemanes, regional director – Middle East at NMK, concluded: “Our mission is to create spaces where education, performance and imagination thrive together. Collaborations like this bring together technical innovation and artistic vision. We’re proud to support institutions like SPAA that are shaping the region’s creative future.”

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Q-SYS brings its Developer Summit to Dubai UAE

Q-SYS has staged its first Developer Summit in the Middle East and Africa, bringing together a select group of the region’s programmers for a day of technical workshops, community presentations and roadmap insights. The event aimed to strengthen the growing MEA developer ecosystem by building connections, sharing best practices and offering a direct channel to the company’s global technical teams. According to the manufacturer, the decision to introduce the summit to the region followed the success of earlier editions in Europe. The MEA version was positioned as an opportunity to gather the local community in one place, foster collaboration and encourage the development of new skills around the platform. Twenty AV programmers attended, taking part in a day-long programme that combined hands-on code-along sessions with more in-depth discussions on complex control integration, VisionSuite setup and API development, and the latest updates for Winter 2025 alongside a preview of what is coming next on the Q-SYS roadmap.

In addition to the code-along, communityled content formed a key part of the agenda. Presenters included Mohamed Sadek, who demonstrated an offline prayer-time plugin; Andrew Lacambra, who shared UCI work carried out for the Bahrain

Pavilion at the Osaka Expo; and Mohamed Mubarrath Aliwa, who showcased advanced UCI development using QWRC. Additional workshops covered UCI design with Flexbox and CSS, along with roundtables and breakout training pods designed to

encourage peer learning across different skill levels. Attendee engagement during the first session was described as extremely high. Programmers responded positively to the mix of expert-led content and community showcases, with many requesting that the summit becomes a standing item on the regional calendar. As a result, Q-SYS confirmed that plans are already in place to make the MEA Developer Summit a yearly event. “From the flow of the event to the enthusiasm of the group, the summit was very successful,” commented Q-SYS applications manager Angelo Arbilo. “The Q-SYS team who travelled from abroad to support the event and programme were very impressed with the programmers’ engagement and discovered some of the most impressive community projects ever implemented. Many programmers are already asking when the next summit will take place and others who couldn’t join are eager to make it next time.” www.qsys.com

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NEWS

Funktion-One meets MC² at Miori TURKEY

Placing an emphasis on premium audio, high-end multizone hospitality complex Miori has engaged Turkish integrator MEK1 Sound to design a sound system to power live music performances and DJ sets. Situated on Bedri Rahmi Bay on Turkey’s Mediterranean coast, the recently opened venue has been outfitted with Funktion-One, SoundTube and Ashly loudspeakers, powered by MC² amplifiers. Miori combines six distinct eating areas and live music performances. MEK1 Sound, which has a wealth of experience designing systems for clubs, bars and restaurants, was tasked with designing, supplying and installing a solution for each different zone. The Turkish company also distributes a number of international brands in the country, including Funktion-One and MC².

The Riva Lounge, Kitchen Restaurant and Stage Bar areas have been outfitted with a total of 25 Funktion-One loudspeakers from the Resolution and Compact ranges. Other zones benefit from SoundTube SM Series 8-inch commercial audio speakers, supplemented by a quantity of SoundTube XT850 and Ashly Audio outdoor units for added coverage. Driving the setup are MC² amps, including two I-38 installation amplifiers alongside a range of Delta Series units, such as one Delta 20, five Delta 40, two Delta 50 and one Delta 80. A further single Delta 80 powers a portable Funktion-One Compact system on the complex. “The MC² amplification combines highquality, powerful audio delivery with the robust

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“Miori provides a high-end gastronomic experience alongside premium entertainment, so the systems needed to reflect the owners’ ambitions to deliver exceptional audio quality across the whole complex,” explained veteran installer and founding partner of MEK1, Ertugrul Karasati. “With six main zones and some sub zones, the challenge was to enable each area to provide smooth, powerful sound at an appropriate level for the different demands of the spaces during the day and in the evenings.” Murat Uncuoglu, co-founder of MEK1 and a respected DJ in Turkey, oversaw all aspects of the installation, staying onsite throughout the project to fine-tune the system for Miori’s busy opening season which welcomed international stars Boney M and Pink Martini.

reliability required for a demanding schedule and environment,” concluded Karasati. “We have carried out a number of installations for this client and once again he is extremely happy with the system. Miori has already attracted fantastic reviews since its launch in July and we are proud to have played an important part in providing an unforgettable experience for its customers.” Mark Bailey of MC² commented: “The installation at Miori is another fine example of the work that MEK1 carry out in Turkey with MC², using the quality and reliability of our products to maximum advantage in yet another ambitious and very successful project.”

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NEWS

Absen drives visuals for Tata Motors SOUTH AFRICA

Johannesburg-based AV Unlimited (AVU) provided the full technical support for Tata Motors Passenger Vehicles’ (TMPV) recent launch event held at The Galleria in Sandton. Marking the company’s return to the South African passenger vehicle market, the occasion showcased four new TMPV vehicles which were unveiled on a stage setup enhanced by Absen LED screens originally provided by DWR Distribution. AVU’s Guillaume Ducray and his team worked to enhance the event’s visual impact, creating a stage setup featuring a wide Absen screen that split down the middle on cue and rolled away to reveal a new car, with concealed lighting rigs bursting to life to showcase the vehicle. “The Absen 2.9mm NT series covered 102m2 across the main screen and entrance,” explained Ducray. “LED has truly changed the game; beautiful content, combined with polished screens that are properly maintained. We’re very happy with our Absen products and the support from DWR Distribution has been fantastic.” Ducray added that, while technology has become widely accessible, he believes that what sets a top provider apart today

we focus on making art, moving more people with fewer boxes. It’s knowing the difference between a Morné and a Monet. Easy? No, it isn’t.” LD Joshua Cutts from Visual Frontier, a long-time friend and creative partner, was a key collaborator in the launch. “Working with AV Unlimited and Mela Events is always a fun challenge,” said Cutts. “It brings out the best in all of us. Great team, great launch.” Cutts’ lighting rig featured an MA Lighting grandMA3 compact XT controller for control, Robe LEDWash 600s and LEDBeam 350s for effects, Longman LED Parcans for coloured accent lighting, plus Phenix Bar 300Bs and a selection of Martin fixtures for additional effects. AVU said that the launch received good feedback, with a client from the agency praising the team for their “excellent execution and stellar event”. “Those words don’t just come from having the best gear. It’s always people first, then equipment – and DWR knows this firsthand,” concluded Ducray.

Image courtesy of Strike A Pose Studios

is the right people for the job. “Everyone now has access to the same gear – it’s like getting the same box of crayons,” he

noted. “What matters is what you create on the canvas. We have as many pixels and decibels as the next big dog, but

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Showcom races Clear-Com to Red Bull glory SOUTH AFRICA

Showcom recently put its new Clear-Com equipment to the test for the Red Bull Shay’iMoto motorsport event in Durban. Part of the Gearhouse Group, the intercom and

VI12 key push-button panels. According to Showcom’s Nickolas Chapman, this setup isn’t just an upgrade – it’s a launchpad into the outside broadcast (OB) world.

without the heavy lifting. It’s fast, efficient and built for high-pressure environments.” DWR’s Kyle Robson helped to facilitate the investment. “Nick wanted the gear just in

RF solutions provider acquired the products from DWR Distribution just in time for the fast-paced racing event. The Clear-Com purchase includes FreeSpeak II TCVR IP19 transceivers, 9-channel FreeSpeak beltpacks and the

“What we’ve just invested in is opening a whole new world for us,” he said. “In our business, setup and teardown time is brutal. We can’t afford full complex matrix systems that take hours to rig. This modular Clear-Com system gives us high-end flexibility

time for Red Bull Shay’iMoto – and he pulled it off,” noted Robson. “This was one of the biggest Clear-Com deployments we’ve seen in the country. It really put the system through its paces. Nick’s passion for Clear-Com is contagious – he’s flying the flag in South Africa.”

Chapman said that the Arcadia system, paired with Clear-Com’s latest multichannel panels, gives his team broadcast-level control in a modular setup. “This move means we can scale up or down depending on the gig,” he noted. “Broadcast teams run 12-, 24-, even 32-channel panels – and now we can do the same. It’s the door I’ve been wanting to open for years.” He proudly added that this system has led the company to landing its first broadcast contract. “We bought enough gear to power through the Red Bull event, but I’m already planning to expand – more panels, more IP transceivers, more flexibility,” added Chapman. “The goal is to phase out wired comms completely. With setup times shrinking, every second counts – and Arcadia’s plug-and-play design is a dream.” A Clear-Com user since 1985, Chapman cited his trust for the brand: “Clear-Com’s always been solid, but what they’re doing now is next level. I love that everything’s modular. I can break a big system into smaller ones depending on the job – it’s powerful, smart and built for people like us. “We started small – two Arcadias, a 32-port and a 48-port – and I’m already running out of space. I’m linking channels, integrating older FreeSpeak units, pushing everything to the max. It’s modular madness in the best way possible. And we just purchased more Icons and IP transceivers, can’t keep them on the shelf.” www.clearcom.com www.dwrdistribution.co.za

18 PRO AVL MEA January–February 2026

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NEWS

VIBE Dubai returns with expanded technology showcase

AVI-SPL welcomed regional clients and partners back to its Dubai facility for the latest edition of VIBE Dubai, presenting an expanded tradeshow-style showcase of unified communications, collaboration and experiential technology. Designed as a collaborative environment for AV and IT decision-makers and end users, the event once again positioned itself as a key touchpoint for organisations exploring the next phase of hybrid interaction and digitally enabled environments. This year’s edition brought together more than 25 participating brands. AVI-SPL positioned the event as an opportunity for visitors to engage directly with technology rather than relying on online research, with hands-on interaction highlighted as a major differentiator. Participating brands included 7thsense, Absen, Appspace, Audiocodes, Barco, Crestron, d&b audiotechnik, Epson, Extron, Fohhn Audio, Harman Professional Solutions, HP, INFiLED, Legrand, Lenovo, Lightware Visual Engineering, Logitech, Mago, Neat, Netgear, Nureva, Panasonic, Peerless-AV, Smart Technologies, Sony, SurgeX and Uniguest. Each exhibitor was given a dedicated booth inside AVISPL’s DIP headquarters to showcase a focused selection of key products, enabling attendees to speak with specialists, compare approaches from different vendors and develop a clearer sense of how these technologies might integrate into their own environments in an intimate setting. “The tradeshow-style format of VIBE was specifically designed to maximise the time end users could spend with the technology,” commented AVI-SPL managing director Phil Marlowe. “Visitors had access to live, fully functional demonstration systems, allowing them to experience real-world workflows first-hand, a level of engagement that is often hard to achieve at larger AV tradeshows.” Alongside the exhibition floor, the programme featured two well-attended knowledge sessions.

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The morning keynote, Digital Workplace Xperience (DWX), was delivered by John Bailey, who outlined how AI-driven strategies can reshape organisational efficiency. His session explored the impact of intelligent workflows on productivity, cost management and sustainability, while highlighting how data-led tools can support more personalised and collaborative environments. A panel discussion followed, The Future Ready Collaboration Starts Here, moderated by Marlowe and featuring Elliot Marks from NYU Abu Dhabi, which operates the region’s largest live instance of AVI-SPL Symphony. The discussion examined how Symphony supports proactive monitoring, consistent

user experiences and AI-enabled operational gains. “VIBE Dubai 2025 has been our most successful edition yet,” added Marlowe. “We welcomed record numbers of regional clients and partners, and it was fantastic to see so much engagement across our expanded showcase of technologies spanning collaboration, experiential and digitally augmented environments.” Across the exhibition, demonstrations covered UCC platforms, intelligent video tools, meetingroom automation, acoustics and experiencedriven systems. Visitors moved between booths and interactive zones to explore how these technologies integrate within a wide variety of

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environments, from hybrid interaction spaces to presentation and control scenarios. The event also highlighted AVI-SPL’s role as a key regional systems integrator and technology partner, with staff available throughout the day to discuss project planning, deployment strategies and in-region support capabilities. In addition to the exhibition area, VIBE provided an informal networking environment with food and refreshments available throughout the day. The gathering brought together corporate end users, architects, consultants, integrators and technology partners, creating opportunities to exchange ideas and discuss upcoming projects. www.avispl.ae

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20 PRO AVL MEA January–February 2026

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NEWS

Audac impresses at Casa Focaccia NAMIBIA

An Audac sound system is delivering consistent audio coverage across the indoor and outdoor areas of Casa Focaccia, a new eatery situated in Windhoek’s Hilltop Village entertainment area. The solution was designed and installed by Stage Audio Works (SAW) Namibia, which worked closely with Chamberlain Architects to meet the venue management’s project brief. The objective was to provide a professional-quality background music system that is intuitive to control and capable of streaming music directly from online platforms, allowing restaurant staff to manage playlists from their phones or a dedicated computer. “The client requested a straightforward background music system that could easily be managed day-to-day by the team at Casa Focaccia,” confirmed Udo Stehle, senior sales consultant, SAW Namibia. “We focused on delivering a system that complemented the restaurant’s design aesthetic and ensured balanced audio in every area.” Using the brand’s CleverMount+ system, the team installed an all-in-one Audac solution featuring a pair of ATEO6M wall-mounted loudspeakers, an MFA216 amplifier and an NMP40 SourceCon streaming module. According to the SAW Namibia crew, the system has resulted in even sound coverage throughout the restaurant’s dining areas, while the Audac Touch app has provided the management team with full control of playback and source selection via a smartphone or PC. “The ability to control the system from multiple devices makes it user-friendly,” noted Stehle. “It’s the perfect balance of functionality and simplicity, ideal for a hospitality environment where ease of use and the ability to shape the atmosphere with the right background music are key.” Rohan Dilip Kumar, Casa Focaccia’s owner and head chef, said: “The audio system has been performing reliably and has enhanced the overall dining experience for our guests. The clarity and balance of the sound across both indoor and outdoor areas create the perfect atmosphere without overwhelming conversation. I would certainly recommend Stage Audio Works to others.” Stehle noted that the project was straightforward yet rewarding, with one of the main challenges being coordinating with other contractors to ensure SAW Namibia’s installation could

proceed smoothly once other works were complete. “We wanted to avoid any dust or debris affecting the equipment, so timing of the installation was key,” he explained. “Fortunately, the system design was compact, which made the process efficient and clean. The Audac system was an excellent fit here; its clarity, warmth and intuitive control make it ideal for crafting an inviting atmosphere. When the sound feels natural and unobtrusive, it elevates the space.” www.audac.eu www.stageaudioworks.com/namibia

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NEWS

Martin Audio serves sound at La Colline

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UAE

Dubai’s new La Colline restaurant recently opened to the public, offering diners traditional French cuisine complemented by a Martin Audio CDD sound system. Situated at the Al Habtoor Polo Resort, the French brasserie’s audio fit-out was delivered by AV integrator Exacting Diseno Technical Services which was awarded the contract after having successfully delivered other projects for the client previously. With the operation requiring mainly background music reproduction, Exacting Diseno turned to the CDD6 for its coaxial differential dispersion technology which was ideal for occasions when live music or more strident DJ playback was required.

The integrators based the system design around two indoor zones with three areas outdoors with separate subwoofer volume control. The solution features three CDD6 and an SX210 subwoofer in the bar area, and four CDD6 and pair or SX110 in the separate main zone. Outside, a further 11 CDD6 units were deployed with four SX112. All CDDs were wall-mounted and the subs concealed under the seating. According to Exacting Diseno founder Lou Agha, the choice of CDD6 for this project had been based around “size, sound quality and colour options”. He added that he persuaded the client to adopt white versions

to complement the venue’s overall interior aesthetic. The installation was supported by Martin Audio’s local distributor, PRO LAB. The client cited its appreciation for the final outcome, with the team noting how they

VUEAV hosts Vision Event in Doha QATAR

VUEAV marked a significant step in its regional expansion with a two-day Vision Event held at Doha’s Msheireb Museum showcasing its full portfolio of AV and lighting technologies to its integrator partners and their end user customers. The event coincided with the distributor’s launch of a dedicated local team and the unveiling of its Qatar operation. The Msheireb Museum saw the team create dedicated demonstration zones for featured vendor partners: Analog Way, Aurora, AV Stumpfl, Brompton, Christie, Fujifilm, HoF, ISAAC, Klipsch, MacroPix, Peerless-AV, Pixera, TeamMate and Vivalyte. Attendees were also invited to hands-on product sessions and introductory training for brands such as Pixera and ISAAC. According to the distributor, the museum location proved the ideal showcase, providing a culturally relevant setting with smooth

operational logistics. Across the two days, the team welcomed many attendees from the local market, representing interests in market

applications to include education, events and rental staging, corporate, transportation and government, ensuring the attendance was

were impressed by the sound quality which perfectly matches the French restaurant’s relaxed and elegant atmosphere. www.martin-audio.com

intentionally managed to prioritise meaningful, high-quality engagement. The event also served as the platform to fully introduce the dedicated Qatar operation, led by Sergio Silva, managing director – Qatar, with an office in Doha expected to open in early 2026. “Having a local presence is essential for properly supporting the Qatar market, ensuring faster deliveries, local support and closer collaboration,” said VUEAV associate partner Anju Rana. In the weeks following the showcase, VUEAV partner Matt Reed commented that “VUEAV has reported a significant uptick in Qatar-based enquiries spanning systems design, product supply and service support. The turnout and engagement at the Vision Event also suggests strong interest for further hands-on brand interaction and technical deep-dive sessions.” Looking ahead, VUEAV plans to expand its Qatar engagement through local staffing, product demonstration capability, training sessions and full partner support.

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NEWS

K-array provides refined audio for Vera Versilia UAE

Located within the luxurious Kempinski Hotel in Dubai, Vera Versilia is an upscale Italian restaurant that blends refined dining with an immersive evening experience featuring live DJs and performers. The venue is now home to a high-performance K-array sound system chosen to deliver clarity and powerful, even coverage throughout both the indoor and outdoor spaces. Vera Versilia required an upgraded audio system that could maintain the venue’s sophisticated ambience. The existing setup was only suited for background music, but as the restaurant’s entertainment offering expanded to include nightly live DJs and roaming performers, a system capable of achieving higher SPL levels with precise control was needed. Additionally, the project had to accommodate multiple performance zones, a new control system and integrated wireless microphone capabilities. The K-array system was carefully selected and deployed to suit the acoustic needs of both the indoor dining area and the terrace. Six KP52 Python line array speakers and two KS2P Thunder subwoofers have been installed indoors, while four KK52 Kobra speakers and two KS1P Thunder subwoofers have been fitted on the terrace. Amplification is courtesy of a single KA208 amplifier that powers the entire system, providing high efficiency and clean, dynamic output across all zones. An NST VMX88 processor manages all input sources, including both DJ locations and background music, feeding signal to the KA208 amplifier. Six Sennheiser EW-D wireless microphone systems interface through a Midas DL16 digital stagebox

performers’ inputs are mixed wirelessly through the M32C app for maximum flexibility. The installation required careful planning to accommodate the roaming performers and ensure their wireless audio could be smoothly integrated and balanced within the venue’s distributed K-array system. The final design provides effortless

connected to a Midas M32C mixer, neatly housed in the control rack. Two outputs from the M32C route back to the VMX88, ensuring that live vocal and instrumental performances can be seamlessly mixed and distributed throughout the K-array setup. System levels for DJs, BGM and live performers are controlled via an iPad or the NST VR2 wall-mounted remote, while

control for staff and delivers consistent, high-quality sound coverage both indoors and on the terrace, allowing Vera Versilia to maintain its refined atmosphere while supporting dynamic live entertainment each night. www.k-array.com www.procom-me.com

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NEWS

WyreStorm underpins smart upgrade at Azadea JORDAN

Azadea Group has upgraded the main auditorium at its Amman headquarters with a WyreStorm-based AV system delivered by local integrator MixGT. The project forms part of the retailer’s drive to improve corporate communication through a dedicated presentation and video conferencing space. Azadea required a new, full-scale video conferencing setup capable of delivering superior image quality and intuitive control. With multiple input sources, an LED videowall and professional displays throughout the space, the system needed to ensure smooth

switching between sources without technical interruptions, all while maintaining consistent 4K visual quality and perfectly synchronised audio. The systems integrator specified WyreStorm’s MX-0402-MST and MX-0404-SCL matrix units as the core of the installation, supported by EX-100-H2 and EX-35-H2-ARC extenders for long-distance signal transport. “WyreStorm’s products provided the stability and performance we needed for a multinational corporate environment like Azadea’s,” said Amjad Jabr, co-founder and director at MixGT. “The system is reliable and simple to operate.”

Two WyreStorm CAM-210-PTZ cameras provide video capture for conferencing, while an NHD-0401-MV processor allows multiview layouts for presentations. A WyreStorm IDB-300-BTN at the conference table enables simple source selection for non-technical users. The wider system integrates with Crestron control, JBL loudspeakers, Shure wireless microphones and Extron DSP. Hatem Bitar, WyreStorm regional sales manager for MEA and Southeast Europe, noted the importance of MixGT’s role in delivering the project: “Azadea is one of the region’s most respected retail organisations, and delivering a top-tier solution for their collaboration space was a priority from day one. Partnering with MixGT, our trusted integration partner in Jordan, proved crucial in achieving that goal. By combining WyreStorm technologies with the broader UC and control ecosystem, we were able to support Azadea’s collaborative workflows with a seamless and dependable solution.” The completed auditorium now serves as a central hub for internal meetings and regional communication, with capacity for future expansion built into the system architecture.

AVenger debuts EclerPLEX for Middle East integrators MIDDLE EAST

Dubai-based distributor AVenger Electronics recently held two training events showcasing the features and product line of the new EclerPLEX platform for systems integrators in the Middle East. Taking place in both the UAE and Qatar, the sessions were led by Ecler’s export manager, Marco Rostagno, alongside export sales manager Pablo Gonzales Anton. The training kicked off at the Hard Rock Café in Dubai Festival City, with the Qatar event taking place the following day at Concord Hotel Doha. Rostagno began the sessions with a presentation on the new VIVO series of digital signal processors (DSP) and BIO series I/O expansion modules. Following this, Gonzales Anton provided an in-depth presentation on the VIVO software and its features, such as the built-in SD card player with four

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NEWS

Broadcast Solutions unveils new business WORLD

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Broadcast Solutions has announced the launch of its new business, Broadcast Solutions Connect, designed to provide consultancy and design services across the media industry. The business is a result of a merger between Thum + Mahr, a systems integration specialist which was already part of the group, and Broadcast Solutions Produkte und Service. Heading Broadcast Solutions Connect will be Maximilian Breder, co-CEO of the Broadcast Solutions Group. He is joined in the leadership group by Bernhard Steinhoff, formerly COO of Thum + Mahr, and Martin audio streams, Lua scripting, the EclerPLEX programming platform, Ecler Cloud integration and third-party control options. Over 30 systems integration partners attended the event. According to AVenger, the feedback from the sessions was highly positive with attendees noting their appreciation for the user-friendliness of the EclerPLEX platform and its product range. “It was an amazing event that showcased the features and product line of the new EclerPLEX platform,” commented Jithin Jose Choolaikkoottil, regional sales manager for Ecler. “Our SI partners were pleased to see

Schwöri, formerly COO of Broadcast Solutions Produkte und Service. “By combining forces, we are bringing a broad range of skills into a focused, targeted unit,” said Breder. “From key locations we look to the worldwide market, driving forward the core Broadcast Solutions values of practicality, innovation and reliability. Broadcast Solutions Connect will work alongside our colleagues in system integration, providing the best practical solutions to our valued customers.” www.broadcast-solutions.de

the advanced capabilities of the new DSP platform, including ease of programming, scripting and cloud application integration. The new VIVO DSPs come in various form factors, making product selection easier for applications ranging from small to large scale.” Ecler plans to present multiple VIVO and BIO models during ISE 2026, adding that its R&D team is continuing to add new features to the platform, including a paging matrix. www.avengerproav.com www.ecler.com

L–R: Martin Schwöri, Maximilian Breder and Bernhard Steinhoff

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NEWS: POWERING DOWN

Finding fulfilment

Rachael Hamilton

Rachael Hamilton talks to Bea Meikle about how volunteering at her local dog shelter brings balance alongside her work leading Rise AV Tell me about your role at Rise AV

“#FromCageToCouch”, encouraging adopters to share updates. We’re also rebuilding the website to reach adopters across Europe, as there simply aren’t enough within Portugal.

I’m the managing director of Rise AV, a not-for-profit supporting women in AV, events and production. We run mentoring and leadership programmes to help women progress, giving them the confidence, tools and opportunities they need to grow and thrive, while encouraging more inclusive working environments.

What have been the most memorable moments?

How did you first get involved with the organisation? In 2020, I was in a senior AV role and appeared successful from the outside. However, I eventually burned out which forced me to reassess everything and eventually leave my job. Only then did I realise how much I had sacrificed – my health, my relationships and myself. My husband and I moved to Portugal to find balance and step away from the pace I had normalised. When the opportunity came to launch Rise AV, I took it. I wanted other women to have support I never had and to know they didn’t need to struggle alone.

What drew you to volunteering? We brought our French Bulldog, Misty, with us to Portugal. We quickly realised the reality for dogs in Portugal is heartbreaking: shelters are overflowing and many are chained, neglected or used for hunting. Wanting a companion for Misty, we visited our local shelter, Java. When Misty passed away, it devastated me. She wasn’t “just a dog”; she was my anchor. Her loss reminded me what matters – presence, love and connection. My husband suggested I volunteer at Java. I had always wanted to but had been “too busy”. I’m glad I eventually found the time – giving love where it’s desperately needed has been healing.

How is Java run? The shelter is bursting at the seams, housing over 200 dogs, and is severely understaffed, with only a few part-time workers. Volunteers

are its backbone: they clean kennels, refresh food and water, dry soaked dogs, walk them and offer human contact many have never known. Portugal has almost no vetting process for volunteers due to limited resources, which brings flexibility but also risk. A new advisory board is helping introduce structure. After years of waiting, Java finally received a council grant to build an outdoor play area so dogs can run free rather than remain behind bars. Progress is slow, but it’s a step forward.

What does your work at the shelter involve? I visit a few mornings a week. Many dogs have never felt safe human touch and simply sitting with them or walking them feels profoundly important. Wanting to contribute more, I offered marketing support outside volunteer hours. Previously, Java had no marketing support. I began building a more emotional, storytelling-led approach for social media campaigns, sharing each dog’s personality and background. When we analysed the shelter population, we saw seniors were the largest group, so we created the “Adopt a Senior” campaign, helping long-overlooked dogs find homes. We’ve run name-giving campaigns for new arrivals, highlighted volunteers as “Shelter Superstars” and are launching

One story stays with me. After heavy rain, I entered an unused kennel to clean it and found two elderly dogs cuddled up and shivering. Their names were Zezé and Sky. They’d been found together 13 years earlier and had lived at Java ever since. They were so bonded they needed to be adopted as a pair, which put many people off. As part of the Senior campaign, I shared their story. It reached far beyond our usual audience and a couple who had never heard of Java adopted them both at age 14. Staff told me it was one of the happiest days the shelter had ever had. After more than a decade, they finally went home.

Why is it important to have an outlet outside work? It reminds me my value isn’t defined by a job title. It gives me space to reconnect with who I am when nothing is demanded of me and anchors me when work feels overwhelming. Rise AV gives me purpose and the sense that we’re meaningfully supporting women in the industry I grew up in. The shelter brings me back to empathy and presence. Together, they balance ambition with humanity.

What’s next for you? Personally, I’m embracing quieter moments – winter nights, fires, soups and jigsaws with my husband. We’ve got our puppy Terrorist Taco to look after plus we recently adopted Margs, a 10-year-old dog found cowering by the roadside. Although they’ll never replace Misty, they have brought joy back into our home. Professionally, Rise AV has had an incredible first year. Our mentoring and leadership programmes were so successful that we’re expanding to APAC, starting with Singapore and Hong Kong. Applications are open now.

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K-array introduces Thunder-KSCARDIO412P, the state-of-the-art cardioid sub

Thunder-KSCARDIO412P joins the Thunder family, engineered to deliver extremely powerful low-frequency output while drastically minimizing rear sound radiation. Designed for professional live sound and fixed installations, it ensures clean, focused bass that keeps back emissions to a minimum. Discover more at ISE Barcelona. Visit K-array, booth 7G300.

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www.k-array.com

22/12/2025 11:58

NEWS: DISTRIBUTION

MPME takes on Barco MIDDLE EAST

Building on a long-standing relationship between the two companies, Barco has appointed Martin Professional Middle East (MPME) as distributor for its midrange projection solutions in the Middle East. The alliance combines the former’s projection technology with MPME’s market expertise and strong distribution network to expand the manufacturer’s presence in the region.

“This is an exciting new chapter for both Martin Professional ME and Barco,” stated Bilal Assidi, sales director at MPME. “This milestone is more than just a partnership renewal, it’s a powerful joint step forward that cements our commitment to delivering cutting-edge, worldclass visual technologies to our partners and clients.” The partnership aims to drive new opportunities in sectors such as entertainment, corporate and live events, by enhancing access to Barco’s latest midrange projection solutions, backed by MPME’s service and support. Domien De Witte, VP sales and marketing at Barco, concluded: “We are delighted to strengthen our collaboration with Martin Professional Middle East. Their expertise, reach and commitment to quality make them the ideal partner to represent Barco’s midrange projection portfolio in the region. Together, we look forward to empowering our customers with the very best in visual technology and support.” www.barco.com www.martinpro-me.com

LD Systems expands in Uganda UGANDA

Broadening its presence in East Africa, the Adam Hall Group has appointed Kwetu Systems as the exclusive distributor of LD Systems in Uganda. The agreement is aimed at strengthening support for the brand in a market identified as having strong growth potential across the company’s main worship, education and live events sectors. Kwetu Systems is an established provider of professional event and AV technology in the region, offering systems design, installation and technical support. The company places a strong emphasis on customer training and service delivery, which Adam Hall said was a key factor in the new partnership. “Uganda is a young, up-and-coming market where we see great potential for our LD Systems brand, particularly in worship installations, educational institutions and event venues,” explained Alessio Foti, global business development manager, Adam Hall. “Kwetu Systems is a highly competent partner with a deep understanding of the

L–R: Adam Hall Group’s Maya Weber, Alessio Foti and Ana Bodart, with Kwetu Systems’ Sedu Muwanga and Adam Hall Group CRO Markus Jahnel market and a clear commitment to quality and training.” Sedu Muwanga, managing director, Kwetu Systems, added: “This partnership reflects our shared goal of bringing high-quality professional audio solutions to customers in

Uganda. We look forward to working closely with the Adam Hall Group to support the market with strong products and dependable service.” www.adamhall.com

Republik Pro AVL finds the Optimal partner for Turkey TURKEY

Optimal Audio has appointed Istanbulbased Republik Pro AVL as its new distributor for the Turkish market. The partnership was announced following the company’s showcase of the Optimal Audio ecosystem at the newly launched IMEEF Expo 2025, which was held at Yenikapı Expo Center in early December. Formed earlier last year, Republik Pro AVL aims to reintroduce focused, brand-led distribution in Turkey. Co-founder Kemal “Kal” Yener described the company as a pure distribution house. “Republik exists solely as a distributor with no integration arm. That means our partners know we’re here to support them not compete with them. It’s a model built on trust,” he said. Yener noted Optimal’s growing international profile and saw a clear opening in the local market. “Integrators would ask about simple, reliable solutions for hospitality, retail and leisure but struggled with stock and local backup,”

he furthered. “There’s huge room to rebuild confidence. Optimal Audio’s portfolio fits perfectly with where the Turkish market is heading.” Republik has already begun establishing the infrastructure necessary for national rollout. This includes a B2B portal for live stock and pricing, expanded demo inventory, structured training and a full after-sales framework. “We’ll be delivering focused education, building a strong social presence and launching a B2B e-commerce platform to make ordering and support as simple as Optimal Audio itself,” Yener assured. David Morbey, Optimal Audio product manager, commented that “[Republik]’s pure distribution model, broad market expertise and commitment to integrators are a perfect match for Optimal Audio’s philosophy.” www.optimal-audio.co.uk

L–R: David Morbey and Kemal “Kal” Yener

www.republik.com.tr

Fohhn taps FVC for MEA distribution MEA

German manufacturer Fohhn Audio AG has expanded its presence in the MEA region through its partnership with FVC. The agreement, which excludes South Africa, extends access to the brand’s networked audio systems, used in airports, government buildings, houses of worship, higher education facilities and corporate spaces worldwide. Headquartered in Dubai with regional offices across MEA, FVC is a distributor of professional AV, unified communications and collaboration technologies. With Fohhn, the company expands its portfolio into pro audio solutions for larger applications, complementing its established strengths in conferencing and communications.

“Partnering with an experienced company like FVC strengthens our presence in one of the fastest-growing AV markets,” commented Uli Haug, executive board marketing/sales at Fohhn. “Our beam-steering technology will introduce a new way to achieve precise, intelligible sound across the region.” Grifiths Zachariah, business development and project consultant – MEA at Fohhn, added: “FVC’s extensive partner network make them the ideal conduit for Fohhn’s solutions. Together, we’re meeting rapid growth with dedicated teams that raise the bar for intelligibility and reliability.” L–R: Samuel Hartmann of Fohhn, FVC’s Hitender Gupta, Jochen Schwarz from Fohhn, K S Parag of FVC and Fohhn’s Uli Haug, Grifiths Zachariah and Oliver Mack

www.fohhn.com www.fvc.com

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The future is

Untitled-2 4

More information at dasaudio.com

22/12/2025 11:59

NEWS: APPOINTMENTS

S E

Qvest appoints Ghallab Mohamed MENA

• ULRICH VOIGT • DIRECTOR LIVE PRODUCTION SOLUTIONS RIEDEL COMMUNICATIONS

Qvest has strengthened its MENA team with the appointment of Ghallab Mohamed as senior manager, project delivery and bids. In this role, Mohamed will advance project delivery and deepen customer engagement across the Middle East, UAE, GCC and Saudi Arabia. Mohamed brings more than 25 years of media industry experience across project delivery, bid management, systems sales, integration, managed services and manufacturing. He has a strong technical background with hands-on experience in AV and IT broadcast environments and has held senior positions at Salam Technology, Sony Professional Services, Rohde & Schwarz and Actus Digital.

To reg Sol will sol Pr the reg will

Mohamed will report to MENA MD Philipp Glänzel. “Ghallab brings a rare combination of technical expertise, operational experience and regional understanding which

Isabelle Wear joins HK Audio WORLD

are vital for our continued development in the MENA region,” said Glänzel. www.qvest.com

Kramer elevates Jesse Gadon EMEA

Kramer has appointed Jesse Gadon as EMEA president, joining the company’s global management team. According to the manufacturer, this regional structure aligns with its broader strategy to scale operations and deepen customer engagement, empowering teams to be more agile and responsive to local markets.

During his decade-long tenure at Kramer, Gadon has held senior roles across multiple regions and business disciplines, including most recently as vice president – North America sales. “I’m confident that Jesse’s leadership, strategic mindset and deep understanding of Kramer’s business will further elevate our operations and growth in EMEA,” said Kramer CEO Gilad Yron. “This appointment strengthens our customer-focused approach and positions us well for continued expansion.” Gadon will lead the EMEA business alongside Aviva Rykower, who continues as vice president of sales for the locales.

POWERSOFT

Isabelle Wear has joined HK Audio as head of sales – emerging markets, responsible for MEA, India, Australia and New Zealand. She will work closely with HK Audio’s international sales manager for the locales, David Leonhard, to strengthen existing partnerships and expand the German audio specialist’s presence in the regions. Wear brings extensive experience in international sales management and the supervision of distribution networks. Many in the pro audio industry know her from her time at Interfacio, where she and her team successfully managed and mastered recruitment projects in the AV industry. “With Isabelle, we are gaining an internationally experienced

• STUART BARNES •S ALES MANAGER – LIVE EVENTS, EMEA

• ZLATAN GAVRAN • CHIEF OPERATING OFFICER

• CAMERON JAVDANI •V P OF MARKET DEVELOPMENT – SECURITY SOLUTIONS

• LUKE WESTIN • SENIOR GLOBAL PRODUCT MANAGER

DISGUISE

BROADCAST SOLUTIONS

ATLASIED

WILLIAMS AV

• JONATHAN PHILLIPS • CHIEF REVENUE OFFICER RENKUS-HEINZ

• ALESSANDRO BIZZARRI • MARKETING COMMUNICATIONS SPECIALIST

personality who will significantly support our strategic goals in the region,” said Christian Jordan, CSO/CMO, HK Audio. “Her deep understanding of the market, entrepreneurial mindset and network make her the ideal addition to our team.” www.hkaudio.com

www.kramerav.com

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NEWS: APPOINTMENTS

Subash to lead Harman EMEA sales WORLD

To support continued growth and regional alignment, Harman Professional Solutions has announced that Amar Subash will transition to lead the professional solutions sales organisation across EMEA. Prior to the appointment, Subash led the brand’s sales efforts across the APAC region and India. In his new position, he will continue to cover sales leadership

s ss

Diversified chooses Lidsky for CEO WORLD

responsibilities for India and will set a strategic direction for both the EMEA and India markets, focusing on accelerating growth. During his nine-year tenure at the company, Subash has held a variety of leadership positions, including director of sales and operations for APAC from 2019–2021 and finance director for the region from 2017–2018. Harman said that Subash’s strategic leadership, working capital management expertise and ability to build high-performing teams have consistently delivered results aligned with organisational goals. “This appointment reflects our commitment to strengthening our global sales leadership and positioning Harman for continued success,” commented Jaime Albors, senior vice president of global sales and business development at Harman. “Amar brings deep experience, strategic vision and a strong track record of results. I’m confident that he will continue to drive growth and innovation across the EMEA region.” pro.harman.com

Marking the start of a new chapter for the global technology solutions provider, Diversified has appointed Paul Lidsky as its new CEO. Lidsky has served as chairman of the company’s board since 2023 and brings more than 40 years of leadership experience across IT and technology services. In his expanded role, he will oversee Diversified’s global growth strategy, focusing on market expansion and enhanced service delivery. “Paul is a highly respected leader with deep expertise in the technology services industry and a strong history of building great companies with a focus on the people and partnerships that drive success and serve their clients,” commented Will Fleder, partner at Tailwind Capital, Diversified’s primary investor. “We are confident that his leadership and experience will further strengthen Diversified’s position as a global leader and accelerate its continued growth.” Lidsky commented: “I’ve had the privilege of serving as chairman and working closely with this team, and I see extraordinary opportunity ahead.

As CEO, my focus is on building on that momentum by continuing to invest in our people, our partners and the technologies that matter most to our clients.” www.onediversified.com

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FEATURES: HOSPITALITY

A pair of NXAMPs allow the system to be fine-tuned

The DM3 provides individual faders for inside and outside areas

Sound that serves the spectacle

Carnival by Trèsind gets a refreshed audio experience thanks to a discreet NEXO solution designed by Thomsun RATHER THAN FINE DINING, CARNIVAL BY TRÈSIND HAS built its reputation on the idea of “fun dining”. Since opening in DIFC in 2016 as part of the Passion F&B Group, the restaurant has become known for its colourful seasonal themes, live table-side presentations and theatrical brunches. With a capacity of up to 150 seated guests and regular corporate events accommodating upwards of 200 people, the venue relies on lively ambience as much as its cuisine. For restaurant manager Firoz Pasha, that ambience is only complete when the food, visual presentation and sound all work together. “If I go to a restaurant, I don’t go only for the food,” Pasha explains. “There should be satisfaction for your stomach, your eyes and your ears. If one of these is missing, the experience is incomplete.” As Carnival’s brunch concept grew and weekend DJs became part of the offering, it soon became clear that the venue’s original ceiling speakers were no longer suited to the shift from soft background music to higher-energy foreground sound. As a result, the Passion F&B IT division approached local distributor Thomsun for a rethink. Thomsun specified a NEXO system that could shift seamlessly between weekday dining, corporate functions and weekend events with DJs or occasional live performers. “Carnival needed a very versatile system,” explains Thomsun’s professional audio sales executive Zubair Mohamad. “The layout is uneven with glass on one side, drapes on another and different seating formats depending on the day. It was important there were no dead spots, wherever guests are sitting. The audio system that we designed had to cover a range of different scenarios and do a great job with all of them.” Ten NEXO ID14 compact point source speakers were installed throughout the indoor and outdoor areas, chosen for their small size and ability to blend into the décor. Two NEXO ePS12s provide front-of-house reinforcement at the stage area, while low-frequency support comes from four IDS110 subs distributed around the

L–R: Mikhail Sujan and Zubair Mohamad from Thomsun with Firoz Pasha, manager at Carnival venue and a pair of NEXO L15 subs positioned beside the stage. Amplification and processing are handled by the manufacturer’s NXAMP range, enabling the Thomsun team to customise and finetune the system as a complete ecosystem. “We chose the NEXO ID14s primarily for their compact size,” furthered Mohamad. “We wanted something that would blend into the décor while also giving powerful sound regardless of what they would be using it for. It’s a very unobtrusive cabinet.” Zoning and day-to-day control are managed through a Yamaha DM3 mixer, which also serves the visiting DJs who connect directly into the system at weekends. The DM3 provides individual faders for inside and outside areas, as well as for the stage zone and the bar, allowing the staff to adjust levels quickly depending on

the time of day or event format with minimal fuss. Thomsun provided training for the team to handle the basic functions, with any advanced adjustments carried out remotely via video support when needed. Pasha recalls that once he handed over his requirements to the Thomsun team, “everything was smooth. Delivery and the audio setup all happened quickly. Within a week it was done.” Beyond the installation itself, he emphasises the importance of ongoing support, noting Thomsun’s team has remained available even outside office hours. “It’s not just installation, ongoing help and support is the most important thing. If I open 10 more restaurants, I would call someone back again because of the service provided, not just the product received.” For Carnival, the change in sound quality has had an immediate impact. “You can’t even see the speakers anymore and still we get a great sound,” says Pasha. “Guests have been giving very positive feedback. Before we had old-style big speakers that didn’t look nice. Now the system blends in and performs perfectly.” For Thomsun, the project has also opened the door to further work with Passion F&B Group, including a recent installation at Viva La Goa in Dubai Marina. Mohamad attributes this to both the client relationship and the backing received from NEXO themselves. “NEXO has a complete ecosystem – speakers, amplifiers and software – which gives us a lot of latitude to customise the sound. Their support has been fantastic and that makes it easier to deliver results.” At Carnival, the system now matches the restaurant’s evolving identity. Whether delivering soft background ambience on weekdays or high-energy entertainment on Saturdays, the new installation reinforces what the venue has built its brand on – an experience driven as much by mood as by menu. www.nexo-sa.com www.thomsunmusic.com

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A sonic shake-up at Swingers

Dubai’s first Swingers venue brings competitive socialising to the region, supported by a Bose Professional audio installation engineered for flexible zoning and immersive ambience THE GLOBAL RISE OF EXPERIENTIAL ENTERTAINMENT has seen Dubai welcome an influx of immersive venues in recent years, yet few have arrived with the anticipation of Swingers. With a concept originating in London popularising the trend for what the operators describe as “competitive socialising”, Swingers combines mini golf with cocktail bars and premium dining. The Dubai venue represents the brand’s first expansion into the Middle East and has been developed to recreate the experience of its well-known UK sites while adapting things for a market famous for its high expectations. The result is an adult playground spread across nearly 2,000m2, with mini golf courses, lounges and a choice of themed bars that all share the same aim – to merge fun, food and ambience into one homogenous experience. Delivering the necessary atmosphere required integrating audio across multiple zones that all behave very differently. Swingers Dubai houses three mini golf courses and three distinct hospitality spaces, including a dedicated speakeasy and cocktail bar, each with its own identity and acoustic profile. The venue also operates inside a busy retail environment, where audio spill into the mall had to be avoided and compliance with landlord requirements factored heavily into the upgrade. The challenge was not only to meet the venue’s entertainment and operational demands but to keep the sound controlled and contained while still creating a high-energy environment. Swingers has been constructed with Rise Hospitality handling the project management and architectural coordination. Arun Das, head of projects at Rise, describes the venue as one of its most unusual undertakings. “This was not just a small fitout project. It’s been a massive construction project that’s taken six separate retail spaces and converted them into a single F&B unit,” he explains. When Swingers Dubai first opened, initial guest feedback highlighted issues around the preexisting audio setup. Das recalls that the complaints were immediate and consistent. “People were not comfortable and guests frequently complained about the music system,” he says. “We approached Bose to find a better solution.”

DesignMax surface-mount loudspeakers form the foundation of the refreshed audio “Maintaining immersion and atmosphere without overpowering guests or gameplay was central to our brief,” recalls Bose Professional territory manager Renny Thommana, who was involved from the early design phase and defined the full system deployment. “Our role was not just about supplying speakers, but more about being a trusted partner for Swingers and Rise Hospitality, as well as a complete solutions provider. We were there with the client’s team and the systems integrator from the design phase right through to commissioning. We wanted to make sure whatever the expectations of the client were, we more than met them and delivered everything on time.” Bose Professional’s experience in the region and inventory availability helped meet the tight two-month turnaround for delivery and commissioning, which Thommana describes as one of the more challenging elements of the project. A distributed Bose Professional DesignMax loudspeaker system forms the foundation of the refreshed audio installation, built around more than 50 DesignMax DM8SE surface-mount

loudspeakers and approximately 25 DM10-S compact subwoofers deployed across the venue. Ceiling-mounted DM8C models are also used in selected zones, supported by Bi-Pivot brackets where required. Amplification is handled by PSX2404D and PSX4804D models, with system processing from an EX-1280 DSP. This architecture provides the zoning flexibility, coverage and headroom needed for Swingers’ layout while keeping the loudspeaker enclosures visually discreet. “We are primarily using models from the DesignMax series because of their sleek modern design, the high fidelity they offer and their ability to appropriately cover a multi-zone area,” Thommana explains. “The DM8SE and DM10-S combination gives the venue a balance of clarity and low-frequency support that works well across the different spaces, from background audio in lounge and dining areas to higher-energy zones during peak periods.” With multiple zones in operation, consistency was one of the most important requirements for the venue management. “All these multiple areas require very different sound levels,” notes Thommana. “We had to ensure speakers are well distributed

L–R: Bose Professional’s Rohit DDhar and Renny Thommana

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FEATURES: HOSPITALITY

Waterwheel: one of the three courses throughout areas to ensure that it never gets too loud in any particular spot and that the sound remains premium throughout.” The extended zoning, which allows each area to be tuned independently based on activity or time of day, has become instrumental in allowing the venue to accommodate family-friendly activities during the day and transition to high-energy events at night. A key request from the client was also the use of a simplistic control interface allowing the operations team to change audio scenes instantly. For Rise Hospitality, the collaboration was notable not only for the new system’s performance but also for the manufacturer’s direct involvement during implementation. More than 15 onsite meetings ensured the speakers could be fitted into restricted areas and integrated into an already partially completed interior. “The team from Bose Professional really helped and they have been with us from the start,” says Das. That partnership continued beyond handover, with Swingers commissioning BrewDog as a second project for Bose almost immediately. Venue manager Mukesh Jha describes the updated Swingers system as now being central to the guest experience. “It’s very user-friendly. Within a second, we can change the atmosphere in any area to meet our requirements, and each of my staff members are

The venue has many zones, each with their own requirements

A simplistic control interface was a key consideration now capable of managing the music across in the venue”. Jha also highlights the ability to adapt the individual zones depending on the audience, particularly during corporate bookings or private events. Feedback both across social media and inside the venue has praised the ambience and clarity, especially during evenings

Swingers houses three indoor mini golf courses and DJ-led events. “The redesigned installation has fully resolved our previous issues, and prior complaints regarding the music have disappeared,” states Das. “We are very happy with what we now have. It’s crisp, balanced and easy to control. In fact, rather than complaining, guests consistently now comment on how great the place sounds.” For Bose Professional, the result matches the brand’s aspirations in hospitality installations. “When you walk into this space and you see the buzzing crowd, you realise how seamlessly the technology blends in and can barely be noticed,” concludes Thommana. “That does make me proud.” The audio system at Swingers might remain largely invisible to guests, but its impact couldn’t be more present throughout the venue. That balance between performance and subtlety has been key to achieving the immersive experience that the Swingers brand is known for. As the venue continues to develop its programme and events calendar, the audio infrastructure is already supporting the next phase. www.boseprofessional.com www.swingerscrazygolf.ae

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FEATURES: LIVE

Fintech in focus

The Bridge stage

MediaPro International delivers the full technical production for Money 20/20’s Riyadh debut REGARDED AS THE WORLD’S LEADING FINTECH EVENT series, Money 20/20 made its Saudi debut recently at the Riyadh Exhibition and Convention Center in Malham. Spanning three days of keynotes, panels and networking activities, the show attracted thousands of delegates and industry leaders from across the region and beyond. To meet the expectations of a globally recognised production standard, the organisers turned to MediaPro International to deliver complete AV, lighting and staging solutions across all areas of the event. “Money 20/20 represents the cutting edge of digital finance and innovation,” comments MediaPro International’s director of sales (Middle East), Fahad Khan. “Our goal was to reflect that same sense of precision and energy in every element of the technical design, from the main stage right through to the smaller discussion zones. Every space had to feel dynamic, cohesive and flawlessly executed.” MediaPro’s remit covered six indoor stages – Main, Bridge, Pulse, Next Gen, Capital and Briefing – along with exterior architectural lighting for Halls 1 and 2. Each environment was designed to offer a distinctive yet unified look, balancing brand consistency with tailored technical approaches to suit the scale and content of individual sessions. The company provided all audio, video, lighting, rigging, staging and scenic elements, as well as camera systems, translation facilities and special effects for the main auditorium. The main stage served as the event’s central hub, hosting highprofile speakers, headline discussions and livestreamed sessions. Audio was delivered through L-Acoustics Kara II line arrays with RCF ART 910-A fills and L-Acoustics 12XT coaxial monitors, mixed on Yamaha QL5 consoles with Rio3224-D2 stageboxes. DPA d:fine 4088 headsets paired with Shure ULXD wireless systems ensured clarity and uniform tone across multiple presenters and session formats, while Sennheiser G4 in-ear monitors and Clear-Com FreeSpeak II supported production crew communications and stage management. Visuals across the site were anchored by Unilumin UGM2 2.97mm LED screens, forming the primary presentation backdrops and digital scenic surfaces. Video control was delivered from Analog Way’s Aquilon RS4 16x4K switchers, with Kommander PSX media servers and Kramer DVI distribution providing a stable signal infrastructure throughout the venue. Secondary

Each stage environment was designed to offer a distinctive yet unified look display points, including 98-inch Samsung Crystal UHD screens, supported content replay and live feeds in breakout zones. The main stage lighting design required the team to balance impactful show looks with refined key lighting for both inroom viewing and broadcast capture. The rig included Robe LEDBeam 350s, Claypaky Scenius Profile and Sharpy Plus fixtures, GLP units, Ayrton luminaires and Chauvet Maverick Storm 3 BeamWashes. These were supplemented by CKC W700 LED washes and MI Bar 48B LED battens where required, controlled via grandMA2 full-size consoles. Reel FX DF-50 haze provided atmospherics, while circular truss elements and customised Prolyte staging helped define the stage architecture and maintain clean sightlines. “The main challenge was consistency,” explains Khan. “Each stage hosted a different audience size and format, but the client wanted a seamless visitor experience. Whether you were in a fireside chat or a headline keynote, the technical quality and brand presence needed to feel identical. That required a lot of coordination between our audio, lighting, video and scenic teams, as well as careful previsualisation and load planning.” Matching design principles were applied to the Bridge, Pulse, Next Gen, Capital and Briefing stages, each of which featured bespoke truss configurations, tailored LED display layouts and

audio systems tuned for speech-forward content. Outdoor areas were enhanced with architectural lighting to maintain visual continuity from daylight through to evening networking sessions. Translation was a core component of the technical brief. MediaPro integrated Audipack soundproof booths with Bosch infrared systems offering eight language channels and 400 lightweight headsets to support the event’s international audience. “Money 20/20 is an event with delegates from more than 80 countries,” continues Khan. “Simultaneous translation was essential, and we designed a system that could scale easily between stages while keeping cabling and distribution clean.” Planning began around two months prior to the show, with design development followed by detailed technical drawings and logistical coordination. MediaPro’s familiarity with the Malham venue supported an efficient load-in, with a team of more than 150 personnel covering all production and technical disciplines. One of the most demanding aspects of the brief was the opening ceremony, which required coordinated lighting, special effects, laser cues and staging changes. According to the company, precision programming and experienced crew coordination were key to achieving smooth transitions between tightly timed show segments. With its combination of high-spec equipment, experienced technical teams and integrated project management, MediaPro’s delivery at Money 20/20 demonstrated its ability to support complex multistage events at scale. For the organisers, the Riyadh edition underscored the rapid development of the Kingdom’s live events sector, as international shows increasingly seek high-quality production execution within the region. As the fintech community looks ahead to future regional editions, the recent production in Riyadh shows how far the local industry has evolved. “Meeting the high expectations and extensive requirements of such a significant fintech event in Saudi Arabia was no small feat,” concludes Khan. “The opening ceremony featured ministers, global experts and key industry leaders, and therefore demanded precision, creativity and flawless coordination. The MediaPro team executed everything seamlessly, delivering an impressive opening ceremony and a highly successful overall event.” www.mediaproav.com

36 PRO AVL MEA January–February 2026

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Reawakening the Lost World of Atlantis

The S

AVI-SPL is reshaping the Lost World Aquarium at Atlantis, The Palm with an engaging new audiovisual experience TUCKED WITHIN THE NETWORK OF MARINE HABITATS at Atlantis, The Palm, the Lost Chambers Aquarium has long served as a marine-life counterpoint to the resort’s headline attraction, The World’s Largest Waterpark. For years it offered a calm drift past static displays and fragments of a mythological storyline, providing a welcome breather between the resort’s more dramatic visitor experiences. It remained quietly popular, yet as expectations for immersive environments continued to grow, its original set pieces and gentle narrative no longer reflected the direction Atlantis, The Palm wants its attractions to embody. With the resort leaning ever further into storyled environments, the decision was taken to reinterpret the aquarium for a new generation of guests. Seventeen years after the original opening, the result is the Depths of Discovery at the Lost World Aquarium, a complete reinvention launched by Atlantis Dubai in partnership with AVI-SPL and AVI-SPL’s Experience Technology Group (XTG). The familiar visitor route has been overlaid with an extensive audiovisual ecosystem designed to restore movement, character and narrative intent, driven by large-format projection, interactive triggers, educational kiosks and a newly conceived spatial audio environment. Creative technologist Juanjo Albala and design engineer Aaron Leishman led the early conceptual and technical design for the 16-chamber attraction on behalf of AVI-SPL XTG. Once the creative packages were devised, execution onsite fell to AVI-SPL’s integration team, led on the ground by project engineer James Taylor. His task was to translate the projection studies, system designs and bill of materials into a workable installation that could be delivered inside an existing architectural shell which offered limited flexibility. Content development formed a central part of the early design phase. With a background in underwater cinematics that aligned

naturally with the revised storyline, BoraBora Studios was brought onboard to develop original characters and animated sequences built around new intellectual property, giving Atlantis, The Palm material that can evolve through future updates, seasonal overlays and merchandising. According to AVI-SPL business development manager Neil Edden, the chemistry at the first joint briefing set the tone for the whole development. “The team at Atlantis got it straight away, and from that moment the ideas quickly snowballed.” Working inside an existing space was the defining challenge. Unlike a new build, where infrastructure can be adapted around the technology, the aquarium’s architecture left little room for repositioning equipment or adjusting the envelope. “A retrofit like this always requires rapid re-engineering,” says Taylor. “And because our timeline was incredibly short, we didn’t have the luxury of rethinking concepts from scratch. We had to make it work.” Prior to being appointed to deliver the full interior, AVI-SPL was initially tasked with outfitting the entrance zone, which now features a range of 1.9pp Philips dvLED screens constructed from 7319, 7219 and 7224 series panels and powered by Novastar VX600 and H-Series processors. Once the wider scope was awarded, the project moved into engineering and installation, all bound to a fixed October reopening date. Unexpected engineering challenges emerged early in the process. When ceiling cut-outs were opened in the Medusa room, for example, it was seen that the proximity of the projectors was close to the edge of the open-top tank, forcing the team to resolve the issue onsite with Atlantis, The Palm and the MEP contractors to keep the programme on track. The projectors above the tank had to be housed in custom fibreglass enclosures, a first for Taylor. “Electronics and salt water don’t mix,” he notes. “Designing waterproof tubs for the projectors was the only way to guarantee long-term reliability against any water splashing from the tank.”

Full-ceiling projection dominates The Ocean’s Eye This on-the-ground problem solving was most evident in The Lost Chamber, the aquarium’s most complex projection environment. With 360° coverage across the walls, ceiling and floor, the room required 25 projectors to be hidden within fabricated fibreglass panels or reworked keystone structures. Several of the planned positions became unworkable once the internal construction was exposed, forcing rapid adjustments. Lenses were swapped, mounting points lowered and fibreglass elements cut, rebuilt and re-themed to preserve coverage while keeping hardware out of sight. “Finding the correct positions took an enormous number of hours,”

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The Storm room says Albala. Taylor adds that maintaining the aesthetic was always the priority. “The result looks identical to the original architecture, but the projectors can still be serviced and operate properly as there are removable access panels and ventilation built in.” Across the attraction, more than 60 Epson EB-PU laser 3LCD projectors are driven from 14 Pixera One and Pixera Two media servers in Dual, Quad and Octo configurations. While AVI-SPL has used Pixera extensively on past projects, Taylor highlights why it was vital in this instance. “Pixera’s support for 3D OBJ mapping was a major advantage. For The Lost Chamber, Storm and The Ocean’s Eye chambers, we were able to bring in 3D models of the spaces and have Pixera wrap the content around them, along with camera alignment systems handling the warp and edge blends. This was done with Scalable Displays for the large spaces and Epson camera alignment for the smaller spaces. That level of functionality is essential for rapid deployment of complex projection systems.” Audio integration demanded similar ingenuity. With loudspeakers spread across twisting corridors and heavily themed structures, preserving the visual design was as pressing as meeting the acoustic requirements. Subwoofers have been hidden behind acoustic grilles, while many point-source units have been positioned high into architectural recesses. In total, more than 140 loudspeakers are distributed along the winding chambers, ranging from Fohhn AT series point-source units and low-frequency enclosures to the LX-600 columns in The Lost Chamber. These are supported by K-array Anakonda KAN200 and Tornado KT2C elements, along with Panphonics directional panels where narrower coverage was required. The audio and logic backbone is provided by a Q-SYS Core X20 with Dante I/O, while a Crestron CP4 manages the wider exhibit automation control layer. Staff can trigger seasonal content variations or perform system checks directly from the aquarium’s central AV office, without having to enter the server room. Signal transport to the projectors is supported by Lightware CAT extenders, used to carry the video feeds from the racks distributed throughout the site. Additional equipment includes OAK-D depth cameras for gesture-based interactions, Enttec nodes feeding the lighting network, Simply NUC media PCs, Iiyama ProLite

The tridents activate media content as visitors approach

time the concept had been deployed for Atlantis, The Palm. “Once the IR receiver gets the signal,” he notes, “the control system handles everything from timeline events on the media servers through to lighting and audio cues.” “Throughout the venue we also created more than 25 interactive kiosks featuring educational content about species inside the tanks, as well as the conservation projects Atlantis Dubai is working on worldwide to protect our oceans,” explains Albala. “This system is connected to a custom-built CMS, allowing their team to update the content whenever needed.” With AVI-SPL responsible for the project’s complete end-to-end delivery, despite the large volume of equipment, almost none of it is visible. Racks were prebuilt offsite to accelerate installation, and most cabling is concealed within scenic structures or existing voids. To support the exhibit’s long-term operation, AVI-SPL is also delivering a managed service component that builds on its existing presence at Atlantis, The Palm. The company already maintains the resort’s background audio systems and added dedicated technicians for the new Lost World Aquarium. As the opening date approached, the final weeks became intensely collaborative. “We worked very long hours, but everyone pulled together,” says Taylor. “From our technicians to our XTG team, to Atlantis, The Palm and their MEP contractors, everyone wanted to make it happen. That determination was essential. You can design something perfectly, but in the real world you always find something you didn’t expect. For a retrofit, you have to react quickly and rely on teamwork.” Early feedback from Atlantis, The Palm and its parent company Kerzner International has been overwhelmingly positive. “Feedback from the team was that the result is everything Atlantis wanted and more,” Edden reflects. “The experience matched the renders exactly, which is rare for a project of this scale and complexity.” For Albala, the project stands out for its narrative ambition layered onto a challenging architectural footprint. For Leishman, the pace and technical constraints will remain a lasting memory. For Taylor, The Lost Chamber is the highlight. “It’s such a complex room,” he says. “Seeing how well everything came together in such a short period is something that I’m really proud of.”

Inside The Lost Chamber touchscreens, Samsung 0.8mm signage displays and a 1.5m Pufferfish sphere display. The IR receivers, provided by Light Up Toys, connect to a Raspberry Pi which then connects to the Crestron control system over Ethernet via UDP commands. Beyond the attention-grabbing projections, the attraction introduces a new interactive layer built around a handheld “Trident”. Visitors point the Trident towards small IR receivers integrated into set pieces (Trident Pucks), triggering corresponding media, lighting or audio events. Although the underlying principle was familiar to Leishman from previous projects, it was the first

The result undoubtedly demonstrates AVI-SPL’s capability to deliver large-scale, story-led experiential environments where technology and creativity are tightly interwoven. As Atlantis, The Palm continues expanding its portfolio of immersive attractions, the Lost World Aquarium now provides a flexible platform for future content evolution backed by an infrastructure designed to grow with the story. www.avispl.ae

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FEATURES: CONFERENCING

Precision and diplomacy

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DIS interpretation systems handed to each participant

With meticulous pre-planning and discreet technology deployment, DLC Events enables seamless dialogue at one of the region’s most significant security forums EACH WINTER, BAHRAIN BECOMES A FOCAL POINT FOR global security and policy discourse as leaders, defence ministers and strategic thinkers gather for the International Institute for Strategic Studies (IISS) Manama Dialogue. Behind the scenes of this high-profile event is DLC Events, the Dubai-based technical production company entrusted with ensuring that discussions at the conference between some of the world’s most influential figures unfold with seamless precision. Having supported the Manama Dialogue for several years, DLC Events approaches the project with the confidence and calm that only comes from experience. The team is familiar not just with the technical requirements but with the rhythm of the event

L–R: Lars Videkam, Mark Breakspear, Issa Jamjoum, Mark Jones and Mudassar Muzafar

itself, which begins with a formal gala dinner before transforming overnight into a fully fledged conference environment. “The event is always similar in structure, so we can prepare almost everything in advance,” explains Mark Breakspear, project manager at DLC Events. “It’s a bit like pre-rigging a concert tour. We prepare the whole system back in the warehouse, number every microphone and know exactly where each one will go. By the time we get to site, it’s virtually plug-and-play.” That level of preparation is critical given the tight turnaround between the opening dinner and the first morning of plenary sessions. As soon as hotel staff clear the tables in the evening, DLC’s engineers begin by installing hundreds of delegate microphones across the ballroom. Each seat is equipped with a Shure MXC640 conference microphone, while digital nameplates identify the VIP participants occupying the front rows. “We put in all the network infrastructure during the dinner setup,” says Breakspear. “Once the tables are out, we can quickly connect the microphones to the breakout boxes hidden behind the curtains. The system runs on a modular network, so if an issue ever arises, it’s isolated to a single section. It’s a very robust setup.” The plenary hall features a dedicated microphone for every seat, together with digital nameplates for the head table and VIP participants. At the heart of the solution is a managed conference network incorporating NFC card login functionality, where each delegate inserts an accreditation pass into their microphone base to identify themselves, allowing the chairman to see who has requested to speak. The process is entirely automated, contributing to the event’s air of quiet efficiency. DLC’s integration of camera automation further enhances that impression. Canon CR-N300 PTZ cameras are discreetly mounted above the stage backdrop, programmed with presets that correspond to individual microphones. When a delegate activates their microphone, the control software triggers the appropriate camera preset, automatically framing a perfectly composed head-on shot for the live feed. “This is great for large conferences because you don’t need a big camera crew worrying about where everyone is sitting,” Breakspear furthers. “But it works equally well in smaller discussions where you don’t want operators moving

40 PRO AVL MEA January–February 2026

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The gala dinner held the previous evening around the room. Everything is hidden, and the results look clean and consistent.” This balance between visibility and discretion defines the team’s approach. DLC must deliver broadcast-quality visuals without introducing the physical presence of a broadcast team, a consideration that becomes even more important in environments involving heads of state and senior defence officials. “The Canon units we use aren’t the high-end broadcast cameras you might find on a televised event, but they’re ideal for this purpose,” he continues. “They strike the right balance between quality, practicality and cost. You can deploy more of them and cover every angle without inflating the budget.” Alongside audio and video, simultaneous interpretation plays a vital role in the Manama Dialogue’s success. DLC provides both the equipment and, when required, the interpreters themselves. The system supports three languages, typically Arabic, English and French, with translation distributed beyond the main ballroom into pre-function areas via large LED screens. “The booths sit just outside the hall, linked to the relevant rooms as needed,” notes

Breakspear. “AI translation isn’t ready for this kind of event yet because interpretation is about understanding nuance as much as language. You can’t risk miscommunication in this type of important environment.” DLC’s own attention to linguistic detail extends to the digital nameplates, which automatically adapt to accommodate names of various character lengths. Using customised SQL triggers, the data intelligently adjusts into the most appropriate format for the nameplates. “It’s particularly useful in Bahrain where you often have very long names,” says Breakspear. “The automation shifts text into different fields or onto two lines so that everything remains readable and consistent. No one else really does this kind of backend work. It’s a small detail, but it makes a huge difference.” These layers of automation and pre-planning have allowed DLC Events to refine its IISS delivery year after year. The team typically completes the overnight installation by around 4am, after which they begin programming the camera presets seat by seat. It’s a laborious process requiring someone to occupy each chair while operators fine-tune focus and framing, but it ensures the perfect shot when the conference begins just a few hours later.

The view from master control

VIPs received Shure MXC640 conference microphones with digital nameplates Built up over multiple iterations, the client relationship with IISS is one of mutual trust. DLC works closely with Richard Saunders, the organisation’s technical manager, and his team to maintain consistency across the various global Dialogues held in Europe, Asia and the Middle East. “They’re very open to ideas about improving efficiency,” says Breakspear. “Ideas are welcomed by any stakeholders in the event, from the event producers, AV teams or ourselves. It’s very much a team effort. They’re always exploring how to make the process smoother without compromising quality.” For DLC Events, that philosophy aligns perfectly with its own. The company’s success at the Manama Dialogue is built on quiet precision rather than spectacle, with every system designed to disappear into the background so that the dialogue itself can take centre stage. In an environment where diplomacy depends on clarity, reliability and discretion, those qualities are indispensable. www.dlcevents.com

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FEATURES: HOSPITALITY

Feeding the machine

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Entering through the quantum tunnel

It’s not often that a trip out to eat leaves you questioning reality, but this is the result when dining at Downtown Dubai’s futuristic WooHoo Restaurant

WITH WALLS THAT SHIMMER WITH DATA, A CEILING that pulses like a slow heartbeat and air etched with light beams that appear and disappear as if the room itself were alive, WooHoo is certainly not your typical Dubai restaurant. Step inside and the distinction between reality and simulation blurs almost immediately as you enter the domain of WHALE, the WooHoo AI Logical Engine, which manages the space as if conducting an orchestra. Dining becomes a journey through imagined environments, with each shift in colour and sound hinting at the mood of the machine controlling it. Guests don’t simply enter WooHoo – they cross a threshold into a quantum machine imagining Dubai’s future in the year 2071. The restaurant is the physical expression of Chef Aiman, an AI chef created as a joint venture between Vivid Studios and Gastronaut Hospitality. With around 12,000 followers, his own podcast and a metahuman body, Chef Aiman has taken the step from digital persona to real-life restaurateur. The environment at WooHoo becomes the medium through which his AI mind reveals its projections. In this world, lighting, sound, holograms and kinetic sculptures work together not simply to decorate the space, but to reveal WHALE’s shifting state of mind. The nearby Burj Khalifa acts as the machine’s 800m-tall antenna and the venue’s central structures act as the visible circuitry of a fictional engine. “Baseline reality” is a calm projection of the imagined future, rendered across multiple panoramic LED screens, holograms and volumetric imagery. Occasionally the quantum machine misfires entirely, and these dramatic surges – called glitches – unleash the full power of WooHoo’s AV infrastructure. Creating such an experience required a multi-layered approach. With Gastronaut overseeing operations at WooHoo, Vivid Studios is responsible for the environment, architecture, AI and every technical layer of the simulation. Vivid’s bespoke real-time workflow blends WHALE with equipment from Stage Precision, TouchDesigner, Pangolin, ChamSys, TiMax, Merging Ovation and a custom line of Carismi servers to form the venue’s nervous system.

The kinetic quantum computer chandelier forms the visual and mechanical centrepiece of WooHoo Created together with Nilor Studios, WHALE is the system that keeps everything in balance – sitting at the top as the AI conductor and relaying high-level commands to the Stage Precision SP platform, which acts as the connective fabric linking every subsystem with sub-second accuracy. The Carismi servers, whose main task is to deliver the visual content during service hours, transform into generative-AI render nodes when doors close, producing new AI-created versions of the venue’s parallel universes overnight. As a result, WooHoo is never exactly the same on any two nights. According to Vivid Studios co-founder and chief technology officer Mohamad Haroun, the bespoke configuration his team created at WooHoo has become one of the most stable control systems Vivid has ever developed, to the point that operators can even speak to and instruct the AI directly. “WHALE uses an internal

data structure – the WooHoo Bible – to calculate the timing and behaviour of every device. I can ask it to run the show at a certain time, stop it or change the environment to sunset or daytime just by asking,” he explains. “However, every single step of its creation has been a challenge. At the beginning we didn’t really know anything and, as a result, we had to entirely rebuild our infrastructure two or three times to get the stability we needed.” Vivid also designed and engineered the entire LED ecosystem itself, with Pixcom Technologies supplying and integrating the hardware. Taking pride of place inside WooHoo is a large anamorphic screen displaying futuristic simulations of the Dubai skyline constructed from 2.6mm LED panels. Opposite is a transparent hologram window overlaying drone formations and future architecture onto the real skyline behind. Created by Muxwave, Vivid describes the 2.6mm pitch system as the highestresolution transparent display currently available – allowing content to occupy the space without blocking views of the city. Throughout the venue, wraparound columns act as quantum entanglement generators, displaying metallic energy circuits. Another visual highlight is the front-of-house DJ booth, which has been wrapped with an LED infinity column using the same 2.6mm panels and can respond dynamically to AI cues. Stealing attention away from them in the dining area, however, are two large dancing volumetric LED sculptures hanging overhead that also evolve according to WHALE’s instructions. Created from LedPulse’s next-generation Dragon-Y structure, the figures shift from static geometric formations into flowing organic patterns and point-cloud avatars known as the Quantum Sisters. “The anamorphic screen functions like a simulator monitor,” notes Haroun, “broadcasting the future of Dubai.” Future development phases will allow dancers and DJs to influence it directly, turning it into a reactive performance instrument. Another focal point is the actual quantum computer structure, a kinetic chandelier that also functions as the main bar and integrates thousands of LEDs alongside two kinetic rings, each fitted with 25

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FEATURES: HOSPITALITY Stellar Lighting director Abhishek Guha describes their deployment as one of the first permanent applications of embedded micro-smoke machines ever inside kinetic elements, and one that took several iterations to get right. “The 3D-printed spheres were completely new for us – the first project of its kind,” explains Guha. “Designing these units to be safe, compact and reliable for everyday operation was a genuine engineering challenge. The housings had to be redesigned several times so that non-technical staff could remove, recharge and maintain them daily without damaging the equipment.” In every zone, the lighting, audio and kinetic elements are written into the narrative logic of the simulation rather than functioning as isolated effects. As you can imagine, creating the infrastructure needed to reliably power all these attributes required serious planning. Vivid’s focus, however, has not been the opening night but more how venue operations are likely to develop over time. As part of the Nvidia developer testing programme, Vivid routinely builds servers around next-generation GPUs still in development. At WooHoo, this has paid dividends, with every LED location given fibre connectivity, and the backend designed to support a decade of updates and new content. “This has been built for the long term,” says Haroun. “We needed it stable enough to grow the experience, not just run the opening show.” When Vivid and its partners first arrived onsite in July last year, WooHoo and its neighbouring units were nothing but empty shells. Designing and delivering a bespoke, fully operational, AI-driven AV experience by the end of the year seemed unthinkable. The team has ultimately succeeded thanks to an intensive schedule and close coordination across all trades.

A large projection on the transparent screen introduces WooHoo’s AI chef, Aiman

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L–R: Yuri Stranyov, Mohamad Haroun, Abishek Guha, Jad Haroun and Pavel Shemiakin beam lasers and vertical smoke elements. It represents the engine of WHALE’s internal processing and springs to life during glitch sequences. Lighting and kinetic systems naturally play a central role in expressing the narrative. Designed and integrated by Stellar Lighting, highlights of the impressive rig include 30 ACME Tornado wash fixtures used as explosive visual accents during glitch events, supported by ACME BSW and wash units and six ACME Art-Net DMX nodes. Stellar also supplied more than 50 2W fat-beam lasers, 10 3W FB4-powered mapping lasers and a six-headed effect laser, orchestrated through Pangolin software. Additional atmospherics are provided by DJ Power haze machines, ensuring the beams and volumetric effects remain defined during glitches. All time-coded lighting sequences are programmed on the main ChamSys console and triggered by WHALE exactly as required for each show. “This ensures that both lighting and kinetic elements respond as a single, unified system during live operations at Woohoo,” notes Haroun. Audio acts as the spatial dimension of the experience. Working together with Em-Tec, audio consultant Pavel Shemiakin designed an immersive, object-based environment powered by a TiMax SoundHub-S64 that ties together more than 50 Funktion-One loudspeakers – including F1201.2, F101.2, F81.2, Br218, Br118, F61 and F55 models – deployed across the venue. He recalls that WooHoo was not originally conceived as an immersive audio environment but, once the concept evolved, the team needed a

processor capable of highly flexible movement between zones of very different shapes and sizes. TiMax enables the precise positioning and movement of sound objects, allowing the team to link audio moments to visual changes and the shifting emotional state of the simulation. “TiMax is the only unit that can deliver this kind of crazy sound design,” notes Shemiakin. “You generate the idea and the more precise it is, the better the end result.” The reflective nature of the venue and dominance of LED architectural elements naturally limited treatment options and speaker placement, with the teams having to adapt around these constraints. “From the outset, WooHoo was conceived as a fully immersive experience, with the power of a Funktion-One sound system at its core,” explains Em-Tec GM Armand Bulder. “Working to a tight schedule while meeting both creative and technical expectations was a key challenge, as was adapting the installation to local environmental and regulatory requirements. The final result is testament to the strength of collaboration across all teams involved.” In addition to the main dining room, a private area sees guests transported via the Spock Capsule to one of several narrative zones. The most distinctive feature here is arguably a series of kinetic 3D-printed “alternate-planet” spheres suspended from 12 Servo C1 motors. Each sphere houses a miniature Look Solutions smoke machine which can be triggered via DMX. The spheres rise and fall as laser-mapped beams interact with the smoke plumes, creating moments of choreographed vertical motion.

LedPulse’s Dragon-Y system displays volumetric figures known as the Quantum Sisters “Every single step was a challenge,” Haroun says. “We knew the experience we wanted, but we didn’t know how to build it until we brought the right people together.” The project demanded unusually close collaboration with Em-Tech on audio, Stellar for lighting and kinetics, and multiple other independent specialists. “Without all of the other people behind us, none of this would have been possible,” Haroun concludes. For now, WooHoo is still in the early stages. Additional AI behaviours, new kinetic sequences and extended audiovisual content are scheduled for future updates. Whether the machine is stable or on the brink of breakdown when you decide to visit will depend entirely on Chef Aiman’s mood on the night. “The AI is not just scheduling things,” adds Haroun. “It chooses how much of the experience to reveal.” www.vividstudio.me www.woohoo.restaurant

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FEATURES: LIVE

Making Egypt’s GEM shine

Dance and orchestral elements merged

Claypaky Skylos and Vari-Lite fixtures generate sweeping aerial beams above the main stage at GEM

The Grand Egyptian Museum opens under a barrage of projection and light, with HiLights Group delivering one of Egypt’s most ambitious live shows to date

AFTER YEARS OF ANTICIPATION, THE GRAND EGYPTIAN Museum (GEM) finally opened its doors following an impressive opening ceremony billed as one of the largest live productions ever staged in Egypt. Orchestrated by HiLights Group, which was appointed by organiser Media Hub as the main technology provider, the Cairo-based production company delivered a tightly integrated blend of lighting, projection, LED, lasers and drones that turned the museum’s monumental setting into a living canvas. HiLights Group project manager Mohamed Osama oversaw technical integration between departments and alignment with the creative vision. “We executed large-scale projection mapping on nearly 17,000m2 of the museum façade, synchronised with 5,000 drones – one of the largest performances ever staged in Egypt,” said Osama. “The show required millisecond precision to align lasers, lighting, projection and live orchestral music.” For Osama, the night capped off months of creative development and technical choreography. His brief was to knit lighting and video into a single cohesive experience, coordinate specialist partners and ensure that every strand stayed aligned with the creative intent. Those partners included Luma Sky for the drone show, KVANT for lasers, 360° Collective on lighting design and Dirty Monitor for projection content. Lighting design for the ceremony was led by Roland Greil of 360° Collective with the show pre-programmed and visualised in advance of the load-in to ensure the complexity of the timecoded sequences could be executed reliably on site. Audio integration was handled by Dream Studio, which deployed a complementary system to support the ceremony and coordinate with HiLights on the ground. HiLights’ selection for the event was built off the back of a long working relationship with Media Hub across large, time-critical productions, where trust and repeatable processes matter as much as the gear itself. The aim of the ceremony was to honour history through contemporary tools. More than 500 invited guests, including heads of state and leading figures from Egyptian industry, watched in person as the story unfolded across the museum façade and the Giza skyline. The ceremony was also broadcast

A fleet of drones forms the Khufu solar boat above the GEM on digital platforms to audiences worldwide. “We wanted people to feel the power of Egyptian heritage presented with modern technology,” said Osama. The technical backbone matched that aim. Large-format projection mapping blanketed the façade in colourful content, powered by a bank of Digital Projection Titan 37K WUXGA Laser Engine projectors. More than 1,500m2 of high-resolution outdoor LED displays from Absen and Visio-tek added scenic

layers and moments of pure spectacle, with all elements controlled, synchronised and managed through a large number of master and backup WATCHPAX60 media servers from Dataton, ensuring seamless playback, edge blending and system-wide media synchronisation. Further image processing was carried out by Barco Event Master Series E2 S3 units. On the lighting side, HiLights fielded a formidable 9,000-fixture inventory centred on Claypaky Skylos fixtures, alongside Ayrton

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FEATURES: INSTALLATION

with projection to deliver the ceremony Cobra and Domino LT, with Vari-Lite VL3600 and VL10 among the workhorses for beams and key looks. The inventory also included a range of other Vari-Lite fixtures including VLZ, VL4000 and VL6000 units to support aerial and architectural looks. Laser effects were powered by KVANT, deploying a combined 4,000W of laser engines over a 2.5km throw between the museum and the pyramids. MA Lighting grandMA3 control systems with multiple NPUs provided the show’s command infrastructure, distributing data across a site that demanded long-range coverage without compromising timing. The use of Skylos was a first for HiLights in Egypt and quickly justified its place. According to Osama, its punch and presence helped stitch the air above the museum to the drone formations that became the show’s signature. Luma Sky flew a fleet of 5,000 drones, one of the largest aerial performances yet attempted in the country, which created a demanding test of timecode-based synchronisation with lasers, lighting and music. A live orchestra provided the score, which further raised the bar on coordination and resilience. “Every cue had to be executed within fractions of a second,” said Osama. “Lasers, drones, projection and lighting all had to land in sync with the music.” Turning the ambitious ceremony design into reality required a long installation window and highly considered logistics. HiLights spent around a month onsite building the supporting infrastructure, including scaffold towers for fixtures and laser positions. Behind the museum the team erected a 50m-tall structure to carry long-throw laser systems aimed across the plateau towards the pyramids. The tower gave the designers the sightlines needed without compromising protected zones or sight-sensitive areas. According to Osama, it became a quiet hero of the show’s geometry. Working at a site of this historical importance naturally brought strict preservation rules. Nothing could be placed without formal approval and every mounting point had to respect the museum’s fabric and surrounding archaeology. Distances presented their own challenge. Certain scenes required synchronised looks on the pyramids and the museum at the same time, which demanded careful planning of signal distribution, power management and control latency across long paths. To support this, HiLights designed a dedicated wireless network

using exclusive frequencies reserved for the lighting, laser and media system to build redundancy so that a failure in one path would not cascade. With presidents and dignitaries in attendance, countermeasure protocols included temporary RF signal suppression around the main entrance that had to be negotiated. The ceremony’s creative narrative drew on the museum’s mission to connect Egypt’s past with its present. Among the most memorable sequences was a scene inspired by the Orion Belt alignment, long associated with the pyramids. Luma Sky’s 5,000-strong fleet – also marking the first use of Flash drones in the Middle East – formed the three stars in the night sky while beams rose from the pyramid bases to meet them, combining with projection on the museum to suggest a conversation between earth and the heavens. Elsewhere, projection mapping washed the broad façade with motifs that moved from ancient geometry to contemporary pattern, carrying the audience through eras in a matter of seconds. The balance between restraint and spectacle was deliberate. “The goal was to celebrate culture, but not overwhelm,” said Osama. “Technology should frame the story and guide the audience’s attention.” Rehearsals ran for just a week once the technical infrastructure was in place, but the groundwork stretched far longer. Over four months the teams refined content, tested sightlines and pre-built cue stacks to reduce risks onsite. Alignment studies across the large façade ensured that media and lighting landed on the right planes with the right edge discipline, despite the inevitable variables of temperature, wind and dust. HiLights applied its

Beams traced geometric pathways across Giza, extending the show beyond the museum façade internal playbook for major shows, with mirrored control, disciplined show calling and fallback plans for power and signal. Osama credits the consistency of those processes for the smooth live run after the early interference. “Once the offending frequencies were cleared, the system behaved exactly as rehearsed,” he said. Outside the fenced-off VIP area, the wider public experienced the show through broadcast and social streams. Media Hub, government stakeholders and guests praised the blend of cultural storytelling and contemporary production, with particular attention to the way the drones, lasers and orchestral music were made to speak as if one voice. HiLights also noted the reaction from peers in the regional industry, many of whom called the ceremony a marker for what local teams can now deliver at a global scale. As Osama puts it, the takeaway from GEM is not only about bigger rigs or longer throws, but about the craft of synchronising complex systems so the audience never sees the joins. “This project proved how technology can celebrate culture rather than distract from it,” he said. “For us it was an honour to help present Egypt’s heritage to the world in such a unified and visually powerful way.” www.hilightsgroup.me

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FEATURES: HOSPITALITY

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Keeping coverage controlled A waterfront location drives a redesign of Bar du Port’s outdoor audio with improved directionality and reduced offsite spill

The venue being surrounded by water was a big factor in the design PERCHED ON THE EDGE OF DUBAI HARBOUR, BAR DU Port has established itself as one of the city’s most recognisable sundowner spots, transitioning from afternoon dining through to a late-night lounge and party ambience. While its waterfront setting brings guests panoramic views and uninterrupted sea breeze, it also creates one of the toughest acoustic environments in the region. With the venue surrounded by water and neighbouring residential and commercial buildings, the challenge of delivering powerful sound

without disturbing the surroundings quickly rose to the top of the agenda. Arriving on the scene nearly four years ago, Bar du Port operates daily until 3am with a capacity of 450 seats across indoor and outdoor spaces. “We always wanted the sound to be equal for all tables, without bothering the people on the boats, residential buildings or nearby hotels,” explains Bar du Port director Jacques Kassab. “It’s important for us to ensure that our guests get to experience the full five senses inside the restaurant. It’s about ticking all the boxes.”

To preserve that experience through the day, the team also changes audio levels and zoning depending on the time and clientele. “Sometimes we reduce the bass for sunset and then after midnight we increase it again to power the party,” Kassab furthers. When Levels AV was approached to design the audio for two new venues in the same building, it soon became clear that Bar du Port had reached a point where further upgrades would be needed to enable the wider site to operate at higher SPLs without unwanted spill. “I proposed an acoustic survey of Bar du Port initially as I was aware the venue was receiving noise complaints from surrounding tenants and businesses whilst operating at their desired volumes,” recalls Levels AV consultant Bryan McLean. After modelling was carried out, several fundamental issues with the existing conventional distributed system emerged. “It was apparent that the prior approach was creating large low-frequency lobes with no pattern control and directing full-range audio onto the surrounding water,” McLean explains. “To allow the addition of the other venues we had to redesign the setup at Bar du Port.” Selecting a new system for the venue was not simply a matter of volume or coverage. For McLean, the brief was anchored in environmental and operational constraints more so than raw performance. “The primary goals for any system I design is that it performs correctly for the operational requirements whilst also minimising the impact of the venue to its surroundings,” he explains. “This requires products that have broadband pattern control. We wanted Bar du Port and the other venues to operate at 95dBA whilst having minimal impact on the surrounding properties.” Tasked with handling both the audio design and integration, Levels AV opted for an array of Fulcrum

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Fulcr reinf

FEATURES: HOSPITALITY Acoustic loudspeakers and subwoofers after modelling the space and assessing the options for directionality, control and offsite audibility. This saw a full Fulcrum Acoustic solution deployed on the terrace, built around a combination of CC215WR and CC230WR Compact Constant Curvature arrayable loudspeakers in Extreme WR weather-resistant versions. The system includes six CC215WR and three CC230WR units supported by array frames and linking hardware, with low-frequency reinforcement provided by 14 CS215LWR dual 15-inch subcardioid subwoofers. Three further CC215WR and three CC230WR loudspeakers were installed to cover additional areas of the venue, along with two CCX1295WR compact cardioid models for supplementary fill. The waterfront location helped shape the refreshed subwoofer approach. “With water having a broadband absorption coefficient of nearly zero and the venue being

Levels AV project engineer Miriam Sablouni

Fulcrum’s new CC215WR cabinets provide primary reinforcement

surrounded by a body of water, it had a high influence on the design,” McLean adds. To control spill across the water and to neighbouring properties, he opted for a combination of passive cardioid technology and an unconventional dipole sub array. “As far as I’m aware, it’s the first of its kind utilised in this setting. After modelling the vertically spaced sub array, it was apparent that purely by physical spacing of the elements, I could reduce the sound power projected in the vertical by 50%.” For Levels AV project engineer Miriam Sablouni, the new system offered both improved coverage and more flexible installation options. “The client wanted greater coverage but still with very good quality of audio,” she explains. “That is predominantly why we chose Fulcrum Acoustic. The passive cardioid technology of the subwoofers allowed us to reduce unwanted rearward energy. This made everything much easier to tune, with all the sub frequencies coming directly to where we need them.” Sablouni also points to

the fact that the system design enabled the team to cover both long- and short-throw areas in the outdoor terrace, while the loudspeakers themselves were straightforward to fly and integrate into the architecture. McLean, meanwhile, extensively used the manufacturer’s Fulcrum One design software to build the system layout and accurately predict its behaviour. “I found the workflow familiar and the end results matched the simulated system performance,” he notes. “Consistent coverage and an engaging audio experience is always the end goal.” Installation required he complete removal of the previous system and cabling, with new new mounting arrangements for the flown subwoofers. “The design required poles to be fabricated for the flown row of subs and getting these signed off by the design team was the biggest practical hurdle,” says McLean. “With the outdoor layout finalised and tuning complete, the system delivered a result that surprised even the design team.” “The quality of the sound is perfect and we no longer get any complaints from the guests or neighbours,” says Kassab. Sablouni adds that the difference was immediate once the system was commissioned. “Everywhere you can walk in the venue you can still listen to the same coverage, it is a very neat and precise sound,” she says. “The Fulcrum system has literally changed the whole vibe of the place.” And for Levels AV, the recently opened terrace has become an ideal reference. “This project is one of a kind and a great illustration for how future deployments using similar systems designs can help tackle noise sensitive environments,” concludes McLean. With the Levels AV team now shifting their attention to the other two co-located venues, the approach taken at Bar du Port is likely to provide the blueprint. www.fulcrum-acoustic.com www.levelsav.com

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FEATURES: LIVE

Echoes of history

Auditoria, WBD and R.B. Event Technology unite at Amman’s iconic Roman Theatre to deliver a technically meticulous production for Sami Yusuf releases. A pair of DiGiCo Quantum338 Pulse consoles were deployed for front of house and monitoring, operated by Auditoria engineers. Capturing the delicate balance of Yusuf’s ensemble required a microphone selection almost as diverse as the instrumentation itself. DPA 4099 and MCM114 mics covered strings and traditional instruments, while Schoeps CMC6 with MK4 capsules and Schertler Dyn-M and AKG C411 models handled more intricate acoustic sources. Shure Axient Digital wireless systems paired with DPA 4018 capsules were used for vocals, supported by Shure PSM Axient in-ear monitoring and ADXR receivers. The setup also incorporated Rupert Neve 5054 primary source enhancement, Bricasti M7 reverb and Radial DI units, with everything networked through Shure’s Wireless Workbench. “The ensemble included instruments that vary hugely in output and tonal character, from the quiet Balaban to percussion and orchestral strings,” says Willsallen. “Capturing that range while keeping the sound natural and open was one of the most rewarding aspects of the show.”

THE ANCIENT ROMAN THEATRE IN AMMAN HAS witnessed countless performances over the centuries, but few have carried the emotional and cultural weight of Sami Yusuf’s recent outing. The British composer and vocalist, known for blending traditional Middle Eastern instrumentation with contemporary orchestration and spiritual themes, brought together more than 50 musicians from across the Middle East, South Asia, South America and Europe for a one-nightonly celebration of musical and cultural unity. Behind the scenes, the technical delivery was entrusted to three specialist teams: R.B. Event Technology, Auditoria and Woodroffe Bassett Design (WBD). Together, the trio balanced artistry with engineering precision to realise a production that resonated within one of Jordan’s most iconic and acoustically complex heritage sites. With Auditoria leading the sound design and live audio operation, WBD handled the lighting concept and local Ammanbased production company R.B. Event Technology delivered the project’s technical backbone, providing full production management and equipment supply across audio, lighting, communications, trussing, structures and site logistics. “Our role encompassed the complete scope of production,” explains R.B. Event Technology project manager Ahmad Alhaj Mohammad. “We integrated and supported every aspect of the project through our deep familiarity with the venue and its requirements.” Built more than two millennia ago and carved into a hillside, the Roman Theatre’s stone architecture offers both grandeur and difficulty. Every surface reflects sound, producing long natural reverberation and unpredictable reflections that return directly to the stage. “Amphitheatres are magical spaces, but they’re acoustically unforgiving,” says Auditoria director Scott Willsallen. “Every equipment position had to respect the heritage of the site and the sound it naturally creates. Our design had to be both precise and sympathetic.” To overcome these challenges, R.B. Event Technology modelled the entire venue using L-Acoustics Soundvision software, refining the geometry based on data from previous

The concert was held inside Jordan’s iconic Roman Theatre

Over 50 musicians were brought together from around the world for the concert shows. The resulting design achieved a targeted 99.1% coverage, ensuring uniform sound pressure levels across all seating areas. “Our goal was to deliver a consistent listening experience in terms of SPL and frequency response, regardless of where the audience was seated,” notes Alhaj Mohammad. The final chosen configuration comprised 20 L-Acoustics K2 elements for the main PA, supported by 12 Kara II outfill cabinets, 12 KS28 subwoofers and eight ARCS WiFo units, powered through five LA-Rack II amplifier racks. Control was provided via a pair of P1 processors running AVB protocol, with Fourier Audio transform.engines supporting system management. Once installed, the team used M1 measurement tools for fine-tuning onsite, paying close attention to the amphitheatre’s curved geometry and reflective surfaces. More than 110 live input channels and 60 stereo monitor outputs were managed by Auditoria, which also handled multitrack recording for postproduction and future digital

Translating WBD’s design into a fully realised rig, R.B. Event Technology also managed the lighting infrastructure. The system featured ADJ Hydro Profile, Hydro Wash X19, Focus Profile and Vizi Wash Z19 fixtures, complemented by Showtec Sunstrip Active units, ADJ 32 HEX Panels, 15 HEX Bars and Showtec Power Spot Q9s, all controlled from two grandMA3 full-size consoles. This design called on more than 200m of trussing with electrical chain hoists, built entirely as standalone structures to avoid any attachment to the ancient stonework. Logistically, the site also posed significant challenges. The Roman Theatre opens directly onto the Hashemite Plaza, a public area that remained accessible throughout the buildup. “We adapted our schedule to work overnight from 7pm to 7am,” recalls Alhaj Mohammad. “Every structure was selfsupporting, designed to respect the monument’s integrity while maintaining safety and reliability.” For R.B. Event Technology, it was a return to familiar territory, having previously supported major Arabic artists including Hiba Tawaji, Mai Farouq and Faraj Sulaiman at the same venue. “Each concert adds to our understanding of how this theatre behaves acoustically and visually,” concludes Alhaj Mohammad. “Every time we return, we bring new experience and deeper respect for the space.” As Willsallen reflects, “you can’t over-engineer a place like this; you have to let it breathe. Our role is to enhance, not overpower, and let the performance resonate within the stones themselves.” www.auditoria.systems www.instagram.com/rb_eventtechnology

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BUSINESS: COMMENT

A letter from America The fading of independence day for small music venues is upon us, notes Dan Daley MUSIC RECORDINGS SOUND MORE AMAZING THAN ever. Putting aside the obviously subjective matter of the aesthetic quality of the music itself, the productions’ sonic quality is benefitting from a combination of signal processing capability and a generation of music producers and audio engineers reared on online tutorials, as well as a generational leap in terms of willingness to take artistic chances and cast aside convention. Granted, there’s far more slop to wade through now, but the number of innovative gems it spawns can make it worth it. Not so for live music, however, and that is far more ominous than AI-generated “music” for the future. Yes, top-level concerts and tours have evolved into true events, necessitating rehearsal facilities that rival the heyday of Hollywood and Pinewood sound stages. But it takes that kind of scale to support the level of productions that induce concertgoers to shell out US$250 for a halfway decent seat in an arena or stadium now. But that dynamic is leaving behind the grass roots of the industry: the bar/pub band-level venue, where each generation of musicians has learned its trade. In October, the National Independent Venue Association (NIVA) released

its State of Live reports – a series of studies examining the economic impact of independent live music venues across all 50 US states. It’s not pretty. The studies highlight the financial difficulties facing the independent live entertainment sector, with 64% of independent stages nationwide reporting unprofitability in 2024. Rising costs across labour, taxes, rent and artist expenses, along with anti-competitive practices from national-level competitors, continue to pose major challenges. It’s not just an American phenomenon: since 2023, more than 150 of these venues have permanently closed their doors in the UK alone – about 16% of the entire sector, says The Guardian newspaper. But, as with everything else American, it’s the scale here that makes it so disturbing. Those independent music venues generate sizeable sums: the report says they created US$153.1bn in total economic output, contributed $86.2bn to US GDP, supported more than 907,000 jobs and paid over $51.7bn in wages and benefits. Nice numbers but drops in a bucket of the country’s $29tn GDP. How much reaches individual venues, musicians and workers is unclear, but it’s likely not enough to sustain anything close to a middle-class economic existence for most of them. Gentrification – the transformation of cheap,

funky neighbourhoods that allowed small venues to establish themselves into upscale residential destinations – has been a quiet but effective killer of these kinds of clubs, raising rents, taxes and other costs beyond their ability to sustain them. Ironically, some corporate behemoths have themselves moved into the independent venue space, seeking authenticity but with the deep pockets the real thing rarely has. Several movements have recognised this loss of rootslevel venues and are taking steps to preserve them. Some have called for small levies on the ticket sales of the largest companies behind the loss of indie venues to help support them. Cities, aware of the value that live music in small venues brings by attracting patrons who spend on other businesses in the area, are instituting things like “night mayors”, developing policies to maintain those venues’ economic health. It’s too soon to tell if these strategies will help stem the loss of these foundational venues. Like so many wildlife preservation initiatives, they’ve arrived after much of the population has already been devastated. But it’s worth an effort. If we could bring vinyl back from the dead, why not [legendary New York music venue] CBGB, too?

A letter from Europe

Phil Ward tours the historic Hansa studio in former East Berlin and encounters ghosts of the past amongst its 21st-century reincarnation STUDIO SURVIVAL IS ALWAYS HEARTWARMING. Across Europe those that have survived tend to have a story attached to them, while the rank-and-file fall by the wayside to be replaced by digital sheds. Few have a better story to tell than Emil Berliner Studios, as it’s now called, in Berlin. You will know it better as Hansa Tonstudio – or “Hansa-by-the-Wall” – and although that title has gone, the place retains a vigorous lust for life, to quote Iggy Pop. If you are lucky enough to be introduced to Rainer Maillard – producer, tonmeister and recording engineer – on a visit to Neumann microphones around the corner, you’ll be whisked off for a technical tour merely by enquiring: “isn’t it round here somewhere?” Before you know it, you’re standing in the Meistersaal, the very room in which Iggy Pop, then David Bowie, then Depeche Mode, then U2 made a few of their most celebrated albums, and it seems astonishing that it has survived intact into the third decade of the 21st century. This is largely because the place has come full circle. Constructed between 1910 and 1913, it was originally an event space for the Berlin building trade association. Today, it’s again used as a corporate event space, run by BESL Eventagentur. Indeed, the Meistersaal is a grand

fin de siècle ballroom with a stage, and no self-respecting Berlin insurance company would consider anywhere else for a party. Thank goodness, too: all of this helps to pay Rainer’s bills thanks to a partnership agreement with EBS Productions GmbH. The Ariola record label adopted it for classical recording in the 1960s, while new owners in the early 1970s renamed it Hansa and introduced more modern forms of music. Now, as EBS, it’s the ultimate vintage-plus-modern hybrid: there’s a beautifully preserved Studer A800 MK III, a fully operational disc-cutting lathe and computers. Suitably enough for a business named after the inventor of the gramophone, the lathes are fully restored and used for all-analogue, direct-to-disc recording sessions on a regular basis. Of course, most recording nowadays is on Pro Tools, although the SSL 4000 E Series installed during a huge upgrade in the early 1980s is still here in the Studio One control room. The Meistersaal is 270m2, nearly 7m in height, about the same size as Studio Two at Abbey Road but, unlike Abbey Road, its control room was physically and visually separate. All the tielines are intact; there are new control rooms, also

out of sight, but the old one is now a well-appointed bar where delegates mingle, pre-Saal. This side of the building was just 200m from the Wall. Rainer casually announces that its two windows, facing north-east at right-angles to Köthener Straße, are the ones through which you could look over the Wall, survey the barbed wire wasteland of Potsdamer Platz and feel the dark, alluring frisson of East Berlin – and, perhaps, conjure up some lyrics about star-crossed lovers. Producer Tony Visconti’s welldocumented techniques, using four Neumanns hanging in each corner of the room as well as three more paced out in a line for the lead vocal, sure did the job of imbuing Heroes with its eeriness, underpinned by the cerebral ambient machinations of both Robert Fripp and Brian Eno. The whole facility is available to anyone in search of such inspiration or, maybe, simply in need of a fine orchestral space. Because, in truth, the fairy dust of these acoustics is now the fine particulate matter of history, the view from the window takes in a bland grouping of smart new apartment blocks and Potsdamer Platz is a fun-packed, neon-lit theme park dedicated to consumerism. I guess you have to survive somehow.

50 PRO AVL MEA January–February 2026

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FLY WEIGHT Mix Anywhere. Fly Everywhere www.digico.biz DiGiCo, No.5 The Distillery, Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845 600

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02/10/2025 12:09:16 22/12/2025 12:13

BUSINESS: PROFILE

Precision in every detail

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Simon Luckhurst explores Fohhn’s 30-year pursuit of engineered sound perfection

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AS THE CATHEDRAL PRESET ENGAGES INSIDE THE Fohhn SoundLab, the room seems to inhale. Reflections collide, speech blurs and then – with a few mouse clicks – everything snaps into focus as a narrow beam locks onto the listener. It’s a concise demonstration of what Nürtingen-based loudspeaker manufacturer Fohhn has built its reputation on: precision control of acoustics through engineering rather than spectacle. The demo ends with a reminder that “good sound doesn’t have to be seen”, and it soon becomes clear that this is more than simply a tagline. From the outset, Fohhn has approached loudspeaker design as both science and craft. Founded in 1993 by musicianengineers Jochen Schwarz and Uli Haug, the venture grew from their frustrations with the patchwork PA systems of the 1980s and a belief that sound reinforcement needed to function as

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Nico Schwarz inside Fohhn’s huge anechoic chamber

a “complete, predictable system”. Three decades later, that philosophy underpins everything from the company’s beamsteering columns to its amplifiers and software. Jochen’s son, Nico, stands ready to carry the founders’ vision into the next generation, uniting acoustics, electronics, software and industrial design under one roof at the firm’s energy-efficient German headquarters. The story traces back to the mid-1980s, when the elder Schwarz and Haug were teenagers in a band. “We were 18 years old, and I was the keyboardist while Uli mixed the sound,” recalls Jochen. “After hundreds of concerts, we realised how poor the audio often was. Systems were just random combinations of boxes – subwoofers from one brand and horns from another.” The pair’s experiments with self-built PA rigs led to the first

inklings of Fohhn’s core idea: reliable audio demanded a system mindset. “We called it Tontechnik mit System – literally, audio technology as a system,” says Haug. In those early days, the company operated from a basement workshop armed with little more than a soldering iron and conviction. “We were students by day and technicians by night,” Haug smiles. “We’d build our own crossovers and cabinets, test them in the village hall, then tear them apart again the next morning.” Their first customers were local churches and touring acts who shared similar frustrations in pursuit of good sound. Much of their income also came from OEM work, which financed further experiments under their own name. “That was our apprenticeship,” says Jochen. “We learnt what works, what fails and where the hidden costs are.”

Beam-steering right in front of your eyes!

52 PRO AVL MEA January–February 2026

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BUSINESS: PROFILE

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3D printing has taken Fohhn’s obsession of precision engineering a stage further

A look under the surface unveils Fohhn’s engineering pedigree Those lessons led to Fohhn’s first independent product: EasyPort, a battery-powered all-in-one PA for outdoor ceremonies. “A pastor came to us and said, ‘I need a speaker for funerals – something wireless, easy to carry and quick to set up’,” recalls Jochen. The self-contained system became the company’s first DSP loudspeaker, helping establish a reputation for practical engineering and durability. Early work for churches also exposed the team to acoustically challenging spaces and sparked the innovations that would later define Fohhn. “We were dealing with reverberant rooms long before beam-steering was a trend,” says Haug. “Our goal was always clarity – to make speech intelligible where it had never been clear before.” Today, exporting globally through a growing network of partners, Fohhn claims the world’s largest beam-steering portfolio, from the

With a need to blend into the environment, speaker customisation is big business compact Focus Slim to the towering Focus Venue arrays used in concert halls and arenas. Each system’s directivity can be shaped in real time through software. “Every loudspeaker in the array has its own amplifier channel and DSP,” explains Nico. “By controlling delay and level across each driver, we’re able to steer the beam vertically without mechanically tilting the enclosure.” Perfecting this balance of acoustics and aesthetics, however, took years. “When you bring a 12cm-wide column to an architect, they’ll say it’s too big,” notes Jochen. “If you return with one just 7cm wide, they’ll still say it’s too big.” The drive for slimmer housings forced Fohhn to redesign both transducers and internal electronics, fitting multichannel amplification and DSP into an enclosure barely wider than a hand. “It was a long process,” says Haug. “But the Focus Slim proved that high-end beam-steering didn’t need to dominate a space.” This integration of form and function runs throughout the company’s approach. Its design and production processes – from cabinet carpentry to PCB assembly – are all housed under one roof at the Nürtingen facility, which opened in 2020 after years of the team operating across seven separate sites. “It changed everything,” says Nico. “R&D, production, logistics and the custom paint shop are now within walking distance. It’s more efficient and means the people who design the products see them being built every day.” Touring the production line with the younger Schwarz reveals how important in-house development remains. The acoustics lab includes two anechoic chambers – one equipped with a robotic arm for 360° polar measurements and an adjoining materials lab for waveguide prototyping. One recent column’s waveguide went through no less than 74 design iterations to achieve the right dispersion. Engineers subject each design to 100-hour stress tests, thermal and ingress testing and long-term endurance cycles before approval. “We create power presets for every amplifier so it’s impossible to burn the speaker,” adds Nico. “That data comes from these tests and is part of our safety philosophy.” The company’s self-described “love for the details” also extends to visible elements. Customisation is now a major part of the business, with around 20% of products leaving the factory in bespoke colours or finishes. In the paint shop, a batch of brushed-metal columns awaits shipment to the German Parliament. “If an architect wants a specific shade or texture, we can match it,” Nico says. “Good sound should fit perfectly into its environment.” Close collaboration with architects has therefore become second nature. Jochen recalls an early beam-steering installation in a listed church where strict preservation rules limited mounting options. “There was a painting behind every column, a sculpture in front of every pillar and nothing was allowed to move,” he says. “The team simulated every possible position until they found the one spot that would cover both nave and balcony. The result impressed clergy and heritage authorities alike – it proved that technology and architecture don’t have to fight each other.” This obsession with integration has shaped Fohhn’s relationship with architects and consultants ever since. “From the beginning we offered planning support,” says Haug. “You can make the best loudspeaker in the world, but if someone installs it in the wrong place, it won’t perform. So we help with acoustic design, simulation and commissioning.” Fohhn Designer software allows clients to model rooms in 3D, adjust beam angles and hear predicted results.

Behind the precision lies a strong sense of independence. Fohhn develops its own DSP platforms, amplifiers and control software, and was among the first to network loudspeakers via Ethernet with Airea in 2004. Today, Dante integration and PoE are standard across the portfolio. “Every speaker speaks Dante,” says Jochen. “It’s the language of pro AV.” The company is also working directly with Audinate on Dante Direct implementations optimised for PoE systems. While acoustics remain the foundation, the team’s focus is increasingly IT-driven. “We’re in pro AV, not rental or residential,” says Haug. “Our customers need managed systems – hundreds of networked speakers across multiple rooms, monitored from a central control room. Our task is to make those systems IT-friendly, secure and easy to manage.” At the heart of Fohhn’s mission is a team of around 130 employees drawn from both musical and technical backgrounds. Nearly half work in production, with the remainder in R&D, logistics, sales and administration. “We’ve always tried to keep the same spirit we had when we started,” says Haug. “Everyone here plays some part in the sound.” Recruiting, however, has changed. Where the company once looked for acousticians and cabinetmakers, it now hires network specialists and software engineers. “A few years ago, if you could solder, you were qualified,” Nico jokes. “Now, we need people who can write firmware and understand Dante clock domains.”

Fresh off the line – the compact Scale-1 PoE cabinet Sustainability is another thread running through both product design and corporate culture. The Nürtingen headquarters, built to the KfW 55 standard, consumes 45% less primary energy than comparable modern buildings. “When we built it, we didn’t think about money. We were more concerned with our responsibility,” says Jochen. “But when energy prices rose, the savings proved themselves.” Fohhn has also formed a sustainability committee and collaborates with universities on research into recyclable and plastic-free materials. “If you destroy your environment or mistreat your employees, you won’t survive long,” he says. “A good company must take care of both.” Long product life cycles are part of that philosophy. Amplifiers are rated for at least 100,000 operating hours, all products are repairable and systems installed more than two decades ago – such as at Munich airport – remain in daily use. Clients can retrofit new modules into older models, extending lifespans significantly. “Some ask us to build systems that will last 30 years,” Jochen notes. “We don’t always recommend it, but we surely build with that durability in mind.” Digitalisation, meanwhile, is seen as an enabler rather than threat. “The biggest change in audio has been the shift from analogue to digital, but what’s more important is how it changed mindsets,” reflects Haug. “Today’s decisions are made not by the guy with the soldering iron, but by the IT manager who needs to monitor systems remotely and know they’re online every morning.” For Nico, representing the next generation, that transformation is only the beginning. “There’s more discussion now about network management and data security than about sound,” he says. “The sound will always be good – our job is to make sure the system is smart enough to prove it.” Back in the SoundLab, the virtual cathedral fades to silence as the beam-steered voice that earlier demonstrated the technology signs off with quiet pride: “We are a system manufacturer.” After time inside Fohhn’s meticulously ordered world, it’s clear that this isn’t a slogan but the product of 30 years of treating sound as an engineered, sustainable and human pursuit. It is this coherence, rather than any single loudspeaker, that defines Fohhn today. www.fohhn.com

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BUSINESS: PROFILE

A sound strategy

Shure MEA associate director Yassine Mannai outlines how the regional team is expanding its footprint and redefining audio experiences through user-centred design, intelligent technologies and integrated ecosystems

The newly refreshed Shure Dubai Experience Centre

Yassine Mannai 2025 HAS BEEN A YEAR OF MILESTONES FOR SHURE. As the microphone manufacturer celebrates its global centenary, the Middle East and African division is quietly marking its own achievements, which have included the launch of a new Experience Zone at its Dubai office and the steady expansion of its regional footprint. “This year was a particularly proud moment for us,” comments Yassine Mannai, associate director for sales and marketing at Shure MEA. “It’s not only a celebration of a hundred years of sound and innovation, but also a statement of intent for the next century. We’re keen to show how Shure continues to push boundaries in audio technology while remaining focused on the people who use it.” That focus on people lies at the heart of what Mannai calls the end user experience evolution – a shift from technology-centred to human-centred design. “The way people interact with technology has changed dramatically,” he explains. “A decade ago, collaboration tools were predominantly about the hardware. Today, they’re about the experience – how fast you can connect, how natural the interaction feels and how easily technology disappears into the background.” Mannai describes the process as moving from “handheld to ceiling, and from cables to connectivity”, a journey that reflects changing expectations in meeting and learning environments throughout the region. To meet these expectations, Shure has been investing heavily in solutions that combine powerful processing with simplicity of use. Intelligent features such as AI Denoiser, AI Deverb and Auto Configure now allow systems to adapt automatically to their surroundings, cutting setup times and improving acoustic

performance in rooms that are often less than ideal. “Technology should correct the problem, not create it,” Mannai furthers. “You can walk into a space with poor acoustics or background noise and the system should be able to handle it. That’s what we mean by making technology work for humans.” Education has become a major proving ground for this approach. Across the Middle East and Africa, Shure ecosystems combining MXA microphones, IntelliMix DSPs and Dante-enabled loudspeakers have enjoyed great success transforming classrooms into fully hybrid learning spaces. “Our customers in education aren’t looking for more technology – they want better, smarter technology,” Mannai explains. “A smart classroom isn’t defined by how much kit it contains, but by how simple it is for teachers to use and how clearly the message reaches students. Virtual Acoustic Boundary features on the MXA920 microphone, for example, allow the sound field itself to be shaped to the room, ensuring intelligibility without requiring complex manual tuning.” This emphasis on flexibility also extends to corporate environments, where the boundary between physical and virtual meetings continues to blur. “A room designed for 20 people might need to accommodate 50 the next day,” says Mannai. “You can’t

tell the client to cancel the meeting because the room wasn’t designed for it. Technology must adapt.” Mannai believes that Shure solutions such as the Microflex Wireless neXt 2 with built-in DSP and Teams certification illustrates how the company is addressing these scenarios – offering rapid deployment, minimal hardware and plugand-play connectivity that aligns with modern IT workflows. For Mannai, this evolution represents a broader transformation in how Shure defines itself. “I don’t consider us a microphone company anymore,” he states. “Of course, microphones are still at the core of what we do, but the real value is in the ecosystem that surrounds them – the software, the networking and the integration. We’re a solutions provider focused on delivering human-centric experiences.” That approach extends to close collaboration with leading conferencing platforms including Microsoft Teams to offer MTR solutions like the IntelliMix Room Kit. “Our role is to make sure every element of the system communicates seamlessly. When it does, users stop thinking about the technology and instead start focusing on the conversation.” The new Dubai Experience Zone embodies this philosophy. Designed as both a demonstration space and training hub, it allows partners and clients to get better acquainted with Shure’s complete ecosystem in realistic scenarios, from huddle rooms to large conference suites. “It’s important for users to see what’s possible,” Mannai notes. “Many decision-makers still think in terms of single components, but when they experience the system as a whole, the benefits become obvious.” The facility also underlines the MEA team’s long-term commitment to regional engagement, providing a base for technical workshops and integrator support across the Middle East and Africa. Behind these developments, Mannai credits the brand’s leadership and culture for maintaining momentum. “Being a 100-year-old company means we’ve been through a lot of challenges and learned how to evolve,” he reflects. “We’re lucky to have strong leadership with a clear vision, and that gives us the confidence to keep innovating while staying true to our heritage.” As the regional division looks ahead, that balance of innovation and stability remains its guiding principle. “End user expectations will keep changing, and technology will keep moving,” concludes Mannai. “Our job is to make sure the two evolve together. When technology truly serves the user, that’s when great communication happens – and that’s what Shure stands for.” www.shure.com/en-MEA

The education market, particularly across East Africa, is a key focus for the team

54 PRO AVL MEA January–February 2026

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Introducing the LAS-BEAM series, a cuttingedge family of beam-steering loudspeakers designed for acoustically complex environments. The LAS-BEAM series delivers exceptional sound quality and reliability for voice evacuation, music, and announcements, perfect for airports, mosques, and commercial buildings. With its slim, stackable design, this series sets a new standard in performance and flexibility. The LAS-BEAM series is the ideal choice for those seeking a high-quality audio solution that integrates seamlessly with PRAESENSA and is easy to install and configure. • Advanced audio mapping capabilities • Versatile as standard • User-friendly configuration

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January–February 2026 PRO AVL MEA 55

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BUSINESS: TECHNOLOGY

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Sound without spillage

Saltatio Mortis at Wacken Open Air 2025

As environmental restrictions tighten, broadband directivity has become a key point of differentiation for system designers and manufacturers, according to d&b audiotechnik THE SUCCESSFUL STAGING OF OUTDOOR EVENTS increasingly depends on factors that have little to do with production values. Beyond the usual concerns of coverage, clarity and reliability, there is now a growing requirement to contain the system’s acoustic footprint. Venues are becoming more acoustically complex, shows more dynamic and local governments less forgiving. Offsite complaints, once treated as the inevitable background noise of outdoor culture, are fast becoming showstoppers and, in certain markets, regulatory tolerance for offsite emissions has tightened significantly. Simultaneously, touring and rental companies are looking for greater flexibility and precision in how their systems behave across varied venues. One of the more significant responses to this shift has come in the form of broadband acoustic directivity – specifically, full-range pattern control that extends into the low-frequency domain. While high- and mid-frequency dispersion has long been shaped through horns and waveguides, low frequencies have typically proved harder to control. Their longer wavelengths tend to radiate in all directions, which not only adds unwanted energy to the stage and reflective surfaces but also increases the risk of offsite disturbance. Given that German loudspeaker manufacturer d&b audiotechnik considers itself to be something of a leader on the topic, Pro AVL MEA recently sat down with its loudspeaker product

manager, Santiago Alcalá Baillie, to see how the market is responding to this challenge. “People used to worry about whether their PA would be loud and reliable enough to survive a summer of festivals,” says Alcalá. “Now, we’re in a completely different era. It’s not just about being loud, but about evenly distributing that powerful sound to everyone in the audience, and not anywhere else. At the same time, audience expectations for sound quality are higher than ever. These forces are colliding in ways that demand smarter, more intentional system design.” The company’s approach to this problem can be traced back to 2013, when engineers identified a persistent 100Hz peak travelling beyond the boundary of a large German festival. By time-aligning the main arrays, they were able to attenuate the problematic frequency in the affected zone without compromising audience coverage. That incident contributed to the development of NoizCalc, a software tool designed to predict offsite SPL levels. Three years later, the launch of the SL-Series saw the first d&b large-format systems to offer full-range directivity, including cardioid behaviour at sub-100Hz. Consisting of the GSL, KSL and later XSL systems, the series became one of the few touring-grade solutions to integrate this level of control in a line array format. According to Alcalá, the SL-Series helped confirm that there was demand in the market for loudspeakers with this behaviour – despite their higher cost.

An array of eight CCL8 top cabinets “It wasn’t a given that people would pay more for a system because it reduced side and rear low-frequency spill,” he notes. “But the advantages in real-world applications for promoters, neighbours and even monitor engineers turned out to be definitive and unquestionable. Once our industry experienced what the SL-Series could do, the next question is always the same: can you make it smaller?” That question led to the development of the CCL compact cardioid line array. Released in 2025, CCL is the first of d&b’s

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BUSINESS: TECHNOLOGY smaller-format systems to adopt the same directivity concept. It retains many of the underlying electroacoustic principles of the SL-Series, but with a more compact form factor and halved channel count, requiring a single amp channel per cabinet. While intended for performance venues, regional festivals, houses of worship and other mid-sized applications, the product also serves a larger strategic purpose. “CCL is the first system in the second wave of our loudspeaker systems portfolio strategy,” says Alcalá. “SL proved the concept works in large formats. CCL is now proving that it can be scaled-down and still bring all the same advantages and benefits to smaller projects. It changes the conversation.” Alcalá is aware, however, that convincing long-time users to adopt something smaller and more efficient can take time. “FOH engineers, system designers, promoters and venue owners demanded something lighter and easier to deploy than the SL-Series, but when CCL is unpacked, the first reaction is scepticism,” he explains. “They still expect performance to be linked to size or weight. There’s still a quick and smooth learning curve.” Internally, building CCL required several changes to the company’s normal design and manufacturing processes. The tight dimensions of the box leave little margin for error, particularly given the need to fit ports, drivers and structural bracing into a single enclosure without impacting the exact internal volumes and mechanical intricacies that make CCL work. Alcalá describes the product as “enormously satisfying to listen to and to sell – but extremely difficult to design and manufacture”. He also points to a broader trend in loudspeaker development: a shift from chasing higher output to refining efficiency. “As an industry, we’ve pushed most loudspeaker parameters close to the limits of physics,” he says. “You can’t really create loudspeakers that are significantly louder unless you make them bigger, more complex and use expensive exotic materials. But you can make them

But with noise management increasingly tied to licensing and compliance, systems that can accurately direct their output are gaining traction – especially in built-up areas. “I don’t think there’s any doubt that this approach is going to spread,” Alcalá reasons. “The days of measuring success in maximum SPL are over. What matters now is consistency, accurate predictability and keeping broadband acoustic energy exclusively where it’s supposed to be, indoors or outdoors, avoiding walls or neighbours, while stages quiet for the artists and keeping the audience joyfully entranced by the show.”

CCL Sub more efficient – whether that means lower power draw, fewer enclosures or simpler deployment. That’s where we see the future opportunities.” That efficiency includes removing unnecessary operational and logistic complication in system design. Through its simulation and planning tools, d&b has increasingly encouraged users to take a more measured approach to system scaling and rigging decisions. “If ArrayCalc software shows you can do the job with four elements instead of 32, why carry 32?” asks Alcalá. “Of course, some people still prefer to over-specify, but we’re trying to shift the mindset.” While CCL is still in the early stages of rollout, feedback has been broadly positive, particularly among younger engineers and contractors. According to Alcalá, what was initially met with caution is now being embraced as a new baseline. “It’s already being used as the go-to reference system even by people who never previously worked with SL,” he says. “For them, this is just how sound should behave.” Whether or not that view becomes widespread will depend in part on how fast the industry adapts to changing priorities. Not every region has a strict level of regulation, and not every venue operator is focused on environmental control.

With noise regulation tightening and audiences less tolerant of poor or uneven sound, d&b’s focus seems well-placed. In an industry where every show must now operate at the intersection of creativity, compliance and community, the ability to control where sound goes and, crucially, where it doesn’t, may well be the defining factor for the next generation of events. www.dbaudio.com

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January–February 2026 PRO AVL MEA 57

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All brand names, product names, and trademarks are the property of their respective owners. Certain trademarks, registered trademarks, and trade names may be used to refer to either the entities claiming the marks and names or their products. Crestron disclaims any proprietary interest in the marks and names of others. Crestron is not responsible for errors in typography or photography. ©2026 Crestron Electronics, Inc.

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING

Tackling stage monitoring head on

Funktion-One has debuted the PSM15, offering advanced stage monitoring for live applications WITH THE launch of the PSM15, Funktion-One is applying the same level of loudspeaker engineering and technology that it does to its flagship PA systems. The 15-inch stage monitor has been built around a triaxial, biamped architecture. Instead of the conventional 2-way common magnet arrangement found in many wedges, where a large driver handles low and mid frequencies while a compression driver covers the upper midrange and high end, the PSM15 divides the workload more evenly. A dedicated midrange section sits between the 15-inch low-frequency driver and the high-frequency compression driver, reportedly reducing intermodulation distortion. This distortion occurs when an HF driver is also tasked with producing midrange content, often resulting in blurred or harsh reproduction. A key element of the PSM15 is its waveguide design, which delivers a nominal 70° x 50° (VxH) pattern. Coverage is said to be focused and consistent across the

listening area. Crucially for a monitor wedge, this directivity control reportedly makes the PSM15 less prone to feedback, with its constant directivity characteristic resulting in a “stable and predictable” gain margin. Many modern stage monitors rely on hidden preset EQ to achieve a usable response, but the PSM15 is designed to be naturally flat without corrective processing. This reportedly gives monitor engineers maximum headroom and removes the uncertainty associated with hidden DSP curves. For touring productions that carry different consoles or move between house systems, the predictability of a neutral starting point can be an advantage. According to the manufacturer, the monitor delivers very high output without the strain or brittleness often associated with pushing a wedge hard. When performers request more level, the sound reportedly remains coherent rather than becoming harsh or indistinct. Reduced distortion can facilitate a lower SPL with

more clarity, resulting in safer listening for musicians and engineers working long shows or multiple performances in a day. The enclosure is compact and designed for real-world handling. The unit includes M10 flying points for yoke mounting and M8 points for use with a stand adapter, extending its usefulness beyond the floor wedge role. It is suitable for small stage reinforcement, side fills in tight spaces or where monitors need to be suspended. Amplification is provided by the manufacturer’s D100Q-DSP or D80Q-DSP. The TR-1 tour rack contains three D100Q or D80Q amplifiers for a total of six mixes and up to 18 wedges per rack. The signal and loudspeaker patch panels have been designed to accommodate both stage monitoring and main PA applications, with six analogue inputs, six NL4 outputs and four etherCON ports for control and AoIP. Three NL8 connectors are also available. www.funktion-one.com

ANALOG AES72 STAGEBOXES

A–ZCONTENTS Adamson ArrayIntelligence V1.3 70 Alcons Audio M-Series 60 Alto Professional TMD16 68 AMC Baltic RC 5 / CCA 2X1.5 60 Analog Way Aquilon Cmini 75 API Audio 312 SEPIA 64 ARRI LPM-1 74 Astera SolaBulb 80 ATEN CE801 / CS742H 75 Atomos Ninja TX GO 74 Audient ORIA Mini 70 Audiofocus 118SG / 118SGa 62 Avocor/DisplayNote Launcher v2 78 Ayrton MagicDot Neo 80 Blackmagic Design Streaming Decoder 78 Bolin Technology Discovery Tool 2.0 78 Bose Professional DesignMax Luna DML88P 60 Canon RF 85MM F1.4L VCM / CR-N400 76 Celestion TF0512HE 63 Claypaky Ultimo Sharpy update 80 d&b audiotechnik CCLi 60 DiGiCo S-Series V3.1 71 Digital Projection Luma 37000 WU 78 Dynaudio Acoustics Delta Series 66 Eclipse Audio/Bose Professional FIR Designer v4.5 71 ETC Irideon FPZ Plus 81 Extron FOX3 T 211 / FOX3 SR 211 75 Fulcrum Acoustic Driveflex / Fulcrum One v1.5 66 Funktion-One PSM15 59 Genelec 8380A 62 Harrison Audio D510ua 67 High End Systems MegaPix / GigaPix 81 Ikegami UHL-X40 / UHK-X700RF 76 Joyned MU16 67 Klotz AIS HC71PC25 / HD01PC25 72 Kramer VIA Connect 3 74 KV2 Audio VHD7000D 64 Lawo HOME Audio Shuffler 64 Leyard Europe Komodo Series 79 Lightware Taurus DCX 80 Mackie ThumpSub GO 63 Marshall Electronics StreamDesk 74 Merging Technologies PT64V3 67 Meyer Sound USW-121P 63 Mipro AD-58 70 Neutrik opticalBAR 67 Outline ET Controller 71 Panasonic AK-UBX100 76 PPDS Philips MediaSuite 6000 Series 79 PreSonus Air XD Series 62 Q-SYS NC-90 / NC-Pro15x 79 RCF SUB 15-AS / SUB 18-AS 64 Renkus-Heinz Third-party control plugin modules 68 Robert Juliat Morgane 81 RØDE Wireless Micro Camera Kit 79 Solid State Logic Super 9000 Channel Strip 68 Sommer Cable SC-AQUA MARINEX ARAMID MIKRO14 73 Sound Control Technologies (SCT) micro(C)eries 78 Sound Devices Astral v8.20 72 Stagetec NEX:T axio 70 Symetrix Composer v9 72 Tasker TSK1038 PUR 73 TSL Hummingbird 66 TT+ Audio RDShape 71 Vari-Lite VL3200 LT Profile IP 81 Waves L4 Ultramaximizer 68 Wisycom Portable RF-over-Fiber Box 70 Wohler eSeries update 64 WyreStorm CAB-UAOC-USBC-10 72

The NA-4I4O-AES72 is a 4-channel (4I/4O) stagebox for transmitting microphone levels, analog line levels, AES3, DMX or even intercom via one single CAT cable. The device has male and female XLRs in the same housing and can be used directly as a splitter for monitoring. An additional etherCON serves as feedthrough and allows further looping of the signals to other devices. A ground lift at each input prevents possible ground loops. In addition, each input connector offers the possibility to invert the signal.

Email: info@nmkelectronics.com | T: +971 4 266 5244 Website: www.nmkelectronics.com |

NMKelectronics

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PRODUCTS

Alcons adds to M-Series ALCONS AUDIO has released the MR10 mid-sized 3-way 10-inch near/midfield monitor and the MR12 large-format 3-way 12-inch midfield/main monitor, which join the MR5 micro 2-way 5-inch nearfield/surround monitor to form the M-Series. All models share identical mid/high-frequency transducers to provide consistent voicing and seamless imaging in multichannel and immersive setups. At the core of every M-Series system is Alcons’ RBN202 pro-ribbon driver, reproducing mid and high frequencies from 1kHz to beyond 20kHz, said to cover a much wider range in the critical mid-band than traditional designs. Thanks to its compression-less operating principle and extremely low moving mass, the RBN202 reportedly delivers a fully linear response at any level, combining transient detail with fatigue-free listening, even during extended sessions.

With a 500W peak power input, the 1:15 RMSto-peak dynamic range enables the RBN202 to deliver a virtually unlimited headroom. Mounted

AMC Baltic heads outdoors THE RC 5 is an 8Ω outdoor loudspeaker with a durable, rigid enclosure and IP55rated weatherproof coating, suitable for demanding environments such as stadiums, car parks, pools and outdoor public venues, as well as indoor spaces. It features a

5-inch woofer and 1-inch tweeter capable of delivering high sound pressure levels with wide horizontal and vertical dispersion. The unit includes an internal 70V/100V transformer and a passive crossover, making it ideal for public address and music applications in all-weather conditions. It has a rated power of 100W, a sensitivity of 98dB (1W/1m), a maximum SPL of 118dB and a frequency response of 95Hz–20kHz. Meanwhile, the CCA 2X1.5 is a doubleshielded, oxygen-free cable with a flameretardant LSZH insulator. It is designed for loudspeaker installation in background music, voice evacuation and similar alarm systems. The cable is certified in compliance with EU regulations for construction materials and can be used in systems that require fire-resistant components. The screen material is a PET tape and blue aluminium mylar foil (metallic towards the inside) with a 1/0.5mm tin-coated copper drain wire. The overall cable diameter is 5.8mm, while the spool size measures 100m.

RC 5

www.amcpro.eu

on Alcons’ new HempHorn waveguide with patented constant 120° horizontal directivity, it is said to provide a wide, stable sweet spot.

Complementing the pro-ribbon driver are custom-engineered midrange and low-frequency transducers with ActiveCoil motor structures for ultra-low distortion, described as a perfect match with the MHF pro-ribbon technology. The newly developed ScoopVent LF loading design enhances breathing capacity and transient response, maintaining clarity and control even at the lowest octaves. The M-Series is powered and controlled by Alcons’ ALC amplified loudspeaker controllers, featuring VHIR phase processing, 192kHz AES3 digital inputs and audiophile-grade amplification stages. The remote-amplified architecture eliminates local heat buildup and electronics behind screens or within baffle walls, to reportedly provide a centralised, reliable system operation and maximum performance consistency. www.alconsaudio.com

Designed to the Max BOSE PROFESSIONAL has released the DesignMax Luna DML88P pendant loudspeaker system, created for open-ceiling environments such as retail stores, restaurants, breweries, fitness studios and similar designconscious spaces. At the heart of Luna is Bose Professional’s proprietary Ring Array configuration, which combines eight precisely positioned 2-inch mid-high drivers and an integrated 8-inch woofer to create a smooth, articulate listening experience that fills the coverage area without hot spots or dead zones. The design provides clarity and balance down to 40Hz, which eliminates the need for external subwoofers even in open-ceiling spaces. With a maximum SPL of 111dB and consistent 140° coverage, Luna delivers

immersive sound that reportedly requires fewer speakers to cover large areas, preserving both aesthetics and budget. Luna was specifically engineered to address installation issues commonly found in challenging openceiling spaces and adapt to constraints while remaining balanced. It supports both single- and twopoint suspension, with a streamlined profile and concealed wiring. It has be designed to replace the traditional pendant and subwoofer setup, and is described as easy to spec, easy to hang and made to blend in visually.

installation version of the CCL-SUB. The Bi12 multipurpose passive cardioid ground subwoofer has been introduced specifically for installations, while a mobile ground

subwoofer version (B12) is also available for the CCL system.

www.boseprofessional.com

Compact and precise D&B AUDIOTECHNIK has introduced its CCLi compact cardioid line array, designed specifically for installed applications. Building on the success of the CCL system, the CCLi offers the same technical advantages and acoustical properties, while adding distinctive features tailored for fixed installations. The CCLi system boasts compact dimensions (209mm x 593mm x 355mm) and broadband directivity control (down to 60Hz) with low-frequency cardioid behaviour to focus acoustic energy onto the intended audience areas. This reduces unwanted low-frequency reflections from the side and rear walls, minimising reverberation in acoustically challenging spaces.

The CCLi delivers extended high-frequency headroom and minimised distortion to reportedly ensure greater perceived intelligibility. Along with its single-channel amplifier operation, the CCLi also offers features that cater to the needs of the installation market: an unobtrusive design with a new front grille integrated with less visible rigging elements, side panels that replace the CCL handles with flushed side grilles and an optional Phoenix Euroblock connector panel with sealed cable gland. The CCLi system is available in 80° and 120° horizontal dispersion models (CCLi8 and CCLi12). As with other d&b loudspeaker systems, the package also includes a range of matching subwoofers, such as a dedicated flying subwoofer (CCLi-SUB), the

www.dbaudio.com

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Shaping Sound

EclerPLEX is about empowering integrators, installers and IT experts to design, deploy, and manage AV systems easier, faster, smarter, and with greater flexibility.

Experience it live at ISE 2026! Booth 7B300

www.ecler.com/eclerplex

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PRODUCTS

Genelec slots the 8380A into The Main Ones

TAKING ITS place in “The Main Ones” family alongside its larger 8381A sibling, Genelec has introduced the 8380A 3-way midfield SAM main monitor. Promoting precise imaging and neutral sound reproduction, the 8380A is designed for high SPL applications in medium-sized control rooms, including professional recording, mixing, mastering and home studio applications. Combining a 15-inch woofer with the Finnish manufacturer’s MDC (Minimum Diffraction Coaxial) midrange tweeter technology, the 8380A promotes accurate time-aligned playback and directivity control. Contributing to uncoloured audio, both on- and off-axis, Genelec’s DCW (Directivity Control Waveguide) houses the MDC coaxial midrange tweeter driver. SAM models including the 8300 Series, The Ones and The Main Ones can be combined and phase-matched within the same system owing to the 8380A’s time domain performance and low system latency. With an integrated 200W Class-AB stage powering the tweeter, 500W and 250W RAM-L2 Class-D fanless power amplifier

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modules supply the power to the woofer and midrange driver respectively. As a commitment to sustainable design, the 8380A offers minimal idle power consumption and intelligent power management through Genelec’s ISS energy-saving technology. Operating within a frequency response of 29Hz–43kHz, the 8380A is capable of outputting a maximum short-term SPL of 122dB and a low selfgenerated noise level of 0dB SPL. Sharing the same physical dimensions as the 1038 and 1238 3-way monitors for traditional soffit-mounting installation, the enclosure includes two linear forwards-facing reflex ports for clean LF playback. As part of the SAM monitoring family, the 8380A’s internal DSP integrates with Genelec’s GLM software for configuring, calibrating and controlling SAM systems. GLM analyses and minimises the listening room’s influence on the sound, producing mixes that translate to other systems in stereo, surround or immersive. www.genelec.com

PreSonus raises the bar DESCRIBED AS a new generation of loudspeakers and subwoofers, PreSonus has introduced the Air XD Series, designed for mobile and small- to mid-sized venues. The models feature Class-D amplification with 1,500W for the speakers and 2,000W for the subwoofers, TWS Bluetooth wireless stereo pairing, onboard mixing and extensive DSP tuning options with onboard EQ. The

series is said to offer flexible connectivity for DJs, jam rooms, touring bands and houses of worship. The speakers are available in 10-, 12- and 15-inch full-range models, and 15- or 18-inch subwoofers. The Air XD Series is built for mobile performers, venues and systems integrators. They can be flown, pole-mounted, groundstacked or installed with the Air XD as a

floor wedge. All Air XD models feature True Wireless Stereo (TWS) Bridge Mode, allowing users to pair two speakers via Bluetooth to create a stereo system without any additional cabling, making them an ideal solution for corporate events and parties. The speaker models feature custom low-frequency drivers paired with highperformance compression drivers that deliver

up to 134dB SPL with deep low end and detailed highs. The loudspeakers feature enlarged voice coils in the LF drivers to ensure more efficient power handling and extended low-frequency response down to 40Hz, while the PEEK diaphragms in the HF drivers provide a precise, durable performance with clear, detailed highs. Each speaker includes ±10dB EQ and performance tuning modes for speech, music playback, FOH or monitor use. Additionally, a full-colour 2.6-inch LCD screen is said to make metering and system adjustment fast and easy. Air XD speakers offer two mic/line connections and an aux input. The subwoofers’ DSP includes variable crossover filtering, alignment delay, cardioid and end-fire array presets and the exclusive “Mo’ Bass” enhancement, in addition to the full-colour LCD screen. They feature flexible routing options and come in rugged wood enclosures featuring ergonomic handles, ground-stacking provisions and caster mounts.

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www.presonus.com

Audiofocus increases its LF capabilities BELGIAN LOUDSPEAKER manufacturer Audiofocus has extended its touring and installation lineup with a pair of subwoofers. Specifically designed for deployment in ground-stacked systems, the 118SG and 118SGa are fully compatible with the ELIZ 210 line array and ARRoCC 210 constant curvature systems. Providing additional power, precision control, improved impulse response and enhanced transient handling, both the 118SG and 118SGa benefit from Tetracoil double voice coil technology. Both subwoofers operate within a frequency response of 30–80Hz and can produce a peak SPL of 135dB.

With rigging hardware scaled back to achieve a cleaner appearance, lower price point and reduced weight, the passive 118SG is a variant of the existing 118S single 18-inch subwoofer series. Omni and cardioid presets for the 118SG are offered for both Audiofocus A series amplifiers and Powersoft’s ArmoníaPlus. The self-powered 118SGa features an integral Audiofocus A4M SCiO amplifier module, allowing it to be remotely monitored and controlled via the company’s SCiO web application. www.audiofocus.eu

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PRODUCTS

Dropping the bass MACKIE HAS taken its product catalogue into the lower frequencies with the ThumpSub GO, reportedly the first battery-powered portable subwoofer. With its slim, ergonomic design, the ThumpSub GO can add “floor-shaking” low end to a battery-powered PA system, without sacrificing portability. The ThumpSub GO combines two battery compartments for up to 12 hours of continuous bass thumping using two rechargeable GB-200 batteries at once. (The ThumpSub GO includes one GB-200 battery for up to six hours of battery life; optional second battery sold separately.) Since the sub also works with a single battery, it’s possible to charge a second battery elsewhere, then hot swap it out, without the unit powering down. Users can carry the bass like a briefcase with the built-in ergonomic handle. Thanks to the low-profile design, the ThumpSub GO can be laid flat and hidden out of sight under tables, stages or DJ stands. It works equally well vertically, making it easy to fit into narrow spaces where it won’t get in the way.

The subwoofer has been designed as a companion to the Thump GO battery-powered loudspeaker, but it can also be used to

add bass reinforcement to the Thump210, Thump210XT, ShowBox or any portable loudspeaker with up to a 10-inch woofer.

Customers can also mount a speaker above the ThumpSub GO using the SPM400 speaker pole (sold separately) to create an all-in-one system with a minimal footprint. The ThumpSub GO can stream music wirelessly from phones, tablets and laptops with Bluetooth. Since any streaming audio gets passed from the ThumpSub GO to any connected loudspeakers, it can create a complete Bluetooth-capable PA system even if the loudspeakers don’t have built-in Bluetooth. Along with dual 8-inch woofers for a deep, nuanced bass response, the ThumpSub GO has all the inputs and outputs for a mono, stereo or zone PA system. The phase inversion switch solves any phase cancellation issues. High-pass and full-range modes allow users to optimise the balance between the subwoofer and connected loudspeakers. Customers can keep track of the ThumpSub GO when the lights go down with LEDs for system power, overload and one for each battery. www.mackie.com

Celestion adds versatile mid-bass OFFERING EXTENDED bass response within a 5-inch form factor, Celestion has added the TF0512HE to its catalogue of midbass woofers. Designed for compact 2-way studio monitors, bookshelf speakers, lowprofile infill cabinets and small line arrays, the pressed-steel chassis facilitates maximum energy transfer within a 1.4kg package. Capable of handling up to 150W of continuous programme power, the TF0512HE pairs with Class-D amplifiers and the 8Ω nominal impedance to make it compatible across a broad range of applications. Maintaining sound-free distortion at sustained high outputs, the addition of Kevlar adds stiffness and resilience to the lightweight paper cone mounted within

an Elastomer (elastic polymer) surround. Contributing to an efficiency of 89.5dB, a ferrite magnet and copper-clad aluminium voice coil combine to maximise performance while minimising heat. Operating within a frequency response between 55Hz–4kHz, the speaker can equally serve as a primary woofer and midrange driver in a compact 2-way system, or as the middle driver in a 3-way system. Promoting its use in horn-loaded cabinet designs, an inverted dust cap allows a phase plug to be centred close to the cone, for increasing projection and perceived loudness in an acoustic space. www.celestion.com

Meyer Sound introduces USW-121P subwoofer

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MEYER SOUND has unveiled the USW-121P, the first model in a new range of USW subwoofers. Drawing on the power and low-frequency capabilities of the 2100-

LFC but optimised for installations and portable use, it comes in a streamlined form factor and is suitable for cinema, theatres, performing arts centres, houses

of worship, spatial sound environments and other non-arrayed deployments. Because the USW-121P was designed from the outset as a non-arrayed subwoofer, it eliminates the rigging hardware and other elements required for flown configurations. Powered by a single 21-inch driver with a wide frequency range of 20–125Hz (–10dB), it delivers extended low end with the same power as Meyer Sound’s other flagship subwoofers. In larger systems, the USW-121P can also complement the 2100-LFC, adding groundstacked depth beneath flown arrays. At just 62cm deep, the USW-121P reportedly provides low-end extension without sacrificing valuable floor or stage space. Its rigid cabinet optimises acoustic volume and features a distinctive corner cut-out that allows for connector and cable clearance when the cabinet is against a wall or in other tight spaces, including behind screens and in prosceniums. A low-

velocity square port minimises noise even at low frequencies. The USW-121P is also the first Meyer Sound subwoofer to feature Galileo Extended Networking (GEN-1) technology, which integrates networked audio connectivity and Galileo GALAXY-class DSP directly into the loudspeaker, reducing or eliminating the need for separate system processors. As a result, calibration and deployment are said to be simpler and more scalable across cinema, theatre and spatial applications. Configuration, control and monitoring are handled through the Nebra software platform and MAPP 3D system design and prediction tool. AES67 and analogue inputs are standard at launch, with Milan functionality planned in a later GEN-1 update, giving designers and integrators a flexible, future-ready workflow. www.meyersound.com

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PRODUCTS

KV2 Audio expands VHD Series

Keeping it low RCF HAS added two subwoofers to its expanding catalogue. The SUB 15-AS is a portable 15-inch high-power active subwoofer for live sound applications. It features a transducer and a 2,200W Class-D amplifier that delivers sound pressure levels up to 133dB. Designed

SUB 18-AS

as the ideal complement for 8-, 10- and 12-inch loudspeakers, it includes a Bass Motion Control algorithm for extended bass response at any volume. The connection panel comes with mono/ stereo combo inputs, an XLR stereo link and XLR crossover outputs. Rear panel controls include volume, polarity and lowpass frequency selection. The unit comes in a rugged all-wood cabinet with a scratch-resistant polyurea coating, reportedly making it durable, easy to carry and install securely. It has been specifically designed for small- to mid-sized venues and portable applications. The SUB 18-AS brings all the same functionalities in an 18-inch format but delivers sound pressure levels up to 135dB. Both models come with a 35–400Hz frequency response; the SUB 15-AS has a 3-inch voice coil while the SUB 18-AS has a 4-inch voice coil.

THE VHD7000D subwoofer amplifier is the latest addition to KV2 Audio’s VHD Series. Engineered to drive all VHD, ES and SL subwoofer elements, the VHD7000D is said to provide “uncompromising power and exceptional control”, making it the suitable for large-scale events.

thermal compression at high temperatures and maintains natural sound dynamics even during continuous high-output operation. The tunable notch filter for resonance suppression has been added to prevent excessive cone excursion that causes distortion, reduced clarity and shortened

This universal bass amplifier is fully compatible with third-party subwoofers – a first for KV2. Its power management system enables the VHD7000D to deliver short-term power of 7kW, with peak output up to 14kW, while operating at a modest consumption of only 3.6kW from a 16A circuit. The peak

lifespan. Instead, it reportedly delivers clear, precise and impactful audio with a balanced low-frequency response and improved definition across the bass range. The peak limiter provides additional protection, shielding loudspeakers from mechanical damage caused by excessive

output power extends beyond the capacity of the mains supply. The integrated RMS limiter provides longterm protection for loudspeaker components by monitoring average power over time and analysing thermal behaviour to control temperature buildup and prevent overheating, compression or driver damage. Pre-configured within the VHD7000D’s factory presets, it reportedly maximises SPL output, minimises

signal peaks and ensuring the cones remain within their safe range of motion. This feature prevents smaller loudspeakers from being overloaded. The amplifier also incorporates a high-power switching mode power supply circuit for enhanced power delivery, onboard overdrive protection and remote configuration capability via KV2’s Control and Diagnostics Tool.

www.rcf.it

API Audio launches the 312 SEPIA API AUDIO has introduced the digitally controlled 312 mic pre module for Karno’s SEPIA digitally controlled modular audio platform. Designed in collaboration with Karno for the L6 rackmount system, the 312 SEPIA module delivers the analogue character of the classic preamp within the flexible, digital-analogue hybrid environment of SEPIA. Based on the original API 312

circuit design, the new module has been designed, built and tested by API with a proprietary transformer. Digital control through SEPIA’s modular L6 rackmount system offers real-time parameter control, automation and presets. www.apiaudio.com www.karno.com/sepia

www.kv2audio.com

Wohler takes control ADDITIONAL BALANCE tracking on analogue output over XLR has been added to Wohler’s eSeries in-rack monitor range.

previously featured “volume tracking” to track adjustments made using the volume control knob on the front panel. Feedback from customers means that tracking “balance” settings can now be made from the front panel as well. www.wohler.com

Up until now, the eSeries has had the capability to route a stereo downmix of signals being monitored on the front panel to the XLR output connectors. This routing option has

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PRODUCTS

Dynaudio Acoustics tunes the room DANISH DEVELOPER Dynaudio has launched the Delta Series of power amplifiers for professional studios. Built by MC2, the Delta Series comes in both DSP and non-DSP versions for different room-tuning scenarios. Currently consisting of five models (Delta 20, Delta 40, Delta 40 DSP, Delta 80 and Delta 80 DSP), the DSP version spans three dynamic and eight static EQ bands per input channel, together with nine static EQ bands per output.

Ha The range can be mixed-and-matched according to user preferences. For example, a stereo 4-way system can be created when adding a Delta 20 with a single Cat5 cable to a 2U Delta 80 DSP model. Providing output from 175–480W per channel, the Delta 20 is the smallest in the range, while the Delta 80 DSP offers up to 4x2,000W at 4Ω or 2x5,000W when bridged.

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www.dynaudio.com

Power to the amp FULCRUM ACOUSTIC has introduced its Driveflex amplifier line and version 1.5 of Fulcrum One software, extending the platform to include power amplification and advanced array functionality. The release is said to give users a unified workflow for designing, simulating, controlling and monitoring amplifiers, loudspeakers and immersive systems within a single environment. Driveflex amplifiers are compact 1U models that deliver the power and processing required for Fulcrum’s advanced DSP. They are automatically recognised and configured within the Fulcrum One software, which loads optimised TQ presets and limiters for the entire loudspeaker catalogue. This integration

Lawo introduces HOME Audio Shuffler HOME AUDIO Shuffler – Lawo’s fifteenth HOME App to date – is a software-based replacement for a traditional baseband audio matrix within an IP-based Dynamic Media Facility. It allows users to repackage incoming audio signals for different applications, compile streams based on audio signals from a variety of sources and customise an audio stream’s payload. It is suitable for downstream applications and devices without built-in audio matrix functionality. Supporting SMPTE ST 2110-30 (24 bits) and -31 (32 bits, Ravenna AM824 payload format with bit transparency), HOME Audio Shuffler conforms to AES67 and ST 2110-30 (Levels A, B and C) with minimal latency, while also providing redundancy options via ST 2022-7 (Seamless Protection Switching) and the HOME App auto restart mechanism, for reliable 24/7 operation. Incoming audio streams can be reshuffled and routed to the desired transmitters using the HOME Terminal Routing Matrix. Stream routing,

shuffling and many other operations can be controlled via any hardware or software panel of a workflow control system such as Lawo VSM that communicates with HOME Audio Shuffler via the HOME API. HOME Audio Shuffler is suitable for any audio deployment at scale, such as in master control rooms, and any other application requiring a mix of common (e.g. clean feed) and individually contributed and controllable audio sources. Supporting up to 16,384 input and output signals and offering symmetrical flow sizes between 64 and 2,048 RX and TX streams, each accommodating up to 64 audio channels, HOME Audio Shuffler’s matrix size can be conveniently selected from six packages. All signal inputs and outputs come with essential DSP functionality: Gain and Phase on the RX side, and Gain, Phase and Delay (up to 5s) on the TX side. www.lawo.com

reportedly provides consistent voicing and system protection while reducing setup time and onsite adjustments. Fulcrum One v1.5 adds Driveflex amplifier management to the platform. Used together, customers are provided with advanced array tools including array optimisation, array voicing and array limiter protection. These functions are said to give greater control and predictability in system design, helping users achieve uniform performance across a wide range of applications. These advanced capabilities are currently supported in the AHS, FL and CC loudspeaker series, with additional models to follow. www.fulcrum-acoustic.com

TSL Hummingbird takes flight

CREATED TO drive efficiency and reduce complexity across broadcast and AV environments, TSL has introduced Hummingbird. The unified, interoperable ecosystem of control and monitoring applications and interfaces combines TallyMan and DNF Controls solutions. It comes with 15 modular applications that can be independently deployed or added as enhancements to existing infrastructure, bought as pre-built toolkits or combined to build complete control and orchestration workflows. With planned additions of protocols, applications and integrations, in addition to soft and hard panel interface options, the ecosystem will develop progressively to emerging standards and evolving customer needs. The flexible architecture enables customers to build bespoke workflows with their preferred vendor tools. TSL Hummingbird prioritises interoperability to deliver control, monitoring and IP routing orchestration across multi-vendor applications. The bridging of SDI, ST 2110 or NDI workflows provides facilities the freedom

to integrate diverse technologies, while AV and broadcast operators can work across varied converged environments. Hummingbird debuts three new capabilities for TSL: NDI Source Tally, Orchestration and extensions to the supported protocols, including more Grass Valley licences. Ensuring mixed vendor routing and failover, these additions enhance the low-risk migration to IP by reducing retraining, in addition to preserving existing route controls and operator panels. NDI Source Tally carries tally across SDI and NDI for hybrid estates. As a vendor-neutral, NMOS-native IP routing control layer, Orchestration presents SDI-style workflows to operators and provides real-time control of 2110 media flows. The ecosystem supports a broad range of vendor-agnostic soft and hard panels, including TSL Hummingbird’s own extensive range of HMI interfaces, for simplifying the adaption to existing infrastructures. www.tslproducts.com

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PRODUCTS

Harrison Audio bridges the gap Hapi Mk III expansion ENABLING A range of production workflows for studio and live sound, Harrison Audio has extended the D510 Series with the addition of the D510ua USB/ADAT interface. Combining the D510mx 10x2 analogue summing mixer and D510dante AoIP interface, the D510ua USB/ADAT interface creates an audio hub for up to 10 analogue inputs, 14 analogue outputs and 16 channels of bidirectional

becomes equipped with A/D and D/A converters, and four additional D/A converters feed the D510mx headphone mixes. The 510ua USB/ADAT can be used via USB for direct DAW integration or as an expansion to an existing audio interface setup, offering up to 16channels of bidirectional ADAT. To simplify the switching between USB and ADAT, the front panel controls can be operated

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ADAT I/O. The D510 500 Series system is a collection of modular cards and interfaces that can swapped in and out of the 10-slot D510rack. Installed via the rear panel of the D510rack, each slot of the D510ua USB/ADAT interface

MERGING TECHNOLOGIES has released the PT64V3 I/O expansion card for the Hapi Mk III audio interface. The card enables seamless integration between Merging Technologies’ and Neumann’s audio solutions and Pro Tools HDX. The PT64V3 card connects Pro Tools HDX systems to Ravenna/AES67 or Dante networks via the Hapi Mk III, unlocking access to Merging’s audio conversion and Neumann’s monitoring tools. Described as a significant step in making the complete Merging and Neumann ecosystem accessible to Pro Tools users, key benefits include access to Merging Technologies’ preamps, A/D and D/A conversion, integration with Neumann’s MT 48 or Merging Technologies’ Anubis Monitoring Engine for stereo and immersive setups, personal monitoring solutions for performers using

Music and Venue Missions for Anubis, and modular, scalable configurations that reportedly offer flexibility and cost-efficiency. The PT64V3 supports up to 64 channels at 48kHz, 32 channels at 96kHz or 16 channels at 192kHz. Additional features include up to 192 DigiLink I/O channels with multiple PT64V3 cards and multiple Hapi Mk IIIs, and compatibility with Hapi Mk II (Ravenna/AES67 only). The card emulates HD I/O, HD MADI and 192 I/O latencies for accurate delay compensation and adds to a total of eight expansion cards already available for the Hapi MK III. www.merging.com

for routing. Compatible with macOS and Windows, the D510ua interface card includes a dedicated word clock I/O, ensuring jitter-free and digital clocking. www.harrisonaudio.com

Neutrik tackles demanding environments NEUTRIK HAS expanded its suite of professional connectivity solutions with the launch of the opticalBAR, a compact, rugged fibre breakout system built for highperformance deployment in harsh conditions. Designed to interface seamlessly with the manufacturer’s opticalCON Advanced series, the opticalBAR provides IP65-rated protection and a push-pull locking mechanism, delivering an easy-to-integrate fibre option for touring, broadcast and event applications. Available in a variety of I/O configurations and featuring flexible mounting options, the opticalBAR offers greater durability and adaptability compared to traditional fibre breakout solutions. Neutrik claims it has engineered the unit with installer convenience and environmental resilience in mind, positioning it as a go-to solution for challenging outdoor or high-traffic environments where robust data transmission is essential. In addition to the opticalBAR, the company has unveiled two further connectivity products

designed to meet the needs of professional AV and event production teams. The powerCON TRUE1-CG with Cable Gland Entry is a heavy-duty, single-phase locking mains connector designed for sealed, high-reliability power connections in outdoor environments. Certified to IP65, IP66 and IP67, the connector features CBC (breaking capacity under load), UV resistance and a twist-lock mechanism with integrated strain relief – making it suitable for permanent installations and mobile setups. Finally, the NAUSBC-5G is a USB Type-C chassis connector offering 5Gbps data throughput and up to 100W of power delivery. Part of the company’s new mediaCON series, the NAUSBC-5G features a panel-mount design with a robust locking mechanism and integrated fly-lead, enabling secure and efficient data and power transmission in modern AV and IT infrastructures.

No drivers, no fuss JOYNED HAS released the MU16, said to be the first Milan-compliant USB interface delivering seamless AVB/ Milan network connectivity to macOS, Windows and iOS devices via USB-C. At the heart of the MU16 is a USB-to-

Milan-based installations directly from a laptop or iPad. The MU16 works out-of-the-box with any DAW via USB-C, enabling everything from stereo tracking to immersive multichannel workflows, all over Milan.

Milan bridge that transforms devices into a 16x16-channel Milan endpoint. Appearing as a class-compliant USB Audio Class 2.0 interface, the MU16 delivers 32-bit audio, ultra-low latency and solid stability for live sound, studio production and AV installations. Users can perform virtual soundchecks, monitor rigs or route outboard processing, as well as precision-tune

Designed to answer the growing demand for simplicity and cross-brand interoperability, the MU16 provides 4-in/2-out Milan streams, supporting 48kHz and 96kHz. It has a Milancompliant Gigabit Ethernet interface (RJ45), a robust clock sync and a compact, rugged design.

www.neutrikgroup.com/en

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PRODUCTS

Waves Audio unveils next-gen limiter plugins WITH THE release of the L4 Ultramaximizer, Waves has created an adaptive limiter for modern music. Delivering competitive loudness levels for streaming, the L4 preserves musicality and offers greater lowend impact, enhanced dynamics and transient punch. Having established the L1 and L2 as industry-standard tools for peak limiting and level maximisation, the manufacturer has focused on making contemporary sound deeper, bigger and more dynamic. Rethinking how loudness enhances musical expression, the L4 has been designed to enhance musicality rather than reducing the dynamic range. Engineered for a wide array of production styles, the L4 offers five unique limiting algorithms to match the aesthetic of a sound: Modern, Aggressive, Smooth, Safe and L2. Adaptive Clipper & Release ensures settings are automatically tailored to the content by the plugin and fine-tuned to their relative levels in real time. Inspired by the MV2 plugin, the Upward Compression module enhances lowlevel details and adds density.

Live performance-ready, the L4 integrates with Waves eMotion LV1 and LV1 Classic mixing consoles, SuperRack SoundGrid and SuperRack Performer. Featuring both short-term and long-term LUFS (Loudness Units relative to Full Scale) metering, the L4 provides accurate level monitoring throughout a workflow, and is optimised for streaming platforms. The low-latency performance adaptive limiter also features True Peak limiting in addition to the Graph and Classic

GUI modes. The L4 Ultramaximizer has been added to the Waves Ultimate plugin subscription, which includes the comprehensive Waves plugin catalogue of over 240 plugins. Meanwhile, Waves has announced two updates to its eMotion LV1 live mixing console. With the optional 80-channel expansion, any LV1 Classic mixing console or LV1 64-channel modular system can now grow from 64 to 80 mono/ stereo channels and from 44 to 52 mono/stereo

busses, with 32 auxes including up to 24 monitor aux sends. Because any LV1 channel can be mono (one input) or stereo (two inputs), this expands the LV1’s input capacity to 160 inputs. The newly added eight busses can be deployed in two ways: either in Groups mode, which adds eight more audio groups, for a total of 16 audio groups; or in Monitors mode, which adds eight monitor aux sends, for a total of 24 monitor auxes. To upgrade to the 80-channel LV1, users will need a 64-channel LV1 (either LV1 Classic or a LV1 64-channel software licence), updated to v16, plus the separately purchased eMotion LV1 80-channel expansion licence. Second, the manufacturer is also releasing a v16 version of the eMotion LV1 mixer software – which is available free to all LV1 Classic users – which comes with new features and enhancements. These include improved DSP efficiency for even greater processing power, new Scenes & Recall Safe filters, new customisable user keys and shortcuts and Aux Send Flip and Mixer Mode upgrades. www.waves.com

Third-party control RENKUS-HEINZ HAS launched third-party control plugin modules for Crestron and Q-SYS, developed in partnership with Control Concepts, a specialist in AV software development and API integration. The speaker manufacturer partnered with Control Concepts to develop the new third-party plugins to enhance workflow and improve cohesive control across all Renkus-

the assurance that their API integrations are fully tested, approved and endorsed by the manufacturer, whose in-depth product knowledge provides responsive support and quick issue resolution.

Heinz products. The plugin modules have been designed to eliminate integration hurdles by ensuring full system compatibility, with the aim of saving users hours of valuable time. Beyond workflow improvements, the plugins are backed by Control Concepts’ official Supported Product Program. Control Concepts’ ongoing support of the plugins gives integrators

www.controlconcepts.net www.renkus-heinz.com

The sound of modern music SOLID STATE LOGIC (SSL) has announced the launch of its Super 9000 Channel Strip. Following the launch of the Revival 4000 channel strip, the Super 9000 comprises the manufacturer’s SuperAnalogue technology in a 1U channel strip. The SuperAnalogue technology creates a transparent signal path and wide bandwidth, “putting the engineer in the room with the artist”. Characteristics of the Super 9000 include wide audio bandwidth, low transient intermodulation distortion, no electrolytic capacitors in the main audio path, low noise and harmonic distortion, and low phase shift across the audible

spectrum. The results of these elements are said to be greater sonic definition and a “largerthan-life” soundstage. The SSL Super 9000 offers the choice of two preamps, just like the company’s flagship Duality console. The SuperAnalogue preamp offers headroom and clarity, while the Variable Harmonic Drive (VHD) circuit delivers character and saturation. With VHD, users can dial in

2nd-order harmonics for a “rich, valve-like warmth” or 3rd-order harmonics for a “harder, transistor-style edge”. An Input Flip button allows users to run the line-input through the VHD preamp, making it easier to add harmonics to DAW stems or other line-level instruments and sources. Built around the THAT 2181A VCA, the compressor includes a switchable Fast

Attack mode and the Peak Detect option, first introduced on the SL 9000 console and carried through to the Duality series. It also incorporates SSL’s Expander/Gate section with variable hysteresis built into the Threshold. Additionally, the Super 9000 allows the dynamics section to be moved pre and post EQ.

wireless integration of backing tracks and smart device content. The mixer features USB connectivity for recording and playback integration; a 7-inch colour display for clear visual feedback and easy navigation of mixer functions, settings and metering; 10 dedicated push-button encoders with press functionality and seven backlit control buttons that provide direct access to all mixer functions without menu diving; and seven 100mm capacitive touch faders with 18-segment LED indicators that deliver precise, responsive level control. A dedicated

channel solo and mute functionality streamlines workflow during setup and performance. Parametric EQ on all channels provides precise tonal shaping with adjustable frequency, gain and Q settings, while compressors on all inputs and outputs deliver professional dynamics processing for consistent levels and punch. A high-resolution effects engine includes reverbs, delays, choruses, compressor/limiter and a 7-band graphics EQ. A preset save and recall provides instant access to complete mixer configurations.

www.solidstatelogic.com

Comprehensive connectivity ALTO PROFESSIONAL has released the TMD16, a 16x12 analogue I/O with eight digital mic/line channels on combo connectors, two digital mic/ stereo line channels on XLR plus two TRS connectors, one stereo RCA input and one 3.5mm stereo input. The output section includes two mains, four subgroups, three auxes and one FX XLR output, plus two monitor TRS outputs and a top-panel headphone output. Bluetooth audio streaming enables

www.altoprofessional.com

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Elevate Your Audio Experience with Bose Professional! The Bose Professional ArenaMatch loudspeakers deliver proven DeltaQ sound quality and unmatched flexibility for large venue installations — from sports stadiums and arenas to entertainment centers and more.

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MI-58 Series

PRODUCTS

Mipro expands its MI-58 Series THE AD-58 5GHz 4-channel transmitting antenna combiner is the latest addition to Mipro’s MI-58 Series 5.8GHz digital in-ear monitoring (IEM) system. The MI-58 Series’ products come with a wide frequency response and low latency, and have been designed to meet the needs of live performers, engineers and interpretation professionals. The MI-58 digital stereo wireless IEM system includes the MI-58R/MI-580R stereo bodypack receiver, the MI-58T/MI-58TD stereo transmitter

and optional noise-isolating earphones. The AD-58 operates within the ISM 5.6–5.9GHz band and integrates up to four MI-58T/MI-58TD transmitters into a single output antenna with 10dB gain. This is said to reduce antenna congestion and minimise the need for multiple power supplies, making it suitable for complex stage setups and large-scale applications. RF LED indicators per channel clearly show signal presence and overload status, providing real-time monitoring at a glance.

What’s NEX:T for Stagetec?

NEX:T axio

WITH NEX:T axio, Stagetec is adding a futureproof, extendable IP-based audio I/O and processing platform next to its Nexus system. Designed for both smooth transitions into IP workflows and for fully networked infrastructures, the compact system combines audio quality across analogue and digital formats, and includes an integrated 4-way audio split, allowing Avatus, as well as third-party consoles, to access signals simultaneously – without external splitters. Thanks to compatibility with Dante, AES67, ST 2110-30 and more,

By streamlining antenna installations and significantly reducing intermodulation interference, the AD-58 has been designed to provide greater stability and optimal

performance in demanding multi-transmitter environments. www.mipro.com.tw

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Wisycom unpacked

the NEX:T axio integrates seamlessly into existing setups and scales flexibly. Centralised, browser-based control via Stagenet Embedded on the device simplifies routing, monitoring and presets – locally or remotely – and in many cases removes the need for external control software. Whether in theatre, broadcast or AV installations, the NEX:T axio seamlessly grows with a user’s needs and can be used as a quick way to expand and modernise hybrid workflows. Meanwhile, the NEX:T core is a softwaredefined audio processor that fully virtualises signal processing, routing and DSP – enabling maximum flexibility while maintaining consistently high audio quality. Free from hardware limitations, functions such as EQ, compression or mix-minus can be freely configured and updated remotely as needed. The platform integrates seamlessly into AES67 and ST 2110 infrastructures and reportedly stands out for its low latency, high scalability and triple network redundancy. For broadcasters, postproduction facilities and fixed installations, the NEX:T core provides a futureproof, efficient solution for modern audio workflows of any scale.

DESIGNED FOR long-distance RF transport, Wisycom has released its Portable RF-over-Fiber Box. The compact, field-ready solution is capable of transporting RF signals where coaxial cable is impractical or would lead to excessive signal loss. Available as a 2-channel transmitter with isofrequency-over-fibre or as a diversity receiver with two independent channels, the unit operates across extended runs with minimal degradation over single-mode fibre for signal integrity.

www.stagetec.com

Portable RF-over-Fiber Box

www.wisycom.com

systems, the compact ORIA Mini can load up to four unique calibration profiles onto the hardware and switch between them instantly for workflows. Serving as a mix reference against other systems, calibration profiles can be created with Sonarworks, to simulate different playback environments, such as a mobile phone. Maximising the performance of the speakers, without colouring the room, the British

manufacturer claims that calibration and setup can be performed within 20 minutes. A remote-control option is available via a Stream Deck and an iPad. The rear panel interface includes TRS analogue and S/PDIF digital inputs together with two TRS outputs alongside a dedicated sub output. Compatible with macOS and Windows, the ORIA Mini supports 24-bit/96kHz audio and is USB 3.0 bus powered.

Lending itself to congested RF environments, its wide dynamic range and low-noise design promote clear, interference-free performance. For portable and mobile applications, the unit operates on both battery and mains, making it ideal for remote or mobile deployments. OB trucks, theatre productions and large-scale live events benefit from BNC and fibre connections for a flexible setup for IFB/IEM transmission or microphone diversity reception. Housed in a rugged construction with a temperature-controlled fan for harsh environmental conditions, the box supports remote control via Ethernet. Building on Wisycom’s MTP61, the latest MTP61 XL is reportedly the world’s smallest multiband bodypack transmitter. Providing 19 hours of battery life at 10mW or 15 hours at 100mW within a 7mm deep profile, the XL can be used in location sound, reality TV, theatre and other productions where size and endurance are vital criteria. Retaining Wisycom’s widest tuning range and linear technology for intermodulationfree frequency planning, the MTP61 XL features splash-resistant housing, a waterproof magnetic connector and Bluetooth monitoring/control via Wisycom Manager or mobile apps. Existing MTP61 users can upgrade to XL performance by replacing the battery lid and using the new XL battery.

ORIA Mini corrects the room IN COLLABORATION with Sonarworks, Audient has developed the ORIA Mini room correction system for integration between existing audio interfaces and speakers. Requiring no software or plugins, the acoustic calibration hardware is powered by Sonarworks’ SoundID Reference as an inline hardware DSP solution. Capable of measuring and correcting the acoustics of any space, the ORIA Mini applies corrective calibration directly via its onboard DSP controls including EQ, trim, delay and bass management from

measurement software including Smaart or RoomEQ Wizard. With 32-bit converters, 127dB dynamic range and support for up to 2.1 speaker

www.audient.com

Highlights include a Component check, which confirms driver health and connectivity with a silent DC resistance measurement; an improved device browser that allows switch port identification, status and advanced filtering capabilities along with Component check and Inclinometer calibration; I/O page improvements such as solo-in-place and a pink noise generator; and Milan patching has

been expanded to its own page with a wider range of Milan talkers included. The MG10 speaker is now included as a point source alongside the VGs, while and optimisation algorithm updates include a flat average phase response and improved LF beam steering. www.adamson.ai

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Adamson works smarter ADAMSON HAS announced the release of ArrayIntelligence V1.3, the latest version of its loudspeaker design and control software. The update is said to bring a wide range of new features developed in close collaboration with the manufacturer’s expanding user community worldwide, with beta testing providing valuable feedback before launch.

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TT+ shapes sound RDSHAPE IS a simulation software, purpose-built for acoustic modelling and system optimisation of TT+ Audio speaker and subwoofer systems. Designed to streamline the design, setup and tuning process, RDShape is described as a versatile tool for touring professionals, venue designers and sound engineers. The software allows users to predict SPL and frequency response across audience areas, enabling finely tuned performance for every seat, while the autosplay feature can be used for optimal line array angles and to evaluate subwoofer configurations with virtual microphones. Customers are provided access to detailed rigging data, including load, fly bar strength, pick points and weight distribution, to ensure safe and efficient installations. With 3D Venue Modeling, users can define audience planes and simulate sound propagation with a full 3D venue visualisation, including IRbased virtual microphone measurements. The streamlined workflow can be used to leverage

templates, import venue basemaps and export key design elements as STEP (ISO 10303) or PDF files. Meanwhile, the manufacturer has also announced that BIM files are now available for all TT+ Audio products. Each file is compiled with all the product’s technical specifications. The project file includes all the proposed configurations, such as GTX line arrays in both installation and ground-stacking configurations, or GTS subwoofer configurations and combinations of GTS + GTX. For example, if there are 10 possible inclination values between two GTX10 units, the file ensures that any userdefined angle will be automatically adjusted to the closest valid option. Users can also modify the number of elements and the presence of flybars and extension bars, with adjustable positions where applicable. In brief, the GTX 10i, GTX 10Pi and GTX 10Wi have been certified under EN 54-24:2008.

FIR DESIGNER v4.5 DSP software from Eclipse Audio can now be used to design and load EQ to Bose Professional sound processors and PowerShareX, PowerShare and PowerMatch amplifiers. The manufacturer has collaborated with the speaker manufacturer to add a new “Bose Professional” IIR filter mode in FIR Designer v4.5 and FIR Designer M v4.5. This enables audio professionals to design custom EQ for loading into the IIR filter-based signal processing blocks (PEQ blocks) in Bose Professional’s ControlSpace Designer professional configuration and control software. The filter emulation in FIR Designer ensures that common IIR filters, used to configure DSP functions for EQ, will produce consistent results when used in Bose Professional products. Brand-specific IIR emulation is necessary for audio optimisation because

some filters produce different results when used across different processor brands. Bose Professional and Eclipse Audio have worked together to ensure that the Bose Professional IIR filter mode in FIR Designer interprets filter parameters in exactly the same way as ControlSpace Designer. The IIR filter mode contains options for parametric, low-shelf, high-shelf, notch and Butterworth (1st- and 2nd-order filters) highpass and low-pass filters, all of which can be saved and exported as a .peq file for upload into a ControlSpace Designer PEQ block. The addition of the Bose Professional IIR filter mode brings the number of brand-emulating modes in FIR Designer to a total of 16. Pre-existing filters developed for other audio brands can now be converted for use in Bose Professional processors and amplifiers (and vice-versa), using the IIR Reference Editor conversion engine in FIR Designer. www.boseprofessional.com www.eclipseaudio.com

www.ttaudio.com

DiGiCo announces V3.1 update for S-Series THE SOFTWARE for DiGiCo’s S21 and S31 S-Series mixing consoles has been upgraded to V3.1. As part of the update, the S21 and S31 both fully support DiGiCo’s latest MADI-based stagerack, the MQ-Rack. This unit features 48 microphone inputs and 24 line outputs, with four of these outputs switchable to AES/EBU digital outputs, at 48kHz or 96kHz sampling rates via MADI over BNC connection. In addition, V3.1 offers User Layouts, allowing multiple operators to have their own favourite way of laying out the console easily accessible – or the ability to change layouts for different bands as a show progresses, containing only the channels needed for that band. Users can change between layouts by pressing the touchscreen, and the user menu can also be

S21 and S31 opened from a macro. Loading a new user will not interrupt audio and can be done mid-show. Meanwhile, Separate Layer Control allows for the left screen of an S21 – or the left and centre screens of an S31 – to view and control a different layer to the one displayed on the righthand screen. The layer up and down buttons are

added to the top menu bar, meaning they are always accessible. Separate Layer Control is ideal for leaving a set of output controls on the right-hand side while scrolling up and down the inputs on the left-hand side. Additional new features can also be found on the auxiliary section of the S-Series desks. Link

pans allow users to keep FX sends lined up with the master panning layout, while Reverse Link pans are said to improve mixing monitors from front of house, with no need to manually pan each send inverted to the main mix. Finally, the auxes on the S-Series consoles are able to take a signal from three positions: pre-mute, pre-fade or post-fade. The aux master can assign a global pick position to all of its sends, and each individual pick point can be changed from on the channel itself. With the latest software update, the number of sends in each position can be seen from the aux master, allowing the user to quickly see the position of all sends at once. www.digico.biz

Turning the tables OUTLINE HAS launched ET Controller, a control software that supersedes ET Commander. Customers can now use the software in their preferred environment – either macOS or Windows – as a crossplatform-engineered application. The updated user interface has a contemporary colour palette, while functions and controls have been upgraded following user feedback:

switching from display to real-life (and back) now happens seamlessly. Targeted specifically at multi-user working environments and structured measurement activities, ET Controller handles macro libraries in the form of external

files, so that users can access pre-arranged routines and/or journaled applications. As a result, process files can now be stored on a shared repository and consistency on different ET devices is assured, even when different operators from different departments are using the full complement of turntables across all lab facilities. www.outline.it

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Sound Devices enhances Astral wireless WITH THE introduction of Astral v8.20, Sound Devices has added set of feature upgrades for the Astral wireless product range. These include over-the-air firmware updates including the ability to wirelessly update Astral transmitter firmware, in addition to frequency exclusive regions, a whip antenna length tool, a TV-Channel Finder and a wide range of web app usability enhancements.

Designed for wireless operations in location and sound, in addition to fixed installations, the Astral Wireless RF toolkit now incorporates several new features with the v8.20 upgrade. Multiple Astral Outpost Network support allows the ARX16 and ARX32 to connect to up to eight outputs for command and control of transmitters across extended NexLink coverage. Avoiding frequency assignments within the 6–8MHz bandwidth, the newly launched TV Channel Finder feature automatically detects and displays 6MHz, 7MHz or 8MHz TV channels in the RTSA and Scan Views. The Whip Antenna Length menu calculates the necessary length of a whip antenna by frequency range. The Astral wireless range

Power boost SYMETRIX HAS released Composer v9 with added support for the Server D100 and a new Audio Network Tab to System Manager with additional Dante functionality including

Views, improved graphics and additional tool tips. Amendments to large site file handling in Composer include scrolling, selecting and moving modules, and reduced file size. The

the ability to update all Symetrix xIO devices with a single button. Improvements have been made to Super Matrix to support larger sizes, better saving and recall of User Matrix

ability to keep a device’s existing network name when locating has also been added.

www.sounddevices.com

WyreStorm powers up with USB-C DESIGNED TO overcome compatibility problems, WyreStorm has introduced a USB-C to USB-C active optical cable with the CAB-UAOC-USBC-10. A dual MCU design allows the cable to adapt automatically to different requirements, shifting between 2- and

port functions are configurable via DIP switch for control signal pass-through and firmware updates. The CAM-420-PTZ is described as the manufacturer’s next-generation dual-lens AI tracking camera designed to bring intelligence,

www.symetrix.co

Klotz develops compact hybrid cable THE HC71PC25 compact hybrid cable, combining both data and power, has been specially developed by Klotz for mobile applications. Characterised by a flexible soft PVC outer jacket, the hybrid has been designed for computer-controlled devices and systems in demanding live environments and permanent installations in addition to IT applications. The Cat7 cable connects components of digital audio networks including CobraNet, Dante and EtherSound, and can transmit DMX control signals based on Art-Net, MA-Net or Pathport protocols. The double shielding of aluminium foil and dense copper braiding enables interference-free transmission of high data rates up to 10Gbit/s. Consisting of three conductors made of bare, the power line includes fine-stranded copper wire, each with a crosssection of 2.5mm², and the conductors are insulated with PVC for added mechanical durability. By combining the connector for both the power and Cat7 data line, the simplified integration into hybrid cable drum systems reduces the processing time and decreases the overall cable diameter, resulting in longer cable lengths per drum. Meanwhile, the HD01PC25 hybrid combines both digital audio/DMX and power lines within a flexible soft PVC outer jacket. Enabling the transmission of audio or lighting control signals and the required power supply through a single cable, a drain wire is also included for ground connection when assembling with XLR or TRS connectors.

HC71PC25

Designed for mobile use and with an impedance of 110Ω, the double-shielded signal line is also suitable for transmitting analogue audio signals. The 2x0.22mm² conductor cross-section, aluminium foil and dense copper braid shielding promote interference-free transmission over long distances. Insultated with PVC, the power line features three bare, fine-wire copper conductors, each with a cross-section of 2.5mm². When assembling the HD01PC25 with a combined connector for both power and signal, a separate jacket for the three power cores is bypassed. This reduces the cable’s outer diameter and provides for cable lengths of up to 100m per reel. The EFI6HF and EFO6HM adapters are equipped with Harting HAN 16E connectors including metal coupling housing in adapter-side configurations with six Schuko rubber plugs or sockets or six powerCON TRUE1 connectors in male or female versions. The adapters can feed or extract six discrete 16A power circuits into or from a 6-channel Energy Multicore system for mobile power distribution. A waterproof Titanex H07RN-F rubber cable has also been added. www.klotz-ais.com

CAB-UAOC-USBC-10 4-lane operation for conferences, classrooms and production environments. The single cable handles up to 20Gbps data transfer, 8K-ready video bandwidth and 60W power. The CAB-UAOC-USBC-10 is reinforced with Kevlar strength, a flexible TPE jacket and EMI/ RFI resistance. With a bend radius of 65mm, the cable is described as rugged, yet flexible. In a conference room, a single cable powers the presenter’s laptop while transmitting 4K video to the display. In an education space, it provides consistent, plug-and-play connectivity between laptops, projectors and collaboration systems. For broadcast applications, it ensures high-resolution cameras and equipment are linked without signal loss. The EX-40-KVM-5K is an HDBT 3.0 extender kit that delivers uncompressed video up to 5K@30Hz and 5120x1440@60Hz, with full support for 4K@60Hz 4:4:4 and all HDR formats. It supports USB 2.0 pass-through with one USB-B on TX and four USB-A on RX, making it suitable for KVM applications. Audio features include HDMI audio format support, analogue audio pass-through from TX to RX and de-embedding on both ends. An HDMI loop-out is provided on the TX for local preview. RS-232

flexibility and 4K precision to modern meeting spaces. Suitable for huddle and medium rooms, the camera combines a 3x optical zoom PTZ lens (DFOV 110°) with a panoramic lens (DFOV 120°), giving users seamless real-time coverage and accurate detail from every angle. Smart AI features like Auto Framing, Speaker Tracking, Presenter Tracking and Individuals Gallery are said to create a people-focused video experience that enhances engagement, whether users are in the room or dialling in remotely. Features include a dual-lens design with 4K@30fps output via HDMI and USB-C, a built-in mic array with audio-based tracking, intelligent framing and facial/sound tracking, flexible mounting options for any room layout and NDI | HX support for seamless IP workflows. Finally, the manufacturer has released the NHD-500-IW-TX v2 with HDMI, USB-C and Dante AV-A support and a firmware update for the SW-640L-TX-W that introduces Multi Stream Transport (MST) over USB-C, along with NetworkHD 500 Series v8.5 firmware with RESTful API support and new resolutions. www.wyrestorm.com

72 PRO AVL MEA January–February 2026

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PRODUCTS

Sommer goes diving THE ARAMID-REINFORCED 110Ω SC-AQUA MARINEX ARAMID MIKRO14 microphone cable forms part of Sommer Cable’s AQUA MARINEX series and is suitable for a permanent installation in water up to 20m or in damp areas. It remains watertight thanks to its special

waterblocking tape and is suitable for a large range of applications, from amusement parks, sports arenas and wildlife parks to OB vans. Its precisely fitting 6.2mm cable diameter ensures that the cable fits perfectly with the strain relief of the manufacturer’s HIMARLIN connectors (HI-X3CM-HD-B and

HI-X3CF-HD-B) and, when combined, reportedly guarantees dependable waterproofness in accordance with IP67. At the same time, the cable is described as particularly easy to work with and does not require any complicated manoeuvres – even with standard XLR connectors. The outer jacket is resistant to salt water, fresh water, UV radiation and microbes, making it suitable for long-term outdoor use.

The internal aramid fibres not only provide a reliable tension relief, but also offer additional protection against rodents. The cable is abrasionproof, cold-flexible, reelable and ideally suited for demanding applications such as AES/EBU or 3-pin DMX transmissions, developed for professional technical equipment in use under extreme conditions. www.sommercable.com

Cable drums for touring TASKER HAS expanded its range of assembled, ready-to-use drums for a wide range of its cables. For DMX applications in audio and lighting, the TSK1038 PUR and C862 come with one and two pairs respectively. The TSK1038 PUR is a single pair DMX with a 2x0.35mm² section and braided tinned copper shielding, while the C862 is the double version with 2x2x0.35mm² and the addition of Kevlar traction inner elements to give this cable double strength and resistance. They can be combined with 3- and 5-pin Neutrik XLR NC3M/FXX-B and NC5M/FXX-B connectors if customers wish to have free connectors and Schill’s GTRM cable drum series. Alternatively, they can be combined with one NC3MD-LX-B panel connector and one free connector, combined with Schill’s GTS0 cable drum series.

For video broadcast transmission, the T42 PUR is a coaxial HD-SDI cable with a stranded conductor and tinned copper double braid, allowing 12G-SDI signal transmission up to 58m or 3G-SDI up to 100m. The TR11 PUR Extraflex is a triaxial cable with a stranded silver-plated copper conductor and double braid, one in silver and the other one in red copper, and has been designed for professional camera interconnection up to 300m. The T42 PUR can be combined with the Neutrik’s 75Ω rear TWIST NBNC75BUU11X connector, while the TR11 PUR Extraflex comes with Fischer Connectors’ 1051 series as both a double free connector and free/panel connector combinations. These two solutions are assembled with Schill GTS0 (free/free connector combination) and GTRM (free/panel connector combination) series cable drums.

For data transmission on LAN cables, the C725 PUR is a Cat5e S-UTP 26/19 AWG with total braided shielding and double sheath, suitable for communications on the Dante protocol. The C728 PUR is a Cat6A S-FTP 24/7 AWG with single shielded pairs with aluminium foil, tinned copper braid and double sheath. Thanks to this bigger section, it is suitable for video transmission on the HDBaseT protocol. The C726 PUR is a Cat7 FTP 26/7 AWG with single shielded pairs with aluminium foil and tinned copper braid, ideal for high connection speeds in data centres. These cables are combined with Neutrik NE8MC-B, NE8FDP-B and NE8MX6-B etherCON connectors and

mounted on Schill GTMFK series with a lockable door to protect the connectors. www.tasker.it

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All-in-one collaboration

KRAMER HAS announced the launch of VIA Connect 3, the next-generation wireless presentation and collaboration solution designed for hybrid work and education environments. The latest addition to Kramer’s VIA line, the system reportedly delivers secure, high-quality wireless connectivity and 4K presentation capabilities in a compact 9cm x 9cm form factor. Purpose-built for seamless collaboration, VIA Connect 3 allows iOS, Android, Chromebook, PC and Mac users to connect instantly to any

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main display – without the need for dongles or additional software. The device supports AirPlay, Miracast and browser-based connections to provide compatibility across various platforms. Engineered for professional meeting rooms, classrooms and hybrid collaboration setups, VIA Connect 3 supports 4K video streaming and advanced conferencing integration. Users can wirelessly connect to in-room AV equipment, cameras and microphones, while the calendar widget provides one-click access to scheduled sessions.

Streaming to the masses MARSHALL ELECTRONICS has unveiled its first professional podcast streaming bundle, the StreamDesk. The package includes a Marshall CV508 POV camera, VAC-12HUC adapter, MXL 990 blaze LED condenser microphone with integrated SMP-1 shockmount and pop filter, MXL BCD-STAND desktop stand and the MXL MIC MATE PRO adapter. The StreamDesk bundle has been designed to deliver clear audio with HD video, making it suitable for podcasts, streaming and video calls on any platform.

The CV508 is a micro POV camera with HDMI and 3G-SDI. It also has a nextgeneration Sony 1/2.8-inch solid-state image sensor that provides clear HD images with rich, accurate 10-bit (4:2:2) colour, even in low-light (0.01 lux) environments. The Marshall VAC12HUC converts HDMI 2.0 to USB-C (USB 3.0/USB 2.0) at resolutions up to UHD 3840x2160p at 30fps. The MXL 990 Blaze is an LED XLR condenser microphone, designed with the modern content creator in mind. It features a FET-based design and a large diaphragm for professional sound quality in both online livestreams and studio podcast recordings. The integrated MXL SMP-1 shockmount and pop filter protects the microphone against vocal plosives and corrosive moisture. The MXL BCD-STAND is a desktop microphone stand that is described as durable and flexible. It is ideal for hands-free podcasting, recording or voice-over work and has a built-in 3.6m XLR cable with an easy clamp mount or a screw-to-tabletop surface kit for a variety of mounting solutions. It also comes with an XLR cable installed for easy plug-and-play. The MXL MIC MATE PRO connects XLR to a USB interface with phantom power. www.marshall-usa.com

Security and flexibility are a core focus of VIA Connect 3, featuring 1,024-bit encryption, 802.1x network authentication and dynamic room codes – all backed by third-party security certification. The dual Wi-Fi allows access point, Miracast and LAN connection simultaneously, with hardwired LAN providing flexible configurations to keep internal

networks secure and protected. VIA Connect 3 also provides cloud-based management through Kramer’s VIA Site Management (VSM) software, allowing IT teams to deploy, monitor and update devices remotely and securely. www.kramerav.com

Atomos unveils Ninja TX GO

THE NINJA TX GO from Atomos is an HDMI monitor-recorder that brings the Ninja TX to a wider community of filmmakers and creators. Built for HDMI-based cameras, the Ninja TX GO combines a brighter screen, advanced monitoring tools, professional codecs, camera control and cloud connectivity, all in one compact device. With its 5-inch, 1,500-nit HDR touchscreen, the Ninja TX GO features professional tools such as EL Zone, waveform, vectorscope and focus peaking, giving content creators control over framing, exposure and colour accuracy on-set.

The monitor records directly to CFexpress Type B or external USB-C SSD storage and supports Apple ProRes, ProRes RAW, Avid DNx and H.265/H.264 formats, providing flexibility across postproduction workflows. With RAW-capable HDMI inputs, it can record up to 6Kp30 RAW. The integrated camera control is a free feature that will allow direct adjustment of exposure settings such as aperture, shutter speed and ISO on supported cameras from Canon, Fujifilm, Nikon, Panasonic, Sony, Z CAM and other brands. The Ninja TX GO includes built-in Wi-Fi for seamless camera-to-cloud operation, including 20GB of free ATOMOSphere cloud storage, enabling direct upload to ATOMOSphere, Frame.io, Dropbox and other services, or livestreaming via NDI 6/HX3. For those who need even more advanced options, the Ninja TX adds SDI input/output, AirGlu wireless timecode and expanded 8Kp30 RAW recording capabilities for cinematic cameras. Both models run on the AtomOS platform, which reportedly provides faster performance, over-the-air updates and a more refined user experience. A robust locking cable system for HDMI and USB-C connections is also included.

In addition to its touchscreen interface, the LPM-1 features tactile rotary knobs for easy adjustment of contrast, colour, brightness and peaking, allowing operators to tweak the monitor image to their needs without affecting the production image. Alongside the rotary knobs are four configurable user buttons that can be

assigned to camera or monitor functions for personalised, on-the-fly control. Initial setup of camera and monitor settings can be achieved either with the touchscreen or with buttons on the monitor’s rear. Also on the rear are strong mechanical interfaces for battery plates, VESA mounts and other accessories. Further aiding the professional operator are

three physical tally lights, positioned discreetly at the top of the monitor, which can supplement or replace the monitor overlay tally. A Tally IN connector facilitates external triggering, while a large camera number display enables easy identification of camera channels. For performers or presenters in front of the camera, the 3-colour talent tally is sufficiently bright to be clearly visible in all light conditions, even direct sunlight. Complementing the LPM-1 is the specially designed Monitor Yoke Support MYS-2, which provides sturdy support and flexible manoeuvrability. An integrated NATO rail allows operators to slide the monitor back and forth and adjust its position on multiple axes with one hand. www.arri.com

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ARRI goes live ARRI HAS introduced the LPM-1 live production monitor, a 10-inch onboard display and control interface that complements the manufacturer’s ALEXA 35 Live camera, LPS-1 live production system and Skaarhoj’s RCP. The LPM-1 connects to the camera via an ARRI CoaXPress viewfinder cable, though an optional RS cable can provide additional power for maximum brightness. The 10-inch screen is said to be an optimal size for live productions: big enough for accurate judging of focus, yet practical and unobtrusive on a tripod. According to the manufacturer, operators can always be sure of a clear image due to the high-bright display, wide viewing angle, accurate colour rendition and two sunhood options: a long sunhood for outdoor environments and a short, foldable sunhood for studios.

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Analog Way expands LivePremier lineup THE AQUILON Cmini is the latest addition to Analog Way’s LivePremier family and said to be the most compact presentation system in the range. It delivers the same capabilities as its larger counterparts, including ultra-low latency, 10-bit uncompressed image processing, ease of use, smart functionalities and the Link feature. It also supports a wide range of modular input and output cards, covering all major baseband formats, including DisplayPort 1.4, ST 2110, NDI, SDVoE and Dante. With up to 16 inputs, 12 outputs, two dedicated multiviewers and eight 4K layers, the Aquilon Cmini is suitable for applications where reliability, compactness and workflow agility are important considerations. It can be used in scalable productions, where between two and four Aquilon

units can be linked to increase inputs, outputs or aux destinations. It is also suited to mission-critical applications requiring seamless failover between primary and backup media sources to ensure uninterrupted operation. The manufacturer has also introduced an 8-plug SDI input card, offering increased flexibility and density. With eight 3G-SDI or four 12G-SDI ports, all freely configurable, it is ideally suited for applications where workflows remain highly mixed between 3G-SDI and 12G-SDI. It is particularly relevant for users working with 3G-SDI workflows involving between five and eight simultaneous sources where it can maximise actual SDI port utilisation while reducing slot consumption. www.analogway.com

Extron adds DisplayPort extenders EXTRON HAS expanded its FOX3 fibre optic platform with two DisplayPort fibre optic extenders. The FOX3 T 211 and FOX3 SR 211 provide long-haul transmission of DisplayPort video, stereo audio, control, IR and 3D sync signals over fibre optic cabling. Engineered for high-resolution image performance, they deliver mathematically lossless 4K/60@4:4:4 over one fibre. Designed specifically for AV systems, the FOX3 DisplayPort extenders include integratorfriendly features such as EDID Minder, audio embedding/de-embedding, Ethernet monitoring and control, audio gain and attenuation, and real-time system monitoring. The MGP 641 xi 5K multi-window processor has been designed for presenting up to four 5K sources on a

The DTP3 CrossPoint 42 is a compact 4x2 4K/60 matrix switcher featuring USB-C and HDMI inputs, HDMI outputs and a DTP3 output for extending video, audio and control signals up to 100m over a shielded Cat6A cable. Integration-friendly features, such as 60W USB-C charging and audio de‑embedding, are said to simplify designs and streamline installation by reducing equipment needs. Extron’s Vector 4K scaling reportedly delivers pristine image quality, seamless transition effects and logo keying. The unit has been built to serve the needs of environments where reliability, ease of use and superior quality presentations are crucial, such as corporate meeting rooms, lecture rooms in higher education and government facilities. Adding USB-C input capability and input switching to Extron’s NAV Pro AV-over-IP

single screen, including 5K and ultra-wide displays. Supported video signals can be up to 5120x2880 with 4:4:4 colour sampling, while the manufacturer’s Vector 4K scaling engine reportedly ensures that downscaled and upscaled content is presented with the highest image quality. In addition to four HDMI inputs that support data rates up to 18Gbps, the HDCP 2.3-compliant processors include an HDMI background input for presenting live, non-scaled content behind the source windows at resolutions up to 5K. The MGP 641 xi 5K SDI model supports 12G-SDI sources, along with HDMI. An HDMI output accommodates a local display, while the DTP3 output that supports 4K/60 and 5K resolutions drives a remote display located up to 100m away with identical content.

series platform, the NAV E 222 USB-C and HDMI switching encoder is said to provide AV system designers with flexible options to create high-performance streaming systems. Versatile input switching modes are configurable as auto or manual switching. The encoder can power a USB-C device with up to 100W using the optional UPI 100 power inserter. The NAV E 222 supports the AES67 audio-overIP standard, facilitating flexible integration with Extron DMP Plus DSPs or other IP-enabled audio components. Purposebuilt to support demanding professional AV applications, the scalable NAV platform provides secure deployment of AV signals to thousands of endpoints.

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ATEN goes further in True 4K CE801

THE CE801 USB True 4K HDMI Cat6 KVM extender from ATEN allows users to redefine streamlined KVM extension and ergonomic remote access by keeping hardware securely out of the workspace. Engineered for performance and simplicity, the CE801 delivers True 4K visuals with HDR10, crystal-clear digital audio, high-speed USB peripheral transmission and uninterrupted serial control, all over distances of up to 70m via a single Cat6 cable. Designed for environments where both clarity and control are mission-critical, the CE801 is suitable for applications ranging from control rooms and retail to healthcare and manufacturing. The extender delivers True 4K (3840x2160 @60Hz, 4:4:4), with Long-Reach Mode extending 1080p transmission to 100m. Whether powering mission-critical operations or everyday professional workflows, it has been designed to provide vibrant, precise and reliable KVM performance for any environment. To enhance operational flexibility, the CE801 provides dual console access, enabling both local and remote users to control the system. Pressing the pushbutton on the CE801L (Local) grants the local console priority KVM access to the source PC at any time in Local Mode, and pressing the button again releases this priority in Auto Mode, allowing KVM access from either the local or remote console, whichever gains control first. Administrators can prioritise local console access or share access between both ends, ensuring seamless collaboration and secure management. The unit also delivers HDMI video, USB keyboard/mouse, RS-232 control and audio over a single Cat6 cable for easy setup and stable extension. EDID switches on the CE801L (Local) optimise HDMI output quality, while the

CE801R’s (Remote) RS-232 port supports direct integration with devices like touchscreens or barcode scanners, providing smooth communication and accurate data transfer between local and remote sites. Meanwhile, the manufacturer has also released the CS742H 2-port USB 4K HDMI dual-display KVMP switch, designed for creators, engineers and professionals who require control over two computers while maintaining visual performance and peripheral sharing. With support for 4K (4096x2160@60Hz) resolution and ATEN’s Video DynaSync technology, the switch preserves display settings, ensuring consistent window sizes and icon positions during every port switch for smooth, stable multitasking. It allows users to connect two HDMI computers while outputting to dual 4K displays, making it suitable for content creation, postproduction and finance applications that require simultaneous visibility and precise control. To simplify workflow transitions, the CS742H offers flexible switching between computers via pushbutton, hotkey, mouse or the ATEN Remote Port Selector. The unit also features a built-in 2-port USB 2.0 hub that supports devices such as webcams, storage drives and drawing tablets. Users can share media and data between systems through USB connections, eliminating the need for an additional docking station. The CS742H also supports multiplatform compatibility across Windows, Mac and Linux. All cables are included – the switch comes with four HDMI cables, two USB 2.0 A-to-B cables, one power adapter and one remote port selector. www.aten.com

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PRODUCTS

Painting a portrait CANON HAS released the RF 85MM F1.4L VCM, a professional portrait lens that extends the Hybrid RF prime range and reportedly delivers greater reach and versatility for creative photography and filmmaking. Optical quality and an 85mm focal length that gently compresses facial features make the RF 85MM F1.4L VCM suited for portraiture. Its ultra-wide f/1.4 maximum aperture reportedly ensures separation of the subject and background, while UD and aspheric lens elements, combined with Super Spectra and ASC coatings, are said to achieve sharpness exactly where it matters. Voice Coil Motor (VCM) AF technology provides precise focusing with minimal focus breathing. Combined with a dedicated smooth action Iris Ring and a customisable Lens Control Ring and Lens Function Button, the RF 85MM F1.4L VCM equips filmmakers with a flexible and reliable tool. It shares a consistent design with Canon’s RF F1.4 hybrid primes, allowing it to be used seamlessly with the rest of the range.

At approximately half the size and weight of the RF 85mm F1.2L USM, the RF 85MM F1.4L VCM is built for shooting on the move. Its L-series construction, featuring well-placed weather seals

RF 85MM F1.4L VCM

and an oil-repellent fluorine coating, provides reassurance in adverse conditions. Enhancing its PTZ camera lineup, the manufacturer has also released the CR-N400 and CR-N350, which aim to address customer needs in terms of advanced functionality and streamlined workflows. Designed to fill the space in the manufacturer’s PTZ lineup between the CR-N300 and the CR-N500, the cameras reportedly provide a smooth on-air pan/tilt performance and high-quality imaging for a broader range of users. Suitable for studio productions, live events, houses of worship, corporate settings and educational environments, both cameras offer 4K60p imaging with a 20x optical zoom, extendable to 40x advanced zoom in Full HD. They come with a 1/2.3-inch CMOS sensor and a DIGIC DV7 image processor. Both cameras also include a vertical crop feature which allows users to simultaneously output a 9:16 crop of the full image. The CR-N400 has been designed for professional broadcasters who require a 4K

CR-N400 SDI-based workflow as it features 12G-SDI and 3G-SDI connectivity, Genlock and Timecode support for seamless integration into professional multi-camera setups. The CR-N350 provides a cost-effective solution for users who only require 4K over HDMI/IP or Full HD over its 3G-SDI terminal. With the increasing adoption of IP protocols such as NDI and SRT, both the CR-N400 and CR-N350 provide a versatile solution for direct IP streaming and remote production workflows. www.canon.co.uk

Panasonic unveils 4K multipurpose camera DESIGNED FOR multipurpose 4K productions, Panasonic Connect has added the AK-UBX100 4K camera to its catalogue. Using the same 2/3-type bayonet lens mount sensor and processing platform as the UCX100, the UBX100 is a box-style 4K camera that incorporates colour matching for devices such as the AW-UE160 PTZ camera. A unified menu interface and compatibility with common remote operation panels enhance intuitive control across production setups.

1.9kg, the camera is suited for robotic mounting and flexible lens configurations, although an HD optical low-pass filter enhances suppression.

Interoperability with the UCX100 and UE160 enables streamlined workflows for multi-camera environments. A broad range of IP protocols are supported, including SMPTE ST 2110, NDI High-Bandwidth and NDI HX2, and SRT. It offers robust connectivity options through dual 12G-SDI and SFP+/28 ports. Weighing

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Ikegami unveils compact 4k cameras AIMED AT boosting production flexibility, image quality and operational efficiency, two additions have joined Ikegami’s UNICAM-XE series – the UHL-X40 ultra-compact 4K-UHD HDR camera and the UHK-X700RF wireless portable camera. Building on the UHL-F4000 in a compact head measuring 120mm x 112mm x 128mm and weighing 1.1kg, the UHL-X40 uses three ⅔-inch CMOS UHD sensors with a global shutter architecture to minimise distortion on LED displays and reduce artefacts from flashes or strobes. Features include dual optical filter wheels, optical vignetting correction and remote back focus. In addition to 4K-UHD output, the CCU offers simultaneous downconversion plus a 1920x1080 central cut-out. A vertical image inversion mode supports overhead mounting, while commands such as pan, tilt and zoom or teleprompter feeds can be sent from the CCU via an integrated 100BASE-T Ethernet trunk.

UHK-X700RF The UHK-X700RF, meanwhile, is a wireless version of the UHK-X700 portable camera, supporting 1080@50/59.94p and

3840@50/59.94p operation in ITU-R BT.709 SDR and ITU-R BT.2100 HDR with BT.2020 wide colour gamut. Its transmitter operates in the 2–2.7GHz band in 250kHz steps with 100mW output power. Encoding latency is typically 40ms at UHD or HD, with a standard transmission range of around 500m. Systems can be extended using cascaded IP-Mesh data transceivers, up to 22 in a single configuration. The ½-rack receiver/decoder provides four SDI outputs supporting 1.5G, 3G and 12G formats with embedded audio, two XLR analogue audio outputs, BNC genlock input and 12V DC power, and can connect to up to eight downconverters via BNC cabling up to 100m. The ULE-217-HDR is a Full HD HDR/SDR video quality monitor designed for use in studio control rooms, mobile production units and postproduction suites. Space- and energy-efficient, it is equipped with a 21.5-inch 1920x1080 pixel LED display, recently upgraded from 500 to 1,000 nits brightness. HLG and HDR10 high dynamic range and all commonly used resolutions from 480p up to UHD and 4096x2160p60 4K are supported. Operating features include horizontal and vertical image flip, area selection, full/over/

ULE-217-HDR under-scan and an assignable front-panel control button. Connection ports include 3G-SDI in and out, VGA in, HDMI in, audio in and out, and 12V DC power input. The ULE-217-HDR is housed in a robust metal cabinet with integral loudspeakers and consumes 24W or less. The manufacturer has also released an IP extension unit for the IPX-100, said to provide an alternative to the conventional base station or CCU for applications where IP interface of video, audio and intercom are planned from day one. www.ikegami.com

76 PRO AVL MEA January–February 2026

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PRODUCTS

Bolin releases SCT bridges legacy AV Discovery Tool 2.0 ENHANCING PERFORMANCE and reliability across its product line, Bolin Technology has announced a firmware update together with the launch of the Discovery Tool 2.0 for device management. Available from the Bolin Download Centre, the firmware update

WITH THE launch of the micro(C)eries, Sound Control Technologies (SCT) has created a series of modular USB-C solutions that bridge legacy AV systems and USB-C devices. Offering flexible USB-C connectivity with DisplayPort Alt Mode, Power Delivery (PD) and USB extension, the lineup includes the USB-PDI, USB-PDC and USB-AMV. With the shift to USB-C, collaboration devices have created challenges when interfacing with different protocols in older rooms. The micro(C)series delivers modular options: DP Alt mode with PD; DP Alt mode with PD + USB 2.0 extension; PD

www.soundcontrol.net

DisplayNote and Avocor expand partnership BUILDING ON a collaboration that has spanned more than four years, DisplayNote Technologies Belfast, UK and Avocor are marking a new chapter in their relationship with Avocor now offering Launcher v2 directly to customers. Previously offered to Avocor customers

includes user-requested features and enhancements. Some of the 34 new improvements include a public API for custom integrations, support for NDI 6.2 on NDI-enabled SKUs, enhanced stability for an NDI embedded bridge, GDR Frame support for IP streams, and quickaccess Wiper and Heater controls on outdoor cameras. Built for modern workflows, the Discovery Tool 2.0 update is a crossplatform, multilingual, enterpriselevel tool that efficiently manages, configures and deploys Bolin devices. The multi-language interface (English, Spanish, Korean, Russian and Chinese) detects all supported Bolin hardware across the networks, simplifies IP address configuration and supports multi-NIC across the networks. www.bolintechnology.com

(standalone); PD with USB 3.2 extension; Merge HDMI + USB into a single USB-C DP Alt mode connection; Merge HDMI + USB into a single USB-C DP Alt mode connection with USB 2.0 extension; and end-to-end DP Alt mode support with PD. Paired with SCT’s broader portfolio, the micro(C)eries supports tabletop upgrades to end-to-end room connectivity. Without needing custom programming, laptops, video bars, codecs, PTZ cameras and room peripherals can now be connected.

The TITAN of projection

interface with a cleaner navigation that reportedly makes meetings easier to start; editable home screens with personalised layouts and shortcuts that adapt to how people work; and screen saver messaging with idle screens that keep teams informed.

These come in addition to existing GroupShare features, such as multi-VC support, allowing users to join Teams, Zoom, Meet or Webex from one screen; kiosk mode and automatic cleanup which locks down every session; and calendar-based meeting launch with one-touch access to scheduled calls.

DIGITAL PROJECTION has launched the Luma 37000 WU and Luma 35000 4K-UHD, described by the manufacturer as its most compact 3-chip DLP projectors to date. They are said to bring the same TITAN performance in a chassis that’s 35% smaller and easier to integrate in challenging commercial spaces. Weighing 57kg, the compact TITAN Luma projectors reportedly simplify transportation, installation and long-term servicing, making them an ideal upgrade path for ageing highlumen projectors. Both models start at 31,000 lumens and up to 2,000:1 contrast ratio.

Blackmagic Design cameras (Blackmagic Studio Camera Pro, PYXIS, URSA Cine and URSA Broadcast) and send video point-to-point between remote locations via Ethernet or phone connection using mobile data. A 12G-SDI reference input can connect SDI tally, camera control

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plus talkback for backup to the encoder. Both the front and rear panels feature USB-C connections that can be used for phone tethering but, should the internet fail, the Streaming Decoder will automatically switch its internet connection to use a connected phone. Most Blackmagic Design cameras support camera control, talkback and tally from an ATEM switcher via an SDI control protocol.

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Control for all cameras is embedded into the ATEM SDI outputs and the specific camera number can be specified on the camera. For cameras with built-in streaming, the Streaming Decoder’s REF input is connected to the ATEM switcher’s SDI output. With control embedded into the SDI monitoring output, the Streaming Encoder can be used for cameras without streaming. Measuring 135mm wide, three units can be mounted in a single rack space for simultaneous streaming to multiple independent services. www.blackmagicdesign.com

78 PRO AVL MEA January–February 2026

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Blackmagic Design adds Streaming Decoder FEATURING TALKBACK, camera control and tally, the Blackmagic Streaming Decoder decodes live H.264 and H.265 streams from an encoder or camera and converts it to SDI or HDMI. Previously marketed as the Web Presenter, the Streaming Encoder also features a matching set of streaming encoder and decoder products. The streaming processor builds internet broadcast links with the Streaming Encoder. The Streaming Decoder 4K receives the H.264 or H.265 stream from the Streaming Encoder and converts it to SDI and HDMI video. Users can transmit directly from

PP TV

Luma 37000 WU

as GroupShare, a customised version of DisplayNote Launcher, the move to Launcher v2 delivers the full benefits of DisplayNote’s latest release, while preserving the “simplicity, security and cross-platform compatibility” customers are already familiar with. Launcher v2 now provides a centralised management with clear visibility and control of rooms and devices at scale; a modernised

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Enter the dragon Philips MediaSuite 6000 Series

PPDS expands MediaSuite TV series PPDS HAS added two models to its Philips MediaSuite range. As with previous and existing Philips MediaSuite models, the 6000 Series with Ambilight and 7000 Series UltraSlim ship Netflix-ready along with the complete Google Mobile Services package, including Google Cast integrated technology as standard. In addition, Philips MediaSuite TVs are now also compatible with Apple AirPlay and come cloud gaming ready, offering hoteliers the option to offer guests easy access to their favourite games via their personal subscriptions. Guests can either bring their own controller to use, or the hotel may choose to have controllers available to lend or rent. The new models also include a custom engineered speaker. Bluetooth headphone functionality also brings wireless freedom for guests and customers who prefer to connect their own wireless headphones for discreet viewing.

The Philips MediaSuite 6000 Series – available in 43-, 50-, 55-, 65-, 75- and 85-inch versions – features Ambilight technology which works by projecting lights from the LEDs at the back of the TV onto the wall behind. These dynamic lights change colour and intensity to match what is happening on the screen in real time, creating an immersive ambient lighting effect that makes the screen seem bigger and the visuals more engaging. The 7000 Series UltraSlim stands less than 3cm from the wall. Available in 24- and 32-inch (FHD and ideal for cruise ship crew cabins) and 43-, 50-, 55- and 65-inch (4K) versions, the 7000 models are also protected against the harmful effects of sea air – whether at beachside resorts or on cruise ships, via an additional layer of conformal coating on the circuitry, helping to defend against the ingress of salt, dust and humidity. www.ppds.com

LEYARD EUROPE has released the Komodo Series, a family of ultra-fine pixel pitch Chip-on-Board (COB) MicroLED videowall displays. Available in 0.7mm, 0.9mm and 1.2mm pixel pitches, the units feature a DCI-p3 colour gamut for professionalgrade colour reproduction and 1,000 nits of brightness to support dynamic image reproduction in any indoor environment. Powered by Megapixel’s Helios LED processing platform, the displays come with LED display cabinet electronics specifically designed to fully leverage the Megapixel platform. Helios is a secure LED processing platform offering support for 8K inputs and output with a small 1U size. In addition to 100Gbps ST 2110 capability, the series also features an upgradable design to support future standards and can be configured to meet customer application needs. The displays have been designed to support today’s most in-demand formats, including 16:9 and 21:9. With the ability to

build videowalls from native Full HD and 4K to 8K and ultra-wide 5K, the family is suited for corporate and education applications that benefit from ultra-wide 5K resolution. For applications demanding expansive or panoramic viewing experiences, the units deliver an immersive, cinematic-scale seamless display that maximises visual impact. Featuring the latest advancements in COB technology, including improved colour accuracy, high pixel density, sharper imagery and deeper blacks, the displays also use an alternating LED orientation to produce improved viewing angles and colour uniformity. www.leyardeurope.eu

Q-SYS enhances its Full Stack AV Platform QSC HAS announced the expansion of the Q-SYS Full Stack AV Platform with the NC-90 and NC-Pro15x network cameras, high-density QIO Series audio I/O models, new Space Utilization features for Q-SYS Reflect, the Q-SYS Library and expanded NS Series Gen 2 switches. The NC Series NC-90 and NC-Pro15x have been built for the Q-SYS Full Stack AV Platform. The NC-90 is a next-gen network ePTZ camera that combines onboard AI with

The NC-90 with the NC-Pro15x

enhanced optics to deliver an automated collaboration experience in smaller, wider collaboration spaces. The NC-Pro15x is a network PTZ camera,

built by Canon, that expands Q-SYS video capabilities to high-impact spaces requiring elevated production-grade elements. To meet growing demand for large-scale audio integration, high-density audio I/O expander models have been added to the existing QIO Series, including QIO-ML24i, QIO-L24o and QIO-24f. Each model features support for analogue audio connections, 8x8 GPIO ports and dual network connectors. These expanders are said to reduce complexity for large installations such as event venues, hospitality environments and judicial spaces. The upcoming Space Utilization feature in Q-SYS Reflect helps organisations optimise meeting spaces and technology investments by combining calendar data, sensor insights and system usage metrics. Without requiring hardware changes, Reflect reveals how and when spaces are used, enabling better space management, reducing “ghost meetings” and improving workplace experiences.

The Q-SYS Library is a one-stop hub for verified ready-to-use assets such as Q-SYS plugins, UCI templates and sample designs. Replacing the legacy Asset Manager, it offers curated, cloud-native resources optimised for seamless integration with Q-SYS Designer. With tested assets supported by Q-SYS and partners, organisations can save time, deploy with confidence and access resources anywhere through a streamlined browser-based experience. Q-SYS Reflect-enabled assets further extend monitoring and management, helping integrators scale deployments more reliably. The Q-SYS NS Series Gen 2 network switch portfolio now includes the NS26-480+ and NS40-960+, providing modernised networking solutions for Q-SYS systems. These switches reportedly deliver the best out-of-the box experience and add to a robust portfolio of NS Series network switches. www.qsys.com

RØDE adds 2nd-gen Wireless Micro range FEATURING TWO compact transmitters with in-built microphones, a smartphone receiver and an on-camera receiver with a 1.1-inch AMOLED screen, the Wireless Micro Camera Kit from RØDE can be used for shooting on a DSLR or as a mirrorless camera or smartphone. The latest addition to the manufacturer’s Wireless Micro range includes second-generation universal camera connectivity to cater to a broader set of content creators. Additional features include GainAssist technology for balanced audio, extended battery

life with included charging case and plugin power detection, a lightweight form factor, integrated windshields (with additional furry windshields) for outdoor recordings and Direct Connect which enables seamless connectivity to iOS smartphones via Bluetooth through the RØDE Capture app. The on-camera receiver features both a 3.5mm TRS and USB-C output, while an integrated cold-shoe mount provides a streamlined setup. www.rode.com

January–February 2026 PRO AVL MEA 79

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PRODUCTS

Lightware’s DCX extends Taurus appeal

DCX-3x1-TPN-TX10

DEVELOPED FOR cost-conscious educational or corporate settings, Lightware has extended the Taurus Series with the DCX lineup of signal management solutions. Offering a streamlined setup, the Taurus DCX series currently comprises the DCX-3x1-TPXTX10 and DCX-3x1-TPN-TX10. The TPX has been created for point-to-point installations, while the TPN is for larger, networked setups. When paired with their corresponding receivers including the HDMI-UCX-TPX-RX107 and HDMITPN-RX107A-SR, the transmitters enable AV signals to travel across longer distances. By combining switching and long-distance transmission capabilities over SDVoE in a single unit, the Taurus DCX eliminates the requirement for multiple devices. With a single USB-C and dual HDMI inputs in addition to one HDMI output, various sources including laptops, cameras and media players can be switched for output to a desired screen. Unlike a standard switcher, SDVoE compatibility provides long-

distance transmission over a single Cat cable up to 100m, including 4K UHD video support. In TPN systems, distances can be extended further by adding switches. Additionally, USB-C charging up to 100W makes the Taurus DCX an all-in-one solution for workplaces and classrooms. Lightware Advanced Remote Access (LARA) integration into the Taurus DCX enables remote monitoring, control and configuration over a network. Meanwhile, the manufacturer has also announced an update to its Taurus platform, which now delivers switching for 5K and 21:9 ultra-wide display formats. This makes Taurus devices fully compatible with the latest generation of hybrid environments, including those using Microsoft Teams Front Row, Zoom Rooms and other ultra-wide meeting room layouts. The addition of native 5K and 21:9 display compatibility is said to bring a range of

real-world advantages to modern meeting, learning and collaboration environments such as simulation, engineering, broadcast and executive boardrooms. Lightware’s Taurus devices can now display collaboration interfaces exactly as intended, showing more participants, shared content and chat simultaneously without cropping, scaling or distortion. The wider canvas also allows users to view multiple sources or applications side by side, making multiwindow workflows even easier to manage, ideal for creative studios, control rooms and training environments with immersive content. With a newly expanded EDID library, Taurus devices can now automatically detect and configure 5K and 21:9 displays, eliminating manual setup and reducing deployment time for plug-and-play simplicity. This simplification reportedly reduces the need for IT support calls. The expansion means compatibility with all display types, from ultra-wide monitors to premium LED walls. Taurus devices can handle 4:4:4 visuals and advanced audio signals with ultra-low latency. The feature is currently available for the Taurus UCX HC40 and HC60, Taurus DCX, Taurus TPX and Taurus TPN models. By the end of the year, full 5K capability will extend to the entire UCX/DCX lineup, including the HC30 variants.

Ayrton launches the MagicDot Neo BECOMING THE latest addition to Ayrton’s IP65 Creative Series, the MagicDot Neo is described as “compact, lightweight, ultrafast and powerful”. It is a cylindrical luminaire featuring a 100mm lens set within a perfect sphere. Measuring only 35cm but with continuous double rotation on the pan and tilt axes, MagicDot Neo fixtures can be clustered with minimal spacing between units to open up new configurations. Individual control over each light source is maintained in every direction, allowing the creation of ultra-compact matrices or concentric circles in which the fixtures appear almost fused together.

The unit is compatible with Astera’s batterydriven PowerStation, which can be used as an external display or power supply, and the fixture’s housing includes two threads (¼- and 3⁄8-inch) for attaching to baby pins, tripods and other mounting accessories. When no other control is available, the SolaBulb can be turned on or off via its onboard hardware button, or “blue mode” can be activated for Bluetooth pairing or to easily apply different colour presets.

www.astera-led.com

Claypaky updates its Ultimo Sharpy CLAYPAKY HAS added a new Low-Noise mode to the Ultimo Sharpy, a feature developed in direct response to requests from lighting professionals. The new operating mode delivers a reduced operating sound, cutting noise levels by up to 7dB while maintaining 90% of the original light output. To enable this operating mode on already purchased Ultimo Sharpy units, users need to download the new firmware from e-assist.tech, the After Sales Service Information Support Tool.

Equipped with a new 120W RGB-L multichip LED source paired with a 100mm optic, the MagicDot Neo delivers a total output of 3,000 lumens for an overall power consumption of only 160W, and a 16,000 lux output at a distance of 5m. It can switch instantly from beam to wash, offers a 10:1 zoom ratio, a wide beam angle from 3–30°, a uniform beam of light with no colour shadows, and rich saturated and pastel colours. Its IP65 rating extends its versatility to stage lighting for indoor and outdoor use, even in saline environments. The MagicDot Neo features Ayrton’s LiquidEffect featuring 60 RGB LEDs around the beam’s periphery. This is said to create mesmerising multi-colour effects, organic lighting and complex volumetric effects. The high output of this LED source is handled by Ayrton’s bespoke cooling solution based on phase-change heat pipe technology. By drastically reducing the thickness of aluminium components, optimising the cooling system, simplifying lens mounts and integrating low-density optical parts, the MagicDot Neo’s weight has been reduced to just 6.6kg. www.ayrton.eu

www.claypaky.com

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Onboard CRMX makes LumenRadio’s wireless DMX and RDM protocols available for seamless integration with lighting consoles plus tabletbased controllers such as Blackout. It also works with Astera IR WhiteRemote and FX Remote for tweaking colour temperatures, skin tones or dimming values, and is fully compatible with the Astera App. The DMX patch can be swiftly configured using the Astera App, which offers full control over SolaBulb and other Astera fixtures that can be combined in the same smart ecosystem, offering familiar setup features and real-time monitoring.

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Astera is in the spotlight WITH AN in-built 15–50° zoom range that is optimised for maximum lux output, the SolaBulb from Astera is based on the LunaBulb launched in 2024. The SolaBulb is a zoomable LED bulb the provides both spotlight and wide-angle beam spreads and comes with a refined PAR20 Fresnel lens. Equivalent to a 50W tungsten PAR bulb, the luminaire includes a high-quality light output with clean edges and an even beam, making it suitable for eye-lights, concealed backlights or background accenting and effects. The fixture is powered by Astera’s fivecolour Titan LED Engine which delivers the same performance and beam characteristics as larger luminaires like the QuikSpot or QuikPunch. The front barrel is rotatable to obtain the desired beam angle, and the fixture comes with a SolaSnoot that attaches directly to the front of the barrel, eliminating light spill.

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PRODUCTS

ETC brightens its architectural portfolio

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Irideon FPZ Plus

THE FAMILY of architectural luminaires from ETC now includes three brighter display fixtures: the Irideon FPZ Plus, Irideon WLZ Plus and Source Four Mini LED Plus. With new control options and an increase in lumen

output, the Plus luminaires reintroduce the ability to mount ETC fixtures on a 230V track, this time using the DALI control protocol and adapters compatible with OneTrack by EUTRAC.

Compact and bijou VARI-LITE HAS released the VL3200 LT Profile IP, a compact, long-throw production profile fixture with over 20,000 lumens of output in a small, outdoor-rated format. It includes a 550W monochromatic light engine and a CMY+CTO colour mixing system for a broad range of colours. With a large selection of tools for creating dramatic effects, the VL3200 is suitable for long-distance key lighting and mid-air effects. The fixture includes fixed and indexing/ rotating gobo wheels, an animation wheel,

Pixels to the max

ETC BRAND High End Systems has released the IP54-rated MegaPix and GigaPix, two pixel wash fixtures described as high-impact features in a compact package. Both come with a Fresnel lens system, smooth zoom range, RGBL colour engine and dimming. The units offer the output characteristics of a Fresnel lens, with the power and versatility of a pixel optical system. The patented Integrated Fresnel Lens (IFL) system increases output throughout the entire zoom range, while the fixture is also protected against a buildup of condensation from fog to minimise maintenance requirements. A custom RGBL LED engine, along with a 2,000–10,000K CT channel, deliver “vibrant colour and elegant white light washes” to any

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mounting, can be DMX or DALI controlled, or used with the F-drive centralised remote driver system. Finally, the lighting manufacturer has expanded its Response Mk2 DMX Gateway family with two 8-port options: a full-width Gateway with eight XLR connections and a 1⁄2-width Gateway with eight terminal connections. These higher-density gateways are said to deliver the same system functionality at a lower price, while using less rack space. With multiple mounting options and repositionable network ports, the Response Mk2 8-port DMX Gateway “fits comfortably wherever it is needed”. The Terminal version is the same size as ETC’s current 4-port Gateway, providing twice the number of 3-position terminal connections into the same amount of space. Using an existing rack-mount kit, it is possible to get 16 ports of DMX output into a 1U rack space by mounting two 8-port terminal gateways side-by-side.

dual prisms, frost, a 4-blade continuous wipe framing system, a 16-leaf variable iris and a 12.5:1 ratio zoom range of 4–50°. Thanks to its V*Track Focus technology, the VL3200 offers an advanced 16-bit focus control that ensures the edge and zoom remain aligned throughout the full zoom range with no need to switch between controls at the narrowest end of the range.

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The Irideon Framing Projector Zoom (FPZ) Plus features a 25–50° beam spread and an output of up to 1,600 lumens, said to be notably brighter than its standard predecessor. The FPZ Plus is available with DMX or DALI control, and is compatible with F-Drive, ETC’s centralised remote driver system. The luminaire is available in 2,700K, 3,000K, 4,000K and 5,000K colour temperatures in Standard 80 and Gallery 90 CRI. The Irideon Wash Light Zoom (WLZ) Plus includes 9–78° zoom optics and is ideal for softening the appearance of any space. Substantially brighter than the original WLZ, this fixture outputs up to 2,600 lumens of light. The WLZ Plus is available in 2,700K, 3,000K, 4,000K and 5,000K colour temperatures in both 80 and 90 CRI, with similar mounting and control options as the FPZ fixture. The Source Four Mini LED Plus is available in 2,700K, 3,000K, 4,000K and 5,000K colour temperatures in both 80 and 90 CRI. It comes with either track, canopy and portable

stage. Developed by ETC’s colour scientists, the CT channel reportedly delivers the highest TM-30 Preference rating (P1) of the entire range. Macros with built-in colour or flex macros with customisable colours are also included. Each look is highlighted by HaloGraphic Pixel Definition technology, outlining each cell with a slight diffusion to enhance cell-to-cell visuals. Users can maintain modular control of each pixel with Art-Net or sACN control options. The MegaPix weighs 9.2kg and has a 10,000-lumen output with a 4.5–50° zoom range, while the GigaPix weighs 15kg and has a 17,000-lumen output with a 4.5–55° zoom range. www.etcconnect.com

The magic of Morgane ROBERT JULIAT has announced the launch of the Morgane, a 13–24° followspot and the smaller sister of the Tristan launched last year. Its 825W LED source is available in tunable white or in fixed cool white. The Morgane has a motorised, fully closing iris that allows the creation and storage of presets for rapid cueing. Accessories include a remote display providing iris and intensity information for operator convenience; the ability to connect external remote controllers to operate the followspot from any position; and an optional version with left-side controls for iris, dimmer, frost and colour changer.

As with other Robert Juliat followspots, the Morgane includes a smooth flat beam, ergonomic design, electronic dimming with single-handed local control, remote DMX control, frost and colour filters, 6-way colour changer and a native CRI >90. The variable white source is said to offer greater versatility and eliminate the need for physical colour correction filters, simplifying setup and reducing costs. The colour temperature can be controlled remotely from the console allowing real-time adjustments. The fixture

DMX, RDM, Ethernet, Art-Net and sACN protocols. It also has Advanced Ethernet node functionalities compatible with RDM, LLRP and zeroconf protocols. Housed within a compact body and offering silent operation, smooth electronic dimming and the benefits of no lamp change due to its LED source, the Morgane is also suitable as a spot for front-ofhouse, truss and backlight positions. has a built-in electronic flickerfree power supply and is compatible with

www.robertjuliat.com

January–February 2026 PRO AVL MEA 81

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BUSINESS: ANALYSIS

Air to the throne

Phil Ward wonders if venues can keep up with broadcast trends

Typical mobile audio setup by Creative Technology IT’S THE ROLE OF MANUFACTURERS TO PROVIDE NEW techniques and new solutions. Whether the rest of the industry adopts them is another matter. In-house broadcast facilities for live venues are facing rapid changes as streaming changes the habits of viewers and listeners, with major concert halls and opera houses adding some kind of TV-style gallery with theatres and regular gigging venues going straight-to-stream – if anything. Most venues, even those built since the 1950s, consider the audience in the room to be the endpoint. Why wouldn’t they? Cameras get in the way even more than loudspeakers, while the space needed for control and direction is, at best, a remote cupboard that may have once housed a projector, if not cleaning products. The Royal Opera House in London’s Covent Garden has been syndicating live performances to distant cinemas for about 20 years, when a Studer Vista 5 console and 5.1 monitoring was added to a control room tightly packed into a corner some distance from the auditorium. But it has only just upgraded its audio signal conversion, adding Pro Tools and Merging’s Pyramix alongside a 48-fader Avid S6, with Munro acoustics and Dolby Atmos, all connected by Dante. There is also a streaming platform. Even the most prestigious venues have been struggling to keep up. Just as an infrastructure for conventional broadcast becomes a reality for the top elite, along comes a disrupter that already demands a rethink of how venues should engage with the outside world. When Sydney Opera House underwent a major refurb between 2015 and 2018, it was under the auspices of Niels Erik Lund, on secondment from Copenhagen’s Danish Radio Koncerthuset where he was, and still is, responsible for strategic development projects. On his watch, the concert hall gained new acoustics, new hardware such as fly systems, stage risers and air conditioning, and improved disabled accessibility. More was done for the building’s 50th anniversary two years ago, but again prioritising sound reinforcement including a large d&b audiotechnik inventory.

Yes, there is a shiny new Stream app. But, as of today, the app “hasn’t received enough ratings or reviews to display a summary”. It will do, but by then the broadcast infrastructure will have changed again. Some, like BBC-trained engineer Antony Shaw, feel like they’re holding out for quality in a world of compromise. He cofounded the classically equipped OB truck Spiritland in London – its centrepiece is an SSL System T console – and believes in the oldschool method of parking outside the venue, collecting traffic fines and, simply, being there. “There’s a whole lot of work to be done on how remote audio works,” he says, “recording or live. We play in that space, having done some gigs that were completely remote-mixed and livestreamed. The technology is there, but people still need to be persuaded that it’s OK to have somebody 100 miles away mixing your gig for broadcast. You’re in control of someone’s IP, and they may have no representation at the session.”

Ticketing all the boxes The problem for conventional broadcast is that everyone is a broadcaster. This year’s IBC has been described as some kind of all-purpose “future-tech” show, almost a half-year staging post between one ISE and the next, with TV and radio fading into crackling nostalgia. Of course, every type of venue and event is gearing up – but for TikTok, not TV. In London’s Camden Town, KOKO is a reinvented theatre with every space wired for sound, from the main auditorium to a members-only club, speakeasy, piano room, stage kitchen, recording studio, penthouse, library and roof terrace – every inch ready to stream out into the metaverse. Sound reinforcement was specified by the engineering and technical design team at Funktion-One alongside Peter Knowles, a broadcast and streaming technology leader and founder of the consultancy Studio Expert. The system, reports Funktion-One’s Mike Igglesden, “plugs into Dante ports

that connect it with the broadcast and streaming platforms designed by Peter, with whom we worked very closely throughout. We drew a line through the system ahead of our processed amps so that he can run full-range signal at whatever level he wants – and whichever choice of signal.” The urban festival Live From Reykjavik mics up multiple venues across the city and then recommends use of the DICE.fm app for streaming, which also handles ticketing. This involves registering with the app, verifying your iOS device and obtaining an access code, although standard browser-based purchase and access is available as well. Meanwhile, PUSH Live uses a proprietary rendering engine to prepare and transmit AV content via the cloud, but founder Larry Gale repeats a simple plea made by sound engineers working in TV, film and presentation down the years: don’t overlook audio. “I would never advocate taking a stereo aux feed from the FOH desk into my livestream and up to my end user,” he says. “What they would end up hearing would be awful.” Streaming still relies on Real-Time Messaging Protocol (RTMP) for a smooth internet ride. “It does mean thousands of operators are not broadcast-trained,” observes Graham Sharp, CEO at Broadcast Pix. “Our goal is to make the kit easy to use, unlike the MixEffect hardware control panels that still proliferate. Our audio and video tools are all in the box, simple to use and make the most of automation and behavioural intelligence. There is too much focus on technology and not enough on ease of use.” Nevertheless, manufacturers continue to come up with brilliant solutions. Yamaha’s new DM7 console can be split in two for simultaneous live and streaming mixes; Lawo’s mc² console ecosystem is hailed as “a household name” in arts houses from New York, Saint Petersburg and Beijing to Paris, Berlin and Zurich; and DirectOut’s global clocking inside the PRODIGY range of routers ensures that broadcast and live feeds are seamlessly locked. The hope is that streaming won’t discourage venues from taking advantage of them.

82 PRO AVL MEA January–February 2026

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V Series Zone Audio Platform

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Safe and Sound

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