CX Magazine - MadisonAV Goes MI Feature (February 2026)

MadisonAV goes MI

CEO KEN KYLE IS ENJOYING ‘WORKING IN RETAIL’

The last six months have heralded more than a few changes in both the Australian audio distribution landscape and the perception and market influence of brands within it.

Things really kicked off at the Integrate tradeshow last August, when MadisonAV made their debut as the distributor of the full HARMAN range, including all of their retail product. It came as they unleashed the news that Canberra’s Elite Event Technology had purchased a Qudos Bank Arenasized fleet of JBL VTX A-Series top-of-the-line PA, single-handedly bringing the brand back into the mainstream of high-end production.

With a completely new portfolio and market vertical to address, MadisonAV hit the ground running to build capability, investing in excellent talent from the retail sales and marketing sectors nationwide. While the DJ and musical instrument (MI) retail channel represented a new area for the business, CEO Ken Kyle has been open about the company’s deliberate approach to learning the category and surrounding itself with experienced specialists.

“It is a new vertical for us, and that’s why we had to very quickly put together a dedicated team,” says Ken. “We’re already getting some traction in the market, only a few months in. We have some notable names in the team that have been connected to the vertical for a long time. They’ve come on board in sales, marketing, and business development roles. Our General Manager of Sales, Robert Lackey, has a huge amount of experience

by Jason Allen

in that area. He’s applying decades of retail audio experience to build a more structured, intentional dealer network that clarifies who we work with and how we support them. The result is tighter alignment between manufacturers, distributor and retailers, leading to better in-store execution, stronger partnerships, and improved outcomes for end users.”

With Harman shifting from split distribution model to a single distributor within a relatively short timeframe, MadisonAV had to make a significant investment in working capital and stock. “We needed to get the message out there that if it’s HARMAN Pro AV in Australia, you now get it from Madison AV,” continues Ken. “And we needed to do it with some haste to start to see R.O.I. Robert and I did an initial tour of duty of retailers around the country, and we got some warts-and-all feedback about the HARMAN portfolio and how it sat in the market. After that, we realised we needed to announce ourselves and pull all the key players together in one place.”

The first iteration of that idea came to fruition in an event held at Melbourne’s hip Collingwood Yards on December 3, 2025. The pre-Christmas gathering introduced the new MadisonAV Retail team to their MI partners and the broader Victorian studio and broadcast communities. The evening

offered guests the chance to put faces to names and get a sneak peak at products coming down the HARMAN pipeline.

“We chose to do the first event in Melbourne because that’s where a lot of our retail staff are based, as are a lot of the head offices of the retail groups.” Ken offers. “We have more events for Sydney and Brisbane in planning. I think change works best when it’s discussed and there’s collaboration before it’s implemented. Everyone agrees that there’s some adjustments needed in the pricing structure. All the partners want to know what’s next in the product roadmap, what’s new across the portfolio, and what they can expect. When HARMAN decided to refresh the retail audio range over the past few years, they did so model by model, and by the time they finished, it’s almost time start again. It never really stops.”

While concentrating on the retail audio market, the event proved that there’s been an undeniable halo effect caused by JBL’s recent success with VTX A- Series and SRX Series high-end PAs.

“There’s a lot of awareness in the retail market of JBL VTX A-Series, and I think we’ve done a great job of marketing it since 2022 when we took it on, then launched it at Star City in 2023,” evaluates Ken. “We really got things moving, doing a lot of festivals and shows, and every time we did, we got amazing feedback. We had some prominent Australian acts and tier one artists partnering with us, and everyone was very pleased with the results. Positive stories attached to the JBL logo in the local environment are always going to have a halo effect. There’s been a lot of awareness that JBL is certainly ‘back’ in that big end of town touring market. The announcement of Elite

Event Technology having the most significant PA sale in the vertical for quite some time was an important step for us as well, and it certainly did raise awareness of the brand across all of the pro verticals.”

The MI audio retail environment in Australia breaks down into a few sectors; regional or small musical retailers who mainly supply instruments but can sell audio when someone asks, DJ and tech retailers who do a regular trade in monitors and portable PA, and larger and diversified retailers who also have installation and/or production arms. The latter category is a large market, and a more complex one for a distributor to service.

“The thing with the big companies with install or production arms is they are saturated with many, many brands,” agrees Ken. “They have to make commercial decisions as to what they’re going to range; you can’t range everything from everybody. Some of those companies own JBL SRX and are tendering everything from theatres and venues right down to smaller school installations. There’s nothing in our range as far as audio goes that is not in their wheelhouse. We’ve met with these businesses, and in some cases, they were an existing JBL dealer, and in some cases, they weren’t. We’ve retained business that was there, we’ve grown in some cases, and some are still in discussion. As a product offering, we’ve got to have something unique and special, and I we think we certainly have that in JBL, AKG and Soundcraft.”

I personally dislike split distribution models in a market as small as Australia, having been around the traps long enough to see them all inevitably fail. I told Ken that I was glad, for the market’s sake, when HARMAN changed their model. “I think it’s become much easier for everyone,” concedes Ken. “As far as HARMAN product goes, there’s no more silos. It’s one product range and it’s a simple message. MadisonAV are a mature business with established market verticals. We have a terrific Technical Sales Support Team, both pre-sales and post-sales. We make our pre-sales technical team market-facing. The resources are there to assist customers with designs and proposals. We do

pre-delivery checks and firmware updates, and we even offer commissioning assistance on complex projects. The more product we have, the more people we attract. And once customers use our services, they realise that we’re going to be a great value-add to their business.”

One of the great value-adds MadisonAV is offering to both HARMAN and their customers is a dedicated facility to experience the range, and new technology like FLUX:: Immersive audio processing. “We’ve just finalised the establishment of our Experience Centre here in Sydney,” Ken enthuses. “We’ve secured a new premises for our New South Wales warehousing as of February, and the entire warehouse here in Silverwater will be repurposed into the Experience Centre. We believe that will drive things forward and help our customers by having somewhere to demo immersive audio, line arrays, and big box PA to their customers.”

With MadisonAV’s roots in telecommunications and hard-core corporate AV, how is Ken liking the new market? “I’m really enjoying working in retail!” jokes Ken. “My personal hobbies have always led me to music stores. Combining a bit of work with my hobbies makes dealing with this market extremely enjoyable. MI retailers are a great group of people; they’re passionate, they are or have been DJs or musicians, or just really into the technology. They’ve been really accepting of us and given us fair opportunity.”

MODULAR FLEXIBILITY THAT SCALES

Introducing three point-source loudspeakers designed to support a range of multi-purpose applications, a full suite of supporting accessories, and the latest updates to our unified software ecosystem. These additions bring unmatched flexibility, broader deployment options, and deeper system integration to the comprehensive SRX900 Series. With powered line arrays, flyable and ground-stacked subwoofers, and now versatile point-source models, the SRX900 Series strikes the ideal balance of value, performance, and professional-grade capability.

MadisonAV is your home of the JBL SRX900 series of multi-purpose speakers designed for small to medium-format sound reinforcement applications, delivering a system with powerful, capable and dependable performance. Sales Enquiries 1800 00 77 80 www.madisonav.com.au

AKG C-SERIES

AKG are targeting musicians, podcasters, YouTubers, and streamers with their C104, C114, and C151 condenser microphones. Each uses a transformerless FET circuit for low noise floor and wide dynamic range. Designed to be seen on camera, all of the mic bodies are constructed from 100% recycled PIR metal and every aspect engineered for minimal environmental impact. For content creators, they are made to plug in and start capturing. The C104 large diaphragm cardioid condenser microphone relies on a cardioid capsule, with a 22mm Electret condenser diaphragm. The C114 large diaphragm multi-pattern condenser microphone has an edge-terminated capsule, similar to AKG C12 and C414 microphones. It uses an integrated cardioid, and omnidirectional and figure of eight polar patterns are offered. The AKG C151 small diaphragm cardioid condenser microphone also uses a cardioid capsule, with a 16mm Electret condenser diaphragm.

Australia: MadisonAV madisonav.com.au 1800 436 378 New Zealand: JPRO www.jpro.co.nz (09) 275 8710

SHURE MV88 USB-C

JBL PROFESSIONAL SRX900 SERIES

JBL Professional have three new units in their SRX900 Series powered loudspeaker system. The expansion includes 12-inch, 15-inch, and dual 12-inch point-source loudspeakers and a range of supporting accessories. SRX912M is a compact, multi-purpose, two-way 12-inch powered loudspeaker, designed as a low-profile stage monitor, main PA, or front fill. SRX915M is a high-output, multi-purpose, two-way 15-inch powered loudspeaker optimised for use as a main PA or as a stage monitor. SRX922 is a compact, three-way, dual 12-inch powered point-source loudspeaker with a trapezoidal full-range enclosure. It is made for high-output main systems, side-fills, or as a point-source element within larger SRX900 deployments. Accessories for the suite include horizontal and vertical U-brackets, array frames, truss clamps, transportation carts, and covers. The range incorporates a host of features, including directivity control, onboard DSP, inbuilt limiting and protection, solid Ethernet support, and are all self-powered.

Australia: MadisonAV madisonav.com.au 1800 00 77 80 New Zealand: JPRO jpro.co.nz 09 275 8710

NEW GEAR

The MV88 USB-C from Shure is a professional-grade mic designed for mobile content creators. MV88 USB-C is a stereo condenser mic with a USB-C connector to plug straight into an Android or iOS phone or tablet. It uses audio processing from Shure’s MV7+ and MV6 microphones, and features Auto Level Mode, which continuously adjusts gain in real time. Real-time Denoiser removes unwanted background noise. There are quick-start presets, microphone gain, five-band EQ, limiter, compression, and a high-pass filter, all accessible through the MOTIV Video and MOTIV Audio mobile apps, and MOTIV Mix on desktop.

Australia: Jands jands.com.au 02 9582 0909 New Zealand: NSL nsl.co.nz 09 913 6212

HIVE DANTE INTEGRATION

HIVE’s Beeblade media engines just got Dante connectivity as standard. HIVE’s Dante implementation requires no setup, licensing or configuration. They use a custom-built driver that is pre-installed from the factory. With up to 16 output channels per device, each channel can be routed independently to networked speakers. Each Beeblade unit allows users to transmit high-quality, multichannel audio directly over standard Ethernet.

Australia: ULA Group ulagroup.com 1300 852 476

New Zealand: ULA Group ulagroup.com 09 218 6532

ONE BUILDING,

The Technology Behind NZICC ONE BRAIN:

Two careers, one building

For both Ryan Göllner and Stephen Ward, the New Zealand International Convention Centre (NZICC) represents more than the delivery of a major venue. It marks a convergence point in two long careers shaped by live events, installed systems, and a shared belief that technology should ultimately serve people.

Appointed 18 months ago as NZICC’s Technology Services Manager, Ryan oversees production AV and ICT services, working closely with external partners including NW Group and visiting production companies to ensure the venue’s technology is reliable, scalable, and show-ready. His path to the role spans recording, live sound, broadcast, venue operations and AV integration, with experience in Las Vegas, Hollywood, Maui, Dunedin and Auckland.

“I worked at the old SkyCity Convention Centre, and just prior to this role, I was at VEGA. I am one of the few people in the country who has experience with the people installing all the systems and with the previous venue itself. It’s been a serendipitous journey.”

Ryan’s role sits within the venue’s operations team, but it is closely intertwined with VEGA’s ongoing involvement. Alongside delivering the full AV installation, VEGA is supporting NZICC through a long-term service level agreement, providing continuity between design intent, commissioning, and live operation.

VEGA’s Managing Director Stephen’s connection to the project stretches back even further than Ryan’s, “I have been involved with NZICC for the last four years. I feel like I’ve come full circle. I started out as a tech at the Aotea Centre in 1992 and now I’m back, part of the team delivering the largest single AV project in the country here in Auckland.”

That shared history, both with Auckland’s venues and with each other, has helped establish a level of trust that has carried through the project, “It makes a huge difference when you already understand how each other thinks,” Ryan says.

“You’ve already got that shorthand, and you know the other person has the best interests of the venue in mind.”

One building, one brain

What Ryan and Stephen share is perspective. Both have worked on the integration side, and both understand what happens once the integrators step back and a venue has to live with the systems every day. That crossover between design, delivery, and operation has directly shaped how NZICC has been conceived technically.

Rather than treating AV, IT, control, and production as separate layers, the building has been designed as a single, connected environment, what Ryan and Stephen describe as “one building, one brain.”

Under the hood, NZICC uses New Zealand’s largest building-wide Crestron NVX AV-over-IP video network with over 320 endpoints, connected via fibre to Cisco Nexus switching, allowing video from any input to be routed anywhere in the venue. Audio is distributed and routed via a Q-SYS DSP backbone, with venue paging and show relay supported through the stage management and IPTV systems.

For Ryan, the operational benefit is immediacy: “If an event expands or a client adds another space at the last minute, you’re not hitting a technical wall. You’re just re-scoping how the system is used.”

With that backbone in place, the focus shifts from infrastructure to performance.

The plenary theatre

New Zealand’s largest seated theatre, with capacity for 2,850 people or 1,150 flat-floor for banquets, also offers the capability to be quickly reconfigured into two smaller multipurpose spaces seating 1,235 each, with fully discrete audio, control, and signal paths.

At the core of the audio design is the largest JBL VTX A Series theatre installation in the Asia-Pacific region, featuring the A8 line array system, Crown I-Tech amplification and Soundcraft Vi Series digital mixing consoles. The lightweight system supports fast changeovers through a simple, logical rigging design.

“I think sound people are going to be blown away. The audio is clear, consistent, and comfortable; you’re not struggling to hear, and you’re not being pushed,” shares Stephen.

Ryan expands, “You easily can change how the space functions from a control point of view. Rooms that might normally operate as conference spaces can be reassigned as green rooms, with camera feeds routed in so performers can see what’s happening on stage and know when they’re about to be called. That means you can run big stage shows from the theatre, alongside other smaller events.”

Exhibitions

Designed for high-turnover trade shows, largescale builds, and simultaneous events, the exhibition halls at NZICC place an emphasis on power distribution, rigging capability, acoustic separation, and operational safety.

Each hall is equipped with a 400A power bus system, allowing high-capacity power to be dropped vertically from the technical grids anywhere within the space to suit changing exhibition layouts. This approach removes reliance on fixed floor outlets and allows exhibitors and production teams to scale infrastructure to match the build, rather than working around predefined limitations.

Overhead, rigging is handled via a Movecat i-motion motor control system, networked across the exhibition level. The system provides real-time visibility of total grid load as well as individual motor loads, displayed as weight or percentage of capacity. Built-in limits prevent overloading, with defined stop points at both the top and bottom of travel, supporting safe and repeatable rigging workflows, Ryan adds, “The Generation Xers are going to love it. The motor controller is just like an old school arcade game!”

Acoustic separation was also a key consideration, given the likelihood of multiple events running concurrently. Ryan points to acoustically sealed, carpeted catwalks and high-performance room dividers designed to minimise noise bleed between halls, allowing exhibitions, plenary sessions, and meetings to operate side by side without compromise.

Connectivity across the exhibition level has been designed for high-density usage, with venuewide Wi-Fi engineered to support large attendee numbers alongside exhibitor requirements. From an operational standpoint, the exhibition halls reflect the same philosophy seen throughout the building: infrastructure that stays out of the way but is ready to scale when pushed.

Meeting rooms and accessibility

Supporting the larger theatres and exhibition spaces are more than 30 meeting and breakout rooms, designed for high turnover and consistent operation across a wide range of event types. That consistency is reinforced through mobile smart lecterns and breakout racks that self-

discover the floor box they are connected to, automatically presenting the correct audio and video to the room and updating the control interface with additional inputs. The lecterns provide integrated microphones, local source connectivity and foldback, while breakout racks extend the system for more complex events without reconfiguring the room infrastructure. Accessibility has been built into the technical design rather than added as an afterthought, a nod to VEGA’s expertise in this area. Williams AV infrared hearing assist systems deliver clear, secure audio for individuals with hearing challenges, making them ideal for large venues like NZICC. Infrared technology ensures privacy by keeping signals contained within the room, while multiple channels allow simultaneous events without interference. These systems help venues meet accessibility standards and create an inclusive experience for all attendees.

The fun stuff for the creatives

Beyond the core AV systems, NZICC has been engineered with a level of production flexibility rarely seen in a convention centre, blurring the line between conference venue and performance space. Lighting is fully integrated into the wider control environment, with LED and dimming infrastructure designed to support both corporate and theatrical use cases.

The theatre staging infrastructure is equally adaptable. Large freight elevators connect directly to the stage, and with the help of a pneumatic lift system, the stage can be deployed within 45 minutes, while the full theatre floor and retractable seating take approximately two hours. The lower-level seating is fully retractable, converting the space rapidly between seated, banquet, and open-floor configurations.

Throughout the theatre and adjacent spaces, floor boxes wired with Cat6 and single- and multi-mode fibre provide multiple options for camera positions, broadcast workflows, and front-of-house mixing locations. An automated fly system, the only one of its kind in a New Zealand convention centre, features 15 configurable, programmable lines that can be queued and recalled, opening the door to repeatable, dynamic show moves over extended runs.

Lighting infrastructure has been designed with the same flexibility in mind. Power and DMX can be routed to every circuit on the catwalks, supported by truss travellers and moving power/data umbilicals that allow fixtures to be repositioned quickly in response to creative concepts. For Ryan, it’s a system that will reveal its full potential over time: “As crews get comfortable in the space, we are set up to support increasingly ambitious and technically complex productions.”

Non-negotiables achieved

For Ryan and Stephen, one principle sat above every brief and specification: pride was nonnegotiable. At every stage of the project, the question was simple: is this good enough to stand behind? Not just technically sound, but something the people delivering it could genuinely be proud of. By that measure, NZICC has met its mark.

That pride has become personal. Many of the team talk about bringing family through the building, pointing out systems and spaces and saying, “This is what I built,” or “This is where I work.”

That approach has now been recognised beyond New Zealand. NZICC and VEGA have been named finalists in the Smart Building category at the Inavation Awards, presented at Integrated Systems Europe in Barcelona, a nod to the way the venue’s technology integrates seamlessly as a single, operational whole. For a building already described as an unconventional convention centre, it may well be the first of many such milestones.