(Applicable
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Following the disruption of the pandemic, May had begun to establish itself as the region’s unofficial “hot month” for tradeshows. CABSAT, Integrate Middle East, the Middle East Event Show and the Saudi Light and Sound Expo were all falling within weeks of each other, creating a dense but energised window for the industry to reconnect. It also offered a final opportunity to travel into the region before the full force of summer arrived. This year, of course, for reasons beyond anyone’s control, that momentum has stalled, leaving a gap not only in the calendar but in the wider rhythm of the market. That disruption has inevitably had a knock-on effect further down the line. New dates have now been confirmed for both SLS and CABSAT, shifting to September and October respectively. It also raises questions around newer initiatives. InfoComm EDGE,
positioned as a significant addition to the regional landscape. The decision has now been taken to postpone the inaugural edition until 2027. While disappointing, it is difficult to argue with the logic. Launching a new show into an already disrupted calendar, with uncertain travel conditions and limited time to build momentum, would have been a risk. For a platform positioned as something uniquely different, that first outing needs to land with clarity and confidence. You only get one chance to make a first impression, after all. Conversely, a territory that may yet benefit from this period of disruption is Turkey, where I have just returned from visiting. You can find a snapshot of the current Turkish AV market on pp.36–37.
Richard Lawn General manager rlawn@proavl-mea.com
Nick Smith Digital media manager nsmith@proavl-mea.com
Sue Gould Advertising director sgould@proavl-mea.com
Chris Yardley Video editor cyardley@proavl-mea.com
Carolyn Valliere Sales associate cvalliere@proavl-mea.com
Jack Stennulat Digital content creator jstennulat@proavl-mea.com
Caroline Moss Contributing editor cmoss@proavl-mea.com
Adrian Baker Production manager abaker@proavl-mea.com
Karen
Editorial
kwallace@proavl-mea.com
Marne Mittelmann Circulation
circulation@proavl-mea.com
Bea Meikle News editor bmeikle@proavl-mea.com
Sue Su Guangzhou manager ssu@proavl-mea.com
Thomas Riedel has bought ARRI, the Munich-based manufacturer of camera and lighting technology for motion picture and live entertainment. It was reported that the entrepreneur and founder of Riedel Communications was chosen in a competitive international process with his concept for a new home for ARRI.
The Riedel Group is a global player in audio, video and data technology, delivering infrastructure solutions for broadcast, live event and sports productions worldwide. Through the acquisition, Thomas Riedel aims to establish a close strategic alignment between ARRI and the Riedel Group, expanding expertise across the production chain – from camera optics to distribution. According to the Riedel Group, ARRI’s ecosystem complements the group’s portfolio and opens up new opportunities.
ARRI was founded in 1917 and has been family-owned ever since. “For more than a century, ARRI has stood for engineering excellence, innovation and the highest quality,” said Dr Walter Stahl, managing director of ARRI and member of the founding family.
It was reported that both parties will collaborate to unlock growth, particularly in live entertainment and sports. By combining technologies, the companies plan to develop integrated solutions that open new creative and technical possibilities. As a first milestone, ARRI will debut its camera technology at the Eurovision Song Contest, where Riedel serves as the technology provider and NEP oversees production.
Under the new ownership, ARRI’s management team will continue to lead the company and advance its transformation. The company will retain independent operations and remain headquartered in Munich.
“Thomas Riedel has built a first-generation family business and stands for entrepreneurial continuity and long-term thinking,” commented Chris Richter, managing director of ARRI. “We look forward to working with a successful entrepreneur
and to the resulting market opportunities and access.”
David Bermbach, managing director of ARRI, added: “The Riedel Group brings complementary technologies and expertise in live production to this partnership. This strengthens our strategic direction as a ‘Trusted Technology Leader for the Next Generation of Media & Entertainment’.”
According to Thomas Riedel, his entrepreneurial path has been closely tied to
ARRI. “This acquisition represents the most significant personal milestone of my career so far,” he said. “I have great respect for this exceptional brand, its outstanding products and its strong team. At the same time, I see tremendous potential and am confident that, together, we can position ARRI for long-term stability and future success.”
www.arri.com www.riedel.net
Creative Technology Middle
East (CTME) delivered a large-scale d&b SL-Series deployment for Keinemusik’s official afterparty during the Abu Dhabi Formula 1 weekend, providing immersive coverage for an audience of more than 15,000.
Staged at Yas Marina, the event centred on a 50 m-wide stage with the DJ positioned centrally and audience areas wrapping around the performance space. This format required consistent forward and rearward coverage, alongside provision for VIP and backstage areas integrated into the footprint.
With confirmation arriving just two weeks before show day during a congested Q4 period, CTME mobilised rapidly while supporting multiple major projects across the region.
“The timeline was extremely tight,” said CTME marketing manager Condesa Valentina Sioufi. “Once confirmed, it was a case of making things happen fast.”
“Fresh off the F1 Doha After Race Concerts, the team transitioned directly into another production of comparable scale,” added Tim Cook, CTME head of audio. “Load-in presented challenges due to uneven terrain and demanding site conditions, but detailed planning and execution ensured a fully optimised system.”
The main PA featured 28 GSL8 and four GSL12 loudspeakers, supported by 24 KSL8 out fills and 12 Y10P front fills. LF reinforcement came from 32 ground-stacked SL-SUBs, with additional units for DJ side fills and backstage areas.
A separate XSL system, comprising 14 XSL8s and 12 XSL12s, supported VIP and backstage coverage, ensuring consistent tonal balance across the 360° layout. The deployment incorporated the full SL-Series range alongside point source and subwoofer reinforcement. This configuration introduced complexity in managing multiple sound sources. “Control is
critical,” noted Sioufi. “It’s not just about scale; it’s about precision.”
Extensive modelling formed part of the initial proposal. Although the project briefly shifted direction, the artist ultimately requested a d&b GSL system, with CTME’s design contributing to the final decision. “Our engineering team spent two nights tuning the system,” said Martin Nichol, director of commercial development. “When tour production arrived, no adjustments were needed.”
Amplification was delivered via d&b D80 and D40 amplifiers, with a DiGiCo Quantum225 Pulse console and DirectOut PRODIGY. MP processors handling control. CTME also supplied lighting, focusing on depth and atmosphere rather than video, with Ayrton, Robe and Elation fixtures, controlled via grandMA3 consoles, and matrix arrays and a circular truss shaping the visuals. Despite the schedule, the system was installed and commissioned in just over two days. “It comes down to planning, execution and the right talent,” commented CTME’s managing director Andy Reardon. “Delivering at this pace and scale is the standard we set.”
www.ct-group.com/me
www.dbaudio.com
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Blackmotion Production has invested in an Absen NT2.6 V2 LED display system from DWR Distribution, marking the company’s move into LED displays as it expands beyond its predominantly lighting-focused offering.
NT2.6 V2,” commented Moima. “Blackmotion started off with a Vuepix LED screen, which was outdoor, and now the Absen NT2.6 V2 will really take us to the next level of indoor events. Ninety-nine percent of my work is indoors. Since television has slowed down, we’ve moved into conferencing and award shows, so the NT2.6 V2 is a good product for us.”
Dylan Jones from DWR Distribution supported the acquisition. “We are thrilled for Blackmotion and welcome them to the world of LED panels. I have no doubt that the units will work hard and open up many opportunities,” he said.
“Over the years, DWR Distribution has helped me with pricing and information on different types of LED screens, and we’ve finally gone with the
Founder Kagiso “KG” Moima took ownership of the panels following a five-year evaluation process. Since taking delivery, the system has already been deployed across a number of projects including a Red Bull event in Illovo, a conference at Airports Company South Africa, the Fak’ugesi Awards and the National Skills Fund’s media launch at Velmoré Hotel & Spa.
Blackmotion now plans to increase its LED inventory with additional panels from the same batch to enable cross-rental opportunities with other suppliers in the region. The company’s technical team is also scheduled to undertake Absen training in the near future.
www.absen.com
www.dwrdistribution.co.za
DAS Audio has established a new subsidiary, DAS Audio France, which forms a key part of its international expansion strategy and aims to strengthen its presence across core markets in Africa.
The new operation will be led by Thibaud Mezard as general manager. Based in France, Mezard brings more than 20 years’ experience in the professional audio sector, with a background spanning business development, project support and technical sales for integrators, rental companies and consultants.
“Thibaud knows our brand and the market thoroughly, and we are convinced that his potential, together with that of DAS Audio, will be key to the work we would develop in France and Africa,” commented DAS Audio CEO Manolo Peris.
Mezard added that expanding the brand’s presence across Africa would be a key focus of the new role. “It is a great honour to take on this challenge and contribute to the development of DAS Audio in such important markets as France and Africa, particularly North Africa, where I have also developed part of my professional career.”
Marking a new chapter for the ribbon microphone manufacturer, Royer Labs has announced its acquisition by Sounds Great Holdings. Founded in 1998, Royer Labs hopes
the transaction will lead to a new phase of growth while preserving the sound quality and craftsmanship that has long defined the brand. Royer Labs will continue operating
The creation of the new subsidiary is aimed at helping bring the company closer to regional partners while strengthening its support structure for integration and rental projects across strategic markets.
www.dasaudio.com
from its Burbank, California headquarters, with plans to expand global sales, invest in product development and deepen relationships across the professional audio community.
“Royer Labs has built an extraordinary reputation for sonic excellence and engineering integrity,” said Joe Covey, the company’s new CEO. “Our goal is to honour that legacy while investing in next-generation technology and expanding the brand globally.”
John Jennings, cofounder and former president, expressed confidence in the transition. “I love this company we started decades ago, the dedicated people who work here and the industry we serve.
The Sounds Great team is made up of good humans who respect Royer’s culture and will continue our bedrock traditions of high quality and extraordinary sound pickup.”
Dave Hetrick has joined Royer Labs as president and chief revenue officer, where he will lead global sales strategy. “Royer microphones are among the most respected tools in professional audio,” he said. “We see significant opportunity to grow the brand worldwide.”
www.royerlabs.com
Barco has reached an agreement in principle to acquire 100% of the shares of VerVent Audio Holding, the French–British premium audio company behind the Focal and Naim brands. The move marks a strategic expansion for Barco as it seeks to strengthen its position as a provider of integrated audiovisual solutions. The Belgian manufacturer explained that beyond the home and consumer segment, the move will also create new opportunities to develop integrated audiovisual propositions in public spaces and professional cinema. Headquartered in Saint-Étienne, France, VerVent designs and manufactures high-end audio systems spanning loudspeakers, headphones, studio monitors and automotive and yachting OEM solutions. Its portfolio also includes immersive and active audio products alongside a growing custom installation and home cinema offering.
Barco says that the acquisition will support its strategy to combine high-end visualisation with premium audio capabilities across both consumer and professional markets.
“Today marks an important step in Barco’s ambition to shape the future of immersive audiovisual experiences,” said Barco CEO An Steegen. “By welcoming VerVent and its iconic Focal and Naim brands into the Barco family, we accelerate our strategy to deliver fully integrated solutions where image and sound reinforce each other seamlessly.”
The transaction values VerVent at approximately €135mn and the purchase will be financed using Barco’s existing funds. VerVent currently generates annual revenues of around €110mn. Barco expects to realise synergies over the next few years. Including this acquisition, Barco has reconfirmed its long-term EBITDA margin guidance of 15% by 2028.
Following completion, VerVent will be integrated into Barco’s Entertainment division. The Belgian manufacturer says it intends to support the company’s ongoing strategic plan, which includes continued development of premium audio technologies and expansion of its global sales network. Completion of the transaction remains subject to customary closing conditions and consultation with employee representative bodies.
www.barco.com
Two Dubai projects linked to Tokyobased real estate firm Kasumigaseki Capital have been equipped with Yamaha professional audio systems. The installations include a high-end restaurant at the Vida Emirates Hills resort and the offices of KME Investment and Management,
The venue required an audio system capable of providing subtle background music during daytime dining, while also supporting DJ performances and live music in the evening. The system also needed to integrate discreetly with the restaurant’s interior design.
both designed to deliver high-quality audio environments for hospitality and corporate use. Based on the concept of “importing Japan to Dubai”, the Kasumigaseki restaurant aimed to offer an authentic, immersive Japanese dining experience. Kasumigaseki Capital entered the Dubai hospitality market following the announcement of the Dubai Master Plan 2040, which sets out the emirate’s long-term strategy for population growth and economic development. As part of this initiative, the company opened a Japanese restaurant at Vida Emirates Hills, inspired by traditional Sumi fire cooking techniques and the Wabi-sabi design philosophy.
Systems integrator KDDI Systems was appointed to design and install the AV and IT infrastructure, selecting Yamaha professional audio products supplied by UAE distributor Thomsun Trading & Establishment.
A Yamaha MRX7-D digital signal processor formed the core of the restaurant system, distributing audio across multiple zones including the main dining area, bar, private rooms and outdoor seating. The main setup combined Yamaha CHR10 2-way passive loudspeakers with CXS15XLF subwoofers, supported by VS6 and VXS10S surface-mount speakers for additional coverage. In the DJ booth, DBR10 powered loudspeakers provide monitoring, while VXS1ML speakers were installed in the bathrooms using CMA1M ceiling-mount adaptors. Outdoor seating areas were covered by additional VS6 and VXS10S loudspeakers.
Two private dining rooms were equipped with dedicated systems. “The VIP rooms can be completely isolated from the rest of the restaurant, but can also be opened up and become part of the main dining area,” recalled Thomsun’s José dos Santos. “The
guests can have a completely independent source in the VIP room or receive the feed from the main system.”
The larger VIP room feature VXL 1-16 slim line array speakers paired with a VXS10S subwoofer and a DCP1V4S surface-mounted controller for local adjustment, while the smaller room used VXC4 full-range ceiling speakers. Amplification was provided by XMV8280, PX8 and PA2030a power amplifiers. A Yamaha MusicCast WXC- 50 enabled online music streaming when required, while overall control was handled via a Yamaha MCP1 controller and an iPad running ProVisionaire Touch software.
“Because it was an Emaar property there were very stringent regulations to follow, from construction timings to the level of sound you were allowed to generate. There are residents above the restaurant, so there cannot be any complaints,” explained dos Santos. “Their pre-opening testing process was incredible –they want everything to be absolutely perfect before they open the doors. The restaurant management were literally standing with their hands on the walls while the music was playing to check if there was any vibration.” A second Yamaha installation was completed at the offices of KME Investment and Management in Dubai Hills. Here, a Yamaha MTX3 digital signal processor managed a multizone system covering the reception area, open-plan workspace and meeting room. Audio from three network players was routed to seven pairs of VXC3F ceiling loudspeakers powered by PA2120 amplifiers. Staff control the system via Yamaha’s ProVisionaire Touch application, allowing flexible management of background music throughout the office.
www.thomsunmusic.com www.yamaha.com
SAUDI ARABIA
Real-time playback and media server technology from Green Hippo played a central role in delivering a cohesive visual experience at the Momentum Global Development Finance Conference in Riyadh.
Staged at the King Abdulaziz Conference Center, the event featured a complex multisurface display driven by Hippotizer media
servers, forming the backbone of a tightly integrated video system.
The full AVL production was delivered by HiLights Group in collaboration with La Gloire, combining lighting, video and stage design into a unified creative environment. HiLights deployed Hippotizer Boreal MK2+ and Karst+ media servers to manage high-resolution outputs and synchronised show control.
“We designed the system around Hippotizer for flexibility and resilience,” said Ahmed Mohsen, head of video at HiLights Group. “It supported high-resolution outputs, dynamic transitions and seamless synchronisation across all visual and lighting elements.
“Hippotizer gave us maximum reliability without compromising creativity, and the confidence to execute complex sequences while remaining adaptable to changes during the show.”
Held under the patronage of His Royal Highness Prince Mohammed bin Salman bin Abdulaziz Al Saud, the conference required close integration between departments, with video and lighting working in sync to support the event’s narrative flow.
content mapped across scenic surfaces, enabling the stage to function as a flexible canvas.
Hippotizer’s Timeline tool and timecode alignment ensured structured playback, while Pin Bridge allowed operators to trigger video parameters directly from the lighting console. MIDI control further enhanced real-time interaction during rehearsals and live operation.
The system was configured with redundancy and synchronised timelines to ensure uninterrupted performance. ZooKeeper networking enabled multiple servers to operate as a unified system, maintaining consistency across LED displays and mapped elements.
“The biggest challenge in live production is adapting to last-minute changes,” Mohsen added.
“Hippotizer allowed us to make adjustments seamlessly, without impacting performance.”
HiLights Group delivered the project end to end, covering design, pre-visualisation, technical planning and onsite execution, resulting in a visually immersive experience that supported both engagement and storytelling.
www.green-hippo.com www.hilightsgroup.events
Prince Moulay Abdellah Stadium in Rabat has been upgraded with a NEXO GEO S12 sound system, designed to provide an optimal audio experience for fans. The completely rebuilt stadium was the venue for the recent 2026 Africa Cup of Nations final which was played in front of more than 66,000 spectators and tens of millions of television viewers worldwide.
Following an initial installation phase carried out by SGTM and its subcontractor ENCOM for the inaugural match, the operators wanted to enhance the spectator experience further. They then called upon Moroccan company LAMALIF, along with its partner Concept K and audio production company Fleik to reconfigure and expand the existing system. “Inside the stadium, we recommended the addition of 20 clusters, each composed of three NEXO L20 subwoofers, to reinforce the low frequencies of the NEXO GEO S12 system,” explained Jérémie Kokot, sound designer and manager of Fleik. “To extend the sound coverage towards the North Plaza,
we also designed, with Concept K, a new NEXO STM system suspended beneath the façade. This consists of two lines of nine M46 main units and nine B112 bass modules, complemented by three M28 units.”
These two projects were carried out jointly by Concept K, Fleik and the operational teams of LAMALIF, each contributing according to their area of expertise.
“We have in-depth knowledge of NEXO solutions and their suitability to our needs, as
well as a long-standing relationship of trust established with their teams, through numerous permanent installation projects,” reported Antoine Secondino, cofounder of Fleik. The project also benefitted from close support from NEXO’s engineering team. “From the very first phases, their engineers provided us with crucial technical expertise to refine our choices according to our constraints and objectives. The team remained fully committed until the final tests to validate the audio performance and guarantee a result that met our expectations,” Secondino continued. “Furthermore, the integration with the NEXO NeMo monitoring system and the use of the Dante protocol has strengthened the reliability and flexibility of operation, by facilitating signal distribution, routing and adaptation to the different event uses of the stadium.”
www.ckv2.com
www.fleik.fr
www.lamalif.ma
www.nexo-sa.com
Expanding its video streaming hardware and software offering, AJA Video Systems has entered into an agreement to acquire Comprimato, a live video encoding and processing software provider for virtualised and cloud productions and broadcasts. The move will unify the AJA and Comprimato development teams behind AJA’s Bridge Live family of IP streaming products.
Once the deal is closed, Comprimato CEO and cofounder Jiří Matela and the entire Comprimato leadership, development and operations team will join AJA. Comprimato will continue to operate as a separate brand under AJA and retain its European offices.
“Comprimato has proven to be a trusted, strategic AJA partner for years now,
supporting
Turkish distributor Prosistem has expanded its nationwide training programme with a series of events aimed at strengthening technical knowledge and engagement across the country’s professional audio market. The programme forms part of the company’s wider focus on education and market development, with training sessions, product showcases and industry events recently organised in multiple cities, including Ankara, Antalya, İzmir, Mersin and Istanbul. These activities are designed to provide systems integrators, rental companies, dealers and end users with hands-on experience of the brands represented by Prosistem.
Recent events have included a two-day Prosistem Training & Fair in Ankara, which attracted more than 250 participants, alongside additional training sessions in Cyprus and Antalya that brought together more than 130 industry professionals as part of a regional training tour. The distributor has also hosted specialist training sessions focused on Yamaha Rivage and DM7 mixing systems in İzmir and Mersin, as well as product-focused events including an LD Systems Maui Series workshop for major rental companies at the Istanbul Congress Centre.
In addition to large-scale events and regional training programmes, Prosistem regularly
hosts smaller workshops and demonstrations at its Experience Center in Istanbul, allowing integrators and end users to receive dedicated training and product demonstrations across the company’s portfolio. The showroom is also used to host training for university and vocational school students, providing early exposure to professional audio technologies and helping to support the development of the next generation of technical professionals.
The company says the expanded training programme reflects its long-term strategy of supporting industry education while strengthening relationships with partners and end users across the Turkish professional audio market.
Through these initiatives, Prosistem aims to continue increasing the scale and reach of its training activities while providing practical, hands-on learning opportunities for the region’s AV community.
“As Prosistem Group, we place great importance on training, which has always been an indispensable policy of our company,” commented Prosistem international relations and business development manager Eren Ertekin. “These sessions are highly productive in creating real experiences for our customers and end users, strengthening relationships, helping
solutions,” said AJA president Nick Rashby. “This agreement sets our R&D, support, sales and manufacturing on track to become tightly intertwined, which will allow us to accelerate development of the Bridge Live and Comprimato lines.”
www.aja.com www.comprimato.com
them stay up to date and gain deeper technical knowledge. We plan to further develop our training and continue increasing the number and scope of our activities in the coming period.”
www.prosistem.com.tr
Dolomite-KRD202P
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NAMIBIA
Stage Audio Works (SAW) Namibia has delivered an AV upgrade across two boardrooms of a local beverages company as part of the business’s ongoing investment in modernising its workspaces.
The project included the installation of Crestron-based AV systems, enhanced customisable lighting control, wireless presentation capabilities and professional Samsung Ultra HD displays.
SAW Namibia led the project, working closely with Chamberlain & Associates.
“This local beverages company has been a valued client for many years,” noted Joppie Maritz, managing director at SAW Namibia.
“We originally installed the first-generation AV equipment in one of the boardrooms and when the client decided to modernise the space with new joinery, displays and lighting control, they turned to us for phase two.”
One boardroom’s existing Crestron Flex Microsoft Teams Rooms system has been expanded through the addition of a lighting control interface and wireless presentation via a Crestron AirMedia system. SAW Namibia has upgraded the space with 85 -inch displays, chosen for their brightness and suitability for professional use, and full AV control integration. Audio capture
is handled by a Sennheiser TCC2 ceiling microphone, paired with Audac loudspeakers and an AVer camera for video conferencing.
demands of the space. A Crestron control system and occupancy sensors automate power and lighting, ensuring that the system
The other smaller boardroom has been outfitted with a Crestron Flex video bar system, providing an all-in -one solution to meet the
In light of the current geopolitical situation in the Middle East, AVIXA has revised its regional event plans. InfoComm EDGE, originally scheduled for October 2026 at the Festival Arena in Dubai, will now take place on 27–28 October 2027 at the same venue.
“The positive response to our announcement of InfoComm EDGE earlier this year reinforced a clear market need for a different kind of event,” said David Labuskes, CEO of AVIXA. “After close consultation with our partners in the region, we’ve taken a deliberate decision to move the full event to 2027 to ensure it lands with maximum impact.”
Instead, the organisation will host an invitation-only EDGE Preview in Dubai in Q4 this year. Designed as a focused working forum, it will bring together senior decision-makers and end users
from government, enterprise, leisure and entertainment, education and retail, alongside AV stakeholders and international consultants.
Planning for InfoComm EDGE continues, with regional integration firms beginning to submit design proposals for core activations.
“Our commitment to AV in the Middle East remains clear, ensuring we remain closely aligned with the needs and priorities of the region,” concluded Labuskes. “The EDGE Preview this year is a deliberate step to focus on how AV can deliver meaningful impact now, while shaping the foundation for 2027.”
Details for the EDGE Preview will be announced soon, with limited partnership opportunities available.
www.avixa.org
“The choice of professional-grade displays allows for extended use, increased display brightness and integration with the Crestron control system, whilst the upgraded DALI lighting with Cameo keypads allows for easy environmental control and customisation,” explained Maritz. “Users can tailor brightness and scenes to match their meeting requirements and the Crestron system ensures that all devices and modes can be easily managed. The addition of wireless presentation capabilities means anyone in the room can share their screens and multiple people can even present at the same time.”
powers down when the room is not in use, helping reduce energy consumption as well as prolonging the lifespan of the technology.
SAW Namibia sees the project as part of its broader commitment to empowering organisations to communicate more effectively through technology. “Assisting clients, long-standing and new, to keep their meeting spaces stable and effective remains a top priority for us,” confirmed Maritz. “The combination of upgraded displays, lighting and control systems provides this client with a futureproof system, bringing their boardrooms in line with the latest collaboration technologies.”
www.stageaudioworks.com
TSL has acquired JLCooper Electronics, expanding its control and interface capabilities across broadcast, pro AV, education and creative applications. The acquisition secures the future of the JLCooper brand following the passing of founder Jim Cooper, while ensuring continuity of support for its global customer base across live events, music, radio and AV markets. Following the acquisition, production will be relocated from El Segundo to TSL’s facility in Northridge, California, with manufacturing and shipping of JLCooper products set to continue under TSL ownership.
TSL plans to integrate JLCooper’s product range into its Hummingbird control ecosystem, extending its capabilities across cloud-
The addition of JLCooper’s interface technologies and MIDI-based control solutions is expected to broaden TSL’s reach into music and audio production environments. The move builds on TSL’s existing control portfolio, which includes Tallyman and DNF Controls, further strengthening its position in broadcast and AV control systems.
future for JLCooper’s technology while ensuring continuity for its customers,” said TSL CEO Matthew Quade. “Bringing these solutions into the Hummingbird ecosystem will enhance flexibility and expand the markets we could support.”
agreement provided a stable path forward for the brand and its users. “I couldn’t imagine a better home for the products and look forward to working with TSL to provide customers with enhanced options for their workflows,” he said.
“With the sad news of Jim Cooper’s passing, it was important to secure the
www.jlcooper.com www.tslproducts.com
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SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics. A B2B shop with over 25,000 products is available 24/7.
International Audio Group (IAG) has announced the launch of the QUAD Industrial brand dedicated to the fixed installation market. Drawing on the heritage of QUAD, and supported by IAG’s engineering resources, the new brand has been created to bring British audio philosophy into modern commercial environments.
Originating from the same stable as Wharfedale Pro, Wharfedale, Audiolab, Mission and Luxman, QUAD Industrial builds on a legacy that began in 1941 with Peter Walker in Huntingdon, Cambridgeshire, which is still home to QUAD’s research and development today. The brand name has been under IAG ownership since the 1990s, and, with its new evolution, will address the growing demands of architectural and installed sound.
QUAD Industrial is solely focused on purpose-built audio solutions for fixed installation.
The portfolio includes ceiling, pendant and wall-mount loudspeakers, compact subwoofers and dedicated installation amplification with advanced DSP, web-based control and factory presets optimised for all its loudspeakers, which are engineered for clarity, coverage and long-term reliability. The solutions have been designed to offer discreet aesthetics, robust construction and flexible power options to facilitate seamless integration into restaurants, retail spaces, offices, hospitality venues and public buildings.
Created for contractors, systems integrators and consultants, QUAD Industrial aims to deliver complete, scalable audio systems that are straightforward to specify and install.
www.quadindustrial.com
Powersoft offers System Integrators the ability to scale inputs and zones conveniently and efficiently with dynamic routing capabilities embedded in its amplifier platforms. This makes it simpler to share music between different zones independently from the source location, and to carry control signals in an automated fashion, and without the need of a centralized DSP.
Multiple UI options allow easy control of the whole system in dynamic music distribution applications.
Sound chooses Lampro LED
GB Sound has deployed over 200m2 of Lampro LDAII LED panels as part of its ongoing expansion into display solutions for corporate events, exhibitions and largescale installations.
Founded in 1998 by Grant Brooks, GB Sound provides sound, lighting, audiovisual, LED and staging solutions across South Africa, handling rentals, sales and installations for clients including MTN, Investec, Telkom and Old Mutual. The company has also supported major events such as PSL football games, World Cup fan parks and cultural festivals including the Wynberg and Mitchells Plain festivals.
Following an assessment of the company’s display needs, Brooks selected the Lampro LDAII panels for their
performance and ease-of -use, purchasing more than 100 640x480 units. The modules are combined to create multiple 10m x 5.5m screens intended to replace projection systems at conferences.
For a recent MTN event, GB Sound used approximately 70% of the available panels, installing a central screen with additional side elements. Brooks also highlighted the support he received from Audiosure, Lampro’s distributor. “The product is really great, but added to that, the support we receive from the Audiosure team is second to none and makes resolving any issues that may arise very easy to resolve,” he noted.
www.audiosure.co.za
www.lampro.net
Encore ME has bolstered its lighting inventory through the addition of 48 Cameo W600 Zenit LED wash luminaires from Dubai-based AV equipment supplier, Oasis Enterprises. The event production company made the purchase in response to increased demand from clients for LED wash fixtures. Encore ME was first introduced to Cameo products during Oasis’ 2025 Cameo roadshow in Dubai. The company said it was impressed by the W600 Zenit’s overall build quality, as well as the ability to quickly change filter frames using the magnetic frames feature –enabling the teams to adapt to different venue requirements instantly.
Encore ME plans to deploy the fixtures primarily for medium-to -large corporate events,
According to Richard Burton, entertainment and themed environment manager at Oasis, working with the Encore ME team throughout the purchasing process had been a highly positive experience: “From the outset, their team was clear in their requirements, professional in their approach and well-prepared at every stage. Overall, the collaboration was seamless and well-coordinated, reflecting a strong level of mutual understanding and trust. We truly valued our relationship with Encore ME and looked forward to continuing our partnership in the future.”
www.cameolight.com
www.encore-emea.com
www.oasismena.com
Middle Eastern distributor Masterpiece has unveiled its new experience centre in Saudi Arabia. The facility was officially inaugurated by Amar Subash, vice president and general manager for EMEA and India at Harman International.
“We were delighted to join Masterpiece in celebrating the opening of their new showroom in Riyadh and to engage with customers from across the region,” said Subash. “This milestone further strengthens our partnership and reflects our shared commitment, as well as our confidence in Masterpiece to successfully represent Harman brands and solutions throughout Saudi Arabia.” The event was further elevated by the presence of Harman dignitaries, including Ben Payne, senior director and business development manager; Alex Fouche, account
manager – EMEA; and Amro Awida, Middle East and North Africa business development manager.
The centre is designed to showcase Masterpiece’s portfolio of professional AV solutions, offering immersive sound and visual demonstrations and hands-on product experiences. The distributor also hopes that it will strengthen collaboration across the region.
According to Simon Daniel, general manager at Masterpiece: “Saudi Arabia is a dynamic and fast-evolving market, and this centre reflects our commitment to bringing world-class AV innovation closer to our partners and clients. Our vision was not just to supply solutions, but to create experiences that inspire, educate and elevate industry standards across the kingdom.”
www.masterpieceproav.com
South African production company Multi-Media has invested in a range of Robe Lighting fixtures for its Johannesburg and Cape Town locations. Provided by DWR Distribution, the purchase includes 24 LEDBeam 350, 24 Tetra2 and four Esprite luminaires.
When Multi-Media’s CEO, Anrico du Plessis, and director of production and technical, Jason Fritz, sought a lighting upgrade, they turned to Edwin Böhmer, lighting technician and designer at the company, to find a solution. “I showed them a few options and luckily the Tetra2s were one of them,” noted Böhmer.
According to du Plessis, as Multi-Media focuses on the corporate events sector, lighting upgrades were not typically a priority. “By the middle of last year, we realised that our lighting department needed some love and attention,” he explained. “We had a meeting with Duncan and Edwin and Jason came with a list. I think I caught Duncan off guard when I said I’m not sitting here worrying about price; as long as it comes with a flightcase, clamps and support from DWR and Robe, I’m happy. It’s not about the fixture; it’s about the trust and the support to ensure that the fixture can be maintained and remains
operational for years. We trust Duncan, his team and Robe deeply.”
It was reported that Böhmer’s visit to ISE 2026 in Barcelona, as well as a trip to
the Robe factory in the Czech Republic, confirmed his choice. “When you see the Robe stand at ISE and then visit the factory, you realise how much effort goes into the fixtures,” he said. “It really makes you appreciate the quality. The team at Robe were also incredibly friendly and helpful.”
The LD has already started putting the LEDBeam 350s to work at Versus MMA, a South African amateur mixed martial arts promotion that showcases top local fighters. “I’m using the LEDBeam 350s to wash the ring and in between fights we switch to beam effects,” noted Böhmer. “They’re perfect for that. Because they’re lightweight, we are able to mount them onto the LED screen so you hardly see them. We chose Robe because of the great relationship we have with DWR; we know we’ll always get good support.”
Kevin Stannett, Robe brand manager at DWR, added: “We really appreciate Multi-Media’s continued support and their investment in Robe. These versatile fixtures are built to work as hard as the team using them. A big thank you to everyone at Multi-Media.”
www.dwrdistribution.co.za www.robe.cz
SOUTH AFRICA TURKEY
Istanbul’s Paribu Art venue recently opened, featuring a rich programme of music, dance and stage performances. The immersive outdoor LED venue spanning approximately 1,250m² and boasting 140 million pixels is being powered by Disguise hardware and software, with mapped visuals designed to help the arts centre tell its story. Paribu Art is reported to be the world’s largest, highest-resolution
fixed-installation outdoor LED screen. Its official ceremony brought together artists and creatives from diverse disciplines for the first time for a range of performances. The spectacle intertwined light and sound to showcase the centre’s artistic performances.
Disguise’s hardware and software were leveraged to achieve a fully synchronised integration between the digital surfaces
and live performances, with immersive content unifying the two environments. The manufacturer’s technical services team supported the venue’s launch end to end, in collaboration with Paribu and the Paribu Art technology and production team, providing setup oversight, workflow design, show-control guidance and a content-scheduling framework to facilitate streamlined playback.
“Disguise is proud to have powered and supported Paribu’s grand opening in Istanbul with stunning, pixel-perfect visuals across a 32K digital surface,” said Disguise CEO Fernando Küfer. “The grand opening was just a preview of what the centre’s new state-of-the-art system could achieve and we couldn’t wait to see the creative content and immersive experiences that would continue to light up Istanbul in the future.”
Speaking during the opening ceremony, Paribu founder and CEO Yasin Oral said: “Tonight, we didn’t simply celebrate the opening of a venue – we celebrated Turkey’s new artistic voice and its journey towards international representation. As Paribu, our goal is to cultivate more cross-disciplinary creators and producers. This vision guided us while designing Paribu Art: to provide space for cultural actors who would move society forwards, to nurture new talents and to unite different disciplines under one roof within a supportive and collaborative environment.”
According to Paribu art director Özge Bakırçalı, the opening of the facility initiated a new narrative that brought art beyond the confines of a venue and connected it with the city and its communities. “The experience we created marked the first step towards the multidisciplinary production culture we aimed to foster in the future,” she said during the ceremony. “In the period ahead, through both our digital and physical programmes, we would continue expanding our creative scope – from performance arts to new media works, from inclusive content for children to international collaborations.”
www.disguise.one
d&b audiotechnik and L-Acoustics have partnered with SoundPLAN to launch System Design Exchange (SDE), a neutral standard for noise prediction across multiple sound systems.
As outdoor events grow in urban areas, predicting noise from systems by different manufacturers has been difficult due to proprietary tools, often leading to inconsistent results and challenges meeting environmental requirements.
SDE introduces a unified method and file format for consistent predictions in environmental noise software. It defines how to export data from tools such as d&b’s ArrayCalc and L-Acoustics’ Soundvision, and outlines methods for calculating acoustic interactions, including calibration and decoherence factors for accuracy at any distance.
Technicians can export designs as SDE files and import them into software like SoundPLAN, enabling accurate noise predictions for festivals with multiple stages and mixed systems. The format is expected to expand to other manufacturers and software.
“With SDE, we’re making effective and comparable noise management accessible,
ensuring that audiences can enjoy their favourite artists while respecting nearby communities, public facilities and natural habitats,” said Florian Hahn, product manager application software, d&b.
Yann Gaël Gicquel, director of product management, spatial systems at L-Acoustics, added: “Organising a festival today means navigating real tension between the energy that makes live music special and the legitimate expectations of the communities hosting it. Using SDE gives everyone at that table – promoters, consultants, local authorities – one shared, reliable source of truth for those conversations.”
Jochen Schaal, managing director at SoundPLAN, stated: “SDE will set a new benchmark for noise prediction in the audio industry, simplifying workflows and delivering the most reliable and accurate prediction of noise emissions from different sound system manufacturers to date.”
www.dbaudio.com
www.l-acoustics.com
www.sde-info.com
SOUTH AFRICA
Cape Town-based CCPP Group has invested in a grandMA3 compact XT lighting console, expanding its control capabilities for live events and film production work. Supplied by DWR Distribution, the console complements the company’s existing MA Lighting inventory, which includes grandMA2 UltraLight and grandMA2 Light consoles, as well as a dot2 system.
Founder Clint Cawood said the decision to invest in the new console was driven by both creative and operational considerations.
“Investing in the MA3 was about more than just adding new equipment,” he explained. “It allowed us to bring more creative possibilities and higher production value to the shows we worked on, while continuing to improve how we operated as a team.”
Operating across South Africa and neighbouring countries including Botswana, Mozambique, Namibia and Zambia, CCPP Group supports a wide range of projects, ranging from large-scale public events and conferences to smaller corporate productions, alongside a growing presence in the film sector where technical specifications and reliability are key considerations.
Patrick Manicom of DWR Distribution Cape Town added that the console was well-suited to the company’s evolving workload. “The new console expands what they do from live shows to rentals for film shoots. They are keeping up with the technology of choice, especially in industries where MA3 is often specified,” he said.
www.dwrdistribution.co.za
All-in-one PA system: 120° coverage, integrated 8-channel mixer and appcontrolled EQ with Nettuno 10 App.
Featuring high output up to 132.5 dB SPL, wide dispersion and accurate response, it’s ideal for live, DJ, and corporate applications . Its modular design scales from compact setups to more articulated ones, making it suitable for both mobile use and fixed installations. Ready for mono or stereo 2.1 use out of the box.
House on the Rock in Lagos, Nigeria, is one of West Africa’s most influential and technologically advanced worship centres, also staging The Experience Lagos gospel music event. Yamaha Rivage PM10 and DM series digital mixing systems are the focal point of the audio ecosystem for services, concerts and community events.
The Rock Cathedral in Lagos is the church’s headquarters and required a sound solution capable of delivering precision, scalability and consistency across multiple halls, auditoriums and performance zones. The cathedral’s head of technical and chief sound engineer is Ebenezer Odunlami, aka Mr Eben. “With diverse musical expression, multiple worship spaces and increasingly sophisticated production requirements, the technical team needed an audio solution that could excel in three core areas,” he said.
“First was exceptional sonic tonal depth required to authentically reproduce energetic African praise sessions. Second, flexible, independent source distribution across several consoles – supporting both professional engineers and volunteer teams – was essential, plus seamless integration with third-party systems such as lighting, timecode and macro automation.”
Headed by technical project lead Patrick Edem, systems integrator GOMAC Ventures Nigeria was appointed to evaluate potential systems, with the Yamaha Rivage PM10 digital mixing system emerging as the ideal front-of -house solution and heart of the
system. The Rivage PM10’s sound quality, advanced networking capabilities and streamlined workflow met every operational requirement for the cathedral, while a Yamaha DM7 digital mixing console was adopted for monitor mixes at 96kHz, plus regularly serving as a supporting console for some of the auxiliary halls, in combination with an existing CL5 digital mixing console. This ensured a consistent user experience and unified system control throughout the complex.
Full Dante integration for inter-console routing and audio transport was implemented, with peripheral systems for in-ear monitoring and Yamaha StageMix and Editor tools across a unified control network. It is an ecosystem which provides a future-ready, scalable audio environment capable of supporting both weekly services and global-scale productions with ease. “What stands out with Yamaha is the ability to seamlessly network multiple consoles, microphones, IEMs and apps. The workflow is fast and fluid – exactly what’s needed for our live worship broadcasts and complex event setups,” added Odunlami.
“For me, Yamaha is a quality brand and the systems make every service sound like a mastered mix,” concluded Odunlami. “But more than that, our sound system supports everything we do – from worship to community outreach. The Rivage PM10 and DM7 have become central to our expression.”
www.yamaha.com/2/proaudio
The international tour of Wicked is drawing audiences across Saudi Arabia, Bahrain, the UAE, India and Kuwait, supported by headset and lavalier microphones from Point Source Audio. For sound designer Shannon Slaton, the large-scale Broadway production presents consistent miking challenges. Heavy masks, prosthetics and elaborate costumes leave limited options for microphone placement. “With all the masks, prosthetics and costumes, it was a challenge across the board trying to find a position where the mic sounded good and wasn’t being covered up by something,” he explained.
equipment into the costume helped maintain stability during quick changes.
Across the production, Slaton deploys dual-element microphones for most of the cast, a method he has used on previous shows to provide redundancy and maintain vocal clarity. The three leads – Elphaba, Glinda and Fiyero – use headworn microphones instead. Elphaba’s staging requires her to fly out over the audience and in front of the PA system, making gain-before -feedback a concern. Headsets also allow the principals to hear more of their own vocals in stage monitors without compromising sound quality.
One of the most complex examples is Dr Dillamond. The character’s facial hair, mask and hat left little usable space. Slaton worked with the wardrobe department to integrate a GO2-9WL dual-element lavalier and transmitter directly into the mask and hat assembly to capture a consistent vocal performance. Rapid costume changes added further complexity. Several performers cover multiple roles, including the five monkeys, each wearing full head masks. To maintain reliable placement, wardrobe teams sewed microphones into the forehead area of the masks and built transmitter packs into the headpieces. “Once they were dressed into the headpieces, the mics stayed put,” Slaton said, noting that integrating the
The organisers of the Saudi Light and Sound (SLS) Expo and Saudi Entertainment and Amusement (SEA) Expo have announced that the 2026 edition of the show has been rescheduled, with the event now set to take place from 30 August–1 September at the Riyadh Front Exhibition and Conference Centre. The show was originally scheduled to be held from 19–21 May.
According to the organiser, the decision has been made in response to ongoing developments in the region, which have created
Elphaba’s character makeup presents an additional technical hurdle. The green paint applied to the performer’s face, hairline and neck can affect microphone elements over time. The IP57-rated SERIES9 GO2 omnidirectional lavaliers and headsets used on the tour are colour-matched to blend with makeup and wardrobe.
Having completed runs in Bahrain and Dubai, along with an extended engagement in Saudi Arabia, the production is among the first large-scale musical theatre tours to visit Riyadh, introducing new audiences in the region to Broadway-scale staging and sound design.
www.point-sourceaudio.com
logistical challenges affecting global travel and freight shipments. The revised dates are intended to ensure the event can maintain its expected scale and level of international participation.
The new timing will also allow for an expanded programme of networking opportunities, industry site visits and curated activities, with further details to be announced in due course.
www.saudientertainmentexpo.com
www.saudilightandsoundexpo.com
FBT unveils two new VERTUS CLA point source models built in aluminium extrusion. The CLA 204T and the IP55 certified weather resistant CLA 203T that includes water resistant enclosure, water resistant treated loudspeakers, a grille with hydrophobic fabric and hermetic terminal box. These models are also EN 54-24 certified for emergency and evacuation systems, with a ceramic terminal block and thermal fuse ensuring protection for the line connection in case of fire. A range of accessories is available to enhance the product’s functionality.
AVAILABLE NOW
Across the Middle East’s fastgrowing live events and AV sectors, demand for skilled video engineers continues to rise. Yet while access to technology has expanded rapidly, the pathway to developing deeper technical understanding has not always kept pace, leaving a divide between operating equipment and truly mastering it. LANG Middle East is aiming to address that imbalance with the launch of LANG Academy in Dubai, a training initiative designed to combine manufacturer knowledge with real-world application. Led by senior market development specialist David Vandevelde, the academy will be based at the company’s facility in Dubai Investment Park and aims to bring together manufacturers, rental companies and freelance professionals under a single framework.
“My primary responsibility has been to establish the academy in the region, facilitating the convergence of businesses and customers,” explained Vandevelde. “I was really impressed by LANG ME managing director Oliver Luff’s desire to promote people first. Without the right people, the equipment is nothing. My passion is firmly rooted in video, so the opportunity to focus entirely on video while still reaching the whole community means I have found my true calling.”
The academy is designed to move beyond traditional manufacturer-led training by combining technical instruction with practical experience. While certification from established brands will form part of the programme, the wider aim is to create a knowledge-sharing environment that reflects the realities of working in the field.
“More than just a training programme, the academy is intended to create a central meeting point for the industry,” Vandevelde added. “Our goal is not only
and international manufacturers to ensure access to current technologies.
The initiative comes at a time of sustained regional growth, which
to provide certification but also to build a trusted group of professionals who can effectively manage and deliver events.”
LANG’s Dubai Investment Park facility has been configured to support both classroom sessions and hands-on work, including equipment teardown and rebuild scenarios. The company is also working with local
Vandevelde believes has exposed a gap between basic operational knowledge and deeper technical understanding. “I’ve been in this business for over 30 years,” he said. “Manufacturers can teach you how to use a product, but they won’t always share real-life scenarios. Building an LED screen doesn’t make you an instant video
engineer. It takes time and knowledge to reach that level.”
To address this, the academy will initially target rental company staff and freelancers, offering short-format courses designed to fit around project commitments. Sessions are expected to run multiple times per month, covering a range of skill levels, from fundamental cabling through to advanced topics such as media servers, projection and networking.
Alongside its core training offer, LANG Academy will also invite participation from manufacturers not currently active in the region, providing a platform to introduce new technologies and engage directly with local users. Discussions with potential partners are already underway, with the programme expected to evolve based on industry feedback.
Looking ahead, success will be measured by the academy’s ability to embed itself within the regional AV community as both a training destination and a meeting point for professionals. “Whether it’s a formal session or an ad-hoc visit to explore new technology, LANG Academy will be a place where people can come to discuss projects and leave with more knowledge than they arrived with,” Vandevelde said. Kicking things off, an open house event is scheduled to take place on 19 May at the LANG Middle East facility in Dubai Investment Park, offering an opportunity for the industry to engage with the academy and explore the latest technologies from participating manufacturers.
www.lang-me.com
The UAE National Orchestra recently delivered its debut concert at Emirates Palace Theatre in Abu Dhabi, supported by an L-Acoustics L-ISA sound system and DiGiCo consoles for mixing. The audio setup was designed by Auditoria with the show’s producer, Done + Dusted.
Auditoria worked with Done + Dusted and the orchestra to shape an audio approach that supported an immersive orchestral experience, alongside multitrack recording and a broadcast-ready stereo mix prepared for release.
“This was a special moment,” noted Scott Willsallen, Auditoria’s CEO and sound designer. “It was an important performance for the orchestra and everyone involved wanted to do it justice. The focus stayed on the music, how it sat in the room, how it connected with the audience and how it could be presented in a way that felt right for the orchestra.”
The Emirates Palace Theatre, within the Emirates Palace Mandarin Oriental, is a 3,000m² auditorium with a 1,100 -guest capacity, designed for high-profile concerts and ceremonies. Despite its refinement, the theatre poses limitations for contemporary audio, with restricted rigging and many productions relying on ground-mounted loudspeakers beside the proscenium.
For this concert, the team delivered a custom solution. Using L-Acoustics Soundvision modelling, Auditoria explored alternative layouts, placing the main frontal scene slightly upstage. Surround and overhead speakers were treated as core elements, creating depth and scale. Pitch Black’s Mark Hammond supported the complex rigging while preserving the design intent.
The L-Acoustics setup included five L2D long-throw speakers and two KS21 subs for the frontal scene, with two A15 Wide units as out fills. Front fills comprised 11 5XT cabinets, with 10 A10 Wide units for delays. Surrounds included 14 Syva and 12 5XT units, while overheads used 18 X8 boxes. “It would have been easy to accept the usual approach,” Willsallen explained. “But for a debut performance like this, that didn’t feel right. The challenge was finding a way to create space and dimension without compromising the theatre itself.”
At FOH, a DiGiCo Quantum7 console supported the main mix, with a dedicated Quantum7B for broadcast.
Dual-redundant L-ISA processors provided spatial control, while AVB and AES signal paths ensured resilience. Schoeps microphones captured the orchestra for live and multitrack recordings. Dual-redundant QLab systems handled pre-show playback, with Reaper recording at FOH and broadcast positions. Auditoria also
designed audio and control systems for the theatre’s pre-function spaces.
“Everything needed to work together,” added Willsallen. “The live mix, the recording, the broadcast feed, they all influence each other. If you don’t design for that early on, it becomes very hard to fix later.”
The performance was reportedly met with a positive response from the client, musicians and audience, and was recorded and mixed for wider sharing.
www.auditoria.systems www.digico.biz www.doneanddusted.com
www.l-acoustics.com
Supporting real-time video distribution and content management across the venue, VITEC has delivered an IPTV and digital signage solution at Dubai’s Meydan Racecourse. Home to the Dubai World Cup, Meydan features an 80,000-seat grandstand alongside hospitality spaces including luxury suites, restaurants and a hotel. The recent upgrade was designed to enhance existing media systems, deliver lowlatency video streams and maximise sponsor engagement.
The project presented several challenges. Meydan’s vast infrastructure spans multiple zones, each with unique requirements, from VIP suites needing 4K video and personalised content, to public concourses and hospitality areas requiring robust live feeds and dynamic
signage. The existing media systems were outdated and lacked the flexibility, reliability and performance needed for modern, high-profile events. Managing content across hundreds of screens was time consuming and inefficient, and the venue needed a platform to deliver impactful, targeted messaging for sponsors.
In total, more than 600 VITEC 4K-ready digital signage players have been deployed, providing hardware-based playback and supporting dynamic content overlays. The platform enables zone-based content distribution, allowing different areas of the venue to receive tailored video and messaging, and incorporates VITEC’s IPTV and digital signage platform, with MGW Diamond encoders used to deliver sub-second latency video streams using HEVC and H.264
Blue Array Productions has invested in a new d&b audiotechnik SL-Series system supplied by Stage Audio Works (SAW), becoming the first production company in South Africa to acquire the KSL line array ecosystem. The Johannesburg-based production house has purchased 28 KSL line array modules together with D40 amplifiers. The investment marks the latest stage in a relationship between Blue Array Productions and SAW that began in 2009 with the purchase of a d&b Q-Series system.
Blue Array expanded its inventory with the addition of the J-Series in 2011, strengthening its position as a provider of large-scale audio systems for live events in the region. The companies have continued to work closely together for more than 15 years.
The move to the SL-Series reflects growing demand for d&b systems from international touring productions as well as regional festivals and events. The addition of the KSL system enables Blue Array Productions to meet rider requirements from touring artists while expanding its capabilities for local productions.
compression. SDI feeds from broadcast cameras positioned around the track are encoded and distributed across the venue.
A centralised web-based management interface provides control over content scheduling, system monitoring and user access. The integrated content management system supports promotional material, sponsor messaging, event information and emergency notifications.
To ensure efficient operation across the large-scale infrastructure, the system utilises multicast streaming and network segmentation, helping maintain reliable delivery without affecting other venue systems.
According to the manufacturer, the deployment has improved video synchronisation across the venue while reducing latency and simplifying content management workflows. The system also enables sponsors to deliver targeted, time-sensitive content throughout race events. “Our vision at Meydan has always been to set the standard for world-class sporting and entertainment experiences,” commented VITEC business development manager Ahmad Bsat. “This deployment ensured that guests across the venue could access live content and information in real time.”
www.vitec.com
Megasound, the official distributor for RCF in Cyprus, has delivered a comprehensive audio system upgrade at the newly renovated Spyros Kyprianou Arena, the largest arena on the island. The 8,000-seat venue was recently used for the FIBA EuroBasket 2025 matches, making Cyprus the smallest nation ever to host the tournament. Designed to
background programming. Inside the arena, the main court system is built around 48 HDL 28 -A active line array modules with eight HDL 38 -AS subwoofers, delivering the headroom and low-frequency extension required for a modern sports presentation. Coverage and localisation are further optimised with a dedicated complement of
“Our relationship with SAW has always been about more than just buying equipment, it’s about a shared commitment to providing audiences with the highest quality audio experiences,” said Kobus van Rensburg, founder of Blue Array Productions.
“We started this journey in 2009 and, today, investing in the KSL system was the natural next step, offering a level of control and efficiency that is now essential to meet the expectations of modern productions locally and international riders.”
Gustav Barnard, co-CEO of SAW, added:
“Working with Blue Array Productions is a privilege. Kobus and his team have a reputation for technical precision, and they’ve been an integral part of the d&b family here for a long time. This latest investment is a testament to a 15 -year relationship built on trust and a mutual drive to bring the best possible sound to South African audiences.”
www.dbaudio.com
www.stageaudioworks.co.za
meet stringent FIBA technical requirements, the project was aimed at enhancing the game-day experience for teams, media and spectators while strengthening the venue’s readiness for future top-tier international events.
The RCF deployment follows a two-layer system architecture, addressing both public spaces and the main bowl with purpose-built solutions. In common areas and circulation zones, a distributed network of 140 WMR 50T wall-mounted loudspeakers, complemented by 46 Compact M 06 and four Compact M 08 units, provides even coverage and high speech intelligibility for paging and
TT+ Series point source systems (TT 10 -A , TT 25 -A II and TT 08 -A II), supporting targeted fills and consistent tonal balance across seating areas. System management is handled via RDNet, with two RDNet Control 8 units enabling centralised supervision and repeatable operational presets. From pre-game presentation through to the final buzzer, the installation reportedly delivers controlled, coherent coverage and reliable operation, positioning the Spyros Kyprianou Arena as a reference venue for major international basketball events.
www.rcf.it
Regarded as a cultural landmark in Uzbekistan, the Alisher Navoi State Academic Bolshoi Theatre in Tashkent recently introduced Ayrton luminaires to elevate its performances. Designed by academician Alexey Shchusev and inaugurated in 1947, the theatre fuses both Eastern and European architectural styles.
Through the project, the venue’s 1,440 -seat auditorium has been upgraded with a new lighting system. “It was essential for us to integrate new technologies without compromising the historical character of the space. This called for high precision and non-standard solutions,” commented Vladislav Zhurakovsky, head of lighting, Bolshoi Theatre Tashkent.
A key objective was to implement fixtures that provided nuanced performance control and flawless colour consistency. Taking this into account, Ayrton’s official distributor for Central Asia and the Caucasus, Sound Creations Electronics, supplied and installed 24 Ayrton Bora S profiles and 26 Mistral S wash lights for the venue.
Bora S is a high-CRI profile that has been designed to deliver refined beam shaping and smooth dimming, making it suitable for principal stage lighting, actor modelling and enhancing scenic architecture. Mistral S has been built as a compact fixture with a wide zoom range and varied colour palette, making it ideal for both immersive atmospheric washes and dynamic stage shifts.
“The new Ayrton equipment has shown remarkable stability and accuracy in complex setups,” noted Zhurakovsky. “In addition to which, concealed mounting and custom cable routing were required to ensure integration into a historical theatre, all of which were met successfully.”
Since installation, the theatre has premiered several major productions, including the Mari State Academic Opera and Ballet Theatre’s presentation of Sergei Prokofiev’s Romeo and Juliet in a staging by Konstantin Ivanov, which featured nuanced light gradients and sculpted highlights.
The Tashkent premiere of Jacques Offenbach’s The Tales of Hoffmann by celebrated director Stefano Poda relied on the Ayrton fixtures to support the production’s layered scenography in harmony with the National Symphony Orchestra of Uzbekistan.
“After the renovation, the theatre has gained a new expressive
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capacity,” concluded Zhurakovsky. “We now work with much greater freedom, with the technology fully supporting artistic intent rather than limiting it.”
The lighting system concept and integration were carried out by Sound Creations Electronics in collaboration with Zhurakovsky, the Art & Culture Development Foundation of Uzbekistan and the technical team of Yastreb Sound.
www.ayrton.eu www.sc-electronics.com www.yastreb.uz
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Avail MEA has strengthened its regional portfolio through a series of new distribution and partnership agreements spanning professional audio and lighting across the UAE and wider GCC. The company has been appointed exclusive UAE distributor for Renkus-Heinz, expanding access to the manufacturer’s digitally steerable loudspeaker systems for consultants, integrators and end users.
“The UAE is the business hub for the Middle East and Asia. It benchmarks some of most advance AV technologies in the region,” said Karan Kathuria, director – sales and business
development at Renkus-Heinz. “Embracing the same vision, Renkus-Heinz is glad to partner with Avail MEA, exclusively in the UAE.”
The company has also been named exclusive distributor for SoundCoreHero across the UAE and GCC, introducing its multizone audio management platform to markets including hospitality, retail and entertainment.
“Our distribution agreement with SoundCoreHero underlines our company’s aim to offer our clients innovative and very tailored pro AV solutions,” said Pavel Shemiakin, managing director at Avail MEA.
In parallel, the distributor has been appointed a gold sales partner for Vari-Lite across the GCC, marking a further expansion into professional lighting. The agreement will see the company represent Vari-Lite’s entertainment lighting portfolio while providing local technical support.
“I’m proud to welcome Avail MEA as the first gold reseller in the new Vari-Lite Partner Programme,” said Stefan Wieland, key account manager METNA at Vari-Lite Entertainment Lighting.
Dubai-based distributor NMK Electronics has added collaboration platform MAGO to its unified communications portfolio, expanding its offering of software-led workplace solutions. The agreement reflects a shift towards more integrated workplace environments, combining hardware, software and room experience into a unified proposition for enterprise users.
According to the distributor, demand across the region is moving away from standalone products towards connected systems that deliver consistent performance across different meeting spaces. MAGO has been introduced
to address this requirement, offering tools for content sharing, digital whiteboarding, room control and workflow integration within a single platform.
“MAGO comes into the portfolio at the right time,” commented NMK Electronics UC business unit head Suhed Mohammed. “End users today want solutions that are agnostic, flexible and effortless, and MAGO delivers exactly that. With MAGO on Neat, organisations gain flexibility on top of quality, which elevates the overall experience. This step broadens what we can offer the market and creates exciting
possibilities for customers looking for simpler, more agnostic workplace experiences without compromising on meeting quality.”
From a channel perspective, NMK said the partnership is intended to support consultants, integrators and end users with more streamlined deployments and consistent user experiences across multiple sites.
Cristiano Fumagalli, co-founder and vice president at MAGO, said the partnership aligns with growing demand for simplified, cross-platform collaboration: “We are pleased to partner with NMK. Their regional expertise and understanding of modern collaboration needs are closely aligned with our mission. MAGO is built for a unified experience that works across devices, platforms and rooms. Today, that requires simplicity, the flexibility of Bring-Your-Own-Meeting and seamless cross-platform interoperability.”
The distributor plans to focus on demonstrations, training and deployments over the coming months to support adoption of the platform across the Middle East.
www.nmkelectronics.com
Avientek has partnered with Listen Technologies and Ampetronic in the GCC. Through the move, Avientek will represent Ampetronic alongside the brand’s existing distributor in the region. The company will also serve as the sole distributor for Listen Technologies and the Auri system across the region.
Avientek will leverage its strong technical knowledge and deep market understanding to help Ampetronic and Listen Technologies increase installations and accessibility in the locales. The agreement covers the brands’ combined portfolio, including ListenWIFI, ListenTALK, ListenIR and hearing loops.
According to Vineeth Nair, international business development manager at Ampetronic and Listen Technologies, the GCC region is seeing steady growth in projects that focus on better accessibility and improved audio standards. “Several countries have started enforcing updated
building codes that include assistive listening requirements, which is driving demand for dependable, compliant solutions,” he said. “At the same time, many organisations are aiming to create more inclusive audio environments so everyone can hear clearly, not just individuals with hearing loss.”
VM Manu, director at Avientek, added: “Ampetronic and Listen Technologies are leaders
in innovative assistive listening solutions that increase audio accessibility for everyone. As the sole distributor for Auri in the region, we will support venues in installing Auracast-based assistive listening.”
www.ampetronic.com
www.avientek.com www.listentech.com
Collectively, the agreements reinforce Avail MEA’s position as a project-focused distributor for complex AV installations across MEA, with an emphasis on technical expertise, local support and enhanced access to audio and lighting technologies.
www.avail-mea.com
www.renkus-heinz.com
www.soundcorehero.com
www.vari-lite.com
Williams AV has welcomed MIFA Musique as its distributor for Morocco. According to the manufacturer, the appointment aligns with the region’s growing interest in professional language and interpretation systems.
A well-established pro AV distributor, MIFA Musique brings experience in interpretation and intercom applications, along with strong relationships throughout the regional integration community. Williams AV said that the partnership will focus on
working with experienced local teams who understand how the brand’s systems are applied in real-world environments.
“We’re seeing more requests for interpretation systems across a variety of projects,” said Karima Khireddine, deputy general manager at MIFA Musique. “This partnership allows us to support those needs with reliable, flexible solutions.”
www.mifamusique.com www.williamsav.com
PAXT has been appointed as the official Middle East distributor for ADAM Audio, covering Bahrain, Jordan, Kuwait, Saudi Arabia, Qatar and UAE. Following the successful addition of Sequential and Oberheim in late 2025, the inclusion of ADAM Audio’s precision monitoring solutions is the natural evolution of PAXT’s longstanding partnership with Focusrite Group, with the inclusion of ADAM Audio’s studio monitoring range further expanding the distributor’s professional audio offering across the region. With inventory already staged at its warehouse in Dubai’s Jebel Ali Free Zone, PAXT is positioned to offer immediate product availability and fast regional fulfilment.
“Adding ADAM Audio’s world-class monitors to our production portfolio is an incredible
opportunity,” commented PAXT business development manager Nisal Jayasinghe. “Our Jebel Ali hub allows us to offer quick deliveries across the Middle East with unmatched logistical support, particularly to our partners in East Africa.”
Tim Pollard, managing director at PAXT, added: “We are thrilled to build upon our strong relationship with Focusrite. Quality and performance are non-negotiable in this market. Our marketing plans are already in motion to showcase these products across the region, engaging directly with users to demonstrate why ADAM Audio remains the industry benchmark.”
www.adam-audio.com
www.paxt.ae
Roland Professional AV has appointed DWR Distribution as its official distributor in South Africa. The partnership aims to strengthen the brand’s overall presence in the African market while also expanding regional support for integrators, production companies, houses of worship and corporate AV teams.
DWR Distribution will represent Roland’s full portfolio of video switchers, direct streaming solutions and Hybrid AV mixers in South Africa.
“Africa represents an exciting and rapidly evolving market for professional video production,” explained Fran Gallego, who is responsible for Roland Professional AV sales development across Southern Europe and MEA. “Partnering with DWR Distribution allows us to combine Roland’s globally trusted technology with a distributor that understands the local industry.”
The move comes amid growing demand for live streaming and hybrid production
Follow-Me has agreed a distribution partnership with Kariotis Audio & Lighting, expanding access to its performer tracking solutions across Cyprus and Greece. The agreement covers the full Follow-Me product range and builds on an existing relationship between the two companies, which began through demonstrations and training sessions in 2024.
Kariotis Audio & Lighting, which operates across both markets, plans to introduce the technology through a programme of technical seminars and training events aimed at integrators, rental companies and theatre professionals.
“It is fantastic that Follow-Me can work with any type or brand of lighting fixture,” said Pandelis Kariotis, sales manager and technical advisor, Kariotis Audio & Lighting. “The new DELTA system
systems across sectors such as corporate events, education and content creation, where Roland’s systems are designed to combine video switching, streaming and audio mixing into compact production solutions.
“Our focus will be on Roland’s range of switchers, direct streaming solutions and innovative hybrid AV mixers,” added Werner Nieman, who will oversee the Roland brand at DWR. “These products are trusted by professionals across the globe.”
To support the rollout, members of the DWR team have already completed Roland Professional AV training, enabling the distributor to now provide system design assistance and technical support to customers across the country.
www.dwrdistribution.co.za
www.roland.com
is particularly exciting for us, because space constraints are a real challenge in local live venues.”
The distributor is targeting applications in live performance and theatre, including the replacement of traditional follow spot systems.
“We are very happy to start this cooperation, knowing we can rely on the experience and network of Kariotis to grow Follow-Me’s presence in Greece and Cyprus,” added Marc van der Wel, Follow-Me’s managing director. “Our intention is to get an even closer connection with lighting, audio and video designers, as well as technicians and operators in the region, to present and support Follow-Me effectively.”
www.follow-me.com
www.kariotis.gr
Nordic Audio Labs has appointed Just Pro Audio as its exclusive distributor for the GCC, covering the UAE, Saudi Arabia, Bahrain, Kuwait, Qatar and Oman, with additional dealer support in Iraq. The move marks a strategic expansion for the boutique manufacturer in the Middle East, targeting studios, engineers and production professionals through local demonstrations and outreach.
Nordic Audio Labs is known for developing its own capsule technology and analogue circuitry. Its flagship NU-24K large-diaphragm
condenser microphone is central to the initial rollout and is now available for demonstration in the region.
“We’ve already started introducing Nordic Audio Labs to studios, dealers and contacts across the GCC,” said Beata Mablad, owner of Just Pro Audio. “The focus now is on building awareness through demos, dealer communication and digital marketing.”
Further product introductions, including the upcoming VÄRI system, are planned as part of a longer-term regional strategy.
Erik Sjøholm of Nordic Audio Labs added: “We’re delighted to partner with Beata Mablad and Just Pro Audio to expand the availability of Nordic Audio Labs microphones across the GCC. Beata’s extensive experience in professional audio, combined with her understanding of the regional market, ensures that customers will benefit from expert local support, demonstrations and distribution.”
www.justproaudio.net
www.nordicaudiolabs.com
d&b audiotechnik Middle East has appointed Mohammed Al-Khateeb as sales manager for Saudi Arabia and Egypt, where he will lead sales strategy across both markets.
In his new role, Al-Khateeb will focus on strengthening the brand’s presence across major projects, while building long-term relationships with partners and consultants. He brings nearly 20 years of experience in the Saudi market, with a strong track record in business development and regional growth.
“I am really excited to welcome Al-Khateeb to the d&b audiotechnik Middle East team during this phase of real growth for us,” said Brad Maiden, GM of d&b audiotechnik
Middle East. “His extensive knowledge of the local market, networks and projects will further promote the d&b audiotechnik ethos of quality, innovation and market-leading technology.”
www.dbaudio.com
Lawo has appointed Jamie Dunn as CEO of Lawo AG, following his tenure with the company since 2011 and most recently serving as deputy CEO. Dunn will lead the company’s continued development, drawing on his extensive experience and market knowledge. “Lawo’s strength has always been rooted in its people, its partnerships, its values and its commitment to innovation,” he said. “I am honoured to lead the next chapter of success of this remarkable company.”
As part of the transition, Philipp Lawo steps down from the management board to join the supervisory board, reinforcing a clearer separation between management and oversight. The management board continues to include CFO Claus
changes reaffirm our confidence in Lawo’s proven management structure,” said supervisory board chairman Michael
www.lawo.com
Reinforcing its global growth ambitions, DirectOut has announced a new leadership structure alongside a key senior appointment.
A three-member management board now sees Luca Giaroli appointed as CEO, René In Der Stroth as CFO and Jan Ehrlich transitioning to COO.
Giaroli, previously chief strategy and solutions officer, has been instrumental in evolving DirectOut into a provider of integrated audio solutions. “DirectOut has experienced remarkable growth over the past years in people, partners, technologies and revenue,” he said.
“This evolution brings complexity that requires a broader and more specialised leadership team.”
Supporting this direction, industry veteran Giacomo Previ joins as director of marketing
and strategic partnerships. With over 30 years’ experience, he will lead global marketing strategy and strengthen industry alliances.
“I am personally and professionally excited to welcome Giacomo Previ to our
Shure has expanded its leadership team with two senior appointments and the promotion of a long-standing executive. Phil McPhee has been named vice president of operations and chief supply chain officer, joining the executive staff. Bringing more than 20 years of global experience, he will oversee Shure’s operations division and supply
chain functions. “Phil is known for having a collaborative leadership style, a deep technical background and a strong commitment to building high-performing, globally connected teams,” said CEO Chris Schyvinck.
Jerome Nolasco joins as vice president of information technology, contributing over 25 years of experience in enterprise
team,” added Giaroli, highlighting the appointment as a key step in expanding DirectOut’s global footprint and strategic vision.
www.directout.eu
IT, including digital transformation and AI governance. Meanwhile, Althea Ricketts has been appointed to the executive staff in her role as vice president of corporate initiatives, continuing her work in inclusion, sustainability and strategic programmes.
www.shure.com
Bea Meikle speaks with Régis Cazin of
Arbane
about his lifelong passion for judo, competing on the world stage at 56 and why switching off is essential to switching on at work
Tell me about your role
I’m CEO of Arbane Groupe, which I founded by merging two pro audio brands, APG and Active Audio, and I remain the majority shareholder. My main goal is to enjoy my work. For me, that means achieving strong results while leading a growing company where employees feel comfortable and fulfilled. My role is to bring people together around a shared vision and strategy, then lead a team of incredibly talented individuals. I love that every day is different. I genuinely feel I’m creating happiness around me: satisfied customers, audiences experiencing exceptional sound quality and a company that respects nature and people, and ensures employees are happy to come to work.
What inspired you to start judo?
I started judo at six. I was also playing tennis with my younger brother, but our mother quickly realised it would be better for us to practise different sports to avoid constant competition. My brother was better than me at tennis. In judo, it was the opposite. So, I stuck with judo and put the tennis rackets aside.
How often do you practise?
I train twice a week on average. I also practise other sports to support my physical preparation. Overall, I do sport five times a week, choosing between kitesurfing, wingfoiling, stand-up paddleboarding, mountain biking, yoga, skiing and strength training.
Do you take part in competitions?
Judo can be practised as a highly technical martial art based on kata or as a combat sport where competition drives progress. I’m drawn to the second approach. Competing keeps me setting goals and, in a way, staying young. It’s essential for measuring yourself and staying motivated.
In judo, we’re fortunate to have a full veterans’ circuit, with age and weight categories, including World Championships, which I was lucky enough to take part in. In my category there were 47 competitors from around 20 countries. I finished seventh at the World Championships last month – a much better result than I thought I was capable of.
What’s most challenging about the sport?
It’s extremely demanding on the cardiovascular system and requires a well-prepared body. Without that, you risk injury. So, you need to train regularly and with intensity. There’s no shortcut.
What are the biggest benefits for you?
Judo has shaped me profoundly, both personally and professionally. It has taught me perseverance, respect, honesty, adaptability and tolerance. It’s given me self-confidence, self-knowledge and the ability to transform stress into positive energy.
The health benefits are also significant. Sport keeps both body and mind young. Judo is essential to my balance. It helps me
release accumulated stress, manage frustrations and keep perspective – work is not everything.
In my life, I have three equally important pillars: family and friends, personal life – where sport plays a major role – and professional life. Those pillars must stay balanced if you want to perform well over the long term.
Also, the fact that at 56 I can still hold my own against younger athletes in their prime, across several sports, is a big achievement for me.
How does competing in judo parallel your work life?
Competition calls on many of the same skills required of a company leader. You set ambitious goals, work hard, plan your preparation and, if results aren’t what you expected, analyse why and adjust for next time. Judo may be individual, but without training partners, coaches and family support, you are nothing. It’s the same as leading a company.
How does the sport help you to destress?
Judo is like a reset button. The moment I step onto the tatami, everything else disappears – emails, deadlines, responsibilities. You have no choice but to be fully present. If your mind wanders, you end up on your back. That intensity forces me to let go of accumulated stress. I always leave training feeling lighter, clearer and more centred.
Why is it important to have an outlet outside work?
Work alone can’t sustain you. To perform professionally, you need moments to disconnect, recharge and reconnect with who you are beyond your job title. A passion – whether sport, art or something else – gives you essential breathing space and helps you maintain long-term balance.
www.arbane-groupe.com
With three decades of live music and touring experience under her belt, Sascha Heeney is also an experienced psychiatric nurse, making her the ideal candidate for a newly created position as welfare officer on Dua Lipa’s international tour
How did the idea for this groundbreaking role come about?
In 2024, Tamsin Embleton, who runs the Music Industry Therapy Collective (MITC), wrote a book called Touring and Mental Health: The Music Industry Manual. The tour director for Dua Lipa’s Radical Optimism tour read it and contacted Tamsin about having someone to oversee welfare. Collectively, they designed a position for a welfare officer. Tamsin contacted me to discuss this further; we’d worked together many years ago for a promoter, and Tamsin knew I had also made the move into the world of mental health. I agreed it was a wonderful idea, and very overdue. There have always been mental health issues in the music industry, but over the last few years there’s been much more acknowledgement and exposure, sadly through a number of high-profile and untimely deaths. Tamsin, the tour director and I agreed that a “preventative” rather than “cure” model of care was the best approach. Due to the many, and often unpredictable, issues that arise on the road, it was important to have someone who could problem-solve and mitigate risk in real time. We wanted to make people feel heard and to give them a sense of belonging. We also needed someone that could create a safe environment for the crew and help to build emotional regulation and stress management.
Was your role on this tour still relatively rare in the touring industry?
Absolutely. It was trailblazing, and very forward-thinking that this camp was willing to invest in it. It was quite experimental as well, to see if there was actually a place for such a role on a music tour. Now, 14 months on, I can tell you there absolutely is, and I was even able to collect data to quantify this. We now
have an evidence base to demonstrate to other tours the positive outcomes of having someone overseeing welfare on the road. But, while I feel it should be mandatory for all tours, we have to remember that smaller tours would struggle to finance this. MITC is therefore looking at other ways of supporting tours where the gold standard of having someone on the road isn’t feasible. The latest example of this is a “pay it forward” model. This would establish a central fund that larger production companies, promoters and agencies would contribute to, supporting up to 50 smaller tours a year with structured mental health provision.
What are the challenges of international touring from the point of view of the crew?
You name it; touring is intense. It’s a transient world built on little sleep and very high expectations. I think there is still quite a romanticised view of the world of touring, and it’s demanding in ways that are different to many workplaces. These include being away from home, loneliness, long hours, crossing time zones, group dynamics, anxiety, depression, conflict management, physical strains and all sorts of other ad hoc things that arise along the way. People would often be fearful of speaking out when they were struggling as they are freelancers and worried about being replaced. That was why it was so important to have someone dedicated to this role; having someone solely for health and welfare gives people the confidence to come forward when they have issues.
Did you work with local crew as well as the touring contingent?
This service was available to everyone who was part of the tour that felt they needed support: truck drivers, caterers,
technical crew, production, bands, dancers, local crew – with a minimum of 120 touring personnel there was a lot to oversee. The concept of welfare is subjective to us all and, as a clinician, I always practise in a holistic fashion, making my care person-centred. It takes a while to build up therapeutic relationships and trust, but having a familiarity for such a long time was a powerful thing. People knew they had a confidante, a mentor and a safe space when needed. I remained objective; I wasn’t part of production or any one group and everything remained confidential unless any safeguarding was needed. I think the fact I’m a nurse and governed by the NMC (nursing and midwifery council) helped people feel contained and safe.
Could you gauge a difference in the mood of the crew members during this tour, knowing they were being supported?
Very much so. The majority of the crew found it very beneficial and positive to have a welfare officer on the road. This was backed up by the data we collected via anonymous
questionnaires and testimonials. The reality is that some things people struggle with can never be fixed – the long days, an often-brutal itinerary – but the knowledge that there’s a space to have a talk or a bit of a vent really helped. Even those who didn’t necessarily want to engage with the service found it comforting to know there was someone there to oversee things.
Can you give examples of techniques, activities and initiatives you offered while on the road?
I had a quiet room at each venue that people could come to, not always to talk but a place where they could just chill out and have some quiet space, which can be hard to find in such a large group. I held a lot of one-to -one and group “reflective practice” sessions. I would also often find myself taking on the role of occupational health and HR – two roles that are lacking on the road! When we had any spare time I’d organise excursions that were fun and brought the team together. This was very much enjoyed,
and it helped to nurture a healthier touring lifestyle. We were lucky to visit some amazing cities and had some great group outings. In Sydney we did the Harbour Bridge climb and a private visit to Taronga zoo. In Seoul we visited the DMZ, in Tokyo we went to the Borderless digital art museum after hours and we visited the Batu Caves in Malaysia. Sports were always a winner and we’d have team football and cricket matches. We also set up separate WhatsApp groups dedicated to particular interests – for example, in the tennis group I’d help book courts in each city in advance so people could play when they arrived. There was a running group, a climbing group and think-tank groups among many others. If anyone wanted help in arranging solo activities, I would also happily assist.
What can be done to raise awareness of the need to support the mental health of touring crew?
Things are going in the right direction; there’s less stigma about the need for support in the industry generally, which is encouraging to see. There are several wonderful resources out there, including MITC, that offer a multitude of support networks and interventions for many different issues in our industry. We now have a solid case to show that the role of a welfare officer has a positive impact on the mental wellbeing of those on tour, and we need to see where the industry moves with this. If we expect people to operate in high-pressure environments, we need to match this with high-quality support. www.musicindustrytherapists.com
Conference Rental is moving closer to a fast-growing market for multilingual events, where localisation, hybrid delivery and AI are reshaping interpretation
In the Gulf’s expanding events market, attendance is no longer enough. As international summits, exhibitions and corporate forums grow in size and complexity, the expectation has shifted and audiences must be able to participate fully, regardless of language. Multilingual communication has therefore moved beyond a support function to become a core part of event infrastructure.
For Conference Rental, this shift has prompted a change in how it operates. After years of servicing projects in the region from Europe and the US, the company has established a base in Dubai, bringing equipment, personnel and technical capability closer to demand. Drawing on more than two decades of experience, the company delivers interpretation and delegate audio systems across onsite, remote and hybrid formats, spanning conference microphones, audio
distribution, interpretation systems and AI-driven tools, supported by in-house teams.
The move reflects a pattern that had become difficult to ignore. According to CEO Andrew Murphy, international organisations and corporate clients have been choosing the Gulf region with growing frequency, placing pressure on suppliers to deliver at scale and speed. “We were already supporting many events by deploying equipment and teams from the US and Europe,” he explains.
“But that model has limitations. The Dubai office allows us to position equipment locally, respond faster and deliver the same level of service without the complexity of international logistics.”
For Emma Mas Jones, VP of global events, the reasoning is straightforward. A growing volume of large-scale projects in the UAE, among them the IUCN World Conservation Congress, made the case for a permanent local presence impossible to ignore. “When you are repeatedly deploying at that scale, the argument makes itself,” she says.
The benefits, however, run deeper than convenience. In a market where timelines can be compressed and expectations remain high, proximity directly affects what is possible. “Before, every project meant shipping equipment from overseas, managing customs and coordinating with third parties,” she continues. “With our own people and inventory here, if a client comes to us two weeks out from a major summit, we can say yes with confidence.”
Demand for multilingual solutions is being driven by a mix of sectors. Murphy points to non-government organisations, associations and corporate events across finance, energy, healthcare and technology, while Mas Jones highlights government and intergovernmental activity, alongside growth in energy transition forums and newer sectors such as digital assets. Exhibitions are also creating demand for alternative delivery models suited to large, open environments.
At the same time, the technology underpinning multilingual delivery is evolving. Cloud-based platforms and bring-your-own-device models now allow delegates to access interpretation via personal devices, while AI-driven tools combine speech recognition, machine translation and speech synthesis to deliver real-time audio and captions.
For all the recent attention surrounding AI, both Murphy and Mas Jones are clear about its current role. Rather than replacing interpreters, it is expanding the range of use cases that can be supported. “For certain applications it’s genuinely useful,” says Mas Jones, pointing to transcription and lower-stakes content. “But a ministerial address or a sensitive multilateral discussion, the tone and context all matter enormously. That’s not something you can automate and hope for the best.” Instead, hybrid models are becoming more common, combining human interpretation with AI-driven tools depending on the context. Hybrid delivery has now moved from an optional add-on to a baseline expectation. Audiences may be in the room, remote or distributed across multiple locations, while interpreters themselves might be working onsite or connecting from elsewhere.
This creates a different set of technical priorities. Consistency of audio quality, reliability of network infrastructure and the seamless integration of platforms have become central to delivery. As Mas Jones notes, expectations have risen accordingly. A hybrid event that feels disconnected or poorly executed is no longer acceptable, placing greater emphasis on system design and workflow integration.
At the same time, the operational challenges of large-scale multilingual events remain significant. Major conferences often involve multiple rooms running simultaneously, each requiring several language channels, coordinated equipment and synchronised teams. Infrastructure can also present limitations, particularly when cloud-based systems depend on stable connectivity. A local presence, Murphy suggests, improves familiarity with venues and reduces uncertainty during deployment.
Looking ahead, and despite the temporary geopolitical situation, the Middle East events market shows little sign of slowing. Investment across the UAE and Saudi Arabia continues to attract increasingly complex international gatherings, while initiatives such as Vision 2030 are expected to expand both in scale and ambition. As events become more global, multilingual access is set to become a defining requirement.
In an environment where communication is central to how events function, interpretation is becoming less about equipment and more about infrastructure. The ability to deliver it reliably, at scale and across multiple formats is now a core expectation. By moving closer to its clients and investing in regional capability, Conference Rental is positioning itself to play a more direct role in shaping how those conversations are delivered.
www.conferencerental.com
A return to Istanbul reveals a professional AV sector shaped not by recovery, but by fragmentation, as economic pressure, structural change and selective growth redefine how business is done
ISTANBUL’S AV INDUSTRY REMAINS OUTWARDLY familiar. The same distributors, integrators and showrooms continue to define the landscape, albeit with many now operating from increasingly refined experience centres designed to demonstrate the latest in audio, video and control. On the surface, the Turkish market appears largely unchanged from the last time we took a look just over a year ago. Yet beneath that continuity, the dynamics have shifted.
Where the conversation once centred on resilience and adaptation in the face of economic pressure, today’s picture is more complex. The Turkish AV market hasn’t simply recovered from a protracted Covid-induced lull. Instead, it has fragmented, with different sectors moving at markedly different speeds. At the most visible end of that divide sits the domestic consumer economy, where the effects of high inflation and
rising costs continue to shape behaviour. Nowhere is this more apparent than in nightlife and entertainment, sectors that once provided consistent demand for premium audio systems.
“Every year is unfortunately getting worse,” explains Berk Ozan, project manager at HEC Profesyonel. “After the pandemic, a lot of things changed in the hospitality market. Prices have gone up 10 or even 20 times, but people’s incomes have not kept pace. This has made going out increasingly expensive, so today people prioritise the necessities, they don’t simply spend to have fun.”
For companies operating in these segments, the response has been immediate. “Because of these conditions, we are focusing more on cafés, meeting rooms, enterprises and hotels,” Ozan continues. This pivot away from nightlife towards more stable environments is now widely reflected across the market, as businesses reposition themselves in line with changing demands.
Yamaha, Adam Hall and Concept Audio distributor Prosistem Elektronik notes that while demand has not disappeared, it has become more selective, with clients placing greater emphasis on cost control and long-term value. Projects continue to move forwards, but often with longer decision cycles and increased scrutiny around specification.
“Business in Turkey is still a bit slow, but it’s getting better every day,” notes Eren Ertekin from Prosistem Elektronik. “Projects are still there, but customers are more careful. Both cost and performance are important but, because inflation is high, it is harder to create profit. We need to work together with our dealers to make sure everyone benefits.”
While this decline in consumer-driven sectors is significant, it’s only one part of a broader picture. In parallel, the professional AV sector itself has continued to adapt, building on trends that
were already evident in previous years but are now more firmly embedded. The traditional separation between distribution and integration has become increasingly blurred, as companies expand their scope to remain competitive. Many feel it’s impossible for a distributor to survive any other way.
“Our aim is not to sell products,” explains UpOut Teknoloji general manager, Can Cankardeş. “Our aim is to give value to the customer by making their life easier.” For UpOut, this has meant employing an approach that increasingly spans multiple disciplines beyond audio distribution, including a broadening into LED displays and façade lighting. “That’s why we now call ourselves a solutions partner,” he adds.
Long-time Turkish distributor Asimetrik has also noticed a similar shift. “We wouldn’t describe ourselves as an audio seller anymore,” says chief technology officer, Ferhan Kayral. “Instead, we are selling technology, we are selling whole systems.” In practical terms, this has meant investing heavily in engineering capability, service infrastructure and customer support. As purchasing decisions become more cautious, reassurance and reliability have become critical components of any offering. The ability to solely deliver a system is no longer enough; companies are expected to stand behind it over time. This evolution has exposed structural tensions within the Turkish AV market. Many companies continue to operate as both distributors and systems integrators, a model that, while often commercially necessary, can create conflicts of interest. “Competition is heavy because most companies are engaged in both distribution and systems integration,” observes Republik AVL founder Kemal Yener. “Integrators don’t have many options, so they end up having to go to companies that also compete with them.”
Yener’s response has been to position Republik, a relative newcomer on the Turkish distribution scene, differently. “If they come to us, they know we don’t go directly to the project,” he says. “We introduce the integrator and support them. It’s a relationship based on trust.” While still relatively new, this model reflects a growing awareness that the existing structure is not without its limitations.
Zuhal Pro’s Samim Mutluer shares a similar sentiment. “The installation part of projects we give to systems integrators,” he says. “If you compete with your own partners, they will not trust you. That’s why it’s important we keep that separation.”
With its professional AV distribution backed up by a multi-sector business approach spanning a large network of music and lifestyle retail outlets, Zuhal is perhaps able to weather the economic peaks and troughs better than most. What’s becoming increasingly clear is that Turkey’s AV sector is no longer moving in a single direction. It is evolving at different speeds across different segments, creating a more diverse landscape than in previous years.
If at one end of the spectrum, sectors linked to discretionary consumer spending continue to face significant headwinds, nightlife and entertainment once buoyed by strong demand have yet to regain their former momentum. At the same time, more stable verticals such as corporate, hospitality and conferencing are providing a degree of consistency, supported by ongoing demand for meeting spaces and workplace technology.
Public sector investment, particularly at the municipality level, is one such area. “Government and municipalities are starting to invest more, especially in immersive projects,” notes Şölen Nehir Özdemir, EMEA distribution manager at Barco. “Previously, investment was mainly limited to Istanbul. Now, we also see projects extending to touristic regions.”
This is reflective of the government’s broader effort to develop cultural and experiential attractions beyond the city, creating new opportunities for AV integration. Demand for high-quality, experience-driven installations remains resilient, even within a price-sensitive market.
Experience centres are also playing a key role in this shifting dynamic, allowing customers to engage directly with technology before making investment decisions. This tension between price sensitivity and quality expectation has always been a defining characteristic of the Turkish market – understandable for a country that had to navigate a near 70% rise in inflation in just the last year alone. But while cost pressures are real, they do not entirely eliminate demand for premium solutions, particularly when their value can be demonstrated clearly.
“If you don’t see it, you don’t believe it,” says Kayral. “When people properly experience a system, they understand the difference it can make.” In some cases, that experience is enough to shift purchasing decisions. “We’ve had customers who came to us seeking a cheaper solution, but after listening, they can see the value in choosing a system three times the price.”
A look towards international markets has also opened doors for some companies, adding a much-needed layer of stability. Turkish companies have long operated beyond their domestic market, and that outward focus remains critical. “We are not only doing business in Turkey,” explains Kayral. “We also work in Kazakhstan and Uzbekistan.”
These external markets offer both growth potential and a degree of insulation from local economic volatility, reinforcing the importance of maintaining a diversified business approach. Taken together, these developments point to a market operating at three distinct speeds. At one end, consumer-driven sectors such as nightlife continue to contract under economic pressure. In the middle, the core professional AV market remains active, supported by adaptation in business models and a shift towards enterprise and solution-based delivery. At the other end, more selective growth areas, including public sector investment, experiential installations and international projects, are promising to create new opportunities.
As AV systems continue to become more complex, the need for skilled engineers and well-trained operators is also becoming more acute. “They understand how the systems work, but they cannot do troubleshooting,” says Yener, highlighting a gap that extends beyond basic technical knowledge. Language barriers and limited access to localised training resources further complicate the issue.
Regular training sessions and experience centre demonstrations are now central to that approach, not only as a sales tool, but as a way of raising overall technical understanding across the market. “The most important thing for us is training,” adds Ertekin. “If we teach our customers the technology properly, they trust the products more and they use them in their projects.” At the same time, the structure of the workforce continues to evolve. “Turkish people are very good engineers,” explains Özdemir. “But after five or six years of working within an organisation, many will leave to start their own company.” This tendency has contributed to a proliferation of smaller firms, creating both competition and fragmentation within the market.
Despite the complexity of these challenges, there is little sense of pessimism among those operating in the sector. Instead, the prevailing tone is one of cautious optimism, shaped by experience rather than expectation. “If you asked me two years ago, I was much more pessimistic,” says Özdemir. “Now I think it’s better and healthier.”
That improvement, however, is relative rather than absolute. “If you exclude recent disruptions from the war, Turkey is growing again,” she continues. “After all, once you’ve reached rock bottom, the only way is up. The question is not if it will grow, but how that growth will look.”
Uncertainty is likely to remain a defining feature of the Turkish AV market in the near term. What has changed is not the presence of pressure, but how the industry responds to it. As an increasingly inflation-driven future awaits Europe, albeit remaining well within single digit figures, the battle-hardened Turkish mindset stands ever ready to supercede the next set of challenges.
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As defence environments become increasingly data-driven, AV manufacturers are adapting to meet new demands around security, certification and operational integration
WITHIN DEFENCE AND SECURE GOVERNMENT
environments, AV technology is undergoing a structural shift. As command-and-control systems evolve, video and signal infrastructure are no longer confined to simple monitoring or presentation tasks. Instead, they are becoming embedded within wider operational workflows, where reliability, security and integration have to be treated as mission-critical requirements. This change is being driven largely by the growing volume of data moving through modern defence environments. As organisations deploy more sensors, unmanned systems and distributed assets, the expectation is that video feeds and associated metadata are not only captured at source but made available across the command chain, from tactical edge through to centralised control rooms and operator workstations. In this context, video is no longer a supporting layer, it has become a core operational data stream. For manufacturers, the shift is directly impacting how products are designed, certified and deployed. It is also redefining the expectations placed on AV infrastructure, which must now operate within constrained, highly secure and often unpredictable network environments.
For IPTV and streaming video specialist VITEC, this transition is already reshaping how infrastructure is deployed. “Demand has moved from video as a supporting feed to video as a core operational data layer,” explains Ghassan Dadokh, VITEC’s senior business development manager for security and defence. “Rather than being confined to a single location, video is expected to move fluidly between field-deployed systems, mobile devices and central command environments.”
Delivering that level of flexibility introduces a distinct set of challenges. “The first challenge is network stability – defence video rarely runs over pristine commercial links,” Dadokh continues. “It often has to cross software-defined radios, tactical 5G networks, SATCOM and bandwidth-constrained environments. In practice, that means the organisation must balance image quality, latency, metadata integrity and resilience. The second challenge is security architecture, where video is no longer treated as an isolated AV function; it sits inside a broader mission-critical pipe that requires robust cybersecurity protocols. The third challenge is integration
complexity – defence customers want video to work with sensors, mission systems, videowalls, storage, KVM, existing networks and operator workflows, not as a standalone appliance.”
This level of integration reflects a broader convergence between AV and IT. Video streams now sit inside mission-critical network architectures, where cybersecurity protocols, access control and system segmentation are fundamental to system design. Dadokh notes that addressing these requirements is often architectural rather than product-led, with video infrastructure deployed as part of a wider accredited security framework rather than as a standalone solution.
While video transport defines one important layer of this evolving ecosystem, signal management and distribution remain equally critical as systems become ever more interconnected. For Lightware, this has brought increased focus on certification, compliance and the practical realities of working within defence procurement structures – a sector that promises immense
ongoing opportunities for its regional Middle East business, in particular.
“We are seeing strong momentum from the Middle East, where modern defence projects increasingly emphasise secure and resilient networked AV infrastructures. But if you’re after a quick sale, defence is not the place for you. Procurement is typically a long and protracted engagement with various stakeholders,” explains Lightware area manager, Ragheed Haydar. “Unlike corporate or education markets, where project timelines may be relatively short, defence environments require sustained engagement and a clear understanding of both technical and organisational requirements. Relationships, documentation and process often carry as much weight as the underlying technology.” Central to this process for Lightware is certification. Achieving approval for use in defence environments is rarely a simple matter of testing a finished product. Instead, it can involve multiple layers of consideration, from supply chain transparency through
to firmware hardening and deployment strategy. In many cases, supply chain scrutiny represents the first and most significant hurdle, with country-of-origin and component sourcing subject to detailed examination.
“Supply chain management is often the first consideration and certainly the hardest to change,” Haydar notes. “Firmware hardening in conjunction with certain deployment considerations would be the next level of establishing that the total solution is suitable for the security level of the location.”
These requirements can also have a direct impact on product design. Features that are standard in commercial environments
may need to be removed or modified to meet security criteria. “If a product is a commercially available platform that needs to be modified to suit a specific requirement, then absolutely,” Haydar explains. “Consider an LCD display, for example. It may require the removal of Wi-Fi or Bluetooth capability.”
At the same time, broader shifts in network architecture are influencing how signal infrastructure is specified. “The market has pushed the defence industry to reconsider its design criteria because of network connectivity being the norm rather than the exception,” Haydar says. However, the adoption of IP-based systems remains closely tied to the security profile of
each deployment, with system design shaped by risk mitigation strategies.
Lifecycle expectations further differentiate defence from other verticals. Systems are typically expected to remain operational for longer periods, placing greater emphasis on long-term reliability, support and consistency of performance. Product decisions are therefore not only about immediate functionality, but also about how systems will be maintained and adapted over time.
Taken together, these factors point to a broader shift in how AV solutions have to be positioned within defence environments. What was once considered a supporting technology is now treated as part of a wider operational infrastructure, subject to the same scrutiny as other mission-critical systems.
Certification, cybersecurity and integration are no longer optional considerations, but fundamental requirements shaping both product development and system design.
“In defence tenders, integration capability is vital because no customer wants to rebuild their entire command infrastructure just to adopt a new video workflow,” Dadokh confirms. “The more futureproof vendors are the ones that can integrate cleanly with existing video processing platforms, display environments and secure network architectures.”
As defence organisations continue to expand their use of data-driven workflows, these requirements are also beginning to influence other sectors. Expectations around security, interoperability and lifecycle are extending beyond defence into wider government and enterprise environments. In doing so, they are accelerating a broader shift across the AV industry, where systems are no longer viewed as standalone technologies but as part of the infrastructure that underpins modern operations.
For Haydar, all of this comes down to one key point: “Probably the biggest misconception in defence environments is failing to understand the procurement process. Knowing your customer is often more important than knowing what you are selling.”
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Pixel Solutions has managed the relocation of more than 200 AV-enabled spaces for OQ Group’s new Muscat headquarters
A MOVE TO A NEW LOCATION OFTEN PRESENTS AN opportunity for companies to start again from a technical perspective. For some organisations, that opens the door to entirely new systems and workflows. For others, it introduces a different challenge: how to replicate a familiar and fully optimised environment without disruption.
When Omani energy company OQ Group made the decision to relocate its headquarters from Muscat Grand Mall to a new purpose-built facility in Madinat Al Irfan, the move represented far more than a change of address. However, the company was also not looking to rebuild its AV infrastructure from the ground up. As one of Oman’s largest integrated energy companies, the organisation operates across upstream, midstream, downstream and petrochemical sectors, placing significant demands on the communication infrastructure supporting its operations.
At the centre of the transition was the relocation of the company’s extensive audiovisual estate. More than 200 meeting rooms, conference spaces and collaboration areas outfitted with communications equipment needed to be dismantled, transported and reinstalled at the new headquarters, alongside digital signage systems and meeting room scheduling infrastructure. Muscat-based systems integrator Pixel Solutions was tasked with delivering the migration within an ambitious one-month implementation window.
The Pixel team was brought into the discussions approximately three months before implementation began. While the project initially focused on relocating existing systems, the scope soon expanded as the client identified opportunities to enhance certain spaces.
A defining requirement of the move was the need to maintain operational continuity at the existing headquarters until the final working day. OQ’s teams continued using meeting rooms and conferencing systems at Muscat Grand Mall without interruption
while the relocation plan was finalised. Once the transition began, employees temporarily shifted to remote working, creating a narrow window in which the team could complete the dismantling, transportation, reinstallation and commissioning of the systems at the new Madinat Al Irfan site.
The scale of the move also extended beyond a single organisation. OQ Group comprises multiple subsidiary companies, each with its own AV equipment and room configurations. As a result, Pixel had to catalogue and track assets across different entities, ensuring equipment was
Pixel Solutions managed the dismantling, transport and reinstallation of AV systems using its own logistics and engineering teams
correctly identified and redeployed in the appropriate spaces within the new building.
To avoid misallocation, Pixel implemented a structured relocation model supported by parallel teams working across both sites. “We shifted equipment from every three rooms in a single trip, then offloaded and directly positioned it in the designated rooms,” explains Pixel Solutions founder and CEO Anas Alkurdi. “We also had a team in the old building and another in the new building. With this setup in place, there were no misallocations.”
The existing audiovisual infrastructure itself was largely based around Yealink video conferencing systems integrated with Crestron meeting room scheduling panels. A typical room consists of a video conferencing setup with camera and audio capabilities based on the size plus local presentation solutions for non-video conference meetings. Yealink MVC kits, meeting bars and BYOD conferencing setups formed the backbone of the meeting room environments, while Samsung’s MagicInfo platform supported the building’s digital signage network. Most of this equipment was reused as part of the relocation, although certain elements were upgraded, including the digital signage infrastructure and selected flagship spaces such as the boardroom and exhibition area where Yealink MVC kits have been replaced with the latest models.
Delivering the migration within a compressed timeline required tight project coordination and oversight. Pixel structured the project with a team leader responsible for monitoring daily progress alongside an operations manager who maintained constant onsite supervision. The operations manager verified installation quality and provided regular updates on project status.
Communication between stakeholders was handled through continuous coordination with OQ management, including the use of a dedicated messaging group to allow real-time updates and escalation where necessary. Close collaboration with the client’s IT teams was also essential during the final configuration stages as audiovisual systems were integrated with the building’s network infrastructure.
Despite the large number of devices being relocated and the absence of original packaging for many displays, the project was completed without any damaged equipment. Pixel transported the systems using its own vehicles, enabling tighter control over handling and reducing the risks associated with third-party logistics providers.
“We were realistic about the possibility of minor damage during dismantling and transportation,” says Alkurdi. “From the outset, we assured the client that we would do whatever it took to restore or replace any system and ensure uninterrupted operations.”
He continues: “Since the number of rooms in the new building was slightly lower, we also had extra equipment as a buffer. This gave us flexibility and ensured immediate replacement if required.”
In addition to relocating the existing AV estate, Pixel was also responsible for installing several new LED displays within the Madinat Al Irfan headquarters. These included a number of LEDMAN screens positioned in key public-facing areas of the building – a 3.58m x 2.3m indoor terrace display with a 2mm pixel
with the flat displays. Instead, the primary challenge lay in coordinating installation with ongoing civil and decorative works within the building to ensure the displays could be mounted at the appropriate stage of the construction schedule.
To manage this coordination, Pixel relied in part on a new
Once completed, the relocation saw more than 200 meeting and collaboration spaces fully operational inside the new Madinat Al Irfan headquarters, together with the installation of four new lobby LED displays and the renewal of key presentation environments such as the group CEO boardroom and exhibition areas. For
Stellenbosch University has introduced a new 270° immersive technology lab to support interdisciplinary research projects and facilitate student engagement on practical coursework
AS UNIVERSITIES CONTINUE TO INVEST IN HANDS-ON learning environments, the ability to move seamlessly between creation and analysis is becoming increasingly important. At South Africa’s Stellenbosch University, this shift has taken shape inside the institution’s main library, where a new Immersive Technology Lab (ITL) has recently been developed. Rather than emerging as a standalone initiative, the ITL facility was conceived as a direct response to how students were already working. The university’s Makerspace provides access to tools for 3D design, printing, scanning and basic electronics. However, as its usage grew, a clear limitation began to emerge.
“What we noticed with our students using the Makerspace is that they were missing a component,” recalls Wouter Klapwijk, director of information technology services at the university library service, “which is the ability to critique CAD design work and prints which they built within the Makerspace. They wanted an environment to share that work amongst each other and collaborate. From the library’s side we also wanted to create a better environment to teach students the meaning of construction in data visualisation, a core competency needed when seeking employment in the contemporary data-centric society.”
This gap, combined with a broader awareness of how academic libraries are evolving internationally, led to the development of the new lab. Located alongside the Makerspace within the university’s central library, the facility has been designed to provide a shared visualisation environment accessible to students and staff across all disciplines.
Turning that ambition into a working environment, however, required a multi-year process. The university engaged Digital Fabric as its consulting partner, building on an existing
relationship established during the Covid-19 pandemic, when the company supported the rollout of hybrid learning infrastructure across the campus. Local systems integrator AVT handled systems integration, with much of the AV equipment supplied by local distributor Peripheral Vision.
“We’ve been working with Stellenbosch since around 2020,” explains Gary Atkins, director at Digital Fabric. “Initially, it was all about hybrid learning and extending the physical classroom into a virtual environment. So we already had a strong understanding of their infrastructure, their users and how they operate.”
Following the identification of an unused space within the library, the immersive lab itself began as a concept in late 2021. Originally a storage area with an unusual footprint, the room presented both an opportunity and a challenge. “This space had effectively been empty for years, and it wasn’t really designed for this type of application at all,” Atkins recalls. “It was long and narrow, so the question was really, can we make this work as an immersive environment?”
The room’s proportions, combined with budget considerations and the need to maximise usability, meant that every element of the system had to be carefully evaluated. “We did a lot of sightline studies,” Atkins notes. “We had to look at where people could stand, how the projectors would behave in the space and how much usable floor area we could actually retain without people casting shadows onto the image.”
While the physical design was driven by those constraints, the technology strategy was shaped by a different priority – flexibility. Early concepts were based around a packaged immersive media server platform, but this approach was later reconsidered in favour of a more open system architecture. “We’d originally looked at a more closed solution,” Atkins explains. “It presented a very polished environment with a nice front end but, ultimately, was also quite restrictive. For a university, that’s a problem. They need to be able to run different applications, different software and they don’t want to be limited by plugins or licensing structures.”
It was these considerations that led Digital Fabric to build the system around a BRAINSALT media server platform, configured to provide what Atkins describes as “a very powerful, very flexible Windows-based environment”.
and faculty as possible. “You press a button, the system starts up and you’re presented with a Windows desktop,” Klapwijk says. “From there, you can load your content, connect your laptop directly via a BirdDog Flex 4K or access data over the network. So, the experience is familiar to the user.”
“We didn’t want something that required a specialist operator every time,” Atkins adds. “If it’s too complicated, people just won’t use it.”
Although the facility only opened earlier this year, initial engagement suggests strong interest from across the academic community. “We’ve had many separate engagements already with academics from across all disciplines,” Klapwijk says. “They come in, they see the space and they start to think about how it could fit into their teaching.”
At its core, the lab is a 270° projection environment spanning three walls, built using five Optoma ZU820TST laser projectors to create a continuous, edge-blended visual canvas. Behind the scenes, a dual-server BRAINSALT B8 PRO system separates image processing from user applications, with a dedicated pixel server handling warping and blending across the projection surfaces, while a second render server allows users to run their own software.
“You don’t want users installing software on the same machine that’s doing all your projection mapping,” Atkins explains. “By separating those two environments, we ensure stability on the display side, while still giving the university complete freedom to manage their own applications.”
Control is managed via an Extron system with a touchpanel interface, while a simple Bose ceiling loudspeaker setup formed from a FreeSpace subwoofer and four in-ceiling speakers provides audio playback. The result is effectively a large-scale, curved desktop environment, where content can be introduced via network, laptop or NDI inputs and interacted with directly using tools such as a Surface Pro for annotation. Rather than a fixed immersive experience, the space operates as a flexible visual workspace that can be adapted to a wide range of academic applications.
For Klapwijk, this flexibility was essential to ensuring the long-term value of the space, particularly given its intended role as a shared resource across multiple faculties. “We’ve really opened the facility to all disciplines and all different use cases,” he says. “We have people from engineering, from visual arts, from urban planning, accountancy and computer science. Each of them wants to use the space in a different way.”
The usability of the space is the critical factor driving adoption. Rather than creating a complex or specialist environment, the system needs to be as intuitive for students
At this stage, however, the focus remains on familiarisation rather than formal integration into coursework. “It’s not yet curriculum-integrated,” he continues. “We expect that to come later. Lecturers need time to understand what the space can do and how it can be used effectively within their modules.”
This measured approach reflects a broader recognition that the success of such environments depends not just on the technology itself, but on how it is adopted and adapted by users over time. “Most immersive environments are built for a single use case,” Klapwijk observes. “In our case, we are trying to accommodate many different use cases within a single space. Our focus now is to understand what our users need and how far the current technology can support that.”
That process is expected to shape future developments, whether through software refinement, workflow adjustments or potential hardware upgrades. “We’ve deliberately allowed time for experimentation,” he furthers. “This year is really about learning how the space is used, identifying the limitations and then deciding how the current configuration can accommodate that.”
For Atkins, this emphasis on adaptability is what ultimately defines the project. “For us, it was not about building a showpiece,” he concludes, “but creating a tool that people will actually use. If the space is flexible, accessible and easy to work with, then it has a real chance of becoming part of the day-to -day academic workflow.”
In that sense, the immersive lab represents not just an extension of the university’s Makerspace, but a step towards a more integrated approach to teaching and learning, where the boundaries between creation, visualisation and collaboration are increasingly blurred.
www.digitalfabric.co.za www.su.ac.za/en
Thomsun Trading Establishment has designed a discreet yet capable sound system to keep the peace for Viva La Goa’s neighbours
WHEN PASSION F&B SET OUT TO RECREATE THE atmosphere of Goa inside a Dubai restaurant, the goal was not simply to replicate a menu. The concept behind Viva La Goa seeks to capture the character of the coastal Indian state through food, décor and ambience to create a vibrant hospitality environment. Understanding the importance music plays in a destination like Goa, for Thomsun Trading Establishment, tasked with designing and commissioning the venue’s audio system at the new outlet in Dubai Marina, that meant delivering a sound environment capable of supporting relaxed dining while also accommodating a far livelier weekend atmosphere.
“This was the second restaurant AV system we have delivered for Passion,” recalls Thomsun’s Zubair Mohamad. “After demonstrating the system for their Carnival restaurant, they were really impressed with both the sound and the level of support we provided, which led directly to securing this project.”
Located at the One&Only Royal Mirage, the restaurant is divided into two principal areas. A lounge and indoor dining space forms the main restaurant environment, while a rooftop terrace hosts DJs and occasional live music during the cooler months. During the week the venue operates primarily as a dining destination, with background music providing a subtle backdrop for conversation. At weekends, however, the rooftop becomes the focal point for evening entertainment.
This dual-purpose operation presented a particular challenge due to the venue’s location. The rooftop sits adjacent to guest accommodation at the hotel, including some of the property’s most exclusive suites. As a result, sound levels had to be respected to prevent noise complaints.
“The biggest challenge by far was the strict sound restrictions,” says Mohamad. “The restaurant sits right
next to some of the most expensive suites in the hotel, so even the smallest complaint could become a big problem.”
To manage this, Thomsun’s engineering team carried out multiple site visits and test playbacks to measure sound leakage beyond the venue before finalising the design. Sound levels were measured across the surrounding areas, while speaker positioning and frequency response were carefully adjusted to minimise spill beyond the rooftop boundaries.
“We did several studies inside the venue to see how much sound leaked into nearby areas,” Mohamad recalls. “A lot
A secondary seating area where discreet loudspeaker placement maintains consistent coverage without impacting the venue’s aesthetics
of the work was about directing the speakers at the correct angles and controlling the frequencies and output from individual speakers.”
The resulting system is built around NEXO’s compact ID14 loudspeakers, deployed across both the rooftop and indoor lounge areas. Nine ID14 units provide coverage for the rooftop terrace, supported by four NEXO eLS600 15-inch subwoofers delivering the low-frequency energy required for weekend DJ sets. Inside the lounge area, five ID14 loudspeakers are paired with a pair of L15 subwoofers to provide balanced coverage throughout the dining space, powered with NEXO’s NXAMP4X2MK2 and four nanoNXAMP4s.
Beyond acoustic performance, aesthetics were also an important consideration inside. The restaurant’s design features dark ceiling finishes and decorative architectural elements that demanded a discreet audio solution. “One of the reasons we selected the ID14 was the compact size,” Mohamad explains. “The speakers are practically invisible in the space, especially in the lounge where the dark ceiling finishes allow them to blend into the architecture.”
This approach represented a significant visual improvement compared with the previous system installed at the venue, which relied on larger point source cabinets suspended from chains in the rooftop area. “We were able to deliver comparable sound performance from speakers that are a fraction of the size used in the previous setup,” Mohamad adds.
Primary control of the audio is handled via a Yamaha MTX3 processor, which allows staff to manage multiple zones throughout the venue. Individual analogue mixers serve the rooftop and lounge areas, enabling them to operate independently during normal service while also allowing both zones to be linked if needed for larger events.
Within the lounge, the indoor dining area and balcony seating can be managed as separate zones or combined, when required. The rooftop also incorporates multiple listening areas, including an entertainment zone with projector screen and floor seating, all of which can be controlled through Yamaha’s ProVisionaire software running on an iPad. “The
rooftop was the most critical area,” notes Mohamad. “We had to ensure even coverage and sufficient low frequencies for parties, while also making sure the sound stayed contained.” Commissioned in late 2025, the system has now been in operation for several months without any reported noise disturbances from neighbouring guests at the One&Only Royal Mirage hotel. For Mohamad, that outcome is the clearest indication that the design achieved its intended balance. “There hasn’t been a single complaint from the hotel next door,” he
said. “That was always the biggest concern, so we’re very happy with the result. Initially there was a restriction inside the venue of around 75dB. Through careful design and testing we were able to increase that to nearly 90dB while still staying within acceptable limits.”
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IN DOHA’S WEST BAY DISTRICT, DEFINED BY GLASS façades, high-rise developments and intense ambient light, achieving visual prominence has become increasingly challenging. Reflective surfaces, dense vehicular traffic and constant daylight exposure diminish the effectiveness of conventional large-format displays. Against this backdrop, a recent deployment by Ventum Tech is aiming to redefine digital visibility, transforming a cluster of strategic locations into a cohesive digital out-of-home (DOOH) network engineered to capture attention from every perspective.
The project consolidates three major digital assets into a unified visual ecosystem: two large-scale INFiLED displays integrated within the façade of the Marriott Marquis City Center Doha Hotel, complemented by a third anamorphic 3D display at City Center Mall Doha. Collectively, these installations form what Ventum Tech defines as a “digital corridor”, strategically addressing vehicular traffic, exhibition audiences and retail footfall across one of Doha’s most dynamic commercial zones.
At the core of the deployment is a 920m² curved LED façade, engineered to follow the architectural geometry of the Marriott Marquis. This is complemented by a 300m² flat LED screen oriented towards the Doha Exhibition and Convention Center, ensuring direct engagement with business visitors and event-driven audiences. Both displays utilise INFiLED outdoor modules with a 6.94mm pixel pitch, carefully specified to achieve an optimal balance between long-distance legibility and close-range visual fidelity.
“This project required a platform capable of aligning architectural accuracy with environmental durability,” says INFiLED Middle East vice president of sales, Samer Otaibi. “Our focus was to ensure consistent visual output while enabling the design intent to be fully realised.”
Ventum Tech’s approach to the Marriott installation was fundamentally architectural. Rather than deploying conventional billboard structures, the solution was conceived as an integrated digital façade. Precision-engineered modular cabinets were configured to achieve a consistent convex radius, enabling a seamless, zero-gap installation aligned with the building envelope.
“The objective was not simply to mount a billboard onto a hotel,” explains Ventum Tech managing partner Tarek Mrad. “We set
out to create a digital skin – one that enhances the building’s identity while delivering maximum visual impact. The selected pixel pitch ensures high-definition clarity even at pedestrian viewing distances.”
The adjacent flat display, while structurally less complex, was executed with the same architectural discipline. The mounting system was engineered to remain fully flush with the façade, preserving the hotel’s premium aesthetic while providing a large, uninterrupted canvas for high-impact brand communication.
Ambient lighting conditions in West Bay imposed stringent performance requirements. High solar exposure and reflective surroundings necessitated the use of ultra-high brightness LED modules rated at 8,000 nits, ensuring consistent luminance and contrast throughout daylight conditions. A refresh rate of 7,680Hz was specified to guarantee flicker-free playback, particularly critical for high-frame -rate video content and broadcast-quality visuals.
However, deploying high-brightness systems in Qatar’s climate introduces significant backend engineering challenges. “Commissioning 8,000-nit systems in this environment requires
absolute robustness at the infrastructure level,” notes Mrad. “Signal redundancy, power distribution and thermal stability had to be fully validated prior to going live. Our benchmark was clear –100% operational uptime from first power-on, with zero tolerance for post-installation recalibration.”
Extending beyond the Marriott site, the 275m² display at City Center Mall introduces anamorphic 3D capabilities. Leveraging corner geometry, the screen delivers naked-eye 3D content that visually extends beyond the physical boundaries of the display, significantly enhancing audience engagement and dwell time.
Despite variations in format and application, all three assets are unified through centralised operation. Ventum Tech delivered a full turnkey solution, encompassing consultancy, system design, engineering, installation and commissioning, and continues to manage content and media operations across the network. This integrated approach enables synchronised campaign deployment, ensuring continuous audience engagement across multiple touchpoints rather than isolated exposure.
From an execution standpoint, the deployment was completed within aggressive timelines in a live hospitality environment. The
920m2 curved façade was installed and commissioned in 17 days, while the 300m2 flat display was completed in just five. All works were undertaken with the hotel fully operational, requiring meticulous planning and coordination in order to minimise disruption.
“Executing within a five-star, high-occupancy environment required a near-invisible installation methodology,” adds Mrad. “At this scale, particularly with a convex geometry, there is zero tolerance for cumulative alignment error. Precision at every stage was critical to achieving a continuous visual surface.”
Thermal resilience and long-term operational stability were also central to the system design. The selected INFiLED modules were engineered for sustained performance under high ambient temperatures, with system architecture optimised for continuous operation. Signal integrity and power management were rigorously validated to ensure reliability from day one.
Beyond its technical execution, the project reflects a broader regional shift in LED deployment strategies. Increasingly,
large-format displays are evolving from standalone advertising assets into integrated architectural elements that contribute to a building’s identity. Concurrently, the adoption of high-brightness systems and anamorphic content is driven by the need to command attention in increasingly saturated urban environments.
“Ventum Tech chose INFiLED as the OEM for our DOOH business,” states Ventum Tech managing partner Antoine Saab. “We are not simply supplying screens, we are investing our own CapEx, installing the assets, operating them and carrying the full maintenance and lifecycle responsibility over many years. In that model, uptime is directly linked to revenue, and every failure means not only a service cost but also a real commercial loss, which is why long-term reliability, performance stability and minimal intervention are not optional technical preferences for us, but fundamental investment requirements.”
Since commissioning, the West Bay network has rapidly established itself as a visual focal point within the district. Its combination of scale, brightness and dynamic content has driven organic audience interaction, with visitors frequently capturing and sharing the installations across social platforms.
“By engineering the system to be ‘social-ready’, with high brightness, high refresh rates and visually striking content, we aimed to generate organic amplification,” concludes Ventum Tech marketing manager Eliane Rizk. “The result is a platform that extends beyond physical visibility, generating significant additional reach through user-generated content.”
For Ventum Tech, the project represented more than a large-scale LED deployment. It establishes a connected digital ecosystem, where engineering precision, architectural integration and media strategy converge to create both a high-performance advertising platform and a defining visual landmark within Doha’s urban landscape.
www.infiled.com www.ventumtech.com
Firdaus Studio has turned to Neumann’s new clip-on mic to transition performances from the studio to the stage
CAPTURING AN ORCHESTRA IS A PRECISE EXERCISE. In a controlled studio environment, microphone placement, acoustics and signal chain can be carefully managed to preserve the balance between individual instruments and the collective sound. Move the same ensemble into an open-air setting and those variables begin to shift, often in ways that are difficult to control.
Outdoor performance introduces a set of constraints that don’t exist inside the studio. Wind, scale and environmental noise all affect how sound is captured, while audience expectations remain unchanged. For engineers, the task becomes one of maintaining consistency, ensuring that the character of each instrument is preserved even when the environment is working against it. This challenge has become central to the workflow developed at Firdaus Studio in Dubai’s Expo City. Leading the studio’s technical approach is Navneeth Balachanderan, whose background spans 15 years of live shows, studio sessions and collaborations with some of the world’s biggest artists.
Designed as an orchestral recording and production facility, the studio supports a range of content including film scores, vocal sessions and large ensemble recording. But beyond the studio, Firdaus also serves as a creative hub and the home of the Firdaus Orchestra, an all-female ensemble celebrating musical diversity. Balachanderan’s job has been to create a workflow designed to translate studio expectations into live performance contexts, where control is more limited and system reliability becomes critical. The choice of microphone is paramount.
Inside the studio, its impressive arsenal of Neumann microphones, ranging from the iconic U 87 and U 67, to the KM 184, TLM 193, M149, 103, 107 and the latest MT 48, have become essential tools for Balachanderan, where they’re embedded across the workflow. “For me, Neumann microphones are musical by nature,” he explains. “They bring out the true tone of any instrument – whether it’s a cello or a guitar – with minimal processing required. They don’t just sound technically correct, they sound beautiful.”
Moving the orchestra outdoors for live performances though creates a different set of requirements. Firdaus Orchestra concerts
are typically held at Al Wasl Plaza in Expo City Dubai – a venue that experiences high wind speeds and creates obstacles for sound engineers trying to preserve the sonic integrity of orchestral instruments. Here, maintaining tonal integrity across strings, brass and woodwind sections presents a specific challenge.
“In a live outdoor venue with heavy winds, clarity is usually the first thing to go,” Balachanderan explains. For orchestral instruments, attempts to correct this at the mixing stage can introduce further issues. Low-frequency content is fundamental to instruments such as cello and double bass, and aggressive filtering can reduce both presence and musicality. “You cannot take a lot of low end out of a bass or a cello,” he notes. “When you start doing that, you’re going to lose the quality of sound of the instrument.”
His solution to mitigating these issues has been to employ the German manufacturer’s MCM 114 miniature clip microphone for orchestral instruments – especially cellos, double basses, woodwinds, brass and qanun. Supplied by Venuetech, the mics were first trialled by Agora LLC during the recent Layali Firdaus live performances at Al Wasl.
Balachanderan reports that this configuration has enabled a more stable and repeatable capture of instruments in outdoor settings, with less reliance on corrective EQ during mixing. He describes the resulting sound as flatter and more natural, closer
to what would be expected in a controlled recording environment, allowing the overall mix to retain greater detail and balance. One of the most underrated challenges in live sound is microphone stability and setup. In fast-paced, high-stakes environments, every second counts. “The clips are one of my favourite parts,” Balachanderan says. “You simply clip the mic on and it doesn’t move – they stay put.” In fast-paced production environments, this level of stability reduces adjustment time and further helps ensure consistency from one performance to the next.
While much of the technical focus centres on capture and control, the success of an orchestral system is ultimately judged by its impact on performers and audience. Subtle details that may not be individually perceived still contribute to the overall experience, making accurate reproduction essential.
Balachanderan emphasises that while he’s worked with many microphones over the years, very few had delivered such a visceral, satisfying sound onstage that musicians themselves could immediately notice. Following a recent performance, one of the ensemble’s cellists commented: “I’ve never heard my cello sound like this in my ears. What did you do?”
“That’s when I knew we’d hit something special,” he recalls. “In an orchestra, every instrument contributes to the collective emotion of the piece. Even if the audience doesn’t consciously hear a specific instrument, they feel it. And if that sound is missing or muddy, the emotional experience is incomplete.”
This winning formula is now regularly being employed across events, forming part of an ongoing workflow rather than a one-off implementation. With further performances scheduled at Expo City Dubai, the requirement to maintain consistency across environments remains an active consideration.
“We’re incredibly proud to have supplied the Neumann MCM 114s to Agora LLC and Firdaus Studio,” concludes Alice Macaluso, brand manager of Sennheiser at Venuetech.
“It’s rewarding to see how this microphone has elevated live performances in such a prestigious space. The positive feedback from both the engineers and musicians affirms our belief in the MCM’s ability to deliver uncompromising clarity and precision.”
www.firdausstudio.ae
www.neumann.com
www.venuetech.ae
genelec.com/8380a
Dan Daley examines the giant production rehearsal palaces necessitated by ever-sophisticated stadium tours justifying skyrocketing ticket prices
WHEN YOU ASK CONCERT FANS TO PAY US$600 for a nosebleed seat, it had better be one hell of a show. Tickets to top-tier concerts have undergone a sharp 41% increase since 2019. Most of that was a post-Covid reaction after lengthy global shutdowns, but it’s been a persistent rise, and the numbers are staying up higher than the lighting trusses. That’s because the global live music sector is experiencing a record-breaking, post-pandemic boom, with revenues projected to reach $31.5bn by 2026, driven by high-capacity stadium tours. How long that can be sustained is uncertain. But what’s for sure is that the level of touring production needed to achieve those numbers is quite high: a dozen dancers are now two dozen or more, some of whom will be flying in harnesses, while bands and orchestras will share hydraulic stages beneath hundreds of lighting fixtures and sound systems that comprise lorry-loads of speaker cabinets and thousands of watts. What that costs is almost a secondary concern: you want to play in Taylor Swift’s league, you’re going to pay Taylor Swift money (her Eras Tour cost an estimated $100mn to mount). The bigger question has become: where do you go to pull it all together?
Welcome to Rock Nashville, the 57,000m2 live entertainment rehearsal and production facility spread over a 55-acre campus in north Nashville. More comprehensive than its so-called “cousin” Rock Lititz (no midget at 150 acres, but in a remote area 75 miles west of Philadelphia), Rock Nashville is a 20-minute drive from downtown and houses a small city of related brands, shops and offices for sub-vendors such as Clair Global and staging giant Tait, equity stakeholders in both Rock locations, as well as JBL, DiGiCo, Yamaha, Shure, Tyler Truss and Martin lighting. Sennheiser not only has an office at Rock Nashville but has moved its entire North American operations there. And it wouldn’t be Nashville if you couldn’t buy a guitar: PRS, Takamine and Taylor Guitars are ensconced there, along with Rock-It Cargo to safely ship them.
Rock Nashville’s third main stakeholder is Nashville’s own longtime premier rehearsal facility, Soundcheck. That 33-yearold facility is a music industry institution, but one that was threatened by Nashville’s rapid development. Its location on land once occupied by scrap metal yards has been quickly overtaken by tech and gentrification.
Rock Nashville and Lititz support what has become a touring industry top-heavy with spectacle. A business that once prided itself on having been nurtured in suburban garages has had to
create expansive spaces in which to develop ever-more dazzling productions. With its main rooms and their 20–25m-high ceilings in Nashville and one in Lititz at a dizzying 30m – all able to accommodate live pyro – and two dozen smaller spaces for band and dancer rehearsals, the sky is quite nearly the limit. All in pursuit of those $600 seats that will still mostly only be able to see the production on giant screens.
All this takes place while small clubs – once the next step after the garage – are facing a financial vice-grip, with 64% of independent live stages recently reporting they were not profitable, struggling against a combination of soaring operational costs, gentrification, taxes and shifting audience behaviours that have made the traditional ticket and bar revenue insufficient for survival.
There is one notable concession to music production’s roots, though: Rock Nashville’s location allows many to at least sleep in their own beds during rehearsal, having brought the facility to where many of the artists, musicians and technologists call home (versus in Lititz, where they had to build a 137-room hotel onsite). Those working in today’s evergrander rehearsal spaces need to create shows spectacular enough to justify the ticket prices required to support crowd expectation.
Phil Ward ponders the shifting nature of authenticity
folk trio Peter, Paul and Mary. It won’t win the Perrier comedy award at the Edinburgh Fringe festival, but it does reveal something about the potential disparity between a name – or a brand – and its reality. So, a critic is watching the group and observing that there have been some personnel changes, as in any band. Firstly, Peter left, replaced by Tom, then Paul and Mary formed their own duo, replaced by James and Maggie. The known trio of Peter, Paul and Mary is now made up of three characters called Tom, James and Maggie.
I warned you not to reach for the Perrier. However, I think we can conclude that, whatever this new group is, and however good they are, it’s not Peter, Paul and Mary. Loyal fans might feel more than a little aggrieved. This would be farcical if it were not true that many bands – like Hawkwind and UB40, for example – are now touring with as few as one original member. Then consider some of the Beat groups of the early 1960s that consist of offspring, younger relatives or even fans of the act as it was, with maybe the occasional appearance by a founder member in a wheelchair. I have seen this happen.
The paradigm is equally applicable to branded products. Founding generations among clockmakers, automobile manufacturers and many other crafted goods are routinely replaced by a combination of new blood and usurpers, the emphasis depending upon a combination of your sentimentality and your sound business sense. Sometimes, a residual family connection is maintained, but often the heritage is swept away by the new broom. There may be spirited attempts to preserve this heritage behind a glass case in reception.
About this time last year, the TC Electronic factory in Denmark was permanently closed. Ten years before that, it had been announced that the TC Group as a whole – including Lab Gruppen, Tannoy, Lake and other constituent parts – was being acquired by what was known then as MUSIC Group, now MusicTribe. You may, if you wish, reconstruct the aforementioned brands as Peter LabGruppen, Paul Tannoy and Mary Lake. That’s entirely up to you, but bear in mind that the model in the joke is not quite accurate as the fracture was simultaneous and wholesale, not piecemeal.
TC Electronic means many different things to different people. To me it means fabulous reverb, wonderful guitar pedals and more than one lost weekend in Aarhus, the lovely city in which the company started, and finished – one such weekend being entirely the fault of a gentleman who now works for a leading developer of open networking standards. This sort of B2B hospitality just doesn’t happen anymore.
Now imagine a folk trio called PRV, made up of Peter Potters Bar, Paul Regensdorf and Mary Vienna, and you’ll see exactly where I’m going with this. Somewhere in the soul of any creative endeavour is a shy creature called authenticity, and it’s the single hardest thing to model, replicate or preserve. In fact, Groucho Marx just about got it right when he said: “The two most important words in the world are honesty and sincerity. If you can fake these, you’ve got it made.”
It seems the most compelling arguments for all the various ways of reducing costs, maximising profits, streamlining production and generally oiling the greasy pole of growth, while being inarguable when faced with the stark logic of the spreadsheet, just can’t answer this point. The band has split up. But whatever this new group is, however good it is, it’s not TC Electronic.
Control
FOR YEARS, AV AND BROADCAST OPERATED WITH different priorities. Broadcast engineers cared about signal integrity, redundancy and reliability at scale, where AV integrators focused on presentation, reinforcement and room-based experience. Today, that distinction is increasingly difficult to maintain.
Corporate environments expect broadcast-grade reliability. Universities routinely stream beyond the lecture theatre and live venues are designed for hybrid participation as standard. Meanwhile, broadcast manufacturers are expanding into corporate, education and live production markets that were once considered peripheral.
Yet, long before AV–broadcast convergence became a talking point, much of the professional audio world had already converged. Over the past decade, Dante has no doubt become the de facto networking layer for a significant proportion of professional audio systems. Developed by Audinate, the IP-based platform allows audio devices from different manufacturers to connect over standard Ethernet, automatically discover one another and be routed through a shared software interface. Consoles, DSPs, stageboxes and amplifiers routinely sit on the same network fabric, visible and controllable within a unified environment.
The original idea seemed simple, recalls Audinate CMO Joshua Rush. “Our CEO, Aidan Williams, who was a networking engineer by day but was a musician and very involved in his church on the side, saw the idea that those two worlds could come together. At the end of the day, these are just signals going from point A to B. ‘Why can’t that go onto the network?’ he said, and that was really the origin of Dante. I think that idea resonated with customers and so was quickly adopted by more and more manufacturers.”
Audinate’s unveiling of the Dante AV platform introduced a new element to the convergence conversation. With video now arriving on the same network, the dividing lines between AV and broadcast are blurring not at the product level, but at the infrastructure level. Audio, video and control increasingly share switches, cabling and VLANs.
“Network development is the future of AV,” says Chris Graham of American pro AV/broadcast manufacturer BZBGEAR. “It simplifies installations – it’s much easier to run Cat6 connected to network switches that provide power and send signals, whether it’s audio, video or control.”
As video joins IP networks that are often already running Dante audio, a practical question emerges: how should everything be managed? Transport protocols for video – ST 2110, NDI and others – continue to evolve and coexist. But once audio and video share the same Ethernet backbone, the challenge becomes less about how packets are carried and more about how devices are discovered, routed and monitored within a mixed environment. In the audio world, Andy Cooper from Yamaha’s Professional Audio Division has seen that shift develop over time. Digital consoles began crossing between studios, live venues and broadcast facilities decades ago. Networking accelerated that
crossover, particularly where geographically dispersed systems demanded central oversight. Dante modules within Yamaha products now carry not only audio but control data, embedding routing and device visibility into everyday workflows.
From the broadcast side, AJA product manager Damian Horne sees similar pressures reshaping future expectations. “Even an event that’s more of a local fixture now needs to be broadcast out,” he explains. “Capture, distribution and presentation increasingly have to operate within a unified infrastructure.”
When video devices are introduced into networks already structured around Dante audio, fragmentation at the management layer becomes
an understandable concern. Separate discovery mechanisms and parallel routing environments introduce friction into systems that are already complex.
Rather than positioning itself purely as another video transport, Dante AV extends the existing discovery and routing paradigm into video endpoints. According to Rush, customer demand was the impetus. “They wanted to manage their networked video just like they did with audio,” he says. In practice, that means allowing compatible video devices to appear within the same management environment that integrators already use for audio, reducing the need for entirely separate control ecosystems.
“The thing we kept hearing at the time was they wanted to manage their networked video just like they did with audio, to be able to pull up the devices in Dante Controller and manage the routing,” furthers Rush. “We’re now over 70
manufacturers that have adopted Dante AV, with hundreds of products that are on the market.”
Importantly, this doesn’t have to be a battle to displace established broadcast video standards. In many deployments, ST 2110 or NDI continue to handle the underlying video carriage. Dante’s role sits alongside them, at the level of device visibility and signal routing across shared infrastructure.
AJA’s adoption reflects that pragmatism. The company initially introduced Dante-enabled audio embedder and disembedder products before engaging further with Dante AV, reliability being the paramount reason. “You can’t have stuff stop working on you in the middle of a broadcast,”
notes. “Dante’s established position in audio made it a credible layer to build upon, even as AJA continues to support multiple video transports.”
Glensound offers a similar perspective. Having adopted Dante more than a decade ago, the company now deploys Dante-enabled commentary systems in esports environments where a single engineer can oversee multiple positions from a central workstation. The operational advantage lies not only in audio transport, but in unified system visibility.
Taken together, these examples suggest that ongoing AV convergence is less about format wars and more about retaining system control. Given that audio networking has already standardised in many environments around Dante, as video migrates onto the same infrastructure, the gravitational pull of that installed ecosystem becomes difficult to ignore.
“The goal for Dante AV was not merely to add another video transport to the market, but to extend a familiar control environment into adjacent workflows,” confirms Rush. “Last year, we launched our Dante Director software, a cloud-based management platform for Dante devices. It works for both audio devices and video devices. We’re continuing to evolve that, adding more features, and really making that robust.
“We also recently acquired a company called Iris, and that has resulted in not only adding more video devices to the Dante portfolio, but also a bunch of new features and functionality to that control and management layer as well. We’ll be pulling all that into the Dante platform in the future.”
As the industry continues to evolve, transport will likely remain pluralistic. ST 2110, NDI, Milan and others continue to serve specific technical requirements. But, across these examples, a consistent pattern emerges.
As workflows continue to align and infrastructure continues to converge, manufacturers are increasingly competing not only on how efficiently they move signals, but on how intuitively their products integrate into broader operational ecosystems. Dante’s widespread adoption across manufacturers lowers the barrier to extending familiar control paradigms into video workflows.
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As IPMX reaches its first formal certification milestone, the conversation around open standards in AV-over-IP is shifting from theory to deployment. AIMS board member Andrew Starks outlines the progress so far and the potential implications for the wider AV industry
AV-over-IP has transformed the professional AV landscape. More than a dozen competing platforms now enable high-quality, low-latency audio and video transport over standard Ethernet infrastructure. Yet the market remains fragmented. Manufacturers, integrators and end users face a persistent challenge: products built on different proprietary ecosystems do not interoperate. The flexibility to choose the best components from multiple vendors remains out of reach for most deployments.
Internet Protocol Media Experience (IPMX) was created to solve that problem. Developed under the Alliance for IP Media Solutions (AIMS) in collaboration with the Video Services Forum (VSF) and the Advanced Media Workflow Association (AMWA), IPMX is an open standard and specification for multivendor AV-over-IP in the professional AV market.
At a technical level, IPMX builds on SMPTE ST 2110, the broadcast industry’s established standard for professional media over IP networks. IPMX integrates AMWA’s Networked Media Open Specifications (NMOS) for device discovery and connection management. But where ST 2110 was designed for the extreme timing and synchronisation demands of live broadcast production,
IPMX adapts and extends that foundation to meet the realities of pro AV deployment. It supports both synchronous and asynchronous operation, allowing systems to run with or without Precision Time Protocol (PTP) infrastructure. It defines profiles for compressed video using JPEG XS, enabling visually lossless 4K60 transport over standard 1GbE networks. It also makes NMOS mandatory rather than optional, ensuring consistent device discovery, EDID handling and connection management across vendors.
What sets IPMX apart from existing proprietary solutions is multivendor interoperability through open standards and specifications. It addresses content protection through standardised HDCP (High-bandwidth Digital Content Protection)
handling and a defined key exchange mechanism (HKEP), provides a Privacy Encryption Protocol for secure multivendor AV transport and supports USB virtualisation for interoperable KVM deployments. Rather than requiring bridges between incompatible ecosystems, where information is lost, latency increases and complexity grows, IPMX offers a single, unified framework from the outset.
AIMS formally launched the IPMX initiative at ISE 2020, just before the Covid-19 shutdown reshaped the industry calendar. In the years that followed, the effort progressed through intensive development and real-world validation. A critical milestone came in 2023, when the first large-scale “dirty hands” interoperability testing event, hosted at the NFL facility
in Inglewood, California, brought early adopters together to validate assumptions and refine specifications based on actual device behaviour.
That work reached its culmination in January 2026, when the inaugural IPMX Product Testing and Certification Event was completed at the European Broadcasting Union (EBU) in Geneva, in collaboration with AIMS, VSF and AMWA. For the first time, the full certification process ran end to end: devices were independently tested, procedures were validated and the public IPMX Registry made its debut.
At ISE 2026, the results became tangible. The launch introduced 48 certified products from 11 manufacturers, spanning silicon providers, endpoint manufacturers and infrastructure vendors. For systems integrators, consultants and end users who have been cautious about open AV-over-IP standards, this represents a clear inflection point. IPMX is now a verified, deployable ecosystem backed by independently tested multivendor interoperability.
The certification framework itself sends an important signal. It defines what compliance means, provides transparency through the public registry and creates accountability that proprietary platforms have not historically offered in the same way. Integrators are no longer forced to reverse-engineer control workflows or depend on vendor-specific gateways. Instead, devices share a common transport and control framework from the ground up. What comes next?
With certification established and products entering the market, the next phase for IPMX centres on scale and enablement. Training is a top priority, and AIMS is launching the IPMX training platform in 2026, with the first formal sessions having begun at the 2026 NAB Show in Las Vegas in April. The goal is to provide structured education for designers, technicians and engineers so that deployments are predictable and repeatable across regions and vertical markets.
On the technical roadmap, additional capabilities are coming online. HDCP and Privacy Encryption Protocol certification are being added to upcoming test events. Support for widely deployed codecs such as H.265 (HEVC) and H.264 (AVC) is in progress, reflecting the practical realities of existing infrastructure. Interoperable USB transport has been specified and is moving to hands-on interoperability events. Additional profiles and capabilities continue to be evaluated, and setting priorities across that expanding scope is ongoing work. AIMS is careful to avoid predictions, but the ambition is clear: if the combination of open standards, attention to accessibility and ease of use, and care for making both live production and
pro AV workflows first-class and interoperable resonates with the market, IPMX has the potential to become ubiquitous. The goal is a future where AV-over-IP is no longer fragmented across competing proprietary ecosystems but is simply the way audio and video move over networks.
That future depends on demand. When end users and consultants begin specifying IPMX in projects, manufacturers respond. The more the market signals its preference for open,
multivendor solutions, the broader and deeper the ecosystem becomes. For anyone who has been waiting for proof that an open AV-over-IP ecosystem can function at scale, that proof is now visible. It is time to begin planning, specifying and deploying.
www.aimsalliance.org www.ipmx.io
FOR MUCH OF THE MIDDLE EAST’S LIVE EVENTS SECTOR, visibility tends to come from headline-grabbing concerts and large-scale outdoor productions. Despite its scale, Encore Middle East often operates outside that spotlight. Production is a major revenue stream and a differentiator, especially for larger conferences, gala builds, government programmes and special events. In addition, the company has built a significant portion of its regional business around long-term venue partnerships that place it deep inside the UAE’s hospitality and conference ecosystem, alongside a production operation that continues to deliver events across the market.
Speaking from the company’s local base in Dubai, regional operations director Michael Shendy describes a Middle East operation that has evolved steadily since the Eclipse brand was absorbed into the global Encore group in 2019. While that acquisition coincided with one of the most disruptive periods the industry has ever faced, the outcome locally has been a clearer structure, closer alignment with global systems and a more defined positioning within the hospitality sector, while still retaining Encore’s broader production capabilities. According to Shendy, this integration has strengthened its ability to support complex productions with shared global resources and expanded design expertise.
“While production remains essential for the UAE market, Encore is, at its core, a venue services business where clients increasingly expect full-service solutions,” he explains. “That’s especially true in North America, where the model is deeply embedded across hotels and convention centres, but it’s also where we’ve found our strongest footing here in the UAE. The hospitality sector lends itself well to that approach, and being integrated directly into venues allows us to support a far wider range of events, from small meetings through to large-scale conferences, in a way that standalone production companies often can’t.”
Today, Encore Middle East provides in-house AV and event production services across a portfolio of five-star hotels and conference venues, in addition to standalone production projects where required. These teams deliver full production support including scenic and staging, creative services, lighting services and large-scale rigging or LED integration. The company maintains long-term technical partnerships with venues including Atlantis Dubai, Madinat Jumeirah Group of Hotels, JW Marriott Marquis Dubai and Conrad Etihad Towers
Abu Dhabi, embedding teams, equipment and workflows directly within those environments.
The venue-based model differs from traditional project-led production in its day-to -day rhythm. Rather than mobilising solely for individual shows, the team supports everything from small meetings through to large conferences and gala events, while maintaining the flexibility to scale up for more complex productions. This hybrid model enables the team to step seamlessly into production mode when events require elevated design, creative consultation or multi-vendor coordination.
“It’s a specialist service,” says regional sales manager Daniel Powell. “You’re not just delivering AV. You’re operating inside a hospitality environment, which means understanding the service culture, hotel operations and client expectations just as much as the technology.”
That specialism has proven resilient. While some competitors have shifted focus towards touring or large-scale one-off productions, Encore has continued to invest heavily in its venue operations and production services. According to the company, the UAE’s steady pipeline of new hotel openings, coupled with the growth of international conferences and incentive travel, continues to support its balanced approach. The rise in medium to large-format conferences and multi-day programmes has also increased demand for integrated production support.
The Middle East office employs around 160 staff across venues, warehouse and production operations such as
lighting, designers and video specialists, supplemented by freelancers during peak periods. Managing multiple venues across Dubai and Abu Dhabi gives the team early visibility of booking patterns and upcoming demand. “That visibility is a big part of the value,” Powell notes. “Because we’re embedded in the venues, we see the full picture of what’s coming in and not just individual jobs.” This, he adds, allows the team to plan resources, investment and staffing with a longer-term view than is typically possible in project-led production environments.
While Encore is promoted by many venue partners as the in-house production provider, end clients remain free to appoint other suppliers where required. The presence of onsite infrastructure, local crews and established workflows, however, allows Encore to support a significant volume of events within those venues, giving the team a strong capture rate across many properties. Venues today expect more than audiovisual support; they want creative, strategic partners who share their hospitality mindset and who can deliver exceptional results.
In Abu Dhabi, the company has also introduced Encore Event Services, designed to meet demand from government and semi-government clients seeking a more centralised point of contact. The service extends beyond core AV, coordinating with trusted partners to support wider event production requirements where appropriate. “We identified a gap,” says Shendy. “Some clients wanted a single interface, and this allows us to stay engaged while still focusing on what we do best.”
The UAE operation reflects a broader theme across Encore’s international footprint – adapting a global framework to local market realities. While Encore’s international operations vary by region – from venue-heavy markets in the US to production-focused teams in parts of Asia Pacific – the UAE business has settled into a hybrid. “Regular refresh cycles tied to venue needs ensure consistency and reliability,” Shendy notes. “Most events don’t require touring-level specifications, but they do need systems that work every day”.
“Only a small percentage of our work is full touring rider-driven production,” Powell adds. “Most clients want a solution that fits the venue, looks professional and delivers reliably.”
www.encore-emea.com
Optimal Audio launched in 2021 under the Focusrite Group umbrella with a clear mission: to simplify installation audio without compromising on quality
SET UP TO ADDRESS WHAT MANY SAW AS AN unnecessarily complex commercial audio landscape,
Optimal Audio became the seventh brand in the Focusrite Group at its 2021 launch. Its focus has been on delivering an ecosystem of products for hospitality, retail, leisure and corporate environments that are easy to specify, simple to install and intuitive for non-technical staff to operate. In just a few years, the brand has expanded its portfolio significantly, built global distribution and established a reputation among integrators and installers for combining ease-of-use with high-quality sound. The concept for Optimal Audio began in 2019 when Martin Audio managing director Dom Harter identified an opportunity to build a dedicated commercial audio brand. Although the idea emerged during a period of significant change – including the acquisition of Martin Audio by the Focusrite Group in late 2019 – the concept of a separate marque dedicated to commercial audio quickly proved logical. The plan was supported within the group, laying the groundwork for the new company.
“It started inside Martin Audio as a project to investigate how to win market share of the commercial audio sector,” explains marketing director, James King. “We quickly realised that the products required to win were not a suitable subset of the Martin Audio brand and so we invested in a separate R&D team to develop the products under the banner of Optimal Audio. When Martin Audio was purchased by Focusrite plc, the Optimal Audio brand concept – at that stage around 15 months into development – took on additional life with investment by Focusrite as well as support from the wider group to help bring us to this moment.”
An early key appointment was engineering manager Matt Rowe, who was tasked with developing the technological backbone that would underpin the new product ecosystem.
Rowe brought extensive industry experience to the project. After graduating in electronics from Kingston University, he began his career as a technician at BSS Audio, where he later worked on the development of Soundweb London. Following a decade at BSS, Rowe moved to Soundcraft, where he played a key role in delivering the company’s Si series of digital consoles. Later work at Harman International further developed his expertise
in cost-efficient engineering, particularly in the development of compact mixers such as Soundcraft’s Signature and Notepad series.
When Harter outlined his vision for the new commercial audio brand, Rowe saw an opportunity to apply his broad experience. The prospect of building an end-to -end system from the ground up, including DSP controllers, amplifiers and loudspeakers, proved compelling. Drawing on his experience of working across multiple disciplines, Rowe helped establish the technical foundations of Optimal Audio’s first generation of products.
While the engineering development progressed, the task of shaping the brand itself fell largely to King. Working alongside Harter, King began developing the brand strategy in early 2019. The guiding principle was simplicity. This would apply not only to the products themselves but to the entire customer experience, from product selection through to installation and day-to -day use. Rather than reducing capability, the goal was to remove unnecessary complexity. Product development focused on creating a range where components worked together seamlessly, eliminating the need for extensive system configuration. Together, the technical and marketing teams set about defining Optimal’s target markets and detailing how the ecosystem would benefit everyone in the sales chain, including distributors, integrators and end users. A clean, minimalist logo was developed
early in the process and has since developed into a distinctive double-icon graphic system used to represent product categories, applications and key messages.
However, as with many well-intentioned plans laid in 2019, an unexpected obstacle presented itself in the form of the Covid-19 pandemic, severely impacting the global audio industry. Throughout 2020, the Optimal Audio team continued behind the scenes, refining the brand architecture, product messaging and marketing approach. In March 2021, the Focusrite Group launched a teaser campaign announcing that a new brand was on the way, with the official
online launch of Optimal Audio on 20 April that year. More than 20 products were unveiled, offering a one-stop solution of control, amplification and loudspeakers for small to medium-sized commercial installations, with a focus on supporting multi-zone venues. This included 4- and 8 -zone powered and non-powered DSP zone controllers with 3 -band EQ, bandpass filtering on every output, limiters and delay and an app for system setup, allowing installers to configure EQs and presets and structure time-of-day routines. Other products were ZonePad controllers and three SmartAmp amplifiers with DSP, multichannel direct drive constant voltage and optimised presets, available in half- and full-rack options. The Up range consisting of five ceiling speakers, four Cuboid on-wall wooden speakers and two compact Sub subwoofers completed the launch offering.
At the same time, a strategic distribution partnership with Audio-Technica Europe for key markets was announced. Distribution partners were soon appointed in multiple regions as the company began building its global network. Heading the charge for Asia was Generation AV, which was quickly appointed to manage the territory, appointing early distributors including Guangzhou Guidance (China), ProPlugin (Thailand), Alvo Technology (Singapore) and Duc Proaudio Technology (Vietnam), followed by Audio Brands for Australia. Meanwhile, representation for the MEA region kicked off with Audiosure for South Africa and Kwarizmi for Jordan.
However, there were more obstacles ahead, namely the global component shortage that affected electronics manufacturers across a range of industries. Anticipating potential supply issues, the team had taken the precaution of securing critical components in advance, including the DSP chips used in the Zone processors. Despite these preparations, the broader supply chain challenges inevitably affected production schedules. Like many manufacturers, the engineering team had to redesign products to accommodate changing component availability. However, products began shipping within months of the launch, allowing the brand to start building up a presence in the market. According to Harter, the response from early adopters and channel partners helped to build
a strong order book. The company’s first open day in September 2021 gave visitors the chance to experience the Optimal Audio technology and ecosystems in person.
Product management director David Morbey joined the company after the brand’s launch, bringing with him extensive experience from the commercial AV sector. Having previously worked with Harter and King during their time at Martin Audio, Morbey was already familiar with the concept behind Optimal Audio. “I very much admired the Optimal Audio launch in 2021,” he says. “The disruptive marketing and clear messaging around the ecosystem isn’t let down by the product, which proved to be as simple and intuitive as it promised, so when the opportunity arose to get involved, I didn’t hesitate.”
One of Morbey’s priorities has been to develop a route for improved customer feedback to inform future product development, as well as working with R&D and management to develop a strategy and identify priorities for the medium and long term. Since its launch, Optimal Audio’s product range has roughly doubled in size while remaining true to its original philosophy. The portfolio now includes loudspeakers, amplifiers, DSP controllers, pagers and control interfaces designed to work together seamlessly, with standout products such as the Talk 8 paging station helping to define the brand’s offering.
Optimal Audio is now distributed in more than 80 countries, supported by an ever-expanding network of sales partners and systems integrators, with worldwide installations spanning applications from hospitality and retail through to sports arenas.
“The ability to have crystal-clear sound available at the touch of a button helps us provide a better environment for our members as well as enabling us to communicate clearly at domestic competitions and special events,” comments Mark Wrobel, CEO of Northside Wizards, whose basketball arena in Australia was installed with a Cuboid system by Brisbane Sound Group, supplied by Audio Brands Australia – the first sports arena install for the brand. “The sound quality and clarity of speech provided by the Optimal Audio speakers is second to none and has made our venue a far more friendly space.”
Optimal Audio has also received significant industry recognition, winning multiple awards both for individual products and for the brand itself. These include honours for technologies such as the Zone DSP platform, the WebApp control interface and the Talk 8 pager.
Although it’s still relatively early days, Optimal Audio has already demonstrated strong momentum. “We’ve signed sales partners all over the world in many more countries than our original business plan assumed,” says Harter. “We have built a solid following of early adopters, channel partners and installers through a powerful marketing campaign. I am very proud of the team, the calibre of materials they have built and the execution of the designs. There is a lot to be proud of, and we have a long-term vision with an excellent team executing the plan. In the next few months there will be a raft of further products and solutions hitting the market. Exciting times!”
With a growing product portfolio, expanding distribution network and the backing of the Focusrite Group, the company is well-positioned for continued growth on its path to provide commercial audio systems that are powerful yet approachable, delivering quality audio while remaining easy for venues to manage.
www.optimal-audio.co.uk
Designed and built in the UK, Ten Squared (Ten2) is a range of premium, low frequency loudspeakers. Engineered without compromise, they deliver consistently superior levels of performance in the most demanding professional sound reinforcement applications. All the time. Every time. 18, 21 and 24-inch models available.
Discover Ten Key Features that add up to a new standard in LF driver performance celestion.com
Designed to enhance the AI-powered workplace, the IntelliMix Bar Pro has been added to Shure’s collaboration portfolio
THE INTELLIMIX Bar Pro from Shure is an all-in-one video bar “engineered to solve IT’s everyday challenges in meeting spaces”.
The latest addition to the manufacturer’s collaboration portfolio, the video bar has been designed to enhance the AI-powered workplace, providing audio and video coverage from a single device. Suitable for medium and large meeting spaces, it captures non-verbal cues to create a more engaging and productive meeting.
The IntelliMix Bar Pro integrates patented Shure Microflex Advance array microphones with high-output, stereo loudspeakers. Onboard IntelliMix processing enhances audio clarity by reducing background noise and isolating voices, supporting precise transcriptions for AI tools like Copilot in Microsoft Teams and ensuring every word is captured clearly to boost productivity.
Shure IntelliMix View AI framing technology frames each participant as they would appear in person. Four 4K cameras offer a combined 135° wide-angle field of view to provide full-room visibility and the ability to highlight active participants.
The Android-based IntelliMix Bar Pro, built on the Microsoft Device Ecosystem Platform (MDEP), includes onboard compute. This aims to simplify setup, reduce potential points of failure and lower overall maintenance. IT teams can securely control, manage and update devices remotely using ShureCloud and other enterprise IoT systems like Pro Management Portal and ServiceNow.
Described as a new table array microphone designed for enterprise collaboration environments, the manufacturer has also introduced the Microflex Advance MXA320. The microphone builds on the design of the MXA310, offering a low-profile, networked audio solution intended for conference rooms and meeting spaces requiring scalable, table-based coverage.
The MXA320 incorporates enhanced Steerable Coverage Technology to support directional audio capture across conferencing environments. The microphone also integrates onboard IntelliMix processing and is certified for
Microsoft Teams and Zoom, supporting streamlined deployment in unified communications spaces.
Configuration is managed through Shure Designer software, with compatibility for ShureCloud-based management. An integrated mute button is included within the compact housing, and the device is designed to require minimal setup out of the box for IT and AV professionals.
The microphone has a programmable LED light ring with configurable colours and brightness control, and is available in white, black and aluminium finishes. It supports standards-based security protocols to manage access and protect data, including 802.1x, secure boot/storage and AES encryption for control and audio data.
Available polar patterns include cardioid, supercardioid, hypercardioid, bidirectional, omnidirectional and “toroid” polar pattern that only captures table-level sound, helping to reduce unwanted distractions from an overhead fan or in-room HVAC.
www.shure.com
BASED ON a 4-way tri-amplified architecture with built-in cardioid technology, the NUMAX Series from Amadeus comes in three models: the NUMAX XV point source system and two complementary line source systems designated as NUMAX XV Focus (variable curvature) and NUMAX XV Wide (constant curvature). The series has been designed to address the limitations commonly encountered in mid-scale loudspeaker systems, including reduced projection, limited spectral extension, quasi-omnidirectional lowfrequency behaviour and insufficient midrange richness and articulation.
The primary low-frequency driver features a 15-inch cone in a bass-reflex configuration, extending frequency response down to 40Hz. The result is said to be a high-power, full-range speaker system suited for spatialised sound reinforcement in mediumto long-throw applications, with effective coverage up to approximately 45m. Each
model in the NUMAX Series is a 4-way speaker design incorporating five transducers. The 15-inch driver features a magnesium chassis and a neodymium magnet, chosen to ensure a lightweight yet high-performance speaker. Optimised to operate within the 40–350Hz range, it has a power handling capacity of 1,000W (AES).
To reduce onstage low frequencies, the models integrate two custom-designed 8-inch drivers, strategically positioned on the rear panel to achieve a cardioid directivity. These rear-facing drivers share similar mechanical behaviour to the front-facing 15-inch driver, ensuring the system maintains consistent cardioid performance regardless of sound level. The 8-inch transducers operate in the 50–180Hz range and are paired with an 8-inch high-excursion passive radiator to maximise system compactness.
www.amadeuslab.com
INTEGRATING INTO AVoIP, Crest Audio has unveiled two PoE++ powered loudspeakers: the CiP 26 and the CiP 5. Designed for fully networked AV environments, the CiP Series delivers control and audio over a single Ethernet cable using PoE++ (IEEE 802.3bt Type 4 90W), removing the requirement for local mains power or separate amplifier racks. The CiP 26 is a 2-way loudspeaker, featuring dual 6.5-inch woofers paired with a 1-inch dynamic tweeter. Its biamplified architecture delivers sound pressure levels of 103dB at 1m. With a frequency response
ARBANE GROUPE has expanded the APG loudspeaker portfolio with the introduction of two product series, the eX and tS ranges. Both series are designed primarily for fixed installation applications, with the tS series also intended for small and mid-sized event use, offering flexible deployment across installed and
conditions. The compact models within the range are compatible with VESA mounting systems, supporting discreet integration into architectural spaces. Installation has been simplified through the inclusion of mounting grommets and cable glands as standard.
to deliver wide and uniform sound dispersion without phase disturbances or response variation across the listening area. The series comprises multiple models, including the eX5, eX6, eX8, eX12 and eX15, covering cabinet sizes from 5–15 inches.
Engineered for indoor and outdoor installations, the eX range cabinets have durable polyurethane finishes designed to withstand challenging environmental
Alongside eX, Arbane Groupe has introduced the tS series, beginning with the tS121 subwoofer. Derived from the UM121 subwoofer platform used in the Uniline Max system, the tS121 has been adapted design is intended to balance compact dimensions with output, making installations and mobile applications. The tS series uses a bass-reflex rear enclosure to extend low-frequency response, while the front-loaded design is intended to deliver controlled and precise low-frequency impact. This dual design approach supports use across a range of programme material, from electronic music to acoustic and popular music applications.
www.arbane-groupe.com
spanning 65Hz–20kHz and a wide 120° x 75° (HxV) coverage pattern, it is supplied with wall-mount brackets with connectivity coming via a single RJ45 connector. The speaker is equally suited to hospitality venues as it is
UNVEILED AS the latest member of d&b audiotechnik’s xS-Series, the 42S comes with the same mounting options as its 44S sibling in a smaller form factor. Featuring a 4.5-inch neodymium LF driver with an asymmetric 0.75-inch HF dome tweeter and providing 120° x 90° (HxV) dispersion, the passive 2-way point source enclosure provides even coverage, directivity and intelligibility according to the German manufacturer.
Featuring a wide selection of mounting options, including flush mount, and an extensive Custom Solution offering, the 42S can be integrated into almost any hospitality, performing arts or house of worship venue. Acoustically tuned for use with all d&b amplifiers in main, auxiliary and distributed audio configurations, the frequency response of the 42S extends down to 77Hz. For distributed systems, its
supporting speech and presentation audio in larger collaboration spaces.
Tailored for a more controlled soundstage, the CiP 5 is equipped with a 5.25-inch woofer and 0.75-inch tweeter. This biamplified
configuration delivers up to 101dB peak SPL with a 90° x 60° sound dispersion pattern, making it more suited for boardrooms, classrooms, meeting rooms, retail spaces and distributed background music systems.
The CiP 26 and CiP 5 support Dante and AES67 (sNET) audio networking, with optional 24VDC external power available where required. Their compact enclosures and U-brackets allow installation across a wide range of commercial settings.
www.peaveycommercialaudio.com
nominal impedance of 24Ω allows for between six and eight loudspeakers per amplifier channel, including the 5D or Milan-version 5DM amplifiers.
www.dbaudio.com
AS THE family-owned company celebrates 55 years in business, DAS Audio has expanded its EVENT Series with the addition of the EVENT-30A line array system, EVENT-M12A coaxial monitor and EVENT-S218A subwoofer.
stage monitoring, fills and point source applications. Its compact form, controlled coverage and front-mounted connectors keep cabling out of sight for a cleaner stage aesthetic. Like other members of the family, the monitor has been built on a scalable DSP
The EVENT-30A has been built on a new smart DSP platform designed to evolve over time. Featuring onboard Wi-Fi for wireless firmware updates and Smart Self-Tuning, the EVENT-30A automatically identifies each cabinet’s position within an array using IR technology and applies the correct processing. It delivers 142dB of maximum SPL from a compact, lightweight enclosure. The speakers incorporate newly developed transducers and dual compression drivers, reportedly delivering increased dynamic range and controlled SPL.
The EVENT-M12A is a powered 12-inch coaxial monitor designed for
architecture that supports future firmware updates.
The EVENT-S218A is a dual 18-inch powered subwoofer developed alongside the new EVENT systems. With cardioid presets for two- and three-sub configurations providing effective rear rejection, integrated threaded pole adapters for vertical or horizontal deployment and future-ready DSP, the S218A delivers controlled, efficient low-frequency performance for demanding live and outdoor environments.
www.dasaudio.com
FIRST LAUNCHED in 2008, the frontloaded EVF Series and the horn-loaded EVH Series have become two of Electro-Voice’s most widely installed point source solutions. Now, both series have been reworked to provide higher acoustic output, improved pattern control and a simpler model selection process.
Each model features newly developed Electro-Voice transducers, including the ND2-EVO high-performance 2-inch compression driver, as well as model-specific DSCA low-frequency drivers. A new low-loss crossover forms the foundation for higher efficiency and more consistent performance across the entire frequency range. Incorporating the manufacturer’s Constant Directivity technology, all models benefit from slightly lower tuning and increased woofer excursion capability, resulting in more usable full-range output and increased low-frequency headroom.
All units are offered in black and white finishes and in indoor and outdoor versions. The EVF Series is available in five coverage
DANTE NETWORKED audio support has been added to JBL Professional’s Intellivox active digital beam-shaping column loudspeakers. The 13 newly introduced arrays serve as the next-generation replacements for all previous models in the Intellivox DSX, DS and HP - DS p roduct families.
Combining multiple high-quality drivers with advanced DSP and integrated multichannel amplifiers, the models incorporate JBL’s Digital Directivity Synthesis (DDS) beam-shaping technology, which allows users to define exactly where sound should be projected, and where it should not. By tailoring coverage areas and minimising reflections, DDS maximises the direct-to-reverberant ratio. The slim, unobtrusive design makes the column loudspeaker arrays suitable for installations where architectural preservation is critical. Enclosures require no mechanical aiming, are available in custom colours and can even be recessed to blend seamlessly into buildings of all ages and styles. Intellivox supports Dante and analogue audio inputs alongside IP control connectivity.
Each system includes an electronics module that provides network connectivity for control via free WinControl software, enabling easy setup and monitoring of Intellivox installations. For system designers, the DDA (Digital Directivity Analysis) software tool offers advanced simulation and optimisation of directional behaviour, as well as modelling of other loudspeakers within the system.
www.jblpro.com
patterns: 60° x 40°, 60° x 60°, 90° x 50°, 90° x 90° and 120° x 60°.
The EVH Series also comprises five different coverage patterns: 40° x 30°, 60° x 40°, 60° x 60°, 90° x 50° and 90° x 90°. Both series are ideally matched to the IX Series power amplifiers from Dynacord, making it easier to deploy the EVF or EVH models in configurations. For
maximum flexibility, EVF and EVH G2 are also compatible with the full range of Dynacord DSP amplifiers and the new V Series Zone Audio Platform.
The EVF Series lineup comprises three models: the EVF-12 and EVF-15 2-way front-loaded loudspeakers, and the EVF-215S dual 15-inch subwoofer. The EVF-12 introduces an improved 120° x 60° horn pattern, while the EVF-215S subwoofer benefits from new DSCA-family woofers and processing presets that deliver up to 3dB more output at 40Hz compared to the existing generation.
The EVH consists of the EVH-15, a horn-loaded 2-way loudspeaker designed for applications requiring precise pattern control and high output over longer throw distances. Compared to the previous generation, the EVH-15 delivers increased maximum SPL on most models, improved low-frequency performance and enhanced directivity consistency. Updated mounting and installation options further simplify deployment.
www.electrovoice.com
SXH218 subwoofer. The entire enclosure of the Wavefront Precision units now achieves an IP54 rating for protection against dust and splashes. Improvements also include new corrosion-resistant coatings and improved resilience to high and low temperatures, humidity protection and UV stability. With the addition of an LED indicator within the grille that can be illuminated via VU-NET control software, each enclosure can be identified on the circuit.
An update to the engine of DISPLAY 3 will reportedly make it 27,000 times faster
LAVOCE ITALIANA has released two large-format 1.4-inch compression drivers.
The DN14.250T and DF14.300LT are based on a next-generation HF design platform, combining a FEM-optimised motor, phase plug and diaphragm geometries. The DN14.250T features a 2.5-inch edgewound copper-clad voice coil and titanium diaphragm and surround. It offers a 160W programme power rating, 108dB sensitivity across a 1–20kHz frequency range and a 1,200Hz recommended crossover point. The DN14.250T uses a neodymium motor, offering system designers flexibility in balancing performance, weight and cost according to application requirements. The DF14.300LT is a 1.4-inch exit ferrite compression driver developed directly from the manufacturer’s
LD SYSTEMS has launched MAILA passive, a system variant of the modular and scalable MAILA Modular All-Round Intelligent Line Array and developed for fixed installations as well as for professional rental and corporate use. The system combines the acoustic properties and modular mechanics of the MAILA concept with a classic, power amplifier-based system architecture and can be seamlessly integrated into existing DSP, network and control infrastructures.
The MAILA passive system dispenses completely with integrated power amplifiers and instead relies consistently on external amplification. The MAILA SAT, which already functioned as a passive component in the previous system, remains the central array element. The range is complemented by the MAILA COL P column module for extending the low/mid range, the MAILA SUB P double 15-inch subwoofer and the new MAILA SUB 15 P single 15-inch bass-reflex subwoofer, which will also
Instead of the active MAILA SPA amplifier module, the new MAILA SAT X is used in the passive system. This module sits between the power amplifier and the array and acts as a mechanical and electrical adapter. In addition, the MAILA SAT X can be operated independently of the array as a standalone near-fill point source, including an integrated stand with variable angulation. In active MAILA setups, the MAILA SAT X can be operated via a new version of the MAILA SPA amplifier module with speakON outputs. To meet the extended visual requirements of installation and industrial applications, all passive MAILA modules (with the exception of the SUB P) are available in black and white.
In addition, MAILA is now fully integrated into Powersoft’s Armonía+ software, which enables centralised control and monitoring of all relevant DSP functions and facilitates integration into existing system landscapes.
Meanwhile, the SXH218 hybrid horn/reflex double 18-inch subwoofer now includes weatherisation protection, an LED circuit indicator and a connector panel front and rear to support both cardioid and standard configuration. Two subwoofers have also been unveiled, the SX118+ single and SX218+ double 18-inch models, said to include significantly improved low-end extension performance, weatherisation and an LED indicator and connector panel front and rear.
www.martin-audio.com
flagship DF14.300T driver. It features a 3-inch edge-wound copper-clad aluminium voice coil, delivers 220W programme power handling and a 107dB sensitivity over a wide 600Hz–18kHz frequency range.
The manufacturer has also expanded its common HF/LF magnet coaxial range with the introduction of neodymium and ferrite 8- and 15-inch models, including both cone-ashorn and dedicated ABS horn configurations as part of its flagship CAN and CAF Series. The CAN082.00K and CAF082.00K are compact 8-inch coaxial transducers designed for high-performance point source systems where size, weight and wide coverage are critical. Both models use the LF cone as the HF waveguide, providing a 100° nominal coverage, and feature
a common HF/LF magnet motor structure optimised through FEM analysis.
The CAN082.00K employs a neodymium motor, delivering 97dB sensitivity, while the CAF082.00K uses a ferrite motor and provides 96dB sensitivity.
The CAF153.00TH and CAN153.00TH 15-inch coaxial transducers feature a proprietary ABS HF horn designed to deliver 60° x 40° nominal coverage. Both models are built on a high-power common motor platform with a 3-inch LF copper voice coil and a 3-inch edge-wound copper-clad aluminium HF voice coil, delivering 800W programme power handling and a wide 45Hz–18kHz frequency range. The HF section employs a titanium diaphragm with polyimide surround combined with a patented
IIS phase plug and an aluminium demodulating ring.
Finally, the WAF082.01 is a ferrite magnet 8-inch woofer with a FEM-optimised motor and suspension system. Equipped 2-inch copper voice coil, it delivers 500W programme power handling with a high 97dB sensitivity, making it suitable for compact, high-energy loudspeaker systems where output, reliability and cost-effectiveness must be carefully balanced. An optimised cooling system ensures stable thermal behaviour under sustained high-power operation, while an integrated copper ring extends the usable frequency range and contributes to reduced distortion and improved clarity in the upper LF band.
www.lavocespeakers.com
DEVELOPED FOR permanent installations, Montarbo has released the Nettuno L28 compact line array. It features two 8-inch ferrite woofers, a 1.4-inch neodymium compression driver with 3-inch voice coil and a 1,000W RMS Montarbo-engineered amplifier with integrated DSP and FIR filtering. Capable of delivering up to 135.5dB SPL, the L28’s symmetrical waveguide and phase plug design are said to provide consistent performance, even in acoustically challenging environments.
people. The cabinet is constructed using plywood with a polyurea coating, and includes recessed pins for quick setups and versatile configurations at outdoor festivals, theatres, concert halls, corporate events and houses of worship.
FOHHN HAS expanded its Dante Power over Ethernet (PoE) platform with PoE, PoE+ and PoE++ models, including ceiling, pendant and full-range speakers and a subwoofer. Power, audio, control and monitoring are transmitted via a single network cable, reducing installation effort while enabling scalable and flexible sound reinforcement systems.
The manufacturer has also expanded its MA series with the MA-4.200, a compact 4-channel DSP amplifier delivering 4x200W. For high-power applications, the DM-8000 offers 4x2,000W with Dante, AES and analogue inputs for larger systems and live sound. Meanwhile, the AS subwoofer series
Up to 20 cabinets can be configured using just two rotary encoders, with coupling and HFC presets easily accessible. A 100° horizontal dispersion and built-in, high-frequency compensation reportedly result in precise control over each cabinet’s throw without external processing. Paired with Nettuno S181 or S182 subwoofers, the L28 creates a scalable system capable of delivering consistent energy and reliable performance for audiences of up to 5,000
DESIGNED FOR professional recording studios, project studios and advanced home production environments, Palmer has introduced the ORBIT 11, an active 3-way studio monitor built around a coaxial point source design intended to deliver consistent dispersion, stable stereo imaging and precise localisation across the frequency spectrum.
The ORBIT 11 features a coaxial 6. 5-inch midrange driver with integrated 1-inch tweeter, supported by two side-mounted 8-inch woofers. This configuration is designed to provide homogeneous sound distribution and full-range reproduction, with a stated frequency response of 28Hz–28kHz (–3dB), eliminating the need for an additional subwoofer in many applications. Signal processing is handled via a 96kHz, 24-bit FIR DSP incorporating linear-phase filters with a latency of 4ms. Amplification is provided by an integrated Class-D power stage delivering up to 1,000W peak output, with a maximum sound pressure level of 116dB SPL intended to provide sufficient headroom for larger control rooms and higher monitoring levels.
Room and placement adjustments include a parametric 3-band EQ, high-pass filter and presets for different speaker positions and wall distances. Controls are located on the top panel of the cabinet for direct access during setup.
The Nettuno S182 is a high-output, adaptive subwoofer that delivers extended low-frequency reinforcement down to 35Hz and reaches up to 139dB SPL. It comes with two 18-inch ferrite woofers with dual 4-inch voice coils, a 2,000W RMS Class-D amplifier (4,000W peak) and integrated DSP with system presets and limiter management. Developed as a companion to the L28, the S182 supports ground-stacked, cardioid or coupled configurations. The enclosure is constructed from touring-grade plywood with a polyurea coating, making it suitable for touring sound reinforcement, live concerts and festivals, theatres, performance venues and houses of worship.
www.montarbo.com
Connectivity includes analogue XLR inputs and AES3 digital connections with loop-through capability. Available in black or white, the monitor is housed in a die-cast aluminium enclosure with decoupled feet to minimise mechanical resonance.
www.palmer-germany.com
has been redesigned, combining a new front design with enhanced low-frequency performance.
Finally, Fohhn has added the IG-104 ceiling speaker and IG-104 free pendant version for commercial and hospitality environments to its growing catalogue, along with the AT-206 EN 54-24 certified point source speaker for voice alarm and music playback, the OT-106 stainless steel loudspeaker for harsh environments and the CT-110 coaxial loudspeaker developed for immersive and 3D audio installations.
www.fohhn.com
THE VX52R UTL from Sonance is an ultra-shallow in-ceiling speaker that delivers VX Series performance in applications where depth is limited. The model has been designed for retrofit projects, historic buildings and commercial spaces where traditional speakers cannot be installed, such as shallow ceiling cavities, concrete substrates or rooms with structural limitations.
The VX52R UTL incorporates technology from Sonance’s VX Series models, including CDX Crossover, a crossover design that optimises driver integration and frequency response accuracy across the audio spectrum and VX Sinusoidal Waveguide, an engineered waveguide geometry that provides wide,
consistent coverage with minimal off-axis coloration. A new 5.25-inch polypropylene woofer and 0.75-inch silk dome tweeter have been added to deliver tonal balance and extended frequency response (55Hz–20kHz). With an 8Ω impedance and 89dB sensitivity, the VX52R UTL integrates into distributed audio systems and can be driven by a wide range of amplification platforms. The 8.25-inch cutout diameter and included paintable grille (options for Micro Trim, Trimless or Sonance TRUFIG Flush Mounted) promote Sonance’s “Designed to Disappear” aesthetic philosophy. It replaces the manufacturer’s VP Series ultra-thin model. www.sonance.com
THE SR-D200-EB from TOA Electronics is an active line array speaker designed for high-performance audio applications. It combines vertical beam steering from –15° to +15°, integrated DSP and Dante network connectivity. With dedicated setting software and Dante, line and 100V inputs, the SR-D200-EB provides clear sound coverage and simple integration into modern digital media networks.
The vertical beam-steering technology allows the sound dispersion to be electronically adjusted to the listening area. This reportedly enables precise sound coverage without mechanical tilt, reduces unwanted reflections from ceilings and floors, and improves speech intelligibility, especially in acoustically challenging indoor environments.
The SR-D200 -EB is suitable for indoor projects that demand precise directivity, clear voice announcements and reliable networked audio distribution. It has a maximum SPL of 123dB (at 1m) and dual Dante network ports with automatic device ID detection on the same subnet.
www.toa.eu
RESPONDING TO growing demand from design-led systems that form part of the overall aesthetic, Void Acoustics has expanded the natural wood finish option for its Venu V2 Series. Previously offered as a custom request, the Natural Wood Collection is now available across the Venu V2 range in two real timber finishes: Barewood and Vintage. In addition, the Venu 6, Venu 8 V2 and Venu 208 will become stocked models in natural wood shortly.
Engineered to the same acoustic and structural standards as all Venu V2 enclosures, Natural Wood models maintain identical performance, system compatibility and installation flexibility across the range. The Barewood finish preserves the natural tone and visible grain of the timber, offering a light contemporary appearance suited to minimalist and Scandinavian inspired interiors. The Vintage finish introduces a deeper oak-inspired
stain that enhances the grain while adding warmth and depth, making it suitable for boutique hospitality and heritage environments. www.voidacoustics.com
(PTV) system, a 3-channel cooling method that provides constant airflow across the frequency band. This thermal performance is further enhanced by its proprietary voice coil structure, allowing the driver to reportedly operate at temperatures up to 80°C lower than other products in its class. By significantly lowering temperatures, the TSQ2160 reduces power compression and thermal stress.
The TSQ2160 21-inch neodymium magnet low-frequency driver expands the Ten Squared
THE CNX0820 8-inch neodymium magnet coaxial driver from Celestion has been designed to deliver high-output, high-fidelity sound from a lightweight, compact footprint. Created for applications where space is at a premium but audio quality cannot be compromised, the driver features a robust cast aluminium chassis and a single neodymium magnet assembly that acts as a common motor for both the LF and HF elements. The LF element features a 2-inch edge-wound copper-clad aluminium voice coil, offering a continuous power rating of 500W and 95dB sensitivity. The HF element utilises a 1.75-inch edge-wound copper-clad aluminium voice coil, providing 100W continuous power handling with a sensitivity of 107dB. A key differentiator for the CNX0820 is its integrated constant directivity horn, which provides a defined 50° dispersion pattern. The magnet assembly incorporates twin demodulation rings, which are said to significantly reduce harmonic and intermodulation distortion. The HF diaphragm is constructed from polyimide for durability and clear transient response, and is field repairable, promoting longevity and ease of service.
DESIGNED FOR sub-bass reinforcement, the LEX family from Beyma has welcomed a new arrival. The 15-inch 15LEX1200Nd is a subwoofer with a resonant frequency (Fs) of 36Hz, a 4-inch DUO double-layer voice coil, an X max of ±11mm and a high sensitivity of 97dB (1W/1m). It incorporates Beyma’s patented Malt Cross cooling technology, which has been designed to reduce power compression losses. This unit has an FEAoptimised neodymium magnetic circuit, a 60mm peak-to-peak excursion before damage and is optimised for both direct radiation and band-pass enclosures.
Following in the footsteps of the 14MLEX1000Nd launched last year, a 15-inch counterpart has been released. The 15MLEX1000Nd features an Fs of 38Hz, a sensitivity of 100dB (1W/1m) and a 4-inch DUO double-layer voice coil. It is specially engineered for mid-bass applications in high-output systems and also includes the Malt Cross cooling system. The model has an FEA-optimised neodymium magnetic circuit, low air noise, an X max of ±11mm, a 60mm peak-to -peak excursion before damage and an aluminium demodulating ring.
(Ten2) Series. It features a 5,000W continuous power rating and achieves 97.5dB sensitivity thanks to its 6-inch diameter round copper voice coil and magnet cooling technology. The TSQ2160 uses the Precision Tuned Venting
The manufacturer has also unveiled its Lensguide technology, incorporated into its new line array waveshaper and horn designs. Lensguide has been created to address the flaws inherent in conventional waveguide and horn design that forces a trade-off between achieving either controlled directivity with poor frequency response, or smooth frequency response with poor directivity control. With Lensguide technology, both controlled directivity plus smooth and consistent frequency response are possible.
www.celestion.com
Completing the manufacturer’s waveguide family for line source systems is the SG-10 waveguide for flat wavefront generation.
Advanced multiphysics simulation tools have been employed to develop a compact, transparent guide with improved isophasic wavefront characteristics. has been designed for compression drivers with a throat diameter, provides a 0.5–20kHz frequency range and is suitable for coverage angles of maximum 120° x 10° (HxV).
AUDIOFOCUS HAS unveiled the latest 15-inch additions to its touring and installation subwoofer ranges. Featuring a ground-stacking design built around a single 15-inch LF transducer, the 115SG utilises Tetracoil double voice coil technology to achieve tighter control, greater power and enhanced transient response. The loudspeaker achieves a peak SPL of 131dB and covers a frequency range of 35–100Hz.
In addition to the passive 115SG, the subwoofer is offered in two self-powered variants. The 115SGa has been designed for sustained performance in demanding applications such as EDM, while the 115SGaDUO adds a pair of speakON connectors for plug-and -play powering of top speakers. The 115SG can be driven by the brand’s A series amplifiers, with Powersoft Armonía presets also available.
www.audiofocus.eu
K-array has revealed several new additions to its K-array, KScape and KGear product portfolios. Providing low-frequency output while minimising rear sound radiation, the Thunder KSCARDIO412P marks K-array’s debut in cardioid subwoofers for live sound and fixed installations. Comprising a 12-inch neodymium magnet with a 3.5-inch voice coil, the passive subwoofer operates within a frequency range of 24–150Hz (–6dB). Capable of attaining a maximum SPL of 126dB (peak), the 900mm x 500mm x 250mm wooden enclosure weighs 26kg. Joining the GT12 12-inch full-range point source loudspeaker, the GT8 is the latest addition to the KGear portfolio. Enabling scalable system configurations from distributed setups to multi-cabinet clusters, the versatile enclosure can be arrayed both vertically and horizontally.
Thunder KSCARDIO412P
Dual speakON NL4 connectors and an 8Ω impedance promote ease of integration into existing installations or rental inventories. K-array ’s KMC microphone portfolio has been enlarged with the addition of the Capture KMC20 MKI ultra-slim line array microphone featuring upgraded capsules, a built-in preamp, 3D-printed steel body, an integrated XLR cable and new mounting accessories.
www.k-array.com
A RANGE of high-power performance amplifiers has been unveiled by Pascal, signifying the manufacturer’s return to live sound. Said to combine high-performance amplification, intelligent control and proven
Built on its amplifier platform, the manufacturer claims that the PX Series delivers clean, detailed audio with ample headroom and rock-solid performance under sustained load. A fully integrated
reliability in a scalable platform, the PX Series has been engineered to deliver consistent sound quality and dependable operations across a wide range of environments, from mobile touring systems and rental inventories to permanent installations in large venues.
ITALIAN MANUFACTURER FaitalPRO has introduced three low-frequency transducers, comprising the 15-inch 15XL2400, 18-inch 18XL1700 and flagship 21-inch 21XL3000. The drivers have been designed to provide controlled, deep bass with stability even under high power demands, providing consistent performance in professional audio applications.
is said to result in an efficient, responsive bass, making it suitable for both touring and installation setups where high performance is required.
Leading the range, the 21XL3000 features a 6.5-inch two-layer aluminium voice coil, an FEA-optimised neodymium magnet and a demodulation ring. With a force factor (BL) of 43 N/A, it delivers 3,000W AES (6,000W max) and provides precise motor control, resulting in stable and reliable low-frequency performance, even under sustained high-power operation.
According to the manufacturer, the 18XL1700’s magnetic assembly allows it to exceed the performance typical of 18-inch subwoofers with conventional 4-inch voice coils. Its high force factor of 30.5 N/A, combined with a double-layer voice coil,
The 15XL2400 has been created to subwoofer can achieve output levels and performance typically expected from larger designs. It offers 2,200W AES power handling (4,400W max) with a 5.5 -inch aluminium voice coil and FEA-optimised magnet. This design provides ample headroom, allowing the driver to handle dynamic peaks while maintaining a focused, articulate low end. The result is described as a combination of punch, efficiency and clarity, demonstrating that high performance can be delivered even in a more compact footprint.
All three subwoofers share the same high excursion and demodulation features to ensure precise cone control and minimum distortion, reinforcing reliability and performance under demanding conditions.
www.faitalpro.com
control environment brings hardware and software together, enabling fast setup, precise tuning and real-time system monitoring.
www.pascal-audio.com
WITH THE advent of the DMA and LMA series, AtlasIED has created mixer amplifiers specifically for smaller venues requiring the incorporation of BGM or live music. Available in 100W, 200W and 400W models, the DMA digital-mixer amplifier combines onboard DSP with app-based configuration via the DMA Control iOS/ Android App, which provides direct access to speaker tunings, routing and system performance on a mobile device. With front-panel controls providing access to volume and source selection, the DMA units are compatible with optional wall plate accessories, including volume control
(DMA-V), volume and source selection (DMA-VS) and Bluetooth audio (DMA-BT). Mirroring the DMA’s power ratings and load flexibility (4/8Ω, 70V and 100V), the LMA amplifier series differentiates itself as a streamlined, DSP-free solution for small-scale commercial audio applications. Used independently, the LMA serves as a single-zone amplifier that is compatible with the DMA-V volume controller. When paired with a DMA through a dedicated link port, the LMA becomes part of an intelligent 2-channel system for Zone 2 expansion or subwoofer support.
www.atlasied.com
Whether deploying a redundant or primary-only network topology, the MS8.2 Milan network switch is perfectly suited to simplify mobile, installed systems and spatial audio applications.
DESIGNED AS an updated version of the 4 ZONE active antenna combiner that adds built-in network control for remote system management, RF Venue has introduced the 4 ZONE-Network. The new model integrates a browser-based interface, allowing configuration and monitoring via PC, tablet or smartphone without the need for front-panel operation. The device is intended for venues with distributed coverage requirements such as conference centres, houses of worship, schools and large performance spaces. Designed for multi-zone wireless microphone deployments, the 4 ZONE-Network enables remote management of up to four independent antenna zones. Users can toggle antennas on or off per zone, adjust RF attenuation remotely and switch 12VDC power to active antennas and inline amplifiers on a per-channel basis. Preset storage and recall functionality is included to support
repeatable setups and faster changeovers in environments where system configurations vary between events.
The integrated web interface is accessible over a local area network and does not require additional software or plugins. The unit supports automatic network discovery via DHCP and can be accessed directly through its IP address using a standard web browser.
The 4 ZONE-Network retains the architecture of the original 4 ZONE combiner, which remains available. Housed in a single rack space, the system is brand-agnostic and compatible with a wide range of wireless microphone systems. It also integrates with RF Venue’s antenna portfolio and the company’s RF-over-fibre solutions, enabling extended antenna placement in larger installations.
www.rfvenue.com
FOURIER AUDIO has developed Hyperport, a low-latency, point-to-point audio protocol designed for seamless integration between its transform.engine or transform.go and DiGiCo’s Quantum and SD-Range consoles. Designed for
achieves a 1.2ms roundtrip latency. The protocol enables Fourier Audio’s live plugin hosts to be used for more latency-sensitive applications, including monitor mixing. For DiGiCo users, the Fourier Interface Card or DMI-DANTE64 @96 card in their
professional touring, theatre and broadcast environments, Hyperport reportedly delivers ultra-fast, reliable audio transfer, giving engineers the “speed, precision and confidence” they need in high-pressure performance situations.
When connecting transform hardware as an insert on a DiGiCo console, Hyperport
console automatically detects between Dante and Hyperport, enabling 64 channels of redundant, high-speed, low-latency connectivity at 48kHz or 96kHz, with no additional hardware, configuration or controller software required.
www.fourieraudio.com
WITH THE release of the HDSPe AoX-M, RME has reportedly devised the world’s first Milan certified PCIe audio interface for macOS and Windows.
Providing precise timing, seamless interoperability and deterministic audio transport in converged networks, the HDSPe AoX-M PCIe x4 card is built to handle high-density audio. Delivering 128 channels at sample rates up to 192kHz, the card supports up to 16 streams of eight audio channels each in its default configuration. Through extended formats, up to 512 audio channels with fixed latency and automatic bandwidth allocation can be connected across the AVB network. Operating independently of the host operating system, RME’s Milan implementation runs encapsulated on the card itself. Utilising RME’s Hammerfall driver ecosystem, the host OS detects the card as a standard audio interface. With optional extension for four MADI I/O ports, features include an onboard mixer, redundant network ports, headphone output, MIDI and AES3 I/O. For mobile recording and broadcast applications, a passively cooled design provides silent operation and compatibility with Thunderbolt 3 and USB-4 expansion chassis.
special drivers. The newly integrated option for class-compliant mode can be activated or deactivated at any time, allowing flexible switching between classic driver operation and CC mode.
THE CCS 1000 Digital Discussion device from Bosch has been reduced in size and reportedly takes up 25% less space in venues where simplicity and performance are critical. The new design is the latest addition to the CCS 1000 D family and will seamlessly integrate with other members. Developed to offer a fresh design to modern meeting spaces, the slim form and ergonomic design leave more space on the table for supporting meeting tools, making it suitable for small to medium-sized venues such as city councils, town halls, courtrooms,
Meanwhile, the manufacturer has also announced the start of a phased modernisation of its PA/VA loudspeaker range. The new structure organises the full portfolio into three tiers – entry, mid and performance level – making it easier for consultants and systems integrators to find, select and specify the right loudspeaker for each project. The first products in this renewed lineup are the Bosch horn loudspeakers, which combine IP66-rated weather protection, robust materials and full EN 54-24
A significant firmware update in the form of a class-compliant mode (CC mode) is available for the Digiface USB and MADIface USB audio interfaces. Enabling native, driverless operation under macOS and Linux, the range of applications for the interfaces is now expanded. Making them ideal for mobile setups, broadcast applications, installations and use with embedded and Linux-based systems, class-compliant mode allows the interfaces to be operated directly without the installation of
With Microsoft’s enhanced emulation technology for native Windows apps, current ARM-based laptops are ready for professional audio production. With audio remaining a unique domain where driver emulation is not an option, RME has developed Windows 11 ARM-compatible WDM and ASIO drivers to integrate with computing platforms and unlock the potential of Snapdragon X ARM chipsets. Available in 32- or 64-bit configuration, the PCIe WDM and ASIO audio drivers operate with x64 Intel computers in addition to the current Snapdragon X ARM notebooks or PCs running Windows 11.
www.rme-audio.de
ministries, boardrooms and congress hotels. The CCS 1000 D is available in long or short microphone models and features Digital Acoustic Feedback Suppression, microphones and integrated loudspeakers for enhanced speech intelligibility. The slim form factor reportedly improves microphone reach and makes digital meetings feel more natural. The patented possible-to-speak indicator enhances the conversational flow by using LED indicators to help participants understand when they can speak.
certification for dependable operation in harsh conditions. Installation has also been simplified: the redesigned mounting brackets are said to enable a faster, tool-friendly setup, while End-of -Line (EOL) and End-of -Branch (EOB) modules can be fitted directly inside the back can. This allows seamless integration with the Praesensa PA/VA system, including continuous monitoring and fault detection.
www.keenfinity-group.com
EXPANDING THE V Series 2- and 4-channel power amplifiers, Dynacord has created what it describes as a fully featured zone audio solution with versatile DSP, mixing and control options. At its core is the VZX-8 8-zone audio processor, which is complemented by the VCS-8 8-zone call station and the VWP wall panel controller.
The VZX-8 is equipped with extensive I/O capabilities, internal storage and signal processing designed for more complex audio setups. To ensure security, the VZX-8 is password protected for different user roles and credentials. It provides eight zone outputs and facilitates up to 20 processed input sources, including eight balanced mic/line inputs with phantom power. A total of eight GPIO ports are freely assignable as analogue or digital inputs and outputs, with two ready/ fault contacts for supervision. For integration with PA/VA systems, an emergency override input for line level or 70V/100V signals is also available.
The VCS-8 features a high-quality condenser microphone. Designed for live paging, it can also act as a system controller, triggering stored messages, muting zones and performing additional user-defined functions via nine freely programmable buttons. Communication priority can be customised,
while busy indication LEDs provide clarity during active sessions. The system supports expansion with up to eight daisy-chained call stations, each configurable with chimes.
The VWP wall panel controller features a bright colour TFT display and a push encoder for quick and easy operation. It provides level, zone and source input level control as well as source selection of BGM, Zone Mix and Virtual Mixer sources. Configuration and labelling are managed via the VZX Web App. Thanks to Unicode compatibility, more than 150 languages are selectable for the display. Each wall panel’s access and menu screen options can be tailored with user profiles and security PIN codes.
The multichannel V600:2 and V600:4 power amplifiers serve as a matching system drive, each offering 600W of total power. These amplifiers are quickly and easily connected via the two RJ45 line outputs of the VZX-8, reducing terminations and points of failure. They also incorporate powerTANK, which enables flexible power allocation across all amp channels, ecoRAIL for reduced energy consumption and Variable Load Drive (VLD) for flexible drive modes with various speaker loads.
www.dynacord.com
FOUR TYPES of instrument cables as well as rechargeable lithium-ion batteries and accompanying charging stations have been added to DPA Microphones’ N-Series digital wireless microphone system. Available for the bodypack transmitters, each instrument cable incorporates a precisely matched impedance converter inside the jack to ensure optimal signal transfer from the connected instrument to the bodypack. Users can choose between two jack configurations: Type R, with a rear, straight cable exit or Type S, with a side, angled cable exit. There are also two input plug options available: MicroLock or 3-pin LEMO. Each input and jack option can be aligned with another – rear/ MicroLock, rear/LEMO, side/MicroLock or side/LEMO.
The company has also released rechargeable lithium-ion batteries for both the bodypack and handheld transmitters. The accompanying Docking Recharging Station is available with an interconnection cable or a mains power
ITALIAN CABLE manufacturer Tasker has reported that it’s seeing an increase in demand for hybrid cables capable of carrying multiple services through a single run. In particular, combined cables integrating digital audio (AES/ EBU), DMX control and power are increasingly being used in professional environments. These solutions simplify deployment and improve reliability in applications such as active loudspeaker systems and moving-head lighting distribution.
Tasker offers both bulk cables for fixed installations, including CPR Cca-rated versions, and extra-flexible products that are available as a pre-made solution. Indoor and outdoor options have been designed to meet the requirements of touring, rental and permanent installations.
The flagship model in this family is the C283, featuring one AES/EBU-DMX pair combined with a triple 1.5mm² power line. The range also include the C284, equipped with two DMX pairs, and the C290, which provides increased power capacity with a triple 2.5mm² conductor section. All models in the family are available with CPR Cca-compliant LSZH sheathing for fixed installations, as well as a soft PVC version designed for high flexibility in mobile applications. Pre-assembled cables can be supplied with Neutrik NC3M/FX1-TOP and NAC3M/FX-W-TOP connectors for outdoor use, or NC3M/FXX-B and NC3M/FXXA/B-W-S connectors for indoor applications.
www.tasker.it
ENGINEERED TO meet the demands of live event production and broadcast environments, KLOTZ AIS has unveiled its EBI_H and EBO_H Energy Fan IN and Fan OUT adapter boxes. Available in 6- and 8-channel versions and designed for both indoor and outdoor use, the fanout boxes are equipped with Harting HAN 16ES connectors featuring robust metal coupling housings. The units are available with eight Schuko rubber plugs or sockets, while an effective strain relief protects against high tensile forces. Eight discrete 16A circuits can be fed into or extracted from an 8-channel Energy Multicore (EMC8HMFT), providing seamless integration into professional power
For dependable performance under demanding conditions, the manufacturer uses waterproof TITANEX H07RN-F rubber-sheathed cabling with a 3x2.5mm² conductor cross-section. An additional feature on all KLOTZ energy fanouts is the impact- and scratch-resistant housing on the multipin side, manufactured from environmentally friendly recycled PE. The material reportedly offers temperature stability, weather resistance and high chemical durability. An integrated M10 thread and safety eyelet allow secure rigging in staging and broadcast setups.
www.klotz-ais.com
LISTEN TECHNOLOGIES and Ampetronic have expanded the Auri system with an earphone/neck loop lanyard and a 16-way dock carry case. The LA-470 Auri earphone/ neck loop lanyard provides an optimised listening experience for end users with telecoil (t-coil)-equipped hearing aids or cochlear implants. The neck loop connects to the Auri receiver and transmits the broadcast audio directly to listeners’ telecoil devices. Users can seamlessly switch between telecoil mode and earphone mode based on their accessory choice. The Auri neck loop helps venues offer inclusive, high-quality audio and fully meet accessibility expectations.
which gives quick visual confirmation that the loop is functioning properly.
ENABLING THE transmitters to connect directly to iOS devices without the need for a physical receiver, RØDE has introduced a free firmware update that brings its Direct Connect Bluetooth pairing capability to the Wireless GO (Gen 3) and Wireless PRO wireless microphone systems.
The Auri 16-way dock carry case provides a simple storage solution for Auri receivers. Venues can easily store, charge and carry up to 16 receivers in the case. The sturdy case features a hard foam insert with individual openings for system components. It also has durable locking latches and includes a shoulder strap for easy transport.
Meanwhile, Listen Technologies has launched the LR-3200 -HL hearing loop receiver, which gives users clearer, more consistent loop audio, no matter how they hold the receiver. It features dual telecoils, smart bandwidth, hum filtering and full iDSP compatibility. Additional features include a dual-coil omni-axis pickup which eliminates “dead spots” and ensures consistent audio; IEC (International Electrotechnical Commission) mode, which enhances intelligibility in real-world environments where background noise or acoustics can make hearing difficult; a narrow bandwidth and hum filtering which help the receiver perform well, even in venues with older wiring or challenging loop installations; and Field Strength Mode,
ListenWIFI has also been updated to v3.5.
Improvements include support for WPA/ WPA2-Enterprise, which enables dedicated ListenWIFI LWR-1050 receivers to authenticate and operate within enterprise-grade wireless networks. This also expands deployment flexibility and aligns with IT security standards in secure or large-scale environments. Connection beacons broadcast server identification information so devices can discover the correct server without relying on DNS (Domain Name System). This is said to simplify network discovery and setup, reduce IT burden and support multi-venue configurations on shared networks. With audio priority setting, administrators can now adjust LWR-1050 receiver buffering for optimal balance between audio quality and latency. ListenWIFI 3.5 also supports multiple administrator logins, so teams do not need to share credentials. There is secure, role-based access for different administrators.
www.ampetronic.com
www.listentech.com
KLANG:TECHNOLOGIES HAS released its KLANG:1 and KLANG:1pro, combining professional immersive in-ear monitor mixing into an ultra-compact format. The
pocket-sized processors provide a single immersive mix from 64 input channels and have been designed to bring immersive in-ear mixing down to a new size and cost category.
The devices offer plug-and -play operation for comprehensive control and monitoring via phone, tablet or PC, as well as native worksurface integration with DiGiCo Quantum and SD-Range consoles.
Featuring the same 0.25ms latency and powered by the same FPGA family as the company’s flagship KLANG:konductor, the KLANG:1 and KLANG:1pro are powered and configured via USB-C connections.
The KLANG:1 and KLANG:1pro have been created to enable engineers to deploy immersive mixing exactly where it delivers the most impact, starting with individual musicians and expanding as needed, without changing tools or workflows. This is said to allow productions of any size to integrate KLANG seamlessly, whether for a single artist or an entire band. The two models are nearly identical, with one distinction: the KLANG:1 features dual MADI I/O, while the KLANG:1pro adds a second MADI input to enable full 64-channel MADI I/O at 96kHz, plus redundant 64x64 Dante with single-channel routing.
www.klang.com
also enables users to adjust recording levels during capture.
Wireless GO (Gen 3) uses the manufacturer’s Series IV 2.4GHz digital transmission and supports advanced functions including 32-bit float onboard recording, GainAssist automatic level management and 32GB of internal
Originally introduced with the Wireless Micro, Direct Connect allows transmitters from both systems to pair directly with iPhones via Bluetooth using the RØDE Capture app. The update removes the requirement for additional hardware in mobile recording setups while maintaining the broadcast-quality audio associated with the company’s wireless microphone range. When used with the RØDE Capture app, the systems support both merged and split recording modes. In merged mode, audio from both transmitters is combined into a single stereo track ready for publication, while split mode records each transmitter to a separate channel for greater flexibility in postproduction. In-app output gain control
PK SOUND has released .dynamics MOVE, a mobile application that extends the manufacturer’s .dynamics control software to phones and tablets. Working in tandem with the desktop platform, .dynamics MOVE allows users to mechanically optimise the acoustic coverage of PK Sound robotic line source systems in real time while moving freely throughout a venue.
.dynamics has been designed to unite every stage of the modern live sound workflow in a single application, freeing users
storage for direct recording to the transmitters. The addition of Direct Connect further streamlines mobile workflows by enabling a simpler recording setup without compromising audio quality.
Designed for more demanding production environments, Wireless PRO builds on the Wireless GO platform with features such as timecode synchronisation for simplified audio alignment in postproduction and an extended line-of -sight transmission range of up to 260m. The system also integrates with the wider RØDE Series IV ecosystem, including RØDECaster Pro II, RØDECaster Duo and RØDECaster Video.
www.rode.com
from outdated and needlessly rigid routines. MOVE grants access to key features from the desktop version, allowing them to robotically configure arrays and remotely refine coverage. Once coverage is mechanically optimised, users can take advantage of the DSP built into each loudspeaker module to tonal balance and system response. Customers can also monitor system performance in real time down to the component level and even log service notes within individual cabinets for seamless communication between colleagues.
www.pksound.live
FURTHER ENHANCING its ecosystem, AUDAC has introduced four product lines spanning control interfaces, matrix processing and architectural loudspeakers. The RIVEA series extends the company’s network control platform with a Linux-based AUDAC Touch panel designed to operate without a central processor. Each panel functions as a standalone intelligent control device, integrating directly with AUDAC Touch-compatible products and selected third-party systems via TCP/ IP. Developed for corporate meeting rooms,
hospitality venues, educational facilities and high-end residential projects, RIVEA incorporates proximity and ambient light detection, a capacitive HD touchscreen with anti-glare glass and PoE power. The series is available in two formats: the RIVEA M with a 7-inch display and the RIVEA L with a 10-inch display, both compatible with European and US wall mounting boxes.
In parallel, AUDAC has launched the MAIA series, a new generation of mixing audio matrix processors designed to bridge the gap
between straightforward zone mixing and more flexible DSP platforms. Targeting corporate, retail, hospitality and education environments, MAIA provides full audio routing, smart mixing and scene-based control via a 2.4-inch TFT display, four programmable buttons and a push rotary encoder. The series is available in four versions ranging from 2–16 zones, with the two smallest models housed in a compact half-rack chassis. All variants share the same Linux-based architecture and integrate within the wider AUDAC Touch ecosystem.
On the loudspeaker side, the ARCHI8X expands the ARCHI series with a compact architectural infra subwoofer intended for discreet low-frequency reinforcement in hospitality, residential and commercial spaces. Constructed from marine-grade materials for unprotected outdoor use, the ARCHI8X features a custom 8-inch high-excursion aluminium cone driver paired
programme power and a sealed cabinet design without a bass port, the unit is specified to deliver low-frequency extension down to 36Hz without processing while aiming to reduce unwanted energy dispersion into neighbouring areas. Completing the announcements, the VIRO C series introduces a new column loudspeaker platform within the VIRO family. Designed for conference rooms, premium hospitality venues, retail spaces and luxury residential applications, the series is built around a custom 1.3-inch driver platform engineered for controlled directivity and wide horizontal dispersion. Available in three models ranging from 2–16 drivers, the VIRO C series offers flush mounting options, SnapConnect cabling and integrated driver protection systems, and is designed to pair with ARCHI architectural subwoofers for full-range system deployment.
FOLLOWING BIAMP’S acquisition of ClearOne’s intellectual property and brands, Biamp has updated the BMA 360D ceiling tile microphone array to work with any Tesira DSP systems using Dante. The ceiling tile form factor provides customers with a discreet, architecturally integrated audio capture in spaces ranging from conference rooms to open office environments.
The BMA 360D features onboard beamforming processing. It delivers audio to the Tesira DSP as one automixed beam or it can send individual beams on separate Dante channels. It provides consistent gain response and natural speech reproduction across all beams, while adaptive steering with preset or custom beam patterns is said to result in precise coverage across diverse room layouts. Built-in power amplifiers
and versatile mounting options make deployment straightforward in modern collaboration, presentation and learning environments. Meanwhile, the manufacturer has also announced a software update for MAX Connect wireless collaboration hub. The update introduces Auditorium Mode, which reportedly transforms MAX Connect from a collaboration tool into a scalable presentation platform capable of wirelessly broadcasting content to up to 200 participant devices simultaneously. The release also includes Android app support, streamlined guest access and alignment with the Biamp unified design language.
Auditorium Mode addresses a need in large venues such as auditoriums, training halls, lecture theatres and event spaces where one-to -many content distribution is essential. Presenters can now broadcast high-quality content to hundreds of participant devices with just one HDMI or USB-C input. Participants receive view-only access to the content, while annotation capabilities remain available on touch-enabled displays. In large spaces that require supplementary displays for content reinforcement, the new MAX Display App turns Android TV devices and Amazon Fire Sticks into wireless MAX Connect endpoints when Auditorium Mode is enabled. These displays pair with a MAX Connect unit to mirror content, ideal for secondary screens in large rooms or overflow areas.
www.biamp.com
BUILT FOR professional videographers and content creators, the ATV-SG1 and ATV-SG1LE on-camera shotgun microphones from Audio-Technica are suitable for use with DSLR, mirrorless SLR and other cameras.
The ATV-SG1 is said to provide a highly directional 100mm acoustic tube to keep pickup focused on the sound source while blocking unwanted background noise. The mic’s newly designed 14mm largediameter diaphragm brings high-sensitivity and low-noise characteristics, while the integrated shock mount dissipates unwanted handling noise from camera movement and vibrations. A-T’s patented RF noise-immunity technology prevents the mic from picking up any annoying noise from nearby smartphones or other electronic devices.
in real time.
Additional features include a low-cut filter switch to attenuate noise from wind, traffic, HVAC systems and other low-frequency sources, plus a gain knob on the rear of the unit for stepless, on-the -fly gain adjustment. The safety track feature records the main audio level to the left channel and a backup track at –6dB to the right channel. This is said to help create a clean, usable recording, even if unexpected volume spikes occur during a shoot. With its external input jack and accessory shoe, the ATV-SG1 enables
COMPRISED OF the NSC24, NSC46 and NSC48, the NSC Series of compact network system processors from Linea Research come with a 96kHz input sample rate along with analogue, AES and Dante connectivity. The units have been designed to slot seamlessly into a wide range of audio environments, from simple 2-channel systems to more complex multi-output configurations. Configuration, housekeeping and system management are handled entirely through
RENKUS-HEINZ HAS released a thirdparty control plugin that enables its loudspeaker systems to be integrated directly within the Symetrix control environment. The plugin allows integrators and system designers to manage key loudspeaker functions including DSP parameters, input routing, preset recall and device telemetry from Symetrix platforms. By consolidating loudspeaker control within the Symetrix interface, the plugin is intended to simplify both system setup and day-to -day operation. Centralised control can help reduce operational complexity, streamline configuration and support faster troubleshooting, particularly in larger AV installations.
“We are proud to expand our third-party plugin portfolio with Symetrix support, giving integrators more choice and greater control across diverse control systems,” said Brandon Heinz, product manager at Renkus-Heinz. “This plugin is another step in our ongoing commitment to delivering solutions that simplify complex installations and enhance system performance.” The integration enables a unified workflow across loudspeakers and DSP infrastructure, allowing users to monitor devices and recall presets from a single control platform. In venues such as concert halls, sports stadiums and theatres, the plugin allows multiple loudspeakers to be managed centrally, helping maintain consistency across the system while reducing setup time between events. In houses of worship, preset recall can simplify system management for staff and volunteers while maintaining consistent audio performance. The Symetrix plugin is available to download from the Renkus-Heinz control plugins page
The plugin power circuitry of the compact ATV-SG1LE allows it to retain the professional characteristics equivalent to battery-powered mics, including an extended dynamic range and high max SPL. It also boasts a highly directional 100mm acoustic and a newly designed 14mm large-diameter diaphragm. The microphone comes with a wind muff to ensure clear pickup in windy conditions. The mic’s 12-sided shoe mounting plate also allows it to be attached to the camera at 30° increments to enable the capture of off-centre sound sources.
www.audio-technica.com
Linea Research’s System Engineer 8 control software, providing simple preset creation and management. The NSC Series also supports pre-existing factory presets, including loudspeaker presets for selected third-party brands. Typical applications include bars, restaurants, clubs, hire, and rental and studio environments.
www.linea-research.co.uk
alongside existing integrations for Crestron and Q-SYS systems.
www.renkus-heinz.com
DANTE DIRECTOR Professional
from Audinate is a web-based solution that enables remote management of AV installations while providing centralised monitoring, control and secure authentication across distributed infrastructure. It enables IT and AV teams to monitor device health, diagnose issues remotely and ensure systems remain operational without requiring onsite presence. The solution offers remote management, providing real-time visibility into device status, network performance and system health across all sites.
The solution also enables IT teams to proactively identify and resolve issues before they impact users. The Enhanced Security feature ensures that only authorised personnel can make network changes and protect corporate AV signals from unauthorised routing. API and webhook capabilities allow integration with existing IT support ticketing systems, while extended log-file retention, along with latency graphing, help technical teams identify and resolve intermittent issues that might otherwise go undetected.
www.audinate.com
WITH THE development of Novacore, Audix has created a digital wireless platform that incorporates 24-bit analogue-todigital converters. Novacore currently comprises the NCR1, NCR2 and NCR4 single and multichannel receivers, NCHH handheld and NCBP bodypack transmitters, NCEC and NCTH vocal capsules and the Novacore Frequency Coordinator, together with a full suite of accessories. Operating within a 20Hz–20kHz frequency response with an ultra-low latency of under 3ms, Novacore provides secure speech and performance security with AES256 digital transmission encryption. Ensuring spectrum agility within crowded RF environments, the digital receivers feature a wideband front end with a 48MHz tuning range. The Dante-enabled NCR2 dual- and NCR4 quad-channel models allow wireless channels to be routed directly onto existing AoIP infrastructures. The handheld and bodypack transmitters can operate for 16+ hours of battery life via rechargeable lithium-ion or standard AA batteries.
The specialised NCEC Extended Cardioid and NCTH Tight Hypercardioid vocal capsules utilise proprietary VLM (Very Low Mass) technology. Designed with internal vibration isolation to reduce handling noise, the capsules are compatible with common third-party S-thread wireless handles. The Novacore system seamlessly integrates with the recently launched Wireless MicroBoom line.
Integrating DN4 and DN43 interfaces, the US manufacturer has released a version 2.1 update for the Q-SYS Full Stack
DESIGNED TO provide centralised connection, control and monitoring across the company’s loudspeaker ecosystem, Meyer Sound has unveiled the second generation of its Nebra software platform. Available as a free application, Nebra 2 builds on the functionality of the manufacturer’s longstanding Compass software while introducing a redesigned interface intended to streamline system configuration and day-to-day operation. By combining device connection, processor control and system monitoring within a single environment, the platform allows engineers to manage entire Meyer Sound systems without switching between multiple applications.
large-scale venues. Tools such as tagging, search and filtering have been included to help engineers organise and navigate larger device inventories.
Nebra 2 integrates with Galaxy processors, GEN-1 equipped loudspeakers with built-in processing, as well as MEP and RMS loudspeakers and MPS power supplies. The platform also supports a range of audio and network protocols including analogue audio, AES67 and Milan AVB.
A simplified system health indicator provides an overview of network and device status by aggregating data from connected components including limiters, temperature sensors and AVB streams. Additional features include Show
Nebra 2 introduces full processor control for Galileo Galaxy units alongside support for the company’s GEN-1 technology for networked loudspeakers. Key parameters including EQ, level, delay and phase can be adjusted directly within the platform while system status and device connectivity remain visible in the same interface.
The software is intended to support both touring systems and fixed installations, from smaller portable deployments through to
Mode, which allows critical control points to be locked during performances, along with expanded clock management and snapshot functionality.
Meyer Sound has confirmed that its Compass control software will continue to receive support for the time being, although future development will focus on expanding the Nebra platform.
www.meyersound.com
AV Platform. The DN4 and DN43 Dante/ AES67 audio interfaces serve as onramps for routing audio into Q-SYS. Operating within Q-SYS Designer Software, the DN4/D43 plugin allows the interfaces of the same name to feed audio into Q-SYS. The DN4 onramp hardware comprises four microphone preamps and analogue-to -digital converters that are compatible with Audix conferencing mics via a standard RJ45 connector. Single-element mics for use with the DN4 include the M45 aimable ceiling-mounted shotgun, M55 pendant and M70 steerable flush-mount mics. The DN43 is specifically for use with Audix’s M3 tri-element pendant microphone. The v2.1 update allows Q-SYS to identify and handshake with connected devices; display their inputs, outputs and control connections in Q-SYS Designer Software’s GUI; and conduct routing of incoming audio to connected devices. Providing cloud-based remote AV management, monitoring, security and performance analytics, Q-SYS Reflect is also supported.
www.audixusa.com
SENNHEISER HAS extended its Spectera bidirectional wideband wireless ecosystem with the Spectera SKM handheld transmitter, available in both a UHF and 1.4GHz version, as well as for the Command adapter, which equips the handheld with a programmable Command function. The Spectera handheld with the standard capsule interface for Sennheiser and Neumann microphone heads features an aluminium-anodised body with OLED display.
The bidirectional data stream enabled by Sennheiser’s WMAS implementation gives the operator full remote control of mic parameters such as low-cut or gain.
The Command adapter allows users to change the audio routing at the push of a button, for example for convenient communication between the talent and the technical crew. Whether programmed for toggling, muting or push-to -talk, the Command functionality is said to make communication control easy and immediate.
Meanwhile, the Spectera API (Application Programming Interface) enables advanced
customisation and has been designed to help customise and control the ecosystem in multi-vendor live audio workflows. Its bidirectional capabilities allow Spectera users to tailor their precise workflow requirements, supporting both DIY users and third-party solutions from industry partners such as Bitfocus Companion, SoundBase and Sonoros. The manufacturer has also developed DeviceHub, a secure, cloud-based platform designed for IT and AV managers, as well as systems integrators. DeviceHub centralises device visibility and remote management, streamlining workflows across enterprise, education and corporate settings. The platform provides real-time insights, simplified setup and unified control, supporting organisations in creating better spaces for communication, learning and teamwork. Initially available for TeamConnect Bar Solutions, compatibility will expand to additional Sennheiser devices throughout 2026.
www.sennheiser.com
CREATED TO provide greater clarity, control and confidence in every meeting, the Neat Pad Pro 10-inch meeting room controller or scheduling display is said to give teams effortless command and IT control. With built- in microphones and intelligent processing, the controller aims to make meetings easier to book, start and manage. The 10-inch anti-glare, fingerprint-resistant display comes with adjustable angles, large scalable fonts, clear screen reader features and RGB light indicators. The microphones and audio processing allow the display to serve as an additional listening point in the room.
Working in tandem with the primary front-ofroom Neat device, it captures voices beyond the front of the room to help ensure remote participants hear everyone clearly, even in large spaces.
Driven by the manufacturer’s P2 platform, the Neat Pad Pro is said to be eight times more powerful than the original Neat Pad, with more memory and faster processing. It provides access to major platforms, including Google Meet, Microsoft Teams and Zoom, with added flexibility for future workflows via Neat Open.
www.neat.no
COMBINING THREE MC-TX1 MaxColor 4K60 4:4:4 HDMI encoders into a single rackmount chassis, AV-over-IP distribution company Just Add Power has released
1GbE LAN port with one USB-C 2.0 port on the rear and two USB-C 2.0 ports and two USB-A 2.0 ports on the front, the MC-USB delivers KVM and hotkey support.
the MC-TX1-RACK encoder. The first in the MaxColor lineup centralises multiple encoders to reduce points of failure, with access to all connections via front-facing ports. The MC-TX1-RACK supports all audio formats and features Audio Return Channel (ARC) functionality for 2-way audio integration. With built-in KVM control providing access to all computers on a system, the MaxColor USB 2.0 over IP device (MC-USB) can be integrated as an encoder or a decoder. With an integrated touchscreen and webcam interface, the device enables access to networked computers in 4K60 UltraHD environments. Connected over an RJ45
The MC-QX MaxColor 4K60 tiling and warping encoder combines MaxColor technology, 4K network video tiler and Warp Engine technology. Allowing up to four 4K60 source devices to be simultaneously displayed on a single screen in multiple formats, the encoder includes single-screen, tiled video or custom layouts. With its warping capability, any source image can be rotated in a matrix in 0.1° increments, which transmits the rotated image to an unlimited number of decoders. This innovation is particularly useful when creating large-scale artistic videowalls.
www.justaddpower.com
THE URX Series of USB-C audio interfaces are characterised by a streamlined design for efficient setup and workflow. The three models currently available include the 4-in/2- out URX22 and the 6-in/4-out URX44 and URX44V, which adds HDMI-USB video capture. All models feature 32-bit/192kHz support, ultra-low distortion microphone preamps and highend AD/DA converters. The rear panels also incorporate a 3.5mm stereo input and TRS outputs, and dual main USB ports allowing between 16 and 18 tracks of recording/ playback. The Sub USB ports provide an extra two tracks of recording/playback. Adding visuals into the workflow of small-scale film productions, streaming and guest interviews, the URX44V’s HDMI-USB video interface incorporates the capture or transmission of HD video and audio from cameras and other HDMI output devices. The URX44 and URX44V also include a microSD card slot for up to 16 tracks of audio recording and two tracks of playback, while all models feature headset in/out ports and twin headphone sockets with independent monitoring.
Yamaha has launched its enhanced Commercial Installation Solutions (CIS)
ecosystem, with new digital signal processors, power amplifiers and control solutions said to offer “a new key to sound”. The CIS product portfolio has been designed to allow users to integrate, configure and manage complex audio systems in a straightforward way. The lineup includes the DME5 and DME3 digital signal processors, which join the DME series processors. These 1U units offer high-quality, 96kHz audio processing, seamless connectivity with Yamaha digital mixers and feature Dante and analogue I/O. They also feature four channels of flexible I/O which are assignable as inputs or outputs. Dual USB ports support background music playback and PC connectivity for web conferencing.
The XMS series is a range of 1U and 2U power amplifiers. The eight models provide power sharing across four output channels and include onboard DSP for speaker processing, delay and matrix routing, with a built-in speaker processor to optimise output settings. This is aimed at ensuring safe, reliable operation, giving users greater confidence and security.
The MCP2 wall mount controller and TCD10 touchscreen control device combine flexible configuration with intuitive operation. The MCP2 supports up to 64 devices, while the TCD10 provides secure control with power over Ethernet (PoE) and versatile mounting options. Through working seamlessly with Yamaha’s ProVisionaire system design and control software, both controllers can also manage third-party devices, such as lighting and projectors, enabling straightforward AV control of the entire space.
www.yamaha.com/2/proaudio
WYRESTORM HAS released the NHD-600-E-TX/RX 4K60 4:4:4 10GbE SDVoE encoder and decoder, part of the NetworkHD 600-E Series. The “E”
Designed as the economic extension of the NHD-600 family, the NHD-600 -E enables integrators to deploy reliable AV distribution for point-to -point and scalable matrix applications
variations remove some of the I/O found on the standard encoder and decoder and retain only the core functionalities that suit most applications. Engineered for installations requiring 4K60 4:4:4 video with zero-frame latency, the series supports 10GbE network operation with PoE+ power and a flexible AV control suite.
without complexity or cost. The NHD-600 -E supports PoE+ (802.3at) power to reduce cabling. HDMI 2.0 connectivity is provided on both encoder and decoder models, alongside analogue audio connections and bidirectional IR and RS-232 passthrough for integration with external devices.
www.wyrestorm.com
THE NEO X5 CRE from Vari-Lite is described as an affordable, compact lighting console designed specifically for space-constrained environments. It delivers the same advanced features and customisable software platform as the Neo X5 Console, but in a smaller, screenless form factor that is ideal for tighter spaces and budget-conscious projects.
The X5 CRE runs Vari-Lite’s Neo software platform, which aims to help designers find the best look in less time by including an
advanced effects engine that supports pixel mapping, media playback and timelines. It offers five multifunctional motorised playbacks and backlit keys, and can output over 50,000 channels out of the box. The hardware layout includes a soft touch control screen and supports up to two external touchscreen monitors, giving operators the flexibility to adapt their workstation to their needs.
www.vari-lite.com
MA LIGHTING International has unveiled the grandMA3 onPC DMX-key, described as a solution for achieving professional lighting results in compact and flexible environments. It unlocks 4,096 parameters directly via a conventional USB-C connection to the freeof-charge grandMA3 onPC software. It is said to provide the performance and reliability
For system designers and integrators, the compact form factor and robust feature set make it an ideal choice for permanent installations in museums, theme parks, stadiums and architectural projects. Anti-slip strips at the bottom and guide rails, including a matching screw set, enable easy mounting in system racks or cases. With full access to
of the grandMA3 platform while eliminating the need for dedicated consoles or complex infrastructure. The plug-and -play operation minimises technical barriers, as it requires neither configuration nor any networking setup. The DMX-key can simply be connected to a PC that has the grandMA3 onPC software installed and is ready for use. This makes it suitable for small venues, clubs, theatres, houses of worship and television studios, where space, budget and simplicity are important considerations.
unrestricted grandMA3 onPC software, users benefit from an MA-ready installation offering long-term flexibility, scalability and compatibility with professional workflows.
In addition, the grandMA3 onPC DMX-key starter is described as the ideal introduction to the world of lighting control and is a small USB device that unlocks the full potential of the free-of-charge grandMA3 onPC software, giving 1,024 parameters via two DMX outputs without compromising on features or functionality.
www.malighting.com
ELATION HAS introduced the Magma Prime Tour, a water-based hazer designed to produce consistent, ultra-fine haze for touring productions, live events and permanent installations. The unit delivers continuous atmospheric output to enhance beam visibility, aerial effects and gobo projection across a range of production environments.
The 1,500W system incorporates a 1,350W heater capable of reaching operational readiness in approximately 20s and can generate up to 566m³ of haze per minute.
A 5.6l fluid reservoir supports extended operation with a fluid consumption rate of around 10ml/min. The unit also incorporates a DMX-activated sleep mode to reduce power consumption when haze output is not required. Designed for professional environments, the system includes a thermally protected heat exchanger, onboard touch controls and DMX operation, with optional wireless control via the Aria X2 Wireless DMX module.
Alongside the new hazer, Elation has expanded its VOLT+ Series of battery-powered
lighting fixtures with the introduction of the VOLT+ BAR S LED batten. The fixture incorporates an integrated battery designed to deliver more than 12 hours of operation and supports wired and wireless control including DMX/RDM and standalone operation.
The fixture uses an RGBLA+UV colour engine designed to deliver a broad colour spectrum with consistent output. Variable white control from 2,400–8,500K, CMY emulation and a virtual gel library provide additional colour management options.
The 0.5m batten incorporates six 20W RGBLA+UV LEDs with 50mm lenses producing more than 5,020 lumens of output. End-to -end linking, adjustable trunnions and an L-track mounting system support flexible installation for wash and direct-view applications. The fixture features an IP65-rated housing with C4-M marine-grade coating and fanless convection cooling for silent operation in noise-sensitive environments.
www.elationlighting.com
THE LATEST addition to the QuikFamily has been unveiled by Astera, joining the QuikSpot and QuikPunch. The QuikBeam Fresnel lens fixture comes with a 13–60° zoom, swappable batteries, plug-and-play functionality and the manufacturer’s Titan LED engine. The QuikBrick replaceable/swappable battery system allows batteries to be replaced onsite or when a unit returns from rental or a demo. Spare batteries can be kept on charge and swapped in/out on-the-fly. The QuikBeam can also be hardwired without a battery, with the battery cover detaching and fitting neatly into the battery slot.
THE RAWBEAM 350 from Ayrton is a laser-sourced, ultra-compact fixture that emulates a discharge-style beam, yet with all the efficiency and power of a laser source. The flat-beam fixture has the same footprint and dimensions as the Stradale but delivers an output of 1,200,000 lux at 10m.
It also features a 160mm front lens and a proprietary 13-lens optical system offering a 35x zoom ratio with a working range from 1.2–42°.
Sharing all the features common to Ayrton’s Ultimate Series in terms of miniaturisation, colour capabilities, effects and movement (including continuous pan and tilt), the Rawbeam 350 is equipped with multiple graphics tools that provide razor-sharp
visual effects and broader, more versatile applications. Like every Ayrton luminaire since 2023, the Rawbeam 350 is IP65-rated and has been engineered to be equally at home outdoors or indoors, including in saline environments, while remaining fully accessible and weighing 24.5kg. Additional features include infinite pan and tilt; a CMY, CTO and fixed colour wheel with 15 colours, two multicolours and two minus green filters; two gobo wheels (with 12 and 31 metal gobos); light and heavy frosts; an animation wheel; and combinable and indexable 3-way prisms.
The manufacturer has unveiled several other additions to its portfolio. Part of the Nando family, the Nando 1202 has been built for
PoE connectivity over etherCON provides streamlined installations with combined power and data over a single cable, running up to 100m. An extra click beyond 13° enables the HotBeam effect, which is suitable for uplighting objects or for instances that need an extra narrow beam with additional brightness. A lightweight set of barn doors – with SafetyLink –provides additional beam-shaping options, while an EdgeSoftener filter for emulating classic Fresnel looks can be swiftly inserted to the front of the fixture. Multiple mounting options are available.
www.astera-led.com
hybrid use, indoors or out. It is equipped with 28 high-performance 42W RGB-L LEDs delivering a luminous flux of 25,000 lumens, additive colour mixing that produces blended pastels and saturated colours and a CRI exceeding 86. The MagicBlade Neo has been added to the Dot Neo family and has been built on the foundation of the MagicDot Neo. It features five independent moving heads, spaced just 3mm apart, with continuous pan and tilt rotation. Finally, the Naja is a waterproof, laser-sourced fixture that boasts brightness and precision, and features a 35x zoom ratio (0.6–21°), an outsized 200mm lens and 1,840,000 lux at 10m.
www.ayrton.eu
CONSISTING OF strobes, beams and washes designed for applications of all sizes, from intimate productions up to large-scale events, beamZ has released the Nuke series. The range comprises the Nuke1 strobe/ beam, Nuke2 high-power strobe/wash and Nuke3 twin strobe/wash with electronic frost, and will soon be joined by the Nuke4 beam with electronic frost.
The Nuke1 has been created for bands and stage productions. It comes with 96 10W cool white LEDs controlled in 12 sections and 14
40W RGBW high-power LEDs controlled in 14 sections. Features include RGBW and cool white colour mixing, four different DMX channel modes, DMX (RDM) and Art-Net control capability, as well as a control panel with LCD display and key lock.
The Nuke2 has the most powerful strobe output in the series, making it suitable for high-energy events. It has 96 10W cool white LEDs controlled in 12 sections and 864 0.5W RGB SMD LEDs controlled in 96 sections. The unit supports RGB and cool white colour mixing, six different DMX channel modes and DMX512, standalone and master/slave mode.
The Nuke3 offers enhanced RGB SMD power for vibrant colours, combined with an electronic frost filter for soft diffusion. Suitable for larger shows and outdoor events, the fixture has two rows of 48 10W cool white LEDs and 864 0.5W RGB SMD LEDs controlled in 96 sections. It comes with six different DMX channel modes and DMX (RDM) and Art-Net control.
The Nuke4 has 21 40W RGBW LEDs, 21 1W RGBA and 32 3W RGBA LEDs. All four modules come with pixel-mappable zones, a 180° motorised tilt angle, 16-bit dimming and are IP65-rated for indoor and outdoor use.
www.beamzlighting.com
ETC BRAND High End Systems has unveiled Lonestar Prime, an enhanced addition to the Lonestar automated offerings. With its IP54 rating, the fixture is suitable for broadpurpose rental applications and indoor and outdoor venues. Lonestar Prime is reportedly 20% brighter than the original Lonestar with improved colour rendering and a new CTO flag which gives users a wider range of bright white points to design with. Features include an extensive library of gobos and programmers can select from
nine rotating and 10 fixed gobos that all can be combined with continuously rotating animation and dual prisms. Lonestar Prime also features framing shutters and dual frosts that function without optical adjustment or conflict. The fixture can be ordered with the optional RigPOV camera accessory, streaming live video right from the fixture. It also supports manual followspot operation.
www.etcconnect.com
THE COLORADO Solo Edge 1 and COLORado Solo Edge 3 from Chauvet Professional are low-profile 0.5m and 1m IP65-rated footlights respectively with fullcolour and high-quality white light. They have a single-source lens for smooth, even output with no distracting points of light and an additional “stealth” filter to help the fixture disappear when it’s turned off. Additional, fully controllable RGB marker lights can be used to cue talent or mark the edge of a stage. The units have been designed for end-to-end use with no gaps or distracting cable mess, and come with a covered
architectural and entertainment applications. It comes with standard 4-pin XLR connectors and three included optical filters support multiple use cases, including wide viewing angles. The slim form factor is said to simplify integration into tight spaces, while native compatibility with the ÉPiX Mapping System and MVR support reportedly makes configuration fast and intuitive. Adding to the ecosystem, the ÉPiX D4 IP is a 4-port drive housing the ÉPiX Mapping System, that easily detects, configures and controls the outdoor-rated ÉPiX Line 10 IP and ÉPiX Line 10 IP S linear pixel strips. Its processing
THE TWYN from GLP is a dual-face moving head combining a zoomable washlight with a high-impact hybrid strobe in a single, compact fixture, designed to reduce fixture count while expanding creative possibilities. With its IP65-rated housing, continuous pan and tilt and a compact 16kg design, the Twyn has been designed for touring and multi-event venues.
The Wild Wash 12 expands the Wild Series and is a compact, performance-focused LED washlight designed to complement the Wild Bar 16. It features 12 40W RGBL LEDs, delivering up to 5,790 lumens with a peak intensity of 1.08Mcd, combined with GLP’s iQ.Gamut technology for calibrated colour mixing and defined white points. A motorised 1:19 zoom ranges from 3.5–54°, supporting both narrow, high-intensity beams and wide, homogeneous wash looks. With 540° pan and 270° tilt, a lightweight 16kg design, a maximum power consumption of 600W and IP65-rated housing, the Wild Wash 12 has been created for touring, festival and outdoor environments.
Finally, the X5 Dot Wash becomes the smallest member of the X5 Series, delivering high-quality RGBL light from a single 40W LED in a compact form factor. It offers high CRI, full colour matching with the X5 Series 16-bit colour control. The integrated Twist-Zoom mechanism allows manual zoom
body. With its IP65 rating, 24–48V DC operation and an optional adapter for classic accessories, the X5 Dot Wash is designed for both visible and discreet lighting applications in theatrical, broadcast and architectural environments.
ROBE HAS launched the GigaPointe, powered by a 350W white phosphor laser source and with an LSW-3 engine that produces >4,000,000 lux at 5m. The IP65-rated moving light comes with a 150mm front lens, along with 1.8–21° beam and 3–42° spot modes that automatically adjust based on the selected effects. Beam reducers and 1° and 5° frosts provide both tightly focused aerial beams and softer, subtler washes.
The GigaPointe has a CMY colour mixing system, a 540° pan indexing range and a 13-colour dichroic wheel as well as the DataSwatch virtual library with 66 pre-programmed colours, including essential whites, deep saturates and refined pastels. The fixture’s toolkit includes static and rotating gobo wheels and the patented SpektraBeam engine. MLP stackable multi-level prisms have independent speed and directional control for added depth. The fixture also includes Robe’s GLINT –GigaPointe Light Intensity Technology. Meanwhile, the T10 PC and T10 Fresnel are the latest additions to the manufacturer’s T-Series of theatrical luminaires. Designed for smaller spaces while retaining all of the features of the larger T11 PC/ Fresnel, the units incorporate the MSL ( Multi-Spectral Light) additive colour mixing concept combined with Robe’s TE technology (Transferable Engine), while the MSL-TE 200W LED engine produces over 10,500 lumens. There is a virtually controlled CCT range of 2,700–8,000K (extended range 1,800–10,000K), a set of calibrated whites, as well as tungsten emulation for precision control.
WITH THE launch of the MAC One Beam, Martin Professional has designed a compact beam moving head to deliver tight intensity beams and effects in a compact, lightweight form. An automotive-grade LILI (Laser Illuminated Lighting Instrument) engine lies at the core, while the light source produces a sharp beam with an intensity of approximately 7 million candela.
Delivering dynamic, high-contrast effects, the sharp beam of the 5kg compact moving head comes with fast CMY colour mixing. A three-dimensional backlight effect featuring individually controllable light guides behind a 120mm lens adds visual depth and stage presence. Using common rigging accessories, including the MAC One Fourbar and VDO Grid Mount System, the MAC One Beam integrates with the MAC One wash fixture. This compatibility promotes the combination of beam and wash functionality within the same rig, layout or flightcase. In addition to DMX, Art-Net and sACN, the MAC One Beam supports Martin P3 control for mapping, addressing and video integration.
The manufacturer has also introduced Martin Macula, a remote follow spot system designed to transform standard moving lights into precision-controlled tracking fixtures for performers and/or objects onstage. The system has been designed to address long-standing operational, safety and ergonomic challenges associated with conventional follow spot workflows, particularly in live performance, touring and sporting environments.
Martin Macula replaces height-based follow spot operation with a ground-based control solution. From a single base station, operators can control one or multiple fixtures simultaneously with smooth, responsive movement, while maintaining a real-time visual reference that simulates being positioned directly at the fixture. This approach reduces operator fatigue, improves consistency and eliminates the safety risks associated with elevated platforms.
At the core of the system is a high-resolution fluid head encoder, paired with ergonomic handles, and an integrated intuitive touchscreen interface. The base station allows operators to
WITH THE aim of bringing immersive experiences to internal and external audiences worldwide, Vizrt has partnered with Zoom to introduce two solutions.
InteractifAI and CaptivAIte have been developed to allow professionals in every industry using Zoom to elevate their
corporate communications and increase viewer engagement.
InteractifAI is an app designed for everyday users who want to transform Zoom meetings at any scale. With an intuitive user interface and one-click templates, professional and personalised graphics can be directly overlaid on
SOMMER CABLE is tackling long transmission lines with the Fiber eXTreme eXTenders (XT2) from the manufacturer’s long-standing partner Belram. Reportedly able to overcome almost any distance, the XT2 series is now available with HICON’s HI-FIBER4 system, offering a solution for the uncompressed transmission of video and data signals over fibre optics. Designed for professional use in broadcast, live events, AV
installations and industrial environments, the extenders enable a stable, latency-free signal transmission over long distances of up to 10km (singlemode) or 1km (multimode). Depending on the model, the series transmits HDMI signals up to 4K60 4:4:4, , Gigabit Ethernet and USB over a singlemode or multimode fibre. Thanks to -play functionality, commissioning is said to take just seconds. All XT2 extenders are housed
manage pan, tilt and zoom movement directly, while additional parameters including dimming, colour and frost can also be controlled locally when required.
Macula integrates seamlessly with fixtures such as MAC Ultra Performance, MAC Viper XIP and MAC Encore Two fixtures. At the same time, Macula remains fully brand-agnostic, enabling any suitable moving head fixture to function as a follow spot when equipped with a camera. The network setup is intentionally streamlined: camera feeds and control data run over a single network, eliminating the need for dedicated video cabling between fixtures and the base station.
www.martin.com
Zoom participant video streams, replacing dull slides and bringing content to life. Customers can add dynamic visuals customised to their brand guidelines, including names, job titles and graphics, to inspire audiences, educate students and connect teams at the click of a button. As a Zoom App using the Surface Framework, InteractifAI runs directly alongside Zoom Meetings, giving participants an instant view of broadcast-quality visuals and on-brand graphics.
CaptivAIte integrates augmented reality (AR) graphics directly into custom AV Zoom Rooms, turning these spaces into professional studios that level up any type of enterprise communication on Zoom’s platform. Powered by Vizrt’s AI Keyer, CaptivAIte’s data-driven AR graphics creation and insertion eliminate the need for complex green screen setups. With real-time graphics and remote contributor teleportation, professionals can replace flat slide decks with immersive, easy-to -use elements.
www.vizrt.com
in robust, extruded aluminium enclosures designed for tough use in live events, rental applications or demanding installation environments.
The XT2 extender series uses the HI-FIBER4 socket from HICON for the fibre interface. Combined with the HI-FIBER4 -MC connector made from solid metal, the series features IP68 protection (when mated) and a push-andpull locking mechanism. Thanks to the connector compatibility of the HI-FIBER4 socket, up to four conventional LC-connectors or two LC-duplex-connectors can alternatively be connected directly to the extender.
www.sommercable.com
DESIGNED SO that professional multicamera productions can be operated by a single user, Canon has released its MultiCamera Orchestration (MCO). Created for live environments such as podcasts, news, talkshows and studio productions, MCO synchronises multiple PTZ cameras to one main camera, automating movements and simplifying complex workflows.
By assigning one camera as the main, sub-cameras automatically respond to pan, tilt and zoom movements while maintaining predefined roles. This allows operators to execute coordinated camera moves and switch role sets instantly, without manual reprogramming during live production. MCO delivers reliable subject
tracking using overhead cameras, providing accurate performance even during fast movement and tight zooms. Cameras automatically return to the subject position without resets, supporting visual continuity in demanding live scenarios. On-air shots can be locked instantly to maintain stable framing.
The manufacturer has also released an update to its Cinema EOS cameras, giving customers bleeding-edge features to the Canon EOS C400, C70, C80 and R5C units. Firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode and improvements to focus peaking and assign buttons.
www.canon-europe.com
PLENEO AND the availability of two meeting room kits designed to remove installation complexity, reduce deployment cost and enable consistent, AI-ready collaboration experiences.
The Pleneo Medium Room Kit and Pleneo Large Room Kit are designed for rooms up to 50m² (approximately 10m x 5m) and 90m² (approximately 12m x 7.5m), respectively. The kits extend AI-enabled collaboration into larger environments that are typically difficult to standardise and scale. By integrating Sennheiser ceiling microphones as part of a fully orchestrated Pleneo system, the kits deliver high-performance audio pickup that supports intelligent meeting experiences.
Together, the audio and video systems behave as part of a coordinated whole, rather than independent devices.
DESCRIBED AS a compact UHD IP camera designed for professional AV, live production, broadcast and streaming applications, Marshall Electronics’ CV420-27X camera combines high-resolution imaging, long optical zoom and IP-based connectivity in a small form factor intended for fixed installation and space-constrained environments, including corporate AV, houses of worship, live events and broadcast facilities.
The camera is built around an 8.5MP sensor, capturing UHD video at resolutions up to 3840x2160 at frame rates approaching 60fps. In addition to UHD output, the camera supports a range of HD formats to support integration into mixed-format production and AV workflows. A built-in 27x optical zoom lens provides a wide focal
range, allowing operators to move between wide shots and detailed close-ups while maintaining image clarity. The camera is also designed to conditions, supporting consistent image performance across variable lighting environments. Designed for IP-centric workflows, the CV420-27X supports HEVC encoding and secure SRT streaming over Ethernet. HDMI output with embedded stereo audio is provided for local monitoring alongside network distribution. Power, audio and control can be delivered via a single Ethernet connection using power-over-Ethernet, reducing cabling requirements and simplifying installation.
www.marshall-usa.com
SAID TO be the manufacturer’s most powerful and intelligent digital signage display to date, PPDS has unveiled the Philips Signage 5000 Series (D-Line). An evolution of the Philips Signage 4650 (D-Line), the displays have been remodelled and reimagined using advanced UHD visual technology, energy efficiency and processing power. The portrait or landscape mountable models are available in 32-, 43-, 50-, 55-, 65-, 75-, 86- and 98-inch formats. The units feature an octa core processor and reportedly become the first in PPDS’s range of Android SoC displays to integrate a 6 TOPS (Tera Operations Per Second or Trillion Operations Per Second) neural processing unit. The 6 TOPS NPU allows AI applications and tasks to run faster and deliver smoother processing, ensuring seamless user experiences without slowing down or impacting other processors and operations, such as the Central Processing Unit and Graphics Processing Unit.
Behind the screen, the displays are powered by an upgraded Android 14 professional SoC platform. With integrated HTML5 support in a Chromium-based browser, users can connect, control and create content – whether for single displays or for fleets installed around the world – entirely remotely, using a preferred cloud platform.
Each kit is built around Pleneo RoomHub, which connects all room endpoints into Pleneo Room OS, the system layer that powers the room as a single, unified environment. Room OS enables zero-touch deployment and automated setup, allowing complete rooms to be brought online without specialist configuration or individual tuning of audio or video settings.
RoomHub applies AI-driven audio tuning and enhancement across the system, including adaptive room tuning, AI NoiseSense, ML-based room enhancement and IQ Voice Enhancement. Video intelligence is delivered through Pleneo RoomVision cameras, which support AI speaker tracking that automatically follows the active presenter, as well as AI autoframing that keeps participants naturally framed without distracting camera movement.
Using Pleneo Cloud, rooms are provisioned, configured, monitored and managed centrally as complete systems. IT teams can manage rooms directly within Pleneo Cloud or integrate room data and events into the platforms they already use for IT service management and operations, enabling consistent oversight without introducing new operational silos.
The Medium Room Kit consists of Pleneo RoomHub, a Pleneo RoomVision camera, one Sennheiser TeamConnect Ceiling Medium microphone, four Pleneo RoomDesign PoE ceiling speakers and a complete cabling set. It is fully deployed and managed via Pleneo Room OS and Pleneo Cloud. The Large Room Kit includes the same elements but increases this to two Sennheiser TeamConnect Ceiling Medium microphones and six Pleneo RoomDesign PoE ceiling speakers.
www.pleneo.com/sennheiser
Featuring a new UHD 600 nits – 500 nits on a 32-inch FHD model – the Philips 5000 Series also includes FailOver technology which automatically plays backup content onscreen in the unlikely event of a media player failure.
Meanwhile, the manufacturer has also released the Philips Signage 2000 Series, described as bringing UHD digital signage “back to basics”. Available in a range of screen sizes, including 43-, 50-, 55- and 65-inch models, the units are equipped with 4K UHD, 400 nits of brightness and are portrait or landscape mountable. Joining the Signage 5000 Series and the Stretch 3150 Series, the Signage 2000 Series joins the expanding professional Android SoC family of Philips Professional Displays. Powered by Android 14, the displays are optimised for native Android apps and enable users to install web apps and software directly onto the display, eliminating the need for an external media player.
www.ppds.com
DEVELOPED TO simplify and enhance corporate communications and meeting room signage, VITEC has released its X View integrated display range. The first product in the range, the XV15, combines purpose-built display hardware with full compatibility with the manufacturer’s Avedia platform, delivering a centrally managed signage solution for meeting rooms, public areas and workplace communications without the complexity of separate external players and power supplies.
The X View range consists of integrated displays powered by VITEC’s endpoint technology, effectively
embedding an Avedia media player directly inside the screen. Fully integrated with, and managed through, the Avedia platform, the displays offer the same control and monitoring as the company’s other platform-controlled endpoints.
Two display sizes are available: a compact 11.6-inch model, ideal for installation outside meeting rooms, and a larger 21.5-inch display suited to broader corporate communications.
Typical use cases include meeting room status displays, welcome signage, corporate announcements, event information and live data feeds.
DESIGNED TO deliver flexible control for architectural lighting and AV environments, the NetPanel series from Visual Productions allows designers and integrators to build the ideal control surface by mixing and matching three dedicated models: the B4 Button Panel, the F2 Fader Panel and the E1 Rotary-encoder Panel. Together, the panels are said to offer a scalable and adaptable solution that can be tailored to the needs of each project.
Each NetPanel solution is crafted with a glass finish and features capacitive-touch controls, RGB LED indicators and integrated haptic feedback. Predefined control modes
The X View models are optimised for non-interactive signage applications. Integration with Office 365 enables real-time meeting room availability and scheduling information to be displayed, supporting efficient room use. As part of the Avedia platform, the ArtioCreate application enables users to easily create and display
support colour spectrum adjustment, CCT temperature selection and intensity control, while automatic brightness adjustment helps the panels remain clearly visible and
FOLLOWING ITS acquisition of ZeeVee, Kramer has released the ZyPer4K-XSE, described as the next generation of lowpower, uncompressed 10G SDVoE encoders and decoders. Designed for large-scale displays, gaming, stadiums and maritime environments, the ZyPer4K-XSE combines reduced power consumption along with Dante audio, USB-C connectivity, HDMI loop-out, ICRON USB extension and RS-232 support. Managed through the ZyPer Management Platform (ZMP), the ZyPer4K-XSE is said to provide fast deployment, centralised configuration, real-time monitoring and longterm operational reliability.
Beyond the existing SWT3-31-HU and SWT3-31-HU-TR switchers, Kramer has
expanded its HU offering with the introduction of the SWT3-21-HU-TR and MTX3-42-HU.
These additions are said to broaden support for USB-C and HDMI workflows while enabling greater configuration flexibility and wider coverage across meeting rooms, classrooms and collaboration environments. As hybrid collaboration continues to drive strong demand for USB-C workflows, the HU products have been developed to provide a complete USB-C -to-HDMI ecosystem.
The manufacturer has also added new capabilities in device integration, automation and AI to its Panta Rhei platform to bring greater flexibility, intelligence and operational efficiency to AV and IT teams. Panta Rhei now enables integration with any device,
comfortable to use in any ambient lighting condition. With a magnetic back plate and single Ethernet connection, integration is described as fast and straightforward.
with the platform automatically associating discovered devices with existing drivers in the database. Additional automation capabilities enable proactive action triggering across spaces, buildings, sites or even multi-site environments from a single management platform. An AI-enabled troubleshooting tool provides guidance to help AV teams resolve issues faster, reduce downtime and build ongoing operational knowledge. In addition, Panta Rhei now features Model Context Protocol (MCP) capabilities, creating a secure
customised meeting room signage. Installation is reportedly simplified through power-over-Ethernet (PoE), removing the need for a separate power cable and helping create cleaner, more discreet installations.
www.vitec.com
When paired with Visual Productions’ CueCore3, the panels can interact with one another in a single installation and be linked directly to internal CueCore3 functions, requiring only minimal configuration to achieve a streamlined and reliable setup. For broader system designs, a straightforward API enables seamless integration with third-party lighting and AV platforms. Communication over standard Ethernet protocols such as OSC, UDP and TCP enables NetPanel to connect to primary control systems, including solutions like Q-SYS, Pixera and BrightSign.
www.visualproductions.nl
bridge between internal infrastructure and external AI services.
Finally, Kramer has standardised USB-C connectivity across its AVoIP portfolio, spanning both 1G and 10G solutions. By implementing USB-C consistently across key product families, the manufacturer is aiming to enable unified workflows, simplified system architectures and seamless interoperability in mixed-network environments.
www.kramerav.com
LIGHTWARE VISUAL Engineering has expanded its Taurus TPN ecosystem with the introduction of the TPN-MMU, a Matrix Management Unit designed to provide centralised discovery, configuration, monitoring and routing control across SDVoE-based 10G AV- over-IP deployments. The TPN-MMU is intended to simplify system design and dayto-day operation by presenting distributed AV networks as a single, manageable virtual matrix. Built on SDVoE technology, the Taurus TPN platform supports uncompressed 4K60 4:4:4 video with near-zero latency and deterministic switching behaviour, making it suitable for performance-critical professional AV applications. At the same time, the ecosystem is designed to align with enterprise IT infrastructures, supporting VLAN segmentation, 802.1X authentication,
setup and operational workflows into a single interface. Endpoint discovery, configuration, routing and diagnostics are handled without the need for third-party SDVoE controllers, switch command-line configuration or multiple vendor-specific tools. According to Lightware, this approach reduces engineering time, accelerates commissioning and simplifies long-term system maintenance by enforcing consistent and repeatable behaviour across installations of varying scale.
In addition to video routing, the ecosystem supports network-based USB routing, allowing peripherals such as cameras, microphones and touch interfaces to be dynamically assigned to host computers across the network.
www.lightware.com
CRESTRON HAS unveiled product updates to its collaboration and control ecosystem, including the AutoMeasure feature, Collab Compute platform and 80 Series touchscreens.
AutoMeasure is an AI-driven configuration feature within the Intelligent Video Room Designer tool for Automate VX multicamera systems. It automates the measurement and placement of cameras and microphones during installation. Using computer vision, spatial intelligence and ArUco marker technology, AutoMeasure detects AutoMeasure cubes placed in a room and calculates X, Y and Z coordinates and device angles. These measurements are applied directly in the design tool, reducing deployment time for Automate VX systems to approximately 15 minutes. The system also generates a positioning accuracy report to verify device placement and performance. Reusable measurement kits support repeat deployments, while integration with Automate VX enables alignment with its active-speaker multicamera switching system.
Collab Compute serves as a standardised hardware computer platform for professional collaboration environments. It is built on Intel Core Ultra processors with an integrated neural processing unit (NPU), providing local processing for advanced collaboration functions
such as auto-framing, speaker identification and real-time transcription used by platforms including Microsoft Teams Rooms and Zoom Rooms. The platform is undergoing certification for native operation of these services on Windows. Designed for professional AV applications, Collab Compute includes DM Essentials endpoints, HDMI ingest, USB-C, multi-network connectivity and multiple display outputs. An integrated chassis with built-in power supply and tool-less mounting supports simplified installation. Centralised provisioning and management are supported through XiO Cloud, Microsoft Teams Pro Management and Zoom Device Management.
The 80 Series touchscreens provide room scheduling and control interfaces for
commercial workspaces. The portfolio includes room scheduling panels with integrated light bars, wall-mounted control touchscreens and tabletop control touchscreens in 8- and 10-inch formats. Built on Crestron’s platform and the Microsoft Device Ecosystem Platform (MDEP), the 80 Series supports scheduling integration with Microsoft Teams, Outlook,
Zoom Rooms and third-party platforms, along with in-room control and collaboration system interaction. Security features include 802.1X authentication, TLS encryption and Microsoft Active Directory integration. PoE enables single-cable installation and XiO Cloud provides remote provisioning and lifecycle management.
Crestron has also achieved NDI certification for its 1 Beyond p-Series and i-Series cameras. The certification enables integration with platforms such as Microsoft Teams Rooms and Zoom Rooms, and supports NDI-based workflows in corporate and education environments. The certification includes AI-driven presenter-tracking models, with upcoming NDI support for the i12 camera and recently introduced TAA-compliant cameras designed for government deployments.
www.crestron.com
THE SHOGUN AV-19 from Atomos is a rack-mountable, 19-inch 4K HDR monitorrecorder-switcher designed for studio and outside broadcast workflows. Combining multi-camera switching, ISO recording and monitoring in a 7U form factor, the Shogun AV-19 can be flightcased or deployed in live event racks. It is capable of simultaneous recording of up to four isolated SDI camera feeds plus a fifth programme output. The large, colour-accurate 4K HDR, DCI-P3 display provides real-time monitoring for directors, technical directors, camera operators and production teams managing complex multicamera setups.
The Shogun AV-19 supports recording in Apple ProRes, ProRes RAW and Avid DNx codecs from SDI or HDMI sources, enabling immediate post-event turnaround with up to 10-bit 4:2:2 quality and resolutions up to 8Kp60. Media can be captured internally to CFexpress cards or externally via high-speed
USB-C storage, offering versatile options for high-data -rate workflows. It also serves as a secure backup recorder for redundancy, an instant review station for directors and clients, and a confidence monitor. Built-in Atomos monitoring tools include EL Zone false colour, focus peaking, waveform, Log-to -LUT viewing, frame guides, safe areas, anamorphic de-squeeze, HDR-to -Rec.709 conversion and quad-view monitoring.
Connectivity is further expanded with NDI HX3 send and receive, allowing broadcast-quality video, audio and metadata to be sent over a single standard Ethernet cable for remote and mobile production workflows. Two full-size XLR inputs with 48V phantom power provide professional balanced audio recording, complete with dedicated meters, gain control and frame-accurate audio delay.
www.atomos.com
WITH THE aim of making its projection family a fully rounded solution for themed entertainment and high-profile installations, Barco has added three RGB models to its QDX platform. With both laser phosphor and RGB options, and resolutions up to native 4K, the platform now gives integrators and content creators “a complete mix-and-match toolkit”. The QDX-N4K RGB projectors cover the Rec.2020 colour gamut, enabling designers to display the most saturated hues and subtle gradients.
reducing power consumption by 25%. For the first time in the 500-nit segment, the UniSee 500+ introduces smart local dimming technology. This feature provides sharper image quality and more accurate visual information to operators. Enhanced inter-panel communication is said to deliver a more uniform display experience across the entire wall, reducing visible boundaries and inconsistencies. Key improvements include EMC Class B certification for electromagnetic radiation, an upgrade from the previous Class A
They come with TLD+ lenses and Barco’s DuraOptix design which reportedly optimises the optical path to help ensure a longer operational life and more consistent visual quality over time.
Meanwhile, the manufacturer has also unveiled the UniSee 500+, the successor to the UniSee 500 LCD videowall platform. This new generation is said to deliver a significant step up in image quality while
A NEW range of 4K LCD projectors developed with simulation-led applications in mind has been debuted by Panasonic. The VMQ85 Series marks Panasonic’s first 4K LCD projector line and is designed to deliver high-detail imagery for immersive environments such as sports simulation and interactive experiences.
The VMQ85 Series uses a square-pixel architecture to produce finely detailed visuals with reduced pixel structure, supporting close-range viewing and realistic image reproduction. The range includes three models delivering brightness levels of up to 8,000 lumens and incorporates Panasonic’s 2-axis pixel-shifting technology to maintain image clarity across demanding applications.
Weighing less than 8kg, the VMQ85 aims to simplify installation in compact or space-constrained environments, including simulator bays and dedicated experience rooms. For fixed-lens installations, the projector offers a 1.09–1.77:1 throw ratio, supported by a 1.6x optical zoom and lens shift of +44% vertically and ±20% horizontally.
The series includes a dedicated Vivid Green Mode optimised for golf simulation environments, enhancing green tones and turf textures to support realistic course visuals and accurate ball tracking. Image performance is also maintained across curved or angled surfaces.
In addition to performance features, the VMQ85 Series incorporates efficiency and sustainability considerations. Approximately half
of the projector’s plastic body is manufactured using recycled resin, with recyclable cardboard used for packaging cushions. An integrated Image Detection function automatically reduces light output when projected content remains unchanged for a defined period, helping to lower power consumption. A suite of installation and adjustment tools, including an onscreen Angle Monitor for visualising projector tilt, support setup in a variety of venues.
standard. Heat radiation has also been reduced, contributing to more comfortable control room conditions. Additionally, expanded software monitoring parameters provide more detail on panel status and lifecycle indicators, which improves maintenance planning and minimises downtime.
www.barco.com
Marking the company’s first 1-Chip DLP projector to support the Rec.2020 colour gamut, Panasonic has released the PT-HTQ20 which delivers 20,000 lumens of brightness and 4K resolution. The projector has been designed to deliver the colour fidelity typically associated with 3-Chip DLP projection, without the traditional limitations of other technologies. By combining wide-gamut colour reproduction with high brightness, the projector achieves a balanced output where colour purity and luminance are maintained simultaneously.
At the core of the unit is Panasonic’s Vivid Prime RGB laser technology, enabling more than 95% coverage of the Rec.2020 colour space. A proprietary RGB-plusphosphor design also provides smooth tonal gradations when displaying standard Rec.709 content. Vivid Prime’s high-speed colour switching reduces the rainbow effect, a common artefact in projection that can distract viewers, particularly in immersive environments.
LUMENS DIGITAL Optics has introduced the VC-TR41N, a PTZ camera combining NDI network video support with in-camera, AIbased automation features. The model builds on the VC-TR41 platform, adding NDI HX3 compatibility to support IP-based production workflows while maintaining a focus on automated operation for professional AV and video applications. Available through Lumens’ global distribution network, the VC-TR41N is intended for applications including live events, AV installations and video conferencing environments requiring automated camera operation and IP-based video workflows. The VC-TR41N is a 20x HD PTZ camera designed to support motion tracking and auto-framing in meeting rooms, event spaces and installed AV environments. It features
IP, HDMI, SDI and USB outputs for video transmission and device control, allowing integration into a range of live production, conferencing and AV systems. The inclusion of NDI HX3 enables low-latency video transport over standard 1G networks and supports interoperability third-party production tools and software
The camera incorporates a dual-camera design, combining a main PTZ lens with optical zoom alongside a fixed panoramic camera. This configuration is used to support continuous AI-driven tracking without the need for external software. All video analysis and tracking functions are processed internally, with system configuration and control handled through a built-in web interface.
www.mylumens.com
ATEN INTERNATIONAL has expanded its KVMP range with the introduction of the CS1942DPA and CS1944DPA dualdisplay DisplayPort switches, designed to support high-resolution multitasking workflows across pro AV, corporate and content creation environments.
DESIGNED AS an end-to-end processing and control system to support its MicroTiles LED portfolio, Christie has debuted VividLife. The solution brings together hardware architecture, image processing, calibration and system management within a single platform intended for high-performance LED display applications. VividLife has been designed to deliver consistent and accurate image reproduction across a range of brightness levels, supporting stable grayscale performance and smooth colour transitions in both low-light and high-brightness environments. This makes it suitable for applications such as simulation, control rooms and immersive installations, where visual artefacts can become more apparent at reduced brightness levels. The platform supports 4K resolution at refresh rates of up to 120Hz, with 24-bit colour
Available in 2- and 4-port configurations, the devices enable users to control multiple computers from a single dual-monitor workstation while maintaining support for resolutions up to 8K60Hz and 4K120Hz. The switches are intended for applications where both visual fidelity and fluid motion are critical, including engineering, data analysis and professional media production, while also supporting 21:9 and 32:9 ultra-wide display formats for expanded screen real estate.
Peripheral sharing is handled via an integrated 2-port USB 3.0 hub, providing data transfer speeds of up to 5Gbps. This allows high-bandwidth USB devices such as external storage, cameras and other peripherals to be shared across connected systems without the need for additional switching hardware, supporting streamlined desktop configurations in demanding professional environments. Both models support multiple system switching methods, including front-panel buttons, hotkeys, mouse switching, RS-232 control and an optional remote port selector. For larger workstation deployments, two units can be daisy-chained via dedicated ports to create a quad-display setup, enabling control of up to four systems from a single keyboard and mouse configuration.
Joining the 36x20 VW3620, the compact VW1608 16x8 modular videowall processor has been designed for a variety of applications, from corporate and auditoriums to transportation hubs and disaster response centres. Created
to address the complexity of modern visual data, the VW1608 features a high-performance FPGA-based hardware architecture combined with FrameSync technology. Supporting True 4K resolution, the processor reportedly delivers crystal-clear detail and accurate colour reproduction while upscaling and optimising content.
To meet the demands of bezel-free LED displays, the VW1608 is engineered to leverage the limitless potential of seamless videowalls. By removing the constraints of physical borders, it enables flexible overlapping and cross-screen windowing that allows content to flow freely across the entire display area to maximise screen real estate. Operators can use the local HDMI output for live previews to verify adjustments such as repositioning feeds or fine-tuning window overlays before pushing them live to the main LED wall.
The VW1608 features a modular 4U chassis supporting 16 sources and eight displays, with daisy-chaining capability to expand up to 24 display outputs. Built for 24/7 stability, it includes redundant power and hot-swappable modules. For high-stakes environments, the VW1608 supports high-availability clustering with real-time mirroring and automatic failover, while automatic configuration backup protects against system failures to provide uninterrupted mission-critical operations.
www.aten.com
processing and HDR10 compliance to enable high dynamic range content. Low-latency performance is intended to support real-time and mission-critical applications.
Factory-based pixel-level calibration is used to ensure edge-to -edge colour accuracy and image uniformity, reducing the need for extensive onsite calibration during installation. Minor adjustments can also be made during setup where required. System monitoring and control are handled through a web-based interface, allowing real-time oversight of display performance and access to pixel-level diagnostics, enabling issues to be identified and addressed before they impact visual output.
www.christiedigital.com
INFILED HAS expanded its LED display portfolio with the introduction of several series designed for applications across corporate, retail, broadcast, control room and rental environments. The ranges focus on addressing specific installation requirements, from high-traffic public spaces and outdoor digital signage through to transparent retail displays and touring systems. Among the introductions is the InfiPixmk2 series, a weather-resistant LED solution
InfiPixmk2
designed for outdoor and high-brightness digital signage applications. The series delivers brightness levels of up to 8,000 nits and has been engineered to maintain image stability in direct sunlight. A modular design allows for flexible configuration, including
curved and custom display surfaces, while independent control of individual modules supports more creative installation designs. The manufacturer has also introduced GeminiLED, a dual-sided, ultra-slim LED display designed for overhead and open architectural installations in environments such as transport hubs, retail spaces and corporate venues. The series features a lightweight magnesium-alloy structure intended to support discreet integration without obstructing sightlines. Each side of the display can be independently calibrated and controlled, enabling separate content and brightness settings on opposing faces. For retail and architectural applications, the display manufacturer has added the Mirak series, a transparent LED display platform designed to integrate digital content into shopfronts and interior spaces. With high transparency and a minimal structural presence, the Mirak displays are intended to deliver digital messaging without visually dominating the surrounding architecture. Lastly, the portfolio expansion also includes the Black Widow AMT system, a modular LED solution designed for touring, rental, DOOH and immersive stage environments. The system supports software-based switching between different pixel pitches, allowing a single inventory to be adapted for varied resolution requirements. Its scalable design and transport-focused features are intended to support efficient deployment across temporary and touring installations.
www.infiled.com
David Labuskes joined AVIXA as CEO in 2013 after a career which steered him towards a passion for technology and the creation of a large consulting practice. Caroline Moss interviews Labuskes on the eve of his retirement
What were your main aims upon joining AVIXA?
From the outset, it seemed apparent to me that the greatest opportunities to serve our industry existed beyond the US. Over the years, I’ve worked hard as part of a team dedicated towards driving the relevance of AVIXA’s global presence and ability to serve the entire industry.
Describe AVIXA as it was when you joined in terms of membership, training, tradeshows and other events
At the time I joined, it was InfoComm International; membership, training and tradeshows were all there. Across the board, AVIXA is three times the organisation we were at the beginning of my time as CEO. This is reflective of the hard work of the team and industry volunteers in delivering value to the industry at a global scale. Our tradeshows serve every region in the world, while our education, certifications and events form the foundation of a career in pro AV.
How have you grown the membership and increased global footprint?
The successes we’ve experienced have been the result of thousands of hours of work by the very talented team at AVIXA. A key shift to be acknowledged is that our “membership” and “global footprint” are two very different things. Membership is a product or package that we offer to individuals and enterprises. That will continue to evolve but the demographic forces and assumptions that defined it in 2013 are very different today. Global footprint, on the other hand, is a description of AVIXA’s reach. This would be measured by examining metrics like audience size, digital views, impressions, web visitors and attendance at face events. With this definition of a “footprint” you’re comparing about 5,000 members in 2013 to tens of millions today. This growth occurred deliberately with the recognition that the first point of contact in this world is digital, and engagement for our community includes a multitude of steps and pathways dependent upon who’s taking that journey. A young engineer from India has a very different path of engagement with AVIXA from a private fund equity manager in New York looking to invest within our industry. AVIXA delivers value to both.
In which territories have you made the biggest impact over the past decade, and how has AVIXA helped to support and grow those markets?
I am proud of the work that AVIXA has done around the world, and we’ve had real and visible impact in all the regions. A lot of this answer depends on the definition of impact. You could compare the AVIXA board of directors in 2013 to the makeup today for a snapshot of the change. We have transformed from an US-centric organisation to a truly global one. This has had an impact in Europe with certification adoption, tradeshow attendance, industry
awareness and many other metrics. In Asia, our work in India has had enormous impact. This started a few years before my tenure but intensified with our first InfoComm India in 2013 during my first year as CEO. Since then, we’ve seen a massive growth in the industry and a birth of identity for the AV profession within that country, and we’re nowhere near the end of that growth. We are poised to reinvigorate our presence in the Middle East, both physically with an event and with industry-convening resources. Obviously, the current situation in that region directs our focus and priorities towards a fervent hope for peace, resolution and the safety of all the people affected by the current hostilities.
How has the industry evolved since you joined in 2012 and what part has AVIXA played in that?
There have been groundbreaking changes in our industry since 2012. At that time, we were struggling with our value and communicating that value as an industry. Addressing this was at the genesis of our talk about exceptional experiences and the need to connect human beings through experience. The pandemic years saw a generational change in the role of AV from “nice to have” to “mission critical”, creating massive changes across the industry. AVIXA continues to serve a critical function in enabling the industry to meet the moment in this type of environment. Our presence convenes all the parts of the industry ecosystem both physically and virtually. Our standards, education and events deliver value because they either enhance the expertise of the AV professionals that create our industry’s value or deliver value by facilitating the connection between a buyer and a
seller. And they do that 24 hours a day, 365 days a year, worldwide. On the one hand, today’s AV industry is exactly the same as it was in 2012 – the industry that connects people to people with the use of technology. On the other hand, it is almost unrecognisable. Its pure growth has been extraordinary. The technological capabilities of today were dreams at that time, and the importance of the services we deliver can be seen in nearly every business or venue in the universe. I believe AVIXA served well as a catalyst for this transformation.
What are you the proudest of having accomplished during your time at AVIXA?
I’m proud of the community that we have continued to nurture, in particular its breadth and diversity. I’m proud of the thousands of students and new professionals we’ve introduced into the industry. I’m proud of the team that delivers on AVIXA’s mission, their unequalled passion for this industry and the commitment of their talent towards its success.
What do you see for the future, both for the association and for the AV industry at large?
I see amazing success ahead. There are so many more ways that AVIXA can evolve to serve our industry, and the industry itself will continue to have unfathomable opportunities created by both demand for better “fill in the blank” from us and the technological advances that, when paired with our innovative DNA, will be able to deliver on those demands. I can’t wait to see where the next 15 years take this industry and AVIXA, and I’ll be cheering you all on as your biggest fan.
www.avixa.org
Redesigned from the ground up, the EVF and EVH Series feature newly developed Electro-Voice transducers at their core. These transducers deliver smoother coverage and greater consistency across all models, along with increased full-range output and more low-frequency headroom.
Trusted in thousands of venues across the globe, the front-loaded EVF Series and the horn-loaded EVH Series have become two of the most widely installed Electro-Voice point-source solutions for indoor and outdoor applications.
Now the next generation, featuring four models, sets a new benchmark in premium performance and pattern control at a lower system cost.
