Quick view:

• The Phoenix Suns and Mercury now have what is reported as the largest exterior LED display at an NBA/WNBA arena.
• An Absen transparent mesh LED display spans more than 226 feet.
• Video is included to show how massive this display is.

You don't have to do much to heat things up in Phoenix. But the NBA's Phoenix Suns and WNBA's Phoenix Mercury have done just that with an LED spectacular spanning the entire plaza entrance on the exterior of their home arena, the Mortgage Matchup Center.

[Friday Night Lights, Camera, Action!]

Per AVIXA, this is the largest exterior transparent LED display installed at an NBA/WNBA arena. The Absen transparent mesh LED display spans 226.4x41 feet and covers 9,256 square feet with more more than 17 million pixels at a 60 fps refresh rate.

“We want everyone who visits Mortgage Matchup Center to have a memorable experience, and that starts the moment they arrive,” Mat Ishbia, owner of both the Suns and Mercury, told NBA.com. “We’re creating a place where fans can come together for the biggest moments in sports and entertainment, and our new LED display gives us a powerful new platform to celebrate the Suns and Mercury, connect with our community and engage with our fans.”

Designed by One Revel, the massive display outside the venue will play host to watch parties for the biggest games and potentially concerts and other live events with highlights, clips, and stats being pumped into the display for visitors on the outside.

Take a look below.

As Garrett Hill, director of technology at HuskerVision, explained, since moving to an IP-based signal distribution infrastructure that connects seven main sports facilities/buildings, the biggest benefit has been the "flexibility to work smarter.”

Upon completion of a multi-million-dollar upgrade from existing SDI-based workflows last summer, the production arm of the University of Nebraska at Lincoln Athletics Department can now create more Cornhuskers content, cover more live events, and send virtually any signal to any destination on the 861-acre campus with an elastic, software-defined architecture.

The Road to Efficiency

HuskerVision's journey to the SMPTE ST 2110 format began in 2023 with a transition to audio over IP. Lessons learned during that time helped devise a plan for video a year later.

“Doing audio first seemed like the right move,” recalled Hill. “We learned a lot of the networking requirements more intensely by doing that. We learned the importance of boundary clocking, device discovery, stream management, and PTP on switches. And now that we’ve done both audio and video, I can tell you that audio is easier to deploy, although not without its challenges as well.”

Under Hill’s guidance, the school’s HuskerVision team unveiled a completely renovated second floor of an existing building in September 2025. It now works out of a 25,200-square-foot production hub featuring three SMPTE 2110, 4K HDR-capable control rooms, complete with new 4K switcher and camera technology from Grass Valley and a HOME IP orchestration software environment from Lawo. Lawo A__UHD Core audio DSP engines and mc²56 consoles were part of the audio upgrade. (Meanwhile, the old football offices of North Stadium now house more than 100 students associated with the school’s programs for HuskerVision, Creative and Emerging Media, the Huskers Radio Network, and Athletic Photography.)

Thanks to the scalability of packet-based signal delivery (IP), all the school’s venues, as well as the various video scoreboards, can now be fed the highest quality signals from the same centralized place over a fiber optic network. The control rooms can be set up to work in tandem for larger events or used separately as required for smaller functions.

“It was important to deploy a scalable production system that could support all of the events that people want us to do and make it far easier to troubleshoot remotely, allowing us to reliably send signals from one end of campus to another,” Hill said. “And it’s mainly run by students, which speaks to the ease of use of the various systems in place.”

Mixed Format Architecture

Once system design plans were finalized, BeckTV was brought in to make it all work. Brock Raum, senior engineer for BeckTV who was a HuskerVision team member when he attended the school, led the integration team that handled the equipment and systems buildout.

“They wanted a complete UHD HDR workflow, but the budget didn't really allow for it,” Raum said. “But we still wanted to give them a UHD HDR workflow, so we incorporated some legacy baseband and other favored components. It's a true mixed format architecture.

There's a large amount of 12G and 3G 1080p content interacting across the entire plant, which necessitated a handful of 12G endpoints and 3G endpoints. "Planning with Garret and his team in advance where those endpoints were, and what they needed, really helped us focus in on a system design that fit within their budget, but still gave them the features that they really wanted for their plant today and for the long term," Raum added.

HuskerVision had a large amount of legacy equipment that it still wanted to use, things that didn't necessarily need to be 12G UHD, such as encoders, decoders, and native 1080p Ross Video graphics machines. As a result, being able to intermix formats seamlessly was a big priority for them.

“We tried to streamline the configurations and the workflows as much as possible,” Raum said. “So, we sat down with Garrett, Kirk Hartman [assistant athletic director] and Scott Guthrie [former chief engineer], and we talked about what needed to be done."

The solution was anchored by a Grass Valley K-Frame SXP IP switcher with a Kayenne 4 ME panel, because it can accept either 3G or 12G. "When you're running 12 UHD on that switcher, you can accept either format," Raum explained. "Then on the edges, we just had to figure out, OK, can this device natively do 12G? Can it natively do 1080p? And once we put that puzzle together, we built out workflows that they don't really have to think about in their day-to-day operations.”

Lawo’s .edge platform is used both as a high‑density gateway and full IP processing node. Multiple .edge frames provide 3G‑SDI and 12G‑SDI ingest, while native ST 2110 connectivity and 100 Gbps interfaces feed the production fabric.

Single-Threaded Core

The control rooms were completed by August of 2025, when students and some professional crew began training on the new equipment. At the core of the IP architecture is a Cisco 9364 IP switch with 64 ports (400 Gb capacity). That can scale to more than 2,133x2,133 ports, even at 12G.

“Even if they dropped all the 1080p and they said we're only going 12G, that's still a router that your facility isn't going to outgrow anytime soon,” Raum said. “So, it gives them a large amount of expandability in a small footprint. And that's one of the big selling points of ST 2110.”

Interestingly, the IP core production and distribution infrastructure is devised as a single path, with all signals riding on it, as opposed to a more complex (and expensive) dual-path design. This was a budgetary decision made to deploy a single-sided network, but HuskerVision can grow into a 2022-7 redundant network design if/when additional resiliency is desired.

“We call it ‘single threaded,’ and it was a cost efficiency thing, as we were trying to balance the budget that we had,” Hill said. “We know the production trucks do it this way and it seems to work fine for them. And so far, the fact that it's single threaded has not been a problem."

Redundancy to protect against system failures is managed using “lots of spare parts” and swapping out COTS servers when necessary. Because they can have any signal go anywhere, it’s never been easier to work around a hardware failure. It can be managed automatically or manual via Lawo’s Virtual Studio Manager (VSM) platform, used to control all production devices, their parameters, and functionalities from a single user interface.

Communication Is Key

As for the challenges of upgrading an entire network of venues to bi-directional IP operations, Hill said the hardest part might be getting the networking and all the devices on it to communicate correctly. “I've been dealing with networking for quite a few years now, but it's just a little bit different with ST 2110 because it's only multicast,” he offered. “How do you set up a network that is different than your regular corporate, core-access/edge or core-aggregate-access/edge model if you've only got devices and VLANs at the edge? Whereas here we’re doing routing between switch ports. We’re not switching, we’re routing through an entire fabric. So that was new to me.”

Another key to the success of the HuskerVision IP model is the use of software-defined HOME applications from Lawo. HOME is a cloud-native, browser-based management platform designed to connect, manage, and secure IP-based media infrastructures. HuskerVision is using several of the apps, including those for the control rooms’ multiviewers, signal conversion, color correction, and downstream keying.

The benefit of the HOME apps is that they can be turned on or off at will, saving cost and resources. Also, as a customer of Lawo, HuskerVision has access to what Lawo calls “flex credits” as part of the agreed upon software license subscription. “These credits can be applied to any of the HOME apps,” said Kevin Broce, key accounts manager at Lawo. “[HuskerVision] has a pretty hefty number of credits available on their system, which allows them to turn on every function in our portfolio. That includes access to any solution we offer now and anything we release in the future."

The flex credits can be scaled out to hardware functions like frame syncs on gateways. In the HuskerVision infrastructure, there are Lawo edge video gateways in the venues, control rooms, and truck docks. Basically, they have lots of I/O everywhere and can use those flex credits that turn on any HOME app for use anywhere on the network. The system’s ability to present SDI inputs as network “proxies” gives HuskerVision high scalability with minimal bandwidth overhead.

This software license model also allows HuskerVision to turn on additional gateway functionality, so it doesn't have to buy perpetual licenses for every one of these gateways, because they're not using them all at the same time. Rather than enabling that functionality in every location and sitting on it, maybe using it only 5% of the time, HuskerVision uses the credits to its advantage.

Audio Education

The HuskerVision hub facility is also complemented with three Lawo mc²56 audio consoles, a dedicated console for studio A, plus consoles in studio B studio C (for streaming). The layout was adopted specifically to support the school’s teaching efforts. Also included are Lawo A__stage 64 and A__mic 8 interfaces, as well as HOME Management for routing and orchestration.

“They’ve decided to dedicate these consoles to specific purposes so that the kids ultimately get experience with dedicated hardware and dedicated workflows,” said Broce. He added that while Lawo’s audio solution includes virtual mix interfaces (MXGUI), they also added tactile, physical MC2 console surfaces in the control rooms.

“A great thing about our audio solution, at the push of a VSM button, you can completely change the console use case and workflow,” he explained. “You can remotely access the console from anywhere. Say a new student is struggling with something on the desk; Garrett can log in remotely from his office or the stadium and troubleshoot the issue with access to every parameter and function via MXGUI.”

HuskerVision's new IP infrastructure serves two key purposes: It helps the department deliver higher-quality content for fans, educators, and students, while offering students hands-on experience with top-tier equipment, IT networking, and scalable IP-based workflows. The result is a campus‑wide media fabric capable of handling simultaneous shows from centralized control rooms.

“We're definitely growing into the system and learning some things every day, but by and large it's been working great,” said Hill. “We now have the capability to do whatever the school’s athletic department throws at us and are confident the system will perform as designed. The use of IP infrastructures for college sports production is increasing every day, and we now can clearly see why."

For more AVoIP insights, download your free copy of the SCN Integration Guide to AVoIP.

Quick view:

• The Ruckus! exhibit at Boston's historic Old South Meeting House uses multichannel audio, projections, dynamic lighting, and recorded voices to place visitors at the center of the debates and events of the American Revolution.
• Electrosonic collaborated with 1 SOUND to design an audio system that provides wide coverage and presence throughout the seating areas and balconies while remaining visually unobtrusive to preserve the historic space's character.
• The system utilizes Tower LCC84 loudspeakers for main audio, Tower LCC44s for side fills, flush-mounted Level L35s for surround fills, C4 loudspeakers for the balcony, and SUB28 subwoofers at the front to deliver full-spectrum sound for music, effects, and voice.

Inside Boston’s historic Old South Meeting House, visitors can step directly into the debates, defiance, and upheaval that helped ignite the American Revolution through Ruckus!, an experiential exhibit from Revolutionary Spaces. Combining dynamic multichannel experiential sound, lighting, and projected animations throughout the historic space, the experience places visitors at the center of the story, surrounding them with the voices and actions of the people who helped shape a pivotal moment in American history. Electrosonic worked with 1 SOUND to develop a system that could deliver presence and intimacy throughout the audience seating while remaining visually discreet within the space.

[A High-Tech Oasis Rising above Low-Tech Downtown Vegas]

From the floorboards to the balconies, Ruckus! uses the architecture of Old South Meeting House as part of the storytelling. Projected animations bring revolutionaries, determined citizens, and unlikely troublemakers into the story, while recorded voices, sound effects, and music bring the narrative to life. With so many visual and storytelling elements working simultaneously, the audio system needed to provide clear, consistent coverage throughout the historic building without competing with the architecture.

Working within a historic building presented unique considerations for loudspeaker placement and mounting. The system needed to provide wide coverage and sufficient throw while preserving the visual character of Old South Meeting House. Electrosonic utilized 1 SOUND Tower cardioid line array columns to address these requirements. The Tower system provides the necessary throw and wide dispersion for the space while maintaining a discreet footprint. A combination of mains, delays, and fills helps create consistent coverage and a sense of presence throughout the seating areas.

The main system uses Tower LCC84 loudspeakers, with Tower LCC44 loudspeakers providing side fills. Flush-mounted Level L35 loudspeakers are deployed as surround fills throughout the room and toward the back, while C4 loudspeakers provide additional coverage for the balcony.

For low-frequency reinforcement, SUB28 subwoofers are positioned at the front left and right of the space, adding depth to the music and sound effects that accompany the projections and storytelling.

Ruckus! relies on a combination of projected animation, lighting, recorded voices, sound effects, and music to tell its story. The audio system therefore needed to do more than provide background sound. It needed to make sure every element of the multichannel immersive soundtrack could be heard clearly throughout the space and accurately to the designed creative storytelling, while being unobtrusive to the visual content. The distributed multichannel design approach maintains consistency from the main floor through the surrounding seating areas and balconies, supporting the experience wherever visitors are positioned.

The result is an audio system that guides the audience’s attention and provides the clarity and presence required for the experience while allowing the historic architecture to remain central to the experience.

"Solving sound for a space like ours—a space that needs to maintain its architectural and historical integrity, and that is not designed for modern sound—is a tall order," said Matthew Wilding, senior director of interpretation and future projects, Revolutionary Spaces. "1 SOUND worked with us to craft a state-of-the-art, multi-channel system that sounds absolutely incredible and is practically invisible. With our old system, there were parts of the building where you'd struggle to hear someone speaking clearly because of the reverberation. Now, every seat is a good seat, whether it's for our new immersive show, a forum, a theater production, or a concert. 1 SOUND completely transformed the audio experience in our historic site."

Quick view:

• Absen’s A Series and NX Series LED solutions deliver durability, energy efficiency, and high-performance visuals.
• Through close collaboration and flexible engineering, the displays were adapted for evolving structural needs while delivering high-quality visuals for auctions, concerts, sporting events, broadcasts, and emergency communications.
• By combining durable, environmentally rated displays with energy-efficient performance and flexible configurations, we're helping venues like the National Western Center create visual experiences that can adapt to virtually any event while standing up to demanding operating conditions.

Denver's National Western Center is transforming the historic site into a 2.2 million-square-foot campus dedicated to agriculture, education, research, entertainment, and culture. Designed to serve as a year-round destination, the expanded campus will host everything from concerts and trade shows to livestock competitions, international conferences, farmers markets and the annual National Western Stock Show. To support the campus' diverse programming, project stakeholders selected Absen as the dvLED display partner.

[CEDIA Expo 2026: All About the Overlap]

At the center of the redevelopment is the new 350,000-square-foot Sue Anschutz-Rodgers Livestock Center, a flexible, multi-use facility. The campus includes a new CoBank Arena featuring a nearly 4,000-seat arena and climate-controlled barns, creating a modern venue capable of accommodating a wide range of indoor events while preserving its agricultural heritage.

The National Western Center required an LED solution capable of performing in one of the industry's most demanding environments. Unlike traditional entertainment venues, the displays would be exposed to dust, moisture and the daily rigors of a working livestock facility. Absen's A Series LED displays were selected for the center-hung display and ribbon wall, along with the NX Series for the facility's auction wall. Together, the display systems deliver the durability, image quality and reliability required for everything from rodeos and livestock auctions to concerts, sporting events and community gatherings.

Absen's A Series was selected for the ribbon wall and center-hung display because it combines outdoor-rated durability with high-performance visual capabilities. The displays deliver brightness levels up to 10,000 nits while consuming up to 50% less energy than conventional LED systems. Absen's lower power consumption reduces heat generation, contributing to longer product life while helping the National Western Center manage operating costs across a venue designed for year-round use.

"We worked together extensively to produce high-quality drawings for the other trades, and Absen supported us throughout that process," said Darren Smith, senior director for E2 Optics. "The mounting options for the center-hung display were vitally important to the overall structure of the project, and we worked very closely with Absen to model all of those components."

The facility's auction wall utilizes Absen's NX Series, featuring a 16:9 cabinet design that simplifies installation while delivering a seamless viewing experience. With refresh rates exceeding 7,680 Hz, the NX Series produces smooth, scanline-free imagery for live production, broadcasting and in-venue cameras. The NX Series' high-definition image quality ensures that auction information, event content and live video remain clear and readable for audiences both inside the venue and watching remotely.

As construction progressed, the team adapted the display system to accommodate design changes while preserving the intended visual experience.

Per Mitchell Blystone, senior AV project manager for E2 Optics, a couple design changes were required. One included breaking up the ribbon wall without losing the integrity of the image. His team also had to make a change to accommodate emergency power so that, during a life safety event, they can display emergency messaging on the wall.

“The National Western Center represents the type of environment our displays are built for," Weskeal West, channel manager for Absen concluded. "By combining durable, environmentally rated displays with energy-efficient performance and flexible configurations, we're helping venues like the National Western Center create visual experiences that can adapt to virtually any event while standing up to demanding operating conditions.”

When Major League Soccer (MLS) began planning a new global headquarters in the heart of New York City, the goal was never just to build a bigger office. With the league expanding rapidly, as evidenced by early 2026 viewership up 62% year over year and 4.8 million fans attending matches through the first three months of this year's season, MLS leadership wanted a space that showcased how far the league has come while supporting its surging growth.

"It was a little bit about the right time and right place with the growth of the league,” said John Sullivan, CIO for MLS.

Through an ambitious integration of AV technology, live data, and innovative architecture, the new headquarters fosters collaboration among MLS employees, both in-office and in the field, and delivers unique experiences for visitors while using the footprint as a branding touchpoint for MLS.

"We need a place that feels like home, feels like soccer," added Sullivan. "It needs to be soccer-centric. We need collaboration. We need space for a lot of people and future-proofing growth. Technology needs to be seamlessly integrated throughout the space."

Collaboration and Innovation

The 126,000-square-foot space spans two floors and features more than 80 meeting and collaboration spaces, a Match Day Center Operations Hub, interactive digital environments, and a workplace that adopts an “office as a stadium” approach. That's evident in the tunnel-inspired entrance, the DetaiLED three-panel LED installation behind the reception desk, and ribbon LED displays that wrap around the central staircase spanning the two floors, similar to those that wrap around sports stadiums and arenas. These displays feature matchup scores and information, league news, and other MLS-branded content.

DetaiLED also supplied a large-format LED wall adjacent to the reception area, internally known as the Cup Wall. The wall displays rotating themed content celebrating MLS competitions, clubs, players, and pivotal league moments.

Another notable space is the Match Day Center Operations Hub, which serves as a centralized command center for the league. It features multiple displays that allow league staff to monitor and support all MLS operations by bringing together league operations, real-time sports data, and live camera feeds in a single location.

"We're managing games at the league level, but looking at games across the league, and they're able to manage them from one central location,” added Sullivan. The space is also equipped with Zoom capabilities, so if a venue has an issue, they can dial directly into a Zoom that is always on to get immediate support.

To bring this vision to life, MLS collaborated with technology consultant and experience designer TAD, integrator TRITECH, and immersive experience platform provider Zenapptic.ai.

TAD was brought on board due to its extensive experience designing headquarters for professional sports organizations and expertise in content design and immersive storytelling. "They knew that we had a strong background in conference spaces, but this project required bringing a sense of energy, gamesmanship, and the future of MLS through digital storytelling and an overarching technology experience, which made it the perfect job for us," said James Utterback, partner at TAD.

TAD’s approach is not to view the AV technology as a collection of independent elements, but to see that every component can work together to strengthen the league’s brand identity within the space. "TAD played a major role in designing the AV and kind of connecting the AV with the content plan and making sure the physical worked with the digital in a really kind of clean way,” added Sullivan.

This approach extended throughout the headquarters, with conference rooms, executive spaces, public gathering areas, and collaboration environments all emphasizing the league’s brand identity while remaining highly functional. "Every display is an opportunity to do both," Utterback explained, referring to balancing collaboration with storytelling.

Vision to Integration

TRITECH was engaged as the integration partner to manage the various technology components while ensuring a consistent user experience. But TRITECH’s role extended beyond basic installation.

"TRITECH's role spanned the lifecycle of the project," said Mark Vitt, EVP at TRITECH. "It included systems engineering, infrastructure adaptation, procurement and project management, on-site installation and hardware integration, long-term maintenance, and continuing operational support."

The large-scale technology ecosystem throughout the headquarters includes Apple TV, Neat conferencing bars, Samsung commercial displays, DetaiLED displays, Sharp NEC video walls, Shure ceiling microphones, BrightSign media players, and additional equipment from Q-SYS, AVPro Edge, Extron, Lightware, NETGEAR, and Yealink.

A consistent experience was prioritized, regardless of room size or function. This philosophy carried over into the integration. "Systems are programmed to respond identically, regardless of room type," Vitt explained. "For example, the rate of audio volume on the touchpanel is the same whether in a large, multi-purpose room or in a small conference room. Speaker, camera, microphone, and display placement are similar or identical within each room." This provides a standardized interface that reduces training time and supports functionality within these spaces.

As the technology was being installed, the team needed to solve several sophisticated engineering challenges, with three of the most challenging occurring at the Boardroom, Stadium Rings, and Match Day Center Operations Hub. "The Boardroom contains voice lift, auto framing, a large video wall, and a simple user control system," Vitt said. "Multi-use spaces with simple GUIs can be complex at times."

For the Stadium Rings, extensive coordination was required among multiple trades, given the location across multiple floors and the mirrored ceiling. Unlike a conventional video wall, the Stadium Rings had to be built into the architecture, and careful consideration was required to ensure precise alignment and proper sightlines. Given the mirrored ceiling, careful attention had to be paid to reflections and display positioning to ensure a proper viewing experience.

TAD and TRITECH also considered future-proofing the space, with TRITECH sharing best practices from its engineering and installation teams, including additional infrastructure beyond project requirements. "TRITECH had the foresight to add additional category cable in critical places, although unspecified and at no cost to MLS,” Vitt added.

Integrated Content

For immersive content, Zenapptic.ai was brought in to help integrate content from multiple MLS sources, enabling visuals to update automatically throughout the network. The system continuously refreshes league information, rosters, schedules, branding, and other content across headquarters.

"We were tied into four, five or six different sources of content controlled by MLS," said Dave Fitzgerald, head of business development at Zenapptic.ai. "Somebody could have been traded from Denver to Chicago overnight, and that would be reflected ... almost immediately as soon as they made the update."

Fitzgerald estimates that 80-90% of the content is real time, with only welcome messaging and targeted campaign takeovers using scheduled content.

The framework relies on reusable templates populated with existing league data rather than requiring new creative for each update. "All of the concepts we put forth were drawing on the vast databases of information that they're already putting out," Utterback explained.

And because MLS owns all the underlying data, the league can easily control the content itself. "They have a very easy interface to be able to drag and drop new information and link new data up to any of the screens that are in the facility,” said Fitzgerald.

For MLS, the success of this new headquarters, now and in the future, won’t be measured by the number of displays or the volume of data flowing throughout the building. The most important factor is how employees engage with it on a daily basis.

The guiding principle throughout the project was ensuring that everything works seamlessly together. "You want the technology to become invisible. That's when you know technology works," Sullivan said. "The biggest thing is that it all just works. And that makes me proud."

Quick view:

• The opening of Steven D. Bell Hall in 2026 significantly expands UNC Chapel Hill’s business school campus, adding state-of-the-art classrooms, event spaces, and collaborative environments.
• To cover diverse areas—from massive divisible lecture halls to open study spaces and corridors—ClarkPowell integrated LEA Connect Series smart amplifiers.
• By utilizing LEA's IoT-enabled, cloud-connected amplifiers, system managers and integrators gain free, subscription-free remote monitoring and control from anywhere.

The University of North Carolina at Chapel Hill began construction of a new academic building, Steven D. Bell Hall, in 2022, for the Kenan-Flagler Business School. Opened in 2026, Bell Hall is an innovative facility designed to accommodate the UNC Kenan-Flagler's programs and student population. It includes tens of thousands of square feet dedicated to classrooms, meeting rooms, and event spaces, all featuring modern, flexible learning environments for collaboration.

ClarkPowell was chosen to design and implement the AV infrastructure for Bell Hall. Richard Kessinger, a pre-sales engineer at ClarkPowell, played an integral role in the project and recognized that LEA amplifiers would be ideal to power the AV systems.

“We’ve found that LEA Connect Series amplifiers have less power waste and heat output than comparable 70-volt amplifiers,” said Kessinger. “That efficiency means more energy is dedicated to driving audio instead of heating the rack room. Combined with LEA’s six-year warranty, which reinforces long-term reliability and reduces risk over the life of the system, Connect Series amps deliver meaningful value from day one. A win all around.”

LEA amplifiers were deployed to power larger lecture halls, divisible rooms, spaces with multiple zones, and public areas such as cafeterias, open study areas, and corridors, allowing for background music and other uses. ClarkPowell installed a variety of LEA Connect Series amplifiers to address the diverse needs of the spaces in Bell Hall, including multiple Connect Series 352, Connect Series 702, and Connect Series 704 amplifiers.

All amplifiers in the Connect Series are professional-grade, IoT-enabled smart amplifiers suitable for installations of any size. They support both Hi-Z (70V or 100V) and Lo-Z, selectable by channel, and includes 96kHz DSP as a standard feature, providing a range of benefits that greatly enhance audio performance and system versatility. Additionally, LEA Cloud enables ClarkPowell to remotely control and monitor amplifiers from anywhere.

Bell Hall represents a major investment in academic infrastructure at UNC-Chapel Hill, increasing capacity and modernizing the educational experience for business students while fostering collaboration across disciplines.

“Using LEA's loudspeaker profiles decreases the processing requirements for the standalone DSPs used in the project, allowing us to save money by avoiding additional DSP hardware,” said Kessinger. “Next year, after the completion of the new building, UNC Kenan-Flagler plans to renovate all the classrooms in the existing McColl Building. We hope to incorporate more LEA amplifiers in this next phase, as they’ve been a perfect fit for a lot of our projects."

Summary:

• Waterloo Sound launched a portable 9.1.4 Dolby Atmos studio built inside the modular Nu•Studio System, using identical full-range JBL Professional 708 monitors at every position.
• The studio was specifically engineered to tackle two critical listening workflows in the same space: immersive 3D mixing and vinyl mastering.
• Unlike traditional brick-and-mortar control rooms that require custom acoustic tuning for every new location, the Nu•Studio System uses standardized dimensions and acoustic materials.

Waterloo Sound, an extension of Austin’s Waterloo Records creative ecosystem, has opened a portable 9.1.4 Dolby Atmos studio featuring JBL Professional studio monitors powered by Crown amplifiers. Built within the modular Nu•Studio System, the installation surrounds engineers and artists with full-range JBL Professional 708 monitors while concealing the technology behind acoustically transparent surfaces, creating a critical listening environment designed for immersive mixing, vinyl mastering and other creative applications.

[Take Me Into the Ballgame]

The project grew from Waterloo Sound’s plans to establish a vinyl mastering operation with partner Jon Niess, whose work spans both vinyl mastering and Dolby Atmos mixing. Niess was already using JBL Professional monitors in his own mastering and Atmos studio and was working with Nu•Studio founder and CEO Chad Franscoviak on the company’s modular studio concept.

The concept brings together immersive audio and visual content within a portable, modular structure engineered to provide a repeatable acoustic environment. Rather than building the technology visibly into the room, the 9.1.4 Atmos system is integrated behind acoustically transparent wall screens alongside acoustic treatment positioned around the perimeter. Ultra-short-throw projectors mounted overhead complete the visual environment, allowing visitors to be surrounded by sound and imagery without loudspeakers and other technology becoming the focus of the space.

At the center of the studio are JBL Professional 708 studio monitors, powered by Crown amplifiers and deployed at every ear-level and overhead position in the 9.1.4 configuration. Using the same monitor throughout the system was important to Waterloo Sound because an immersive mix can move individual audio objects between the front, side, rear and overhead channels. Maintaining full-range capability and headroom at every position helps preserve the tonal character and impact of those objects as they travel through the three-dimensional sound field.

“We chose JBL 708s throughout the entire 9.1.4 system because we wanted a truly consistent, full-range monitoring environment in every direction,” said Niess. “I’ve become a big believer in having real low-end capability and headroom in every channel—including the surrounds and overheads—so an Atmos object maintains the same tonal character and impact wherever it moves in the room.”

Creating a portable immersive studio also introduced a different design philosophy from a conventional permanent control room. The Nu•Studio System is constructed according to consistent dimensions, materials and acoustic specifications, minimizing acoustic variables between installations. Combining that standardized environment with JBL Professional 708 monitors and Crown amplifiers gives engineers a setup that behaves the same way every time it’s deployed rather than requiring an entirely new acoustic approach each time.

Early response from engineers working in the space have reinforced Waterloo Sound’s emphasis on creating an immersive environment that remains natural rather than drawing attention to the individual loudspeakers. Mix engineers have particularly noted the room’s controlled low-frequency response and the cohesiveness of the immersive sound field.

“The feedback has been overwhelmingly positive,” said Emily Gianopoulos, managing partner at Waterloo Sound. “Several mix engineers have told us it’s one of the best-sounding Atmos rooms they’ve ever heard—the room has a sense of calm the moment you walk in, with a very tight, responsive low end and an immersive sound field that feels very natural.”

As Nu•Studio’s first customer, Waterloo Sound brings together immersive mixing and vinyl mastering within a modular environment built around consistent monitoring in every direction. JBL Professional 708 studio monitors and Crown amplifiers are central to that performance, giving Waterloo Sound full-range headroom at every position in the room.

Gies Memorial Stadium, home to the University of Illinois Fighting Illini college football team, got a massive technology upgrade from Anthony James Partners (AJP) encompassing LED displays, audio, broadcast and high-density Wi-Fi. The stadium-wide technology upgrades were showcased at the Thursday night college football home opener, as Illinois hosted UAB,.

[Friday Night Lights, Camera, Action!]

The centerpiece is a new South End Zone video board, which AJP boasts is the largest and highest-resolution primary scoreboard in college sports based on physical footprint and absolute pixel count. While the display provides the most visible transformation, AJP’s work extended throughout Gies Memorial Stadium, integrating the display, audio, broadcast, and connectivity systems into a comprehensive technology program designed to serve Illinois Athletics well beyond the current upgrade.

“Projects of this scale are never about a single system,” said Michael Rowe, chief executive officer of Anthony James Partners. “The goal is to look at the venue as a whole and design an integrated technology system that goes well beyond the video display—from the broadcast systems that drive it to the sound, Wi-Fi and infrastructure that support the fans and the overall experience. It’s about putting the right pieces in place today while creating a foundation for what that experience can evolve into over the next decade. The University established an ambitious goal for Gies Memorial Stadium, and we’re proud to have helped bring that vision to life.”

The new South End Zone display measures approximately 69x250 feet, providing more than 17,300 square feet of active display area. Featuring a 10mm pixel pitch and approximately 16.1 million pixels, the display provides nearly 195% greater resolution than the previous video board.

The installation is the centerpiece of a larger LED program, which was awarded to Daktronics, encompassing 16 displays and more than 26,700 square feet of LED technology throughout Gies Memorial Stadium. The project includes the South End Zone video board, ribbon displays, auxiliary displays, and additional LED elements designed to provide a cohesive visual experience throughout the venue.

AJP designed the supporting structure for the new South End Zone video board and managed the structural engineering process, with LBYD Engineers providing structural engineering services.

AJP designed a ground-up replacement of the stadium’s sound reinforcement system to deliver improved speech intelligibility, powerful full-range sound and consistent coverage throughout Gies Memorial Stadium. Integrated with the new South End Zone video board, the audio system, installed by C.V. Lloyd Audio Visual, creates a unified game presentation platform designed to serve every seat in the venue.

At the center of the system is a large-scale point-source array featuring Fulcrum Acoustic AHS digitally steerable loudspeaker technology. The system allows sound energy to be precisely shaped and directed throughout the seating bowl while minimizing unwanted reflections and acoustic interference. A distributed loudspeaker network supplements the main system in under-deck and acoustically shadowed seating areas, with the systems precisely time-aligned to provide natural, consistent and intelligible sound throughout the stadium.

The modernization extends beyond the seating bowl, with new audio systems serving concourses, support areas, and the stadium grounds, as well as portable field systems for pregame activities, ceremonies and special events. A dedicated HVAC-conditioned technical room within the video board structure protects amplification, processing and other critical electronics from temperature extremes, humidity and weather exposure, improving reliability and protecting the University’s long-term technology investment.

AJP’s broadcast modernization work was completed in phases over two years and included both the University’s production control environment and broadcast infrastructure throughout Gies Memorial Stadium. TAB-M Solutions served as the control room integrator, while C.V. Lloyd Audio Visual served as the broadcast cabling integrator.

The first phase included a complete redesign and rebuild of the existing production control room, transitioning the system from legacy 3G baseband technology to a SMPTE ST 2110 IP-based architecture and upgrading production from 1080i to 1080p. The new infrastructure also establishes a pathway to 4K production when Illinois Athletics is ready to make that transition.

At Gies Memorial Stadium, Phase One included the first stage of new broadcast cabling throughout the football stadium. Phase Two expanded that infrastructure for the 2026–27 season and included rebuilding the television broadcast interface panels at the truck dock to modernize connectivity between the stadium and television production trucks.

Together, the control room and stadium infrastructure upgrades provide Illinois Athletics with a modern production environment while establishing the infrastructure required to support expanded video capabilities and future production needs. The ST 2110 architecture allows the production team to transition to 4K when operationally appropriate without requiring another fundamental rebuild of the underlying production infrastructure.

AJP’s high-density Wi-Fi program included a greenfield deployment across approximately 90 percent of Gies Memorial Stadium and surrounding spaces, along with upgrades to existing premium and back-of-house coverage. The new seating bowl solution includes approximately 900 under-seat access points housed in environmental enclosures to provide high-density wireless coverage throughout the venue.

MSB Consulting Engineers was awarded the engineering, installation and maintenance of the high-density Wi-Fi solution.

Quick view:

• Integrator Arrow+Jay partnered with Biamp to convert an unopened, 38,000-square-foot casino into an 800-seat sanctuary for River Valley Church.
• Using Biamp’s VenuePolar plugin for EASE Focus 3 software, designers were able to model and customize asymmetric coverage patterns and FIRmaker steering algorithms prior to installation.
• The resulting system delivers high speech intelligibility, even coverage, and complete feedback prevention to every seat in the house without disrupting the visual aesthetics of the sanctuary.

Biamp recently enabled River Valley Church to successfully transform an unopened 38,000-square-foot casino in Grants Pass, OR into an 800-seat worship facility. Working closely with the Biamp design team, systems integration firm Arrow+Jay deployed Community loudspeakers with Biamp VenuePolar technology within the Ease Focus 3 software to overcome significant acoustic challenges and deliver exceptional sound quality throughout the expansive sanctuary.

[How a Culinary Institute Turned a Blank Screen Into a Brand Statement]

Brian Engle, systems designer, Arrow+Jay, noted that the combination of reflective surfaces and architectural constraints were a challenge, and that the church needed precise control over every aspect of the sound field. "VenuePolar technology gave us the tools to model, predict, and optimize the system before installation, ensuring we could deliver pristine audio quality while preserving the visual aesthetics the church required," he explained.

The conversion project presented unique obstacles, including extensive glass surfaces, highly reflective materials, limited mounting height, and critical sightlines that restricted loudspeaker placement options.

At the heart of the system are four Community LVH-906/APB and two LVH-909/APB steerable venue horns, strategically positioned to provide comprehensive coverage across the sanctuary. These advanced loudspeakers leverage Biamp proprietary steerable array technology to deliver focused, uniform sound distribution throughout the worship space. The system is complemented by Community IP8-1122/66B and IC6-1082/96B point source loudspeakers to provide supplemental coverage throughout the facility, while Community IS8-218B subwoofers deliver the low-frequency impact required for contemporary worship services and special events.

Arrow+Jay also utilized the VenuePolar plugin for EASE Focus 3, from Biamp, which allows consultants and integrators to design fully custom asymmetric coverage patterns for the LVH-900 through an intuitive, guided software experience. VenuePolar automatically determines the number of LVH cabinets required, splay between them, and array aiming angles. FIRmaker allows designers to create an unlimited number of coverage variations, then VenuePolar automatically applies equalization and creates custom speaker files for deployment in Biamp ALC amplifiers.

The system also includes an avoidance zone targeting the stage area in the FIR steering algorithm, preventing sound energy emanating from the main loudspeaker system to reach the stage. This innovative approach results in enhanced gain-before-feedback (GBF) performance, empowering worship leaders and musicians to perform with confidence and clarity without interference from the house system.

“River Valley Church now enjoys exceptional speech intelligibility, even coverage throughout the sanctuary, and remarkable freedom from acoustic feedback on stage,” said Joe Andrulis, EVP of corporate development, Biamp. “The system delivers consistent sound quality to every seat while maintaining the clean, unobtrusive aesthetic the church envisioned. The scalable Biamp ecosystem also ensures River Valley Church can expand and adapt its audio capabilities as needs evolve.”

Friday nights, when the lights shine on high school football across the country, are getting much brighter these days. From new videoboards to broadcast-quality production platforms and solutions, you could mistakenly think you are at a college football game when you walk into some of these stadiums.

High school athletic departments are investing heavily in the future of sports, but they aren't simply spending money on shiny new toys. These investments are increasing community engagement via sponsorships and providing real-world lessons to aspiring high school production teams.

Now Trending

Per the most recent 2024-25 NFHS High School Athletics Participation Survey, high school sports are very much alive and well, which means focusing on the production and game-day experiences has become a necessity. As always, football rules the day, with more than 1 million participants. Outdoor track and field tops the list for girls' programs, with more than 500,000 participants nationwide. However, basketball remains king of the court, with more than 18,000 schools offering both boys’ and girls' programs, the most of any sport.

According to Jeff Morgan, sales director sports indoor at Watchfire, football stadiums continue to represent a major part of installations because of the large crowds, strong community visibility, and substantial sponsorship potential. However, Watchfire is seeing growing interest in gymnasiums, baseball and softball facilities, and broader multi-venue packages as well.

"Increasingly, schools are looking beyond a single scoreboard purchase and developing a phased plan across multiple venues," Morgan explained. "That allows them to create a more consistent experience, offer broader sponsorship packages, simplify training and maintenance, and extend student production programs across several sports."

High schools typically don't have monster budgets like Division I colleges, so where does the money come from for a major technological overhaul? "At the high school level, the goal is not to replicate a Division I stadium, but to choose a scoring and entertainment system that fits the school’s needs," Morgan said. "That may include improving the fan experience, expanding student learning opportunities, generating revenue, and building school pride."

Tom Coughlin, Daktronics sales manager, agreed. "When it comes to budgets, our role is to help schools get the most out of their investments, including the greatest positive impact on their students, fans, and community," he said. "That's where Daktronics Sports Marketing [DSM] comes in. Rather than asking schools to choose between what they need versus what they want, we help them develop a plan that aligns with their goals, budgets, and long-term revenue opportunities."

A videoboard is more than a game-day experience, Coughlin added. It's a platform for community engagement, student involvement, and local business partnerships all working together to maximize the value of their investment.

Telling Student Stories

Lampasas Independent School District (ISD) in Lampasas, TX, was looking to replace a nearly 20-year-old scoreboard. The district selected a Watchfire system that balanced affordability, functionality, and community value, Morgan said. Watchfire helped to install a package that included a 10x24-foot 16mm videoboard paired with a 4x24-foot scoreboard and 6x4-foot snap clock.

That community value immediately paid off. During the first two years after installation, Morgan explained, Lampasas ISD generated more than $50,000 in advertising revenue through partnerships with local businesses, revenue that supports athletics and other school programs while offsetting the equipment cost. Plus, the technology—which has been used during junior high, JV and varsity games, as well as graduations, community events, and special recognitions—is bettering the student production team.

Students in the career and technical education class manage the videoboard content, gaining hands-on experience in video production, marketing, and digital content management. “The biggest benefit is highlighting the kids,” said Dr. Chane Rascoe, superintendent of Lampasas ISD. “They appreciate being recognized, and it builds pride and confidence.”

Plum Senior High School near Pittsburgh went all-in with Daktronics in August 2025. As Coughlin explained, with support from former NFLer and current ESPN personality Pat McAfee and his We’re All Mustangs Here Foundation, the school added a new 12x25-foot, 10mm display at its football stadium as well as a new 11x20-foot, 5.9mm display in its gymnasium. They also received a fixed-digit scoreboard at each venue, digital content for the displays, a Daktronics FrameWrx subscription for creating additional content, and DakClassroom curriculum that provides teachers with resources for student instruction in operating the displays for live events.

Again, this is much more than a shiny new scoreboard. Fans attending events now get all the game-day information audiences would expect from professional-level events, from live videos to instant replays, graphics and animations, statistics, and even sponsorship messages.

"More importantly, it's helping the school tell the stories of its students and programs in an enticing, engaging way. It's showcasing students and their accomplishments and increasing crowd involvement and enhancing school spirit," Coughlin added. "What made this project unique wasn't just the technology. It was the opportunity to create a student-led production program. From creating graphics and operating equipment to gaining real-world experience that can lead to future educational and career opportunities, we were able to show how the project could positively impact students, the school, and the community long after installation was complete."

Both Daktronics and Watchfire agree that high school sport venues have become an increasingly important part of their business. While Daktronics has been selling video displays to high schools for more than two decades, Coughlin has seen an uptick in magnitude the past five years or so.

"As schools invest more in athletic facilities, fan engagement, and student-led media programs, the videoboard market continues to grow," Morgan said. "But Watchfire’s focus goes beyond the growth of youth sports. The products we develop and the people we add reflect our broader commitment to helping local institutions strengthen and connect their communities."

Ready for a Close-Up

High school sports production goes well beyond the in-stadium experience. While cameras at the football field were once used by coaches for scouting and game calling, they are now used for live streaming. And high schools have been shifting toward higher-end production tools in recent years.

"We're seeing schools adopt a mix of Sony solutions, including system cameras for field sports, PTZ cameras for gymnasium and court sports, and Sony's professional imaging cameras for sideline coverage, coaching analysis, and feature content," said Linda Croson, national account manager, Sony Electronics.

Claudia Barbiero, director of global marketing, PTZOptics, concurred, noting that the shift has accelerated over the past few years as IP connectivity and software-based production have made professional tools easier for schools to operate. The technology may be sophisticated behind the scenes, she said, but it is now accessible enough for student teams to use successfully. "High schools are taking learnings from college sports programs that are really stepping up their innovation with PTZ cameras," Barbiero said.

She pointed to Salesianum School in Wilmington, DE, which created a student-run production system with six PTZOptics cameras positioned around its football field. Students use vMix to stream games, NewBlueFX Captivate for instant replay, and a PTZOptics SuperJoy to control all six cameras while monitoring the available angles. Barbiero noted that the school also designed the system to scale beyond football, with plans to extend coverage to baseball, soccer, and swimming.

The goal is to provide repeatable, user-friendly workflows that can support ambitious production values while remaining manageable for a student crew. "The priority should be a reliable core system that is simple to operate and can grow over time," Barbiero added. "Schools can begin by covering one sport, use centralized control to reduce the number of operators required, and then extend the same workflow to other venues or teams."

As with videoboards and displays, cameras are an added cost to tight high school budgets. Croson said the conversation starts with understanding the type of production, level of creative control wanted/needed, and budget. However, Ken Kobayashi, business manager, remote cameras, Sony Electronics, added that many of Sony’s cameras incorporate intelligent features such as AI assist, which simplify productions and streamline content creation for operators and volunteers at various skill levels.

For Sony, Croson is seeing a mixed approach ranging from mirrorless Alpha cameras to PTZ, handheld, cinema, and even studio cameras. "There’s a role and place for the many options in our lineup depending on the school’s needs, crews, environment, budget, fixed positions, and/or remote operations component," she said.

Beyond cameras, Sony's ecosystem includes audio integration, display solutions, remote production, replay, and IP workflows that grow with a school's needs. "From a basic PTZ-based livestream to a full multi-camera sports broadcast, schools can expand their production capabilities over time without changing platforms," Croson said. "In doing so, they're not just enhancing the fan experience, they're building a pipeline of future broadcasters by giving students hands-on experience with the same technologies and workflows used in collegiate and professional sports and broadcast production."

"Sony has great wireless solutions for capturing gameplay," Kobayashi added, "including a 5G data transmitter, PDT-FP1, which utilizes 5G or LTE networks from mobile carriers to enable low-latency live video transmission directly from the stadium to the broadcast booth or a remote studio without long cables."

One feature that hasn't popped up too much is the role of AI in high school sports productions. While PTZOptics already has robust AI features helping its cameras in manufacturing and healthcare, how long will it take before AI can help evolve lower budget productions while increasing the quality of coverage?

"We expect AI developed for professional sports to become accessible to lower-budget productions relatively quickly. Visual Reasoning is the ability for a camera-connected system to look at an image in real time, understand it, and allow teams to engage with it in natural language," Barbiero explained. "These types of workflows turn cameras into intelligent teammates, opening up a range of new possibilities that help small crews deliver bigger productions."

Budget-Conscious Coverage

With high school athletics budgets not as grandiose as colleges and pros, it can be a challenge to bring high-end production and streaming coverage to campus. Magewell has several solutions that are user friendly and don't break the bank.

Director One, for example, combines multi-input switching, graphics, streaming, recording, and monitoring in one compact device, enabling users to produce live events and remote feeds. Cody Eastes of Eastes Media has used Director One to produce both home and away games for Pratt High School in Kansas. He said solutions like this make local high school sports easier than ever to produce.

“As a one-man setup, the Magewell Director One has allowed me to produce a full multi-cam livestream from the press boxes or even in the stands," he explained. "The versatility of being able to use both hardwired HDMI or wireless NDI makes the Magewell Director One a robust, yet easy-to-use solution for all of my livestreaming needs.”

At InfoComm 2026, Magewell upped its game, introducing Director Plus, which provides multiple key components of a production control room into a single, affordable, compact device. Schools don’t need a separate switcher, graphics system, telestrator, instant replay system, or even a streaming encoder—it's all integrated into Director Plus. The built-in touchscreen interface is very intuitive, and the system also supports additional control options.

Amy Zhou, director of sales, Magewell, said the ease of use makes it ideal for student production crews, as they can get up and running very quickly with virtually no learning curve. "Director Plus makes high-end production features such as instant replay and Madden-style telestration easy and affordable, even for schools with limited budgets, allowing schools to create engaging experiences that rival television broadcasts while providing fans with in-depth game insights," she said. "Production assistants can also be roaming the stands while using their phone cameras as sources to Director Plus, letting them easily make the crowd part of the experience themselves."

In an era where the age of content creators is seemingly becoming younger, providing these technologies to future Pro AV enthusiasts at the high school level is more important than ever. "The trend or shift over the last five to seven years is the realization by schools that this is technology that is needed for facilities and students to experience growth," Coughlin noted. "It's not a wish list or luxury item, but rather a standard piece for facilities."

What to know:

• Asia’s nightlife brand MU:IN has expanded into Indonesia with its new venue in Seminyak, Bali, combining music, technology, and design to create an immersive club experience.
• System integrator V-Series International installed a Crest Audio and Peavey system anchored by Crest Audio Versarray line arrays and subwoofers
• The installation is driven by Peavey and Crest Audio amplifiers, a Crest Audio PCX 88 DSP for system management, and a Peavey Aureus 28 digital mixing console to seamlessly support live acts and events.

Originating in Seoul’s nightlife scene and following successful expansions in Seoul and Bangkok, MU:IN has a reputation for high-energy entertainment that converges music, technology, and design. Its name draws inspiration from a Korean expression meaning "without boundaries," reflecting a design philosophy intended to blur the lines between cultures, musical genres, and visual experiences. To establish a strong sonic foundation for its latest venue, MU:IN selected a high-performance audio system from Crest Audio and Peavey.

[Genelec Loudspeakers Power SIX Floors of New Sports Hub]

Designing an audio infrastructure for MU:IN presented a complex challenge. The venue required the extreme sound pressure levels and visceral low-frequency impact expected from a premier international nightclub, without sacrificing the acoustic clarity, control, and musicality demanded by touring DJs and live performers. System integrator V-Series International, Crest Audio’s Malaysian distributor, engineered a solution utilizing complementary technologies from Crest Audio and Peavey to ensure consistent, high-impact performance throughout the multi-zone venue.

At the core of the main dance floor system are Crest Audio Versarray 112 MK III line arrays, which deliver controlled dispersion and high-output coverage. These are paired with Crest Audio Versarray Pro 215 and Versarray 218 Sub MK III subwoofers to produce the deep low-frequency response central to the venue's audio experience.

"For MU:IN Bali, the project required extremely high dB levels while maintaining exceptional clarity and clean output," Stone Foo, managing director of V-Series International, noted. "The Crest Audio Versarray and Peavey CPL+ series provided the perfect solution. We are very satisfied with the final result and look forward to many more successful installations in the future.”

Beyond the primary dance floor, the system extends high-fidelity coverage into VIP seating, circulation zones, and secondary listening areas. Peavey CPL 118B+ subwoofers and CPL 10+ loudspeakers provide supplementary reinforcement, while compact Peavey Impulse 8C loudspeakers deliver discreet, high-quality audio where space requires an unobtrusive footprint. This zoned design ensures that the high intensity of the main room is preserved while maintaining balanced audio levels throughout the rest of the venue.

System processing and signal management are anchored by a Peavey Aureus 28 digital mixing console, offering the workflow versatility needed to support guest DJs, live acts, and special events. Loudspeaker management, tuning, and signal routing across the installation are directed by a Crest Audio PCX 88 DSP unit. Amplification is supplied by a combination of Peavey IPR2 7500 and IPR2 5000 amplifiers alongside Crest Audio Pro-Lite 5.0 and Pro-Lite 3.0 models. Together, this robust power structure provides the headroom, reliability, and continuous output needed to sustain demanding nightly operations.

Quick summary:

• The goal was to change the acoustics so the glee club could hear itself during rehearsal.
• A new Q-SYS platform in Egner Hall lets the Glee Club record and review its own rehearsals.
• The installation has produced noticeable results in the quality of the Glee Club’s performance.

Metinteractive has completed an audio and video systems upgrade in Egner Hall—home to the West Point Glee Club, the West Point Band, and the Spirit Band—at the United States Military Academy at West Point, giving the West Point Glee Club the ability to record and play back its own rehearsals.

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A major renovation added rehearsal spaces, an acoustic system, and recording capabilities to the 1932 building. Metinteractive’s design-build scope added the ability to record Glee Club rehearsals in the large rehearsal room, with connectivity to the control room upstairs. The Academy team had already specified the equipment it wanted for a portable TV cart, chosen so the system would not take up wall space in the rehearsal room.

Rev. Daniel Toven, who has directed the West Point Glee Club for the past two years, oversaw the building renovation with his team handling project management. He recently retired after 22 years of active duty, most recently as commander of the West Point Band. Rich Gold performed extensive custom programming for recording, switching, and monitor control in Metinteractive’s in-house shop. Metinteractive also provided testing, commissioning, and training, with Nick Alberto serving as site technician.

“We redesigned the gear to put less on the cart and make things easier for the end user,” said Metinteractive project supervisor Scott Tunkel. “We specified a Q-SYS Core 8 Flex control processor, which was the right choice for the room and gives them the ability to expand in the future.”

The Q-SYS system includes the Core processor, an audio/video conferencing bridge and a camera with digital zoom, all accessed and controlled from a Q-SYS touch panel.

“The rehearsal room has challenging acoustics, and there was no other space on campus that would be better,” Toven said. “The goal was to change the acoustics so that when we rehearse, we can hear ourselves, which is vital to the quality of our performance.”

Existing infrastructure kept construction to a minimum. “The room had a wallplate for data connections to the equipment rack, so we used its audio tie lines and data lines, which eliminated the need for a network switch and for pulling new cable,” Tunkel said. “It really reduced any physical construction.” An owner-furnished 75-inch monitor is controlled by CEC commands from the touch panel.

“Metinteractive worked closely with our team to assure maximum interoperability with the technology already here,” Toven said. “They had to create a suitable acoustic environment for our rehearsals and integrate with the recording technology we already had and do it seamlessly. Now there is very little setup required when we lay down rehearsal tracks.”

Users start and stop audio recordings from the touch panel. Files are stored on the Core processor, can be given a custom name and time stamp, and can be selected from a list and played back with a full set of transport controls. Onboard storage holds roughly 200 hours of stereo 24-bit/48 kHz WAV audio, or 1,480 hours of 192 kbps. Video is recorded, with audio, on a user-provided computer connected by a single USB-C cable, with playback on the monitor. The touch panel also handles pan, tilt and zoom control of the camera and switches among three audio sources (player, PC, and control room).

“The system has been a game changer,” Toven said. “The installation has been transformative and produced immediate, noticeable results in the quality of the Glee Club’s performance.”

Details:

• L-Acoustics DJ runs on the L-ISA Processor II and is powered by Source Separate.
• Flanking the DJ booth, two hangs of two A15 Wide over one A15 Focus anchor the system at the front. Six further hangs extend coverage around the sides and rear of the dance floor, completing the horizontal immersive field. 
• The result is a system that can deliver the SPL and low-end that Bootshaus audiences expect, while simultaneously placing a bassline stage left and a vocal overhead.

Since opening its doors in 2004, Cologne’s Bootshaus has built one of the most recognizable identities in electronic music. Marking its 22nd anniversary, Bootshaus is upgrading its main floor to L-Acoustics DJ with a new 360-degree 8.1.7 A Series loudspeaker configuration.

Bootshaus COO Niclas Aigner first experienced the technology at Amsterdam Dance Event, where its commercial debut demonstrated unprecedented precision, impact, and immersion. Recognizing its potential to elevate the venue, Aigner initiated the upgrade to offer the more than 500 DJs and 200,000 visitors passing through Bootshaus each year a creative and sensory experience unmatched by traditional stereo setups.

“When I heard L-Acoustics DJ at ADE, it was immediately clear that this was more than just another sound system,” said Aigner. “The precision, impact and immersion were on another level, and I knew we needed that experience at Bootshaus. For us, it's the next step in making the Mainfloor one of Europe's leading club environments. Combined with our crowd and reputation, it gives top artists another strong reason to play Bootshaus, and a system that lets them experience their music at its absolute best."

The strategic shift emphasizes sound quality over visual gimmicks, a philosophy long championed by managing director Tom Thomas. With growing competition for top talent and audiences, Bootshaus views spatial audio as a critical differentiator. The investment is designed to merge the raw, high-energy atmosphere the club is known for with cutting-edge technology, ensuring the venue stays at the forefront of the global nightlife industry while continually giving artists compelling reasons to perform there.

Operating via the L-ISA Processor II, L-Acoustics DJ uses Source Separate technology—a proprietary, low-latency machine learning system—to isolate discrete stems of a stereo track in real time during a DJ set. Elements like beats, basslines, melodies, and vocals can be dynamically positioned and moved around the physical venue, transforming the dance floor into a fully immersive environment without disrupting standard DJ workflows or requiring modified technical riders.

To support this spatial capability, the main floor audio system was completely overhauled with an 8.1.7 A Series configuration in 360 degrees. Two main hangs consisting of two A15 Wide over one A15 Focus anchor the front of the stage, while six additional hangs featuring one A15 Wide over one A15 Focus complete the horizontal coverage along the sides and rear. Seven X12 coaxial enclosures form an overhead height layer, two A15 Focus serve as DJ monitors, and three LA7.16i amplified controllers power the entire setup. The system debuted in June with performances by Holy Priest and Don Diablo, delivering high-impact sound pressure levels while seamlessly placing vocal and melodic elements throughout the room.

AVN Executive Summary

• A Lithuanian city modernized its traffic coordination center using Matrox Video technology to achieve reliable, 24/7 high-resolution visualization.
• The solution features a centralized video wall system that improves real-time monitoring of traffic and public transport operations.
• This upgrade provides greater system stability, enhanced operational awareness, and a scalable architecture to support future transportation management requirements.

Klaipėdos Paslaugos, the organization responsible for public transportation services throughout the city of Klaipėda, Lithuania, and its surrounding suburban areas, sought to modernize its traffic coordination center with a reliable and scalable visualization platform. As the city’s transportation network continued to evolve, the organization required a modern control room solution capable of supporting multiple high-resolution data sources while delivering uninterrupted 24/7 performance.

The existing system had become increasingly limited in its ability to accommodate growing operational requirements. It lacked flexibility, supported lower resolutions, and struggled to efficiently manage multiple simultaneous information feeds. Klaipėdos Paslaugos needed a future-ready platform that would improve real-time monitoring of traffic and public transport operations, enhance visualization of operational data, simplify content management and control room operations, and provide the reliability and scalability needed to support future growth.

Technical and Operational Challenges

The project presented several technical and operational challenges that needed to be addressed without disrupting ongoing transportation management activities:

• Integration with existing IT and traffic management systems
• Continuous 24/7 operation in a mission-critical environment
• Simultaneous handling of multiple high-resolution sources
• Low-latency signal distribution across large video walls
• Limited space and infrastructure within the control room
• Creation of an intuitive, centralized operator interface

The solution needed to provide seamless access to a wide range of operational information while maintaining reliability and ease of use.

The Deployment

Audiotonas, one of the Baltic region's leading audiovisual systems integrators serving enterprise, government, education, entertainment, and broadcast markets, took on the challenge of delivering a centralized video wall solution. Matrox Video technology powered the deployment.

The deployment comprised a 15-display (3×5) primary video wall, two secondary 4-display (2×2) video walls, and two spare displays available for rapid replacement. The system processes and distributes a variety of signal sources, including workstation outputs and external operational data feeds, allowing operators to visualize traffic flow, public transportation status, surveillance information, and other mission-critical data in real time.

Matrox Video technology was integrated into the control room environment to create a centralized monitoring platform. Video signals are delivered through a combination of direct connections and AV-over-extension technologies, while Matrox MuraControl provides centralized management and content control.

Audiotonas selected Matrox Video based on its experience with previous visualization and control room deployments. The platform had demonstrated reliable long-term performance and integration flexibility while meeting the project's requirements for multi-display management, high-resolution video processing, low-latency performance, scalability, and 24/7 operation.

“This project enabled the customer to significantly improve real-time visibility and operational efficiency in their traffic management processes," said Justinas, Technical Sales Engineer, Audiotonas. "By leveraging Matrox Video technology, we delivered a reliable and scalable control room solution tailored to the customer’s needs. The collaboration with Matrox Video ensured a smooth implementation and high-performance result.”

Critical Operational Data Today and Future Growth

The new control room infrastructure has significantly enhanced the operational capabilities of Klaipėdos Paslaugos, providing a reliable platform for monitoring traffic conditions and public transportation operations across the city. With centralized control and improved visualization capabilities, operators can display and manage multiple high-resolution sources simultaneously, creating a comprehensive real-time view of transportation networks and critical operational data.

Compared to the previous installation, the solution delivers greater system stability, improved flexibility in content layout and display management, and simplified day-to-day operation. The enhanced visibility into traffic and transport activities has helped improve operational awareness and response times, enabling operators to make faster, more informed decisions. The scalable architecture also ensures the organization is well positioned to accommodate future growth and evolving transportation management requirements while maintaining dependable 24/7 performance.

Dimensional Innovations (DI) has completed a project on the newly expanded Roth Tower at the University of Central Florida's (UCF) Acrisure Bounce House just in time for college football season to kick off on Sept. 3. As part of a major three-year-long renovation of the university's football stadium, DI developed branding for Roth Tower along with a wayfinding program that blends UCF's football identity with its deep ties to the space industry. DI's work is part of a broader transformation of Roth Tower to add more luxury and outdoor suites as well as club space.

[Cosm: Take Me Into the Ballgame]

The Star Chamber, accessed through a concealed door within Roth Tower, immerses guests in a night sky rendered in fiber-optic points of light across the room's curved walls and ceiling. Its subtle twinkling effect nods to the constellation-named roads found throughout UCF's campus. From there, the Star Chamber opens directly into the Galaxy Club, where a Polaris-inspired detail and high-resolution imagery captured by UCF's own telescopes carry the celestial theme overhead. Interpretive content gives guests context for what they're seeing, turning the university's research into part of the gameday experience itself.

"As the nation's youngest Power Four institution, we wanted the new Roth Tower to be bold, innovative and uniquely UCF," said Terry Mohajir, VP and director of athletics at UCF. "Dimensional Innovations helped us bring our story to life by connecting the energy and tradition of UCF football with our university's proud history as America's Space University. The result is a memorable experience that will serve Knight Nation on game days and create new opportunities for our university and community throughout the year."

The expanded Roth Tower creates a new platform for UCF to host, celebrate and connect with its community year-round. Its premium spaces are designed to adapt to a range of experiences, from game-day hospitality to corporate gatherings, alumni events, private celebrations and other special occasions, giving the university a destination that can serve many purposes beyond the football season. It included the addition of 28 luxury suites and 34 outdoor Sky Suites while increasing club space from 4,400 to 15,650 square feet.

Take a peek below.

Cosm, the domed indoor venue that has been transforming sports watching in cities like Los Angeles and Dallas, recently opened its latest venue in Atlanta. Whether you are a Major League Baseball enthusiast, crazed SEC college football fan, or even a Harry Potter wizard wannabe, Cosm's immersive experience brings you into the action, watching events that you've seen many times … but never like this.

I was able to take in the 2026 Men's College World Series finale in June, roughly two weeks after Cosm opened its doors on June 10, when it showcased its technology for Game 4 of the 2026 NBA Finals. After writing about Cosm from afar over the years and seeing videos online, expectations were, well, through the domed roof.

Cosm didn't disappoint; the in-person show is a whole new level of immersive experience. Once you walk into the venue, you quickly realize it's much more than a big display. There are a pair of sportsbook-type areas with massive video walls showing multiple games at once.

As Cosm’s chief product and technology officer, Devin Poolman, explained, the company designed and built the viewing area (known as The Hall) displays with the same technology driving the dome. "The Hall display at Cosm Los Angeles, for example, is a custom 15x150-foot, wall-to-wall LED screen," he said. "It can run broadcast channels, themed or sponsored content, and live immersive feeds simultaneously, so fans in The Hall stay connected to whatever is happening across the venue."

However, the centerpiece is The Dome. This massive display runs at 12K-plus resolution across an 87-foot diameter, 180-degree LED surface.

"Cosm's nearly 80 years of experience in immersive technology traces back to Spitz and Evans & Sutherland, the world's leading planetarium technology companies with decades of innovation in computer graphics and dome development," Poolman explained. "Cosm brings those capabilities together under one roof, spanning structural design and engineering, immersive software, and immersive content production and distribution. Building and owning those disciplines internally through vertical integration is what lets us optimize the full system as a single solution across venues and partner experiences globally."

The Dome within the venue is split into three levels, and I sat to watch the game at the top (Level 3). It didn't make a difference, as we felt field side the entire game. The display has a live feed, integrating Cosm's own immersive feed, as well as, in this case, the ESPN broadcast in a pair of smaller picture-in-picture boxes in the top corners. The live feed is brought to guests directly from the main event's venue—from the pitch for the 40 World Cup matches shown, the MCWS from Omaha, or an upcoming MLB game from the Atlanta Braves Truist Park—so you are watching in real time.

"Cosm Productions, our immersive production team, is on-site at the arena during every live event, operating our own immersive cameras at multiple positions to capture ultra high-resolution feeds for our LED domes in Cosm venues," said Poolman. "Our field team and our REMI operations in our El Segundo [CA] headquarters stay in constant contact throughout a live event to ensure we deliver the best possible experience for fans at Cosm."

In any live production, said Poolman, camera and angle transition timing, broadcast coordination, and interactive in-venue moments all happen live. It's a constant feedback loop during the event. Using Cosm's propriety software, broadcast feeds are layered over the immersive capture, giving fans at Cosm the audio, scores, and commentary in addition to the immersive perspective captured for The Dome. It's a well-oiled machine that leans on more than seven decades of experience in the planetarium business.

But all the sights aren't as immersive without the right sound. As Poolman noted, the audio is a critical part of the transporting experience. So, naturally, Cosm has that covered as well.

"Our spatial audio engine dynamically positions sound anywhere in the dome, attaching effects or music to specific positions or channels around the audience," Poolman said. "A crowd roar surrounds our fans, while the sneaker squeaks happen in front of them. For our Cosm Studios productions and entertainment IP, every sound can be mapped to precise locations as well."

With three locations, Cosm is bringing new ways to view sports and events from sea to shining sea. When you consider the tickets are more affordable than attending an MLB game, it opens the door for more fans to enjoy live sporting events in a whole new light.

AVT Executive Summary

• The Culinary Studies Institute at Oakland Community College (OCC) launched "Food Is Art," a dynamic digital installation designed to visually embody the program's mission and educational values from the moment visitors enter.
• Developed in collaboration with design firm leftchannel, the project uses high-speed macro photography of raw ingredients to create an engaging, contemporary, and frequently updated aesthetic that avoids the pitfalls of static imagery.
• The installation serves as a strategic extension of the college’s institutional identity, transforming the physical space into a purposeful tool for communicating excellence to students, partners, and the community.

When Oakland Community College (OCC) opened its new 78,000-square-foot Culinary Studies Institute in Royal Oak, Michigan, the college wanted the building to do more than house kitchens and classrooms. It wanted the space itself to make a statement about the program before a single class began.

That ambition took physical form in "Food Is Art," a feature digital art installation running across a large-format LED display adjacent to the teaching kitchen and restaurant that could announce the institute's mission at launch and hold up as permanent architecture thereafter.

"The video makes an unexpected visual statement that complements the design of the building, merging technology, environment and food as art," said Peter Provenzano Jr., OCC's chancellor. "When someone visits the space for the first time, they are wowed and impressed by the size and dynamic nature of the content.”

The exhibition label describes the piece as "a journey through motion and texture, a visual language shaped by ingredients and their preparation," using macro lenses and high-speed cameras to uncover "the hidden poetry of nature" and transform food into "a luminous story of form, rhythm, and light.”

A Screen with a Purpose

The LED display itself was part of the building plan early on, developed alongside Ideation Orange, the design firm behind the Culinary Institute's interiors and branded environments. A screen isn't automatically a brand statement, though; it needed a reason to exist beyond filling wall space.

That's the challenge brought to leftchannel, a Columbus, OH-based motion and experiential design studio. "They had already planned a digital screen as part of the culinary space, but the screen itself was a vessel without a purpose," said Alberto Scirocco, leftchannel's President and Creative Director. "The question wasn't 'What can we build?' but rather 'What should this surface say and do for the college?'"

From there, leftchannel gave the screen its job: telling a story about food, craft, and the culinary program itself. The studio defined and led what would move across it: content strategy and visual direction tied to the institute's brand identity and educational mission.

Grounding the Concept in Craft

Rather than showcase chefs or plated dishes, leftchannel built "Food Is Art" around the raw materials of cooking: grains, liquids, and textures captured in motion as they transform and combine. "We created a language of visual textures that honored food as a subject; raw, tactile, elemental, but rendered it in a way that felt graphic and contemporary," Scirocco said.

Getting there took some careful calibration. Macro photography of food, Scirocco noted, "can easily veer into the grotesque or overly clinical." The team wanted to celebrate food's raw texture "without it feeling unappetizing." Using high-speed tabletop photography, leftchannel kept the imagery simultaneously graphic and appealing.

OCC also wanted the investment to hold up over time. "OCC wanted to make a statement with that section of the building but didn't want something that would be dated and become static, so the digital installation allowed us to change the images regularly and keep it fresh," Provenzano said.

A Signature of the Building

For OCC, the payoff extends beyond aesthetics. The installation is a physical expression of the educational excellence and innovation the college has built its identity around, making the program's values visible to students, industry partners, and visitors alike from the moment they walk in. A culinary program's reputation rests on craft and creativity being visible, rather than being confined behind kitchen doors.

That reflects a broader shift on campuses, where digital installations increasingly function as an extension of institutional identity into physical space, working alongside admissions materials, campus tours, and everyday student life to shape how a program is understood.

Scirocco put it directly: "We brought intentionality to a medium that's often driven by spectacle. At OCC, the installation isn't just beautiful, it's purposeful. That's the difference between a screen that's nice to look at and a screen that becomes part of how students, staff, and community understand the institution."

For institutions considering something similar, both Provenzano and Scirocco point to the same starting point: vision before hardware. Provenzano advises building in time early in a project's design phase to align vendors and internal stakeholders around the technical specs. Scirocco frames it in brand terms: "Before you commission a digital installation, know what you want it to mean. Even if your final work is completely abstract, it should be designed around a clear narrative or idea, an organizing principle that everything else hangs on."

Quick view:

• GRIP Action Sports Hub in Tampere spans six floors with diverse, acoustically challenging environments, including an Olympic-standard SkatePark, a Climbing Center, gyms, studios, and function rooms.
• To overcome hard surfaces, uneven walls, and high background noise, a total of 57 Genelec Smart IP loudspeakers and six 4000 Series active installation models were strategically positioned throughout the venue to maintain crystal-clear music and announcements in every zone.
• By using Genelec’s single-cable Smart IP technology, installation partner 4Business Oy significantly reduced the required cabling around complex physical obstacles like skate ramps, climbing walls, and concrete columns.

Athletes and sports enthusiasts in Tampere have a new destination for physical activity and social connection. GRIP Action Sports Hub is a newly opened centre for exercise, work, and relaxation, welcoming everyone from organised groups to solo athletes. Across six floors, GRIP Action features dedicated areas for a variety of amateur and professional sports, as well as spaces to cool down and observe. A high-quality Genelec Smart IP solution was chosen to maintain consistent coverage and intelligibility while accommodating the complex architecture and ever-changing visitor behavior.

[College Football Is Here... and Ole Miss Used the Vegas Sphere for a Heisman Campaign]

The venue includes an Olympic-standard SkatePark, a Climbing Center, a gym, group training spaces, restaurant, sauna, and observation areas. “With hard surfaces, uneven walls, and constant activity, we required a powerful loudspeaker solution with flexible placement and precise directivity to ensure music and announcements remained clear," explained Kimmo Kimmo Lauttajärvi, Sales Manager at 4Business Oy. sales manager at 4Business Oy.

Already familiar with Finnish loudspeaker manufacturer Genelec, the owners of GRIP Action were confident in 4Business Oy’s recommendation to use the brand for the venue’s sound system. As Lauttajärvi explained, during the design stage, Genelec assisted by recommending the most suitable product series for the unconventional acoustic spaces. That led to a total of 57 Smart IP loudspeakers and six compact 4000 Series active installation loudspeakers installed to deliver sound throughout the six-story building. For 4Business, this would significantly simplify installation by reducing the amount of cabling that would otherwise need to be routed around ramps, climbing structures, and other physical obstacles.

On the first and second floors, thirteen Smart IP 4430 loudspeakers were installed throughout the main SkatePark areas, including the Street, Park, Jump Track, and Vert. Mounted on walls and concrete columns, the 4430s provide the high output and controlled coverage required to keep music and announcements clear throughout these large, noisy spaces. A further nine ultra-compact 4410 models provide background music across supporting areas, including the shop, changing rooms, showroom, office and break room.

The Climbing Center features seven 4430 loudspeakers, positioned on flat wall surfaces and directed towards climbers as they move across the angled climbing walls. Another two 4410 units provide background music in the changing rooms. All loudspeakers throughout the SkatePark and Climbing Center feature Genelec’s RAW finish, which utilizes uncoated recycled aluminium cabinets.

Within the Sports Center, eight compact 4420 loudspeakers deliver background music and announcements throughout the gym, while two ultra-compact 4410 models provide consistent performance in the changing rooms. Two 4040 loudspeakers from Genelec’s 4000 Series active installation range serve the group exercise studio, while two 4030 models deliver audio in the spinning studio. These loudspeakers feature Genelec’s standard black finish to complement the premium appearance of the studios.

The sixth-floor meeting and function facilities include eight 4420 loudspeakers and two 4030 units, providing clear, detailed sound at comfortable listening levels. A further eight Smart IP loudspeakers provide coverage across the lobby and circulation areas, comprising three 4430 models on the first floor and one 4420 on each of the remaining five floors. Together, the system ensures a consistent audio experience throughout the building.

“Thanks to Genelec, each area of the venue benefits from clear, consistent sound, while staff can easily tailor audio settings in each zone to suit the activity taking place,” said Lauttajärvi. “The scale and architectural variety of the building could easily have made the system complicated to install and operate. Smart IP technology helped simplify both the physical installation and its ongoing management, with the flexibility to adjust each space as needed, while the 4000 Series provided a compact and detailed audio solution for smaller zones."

“The overall sound quality has exceeded our expectations,” added Janne Sievänen, CEO at GRIP Action Sports Hub. “The Genelec hardware is truly first-class, and combined with the extensive acoustic treatment throughout the building, the result is clear and balanced, even in our largest and most demanding spaces. For us, the most important thing is the end result, and in terms of sound quality, we are more than happy with what has been achieved.”

Quick view:

• Samsung's innovative displays, including the QBC Series signage, aggregated diverse data sources into a single, actionable view of critical intelligence.
• The deployment of Samsung WAFX-P Interactive Displays enhanced group collaboration by enabling seamless screen sharing directly from team members' Galaxy Books and tablets.
• The interactive displays provided native annotation capabilities and video conferencing support, allowing the team to mark up live data on-screen while coordinating directly with local health officials.

During the 2026 World Cup, Samsung provided the Health Security Operations Center (HSOC) with display and mobile technology solutions that enabled the sharing of critical data and collaboration among 30 participating organizations. The HSOC is a part of the National Center for Health Security and Resilience, a collaboration between Georgetown University and MedStar Health.

[8.5 MILLION Pixels Power World Cup Fan Festival]

For more than six weeks before, during, and after the tournament, the HSOC produced daily situation reports, conducted twice daily briefings, and provided early notification to local health departments when disease signals were identified, demonstrating how centralized monitoring and coordinated information sharing can help surface emerging issues for further assessment.

Drawing on its experience supporting government agencies, Samsung worked with the HSOC coalition to build a functioning operations environment in the weeks and ahead of the tournament’s opening match. Samsung provided the center with technology, including laptops, tablets, and large-format displays, to help public health experts securely collect, analyze, visualize, and communicate health intelligence during the Cup.

As various data sources came together, Samsung's innovative displays, including the QBC Series signage, presented a single, actionable view of the intelligence. The large 4K ultra-high-definition screens helped the HSOC team collectively review trends and emerging risks. During meetings, Samsung WAFX-P Interactive Displays streamlined collaboration, allowing the team to seamlessly screen share from their Galaxy Books and tablets, annotate directly on the display and video conference with local health officials. 

These solutions helped the HSOC team act on shared public health information from over 50 data sources spanning more than 145 jurisdictions, including data connected to airports and tournament travel, as the team monitored signals across hundreds of pathogens and assessed potential risks.

“Public health operations centers can prove critical during international events and gatherings of all sizes, especially mass gatherings that draw millions of people from around the world,” said Todd Maxwell, director of regulated business development, Samsung Electronics America. “In these instances, health leaders need coordinated, multidisciplinary situational awareness to aggregate and analyze disparate public health data, and enact immediate communications and response if a risk emerges.”

The Galaxy devices that Samsung provided throughout the HSOC provided the endpoint for the operations, allowing the HSOC to easily and effectively analyze multiple sources of health-related information and data via the technology. Additionally, AT&T provided wireless connectivity to extend Samsung’s technology ecosystem beyond the walls of the operations center, enabling connectivity across jurisdictions and helping HSOC teams coordinate with local health departments, field contacts, and partner organizations. Also, HARMAN, a Samsung subsidiary, provided JBL speakers and headphones to support audio and voice communication among teams working across the HSOC.

“Having connected technology is critical for end-to-end flow of intelligence, from aggregating real-time public health data to presenting a unified view of disease signals for monitoring and decision making,” said global health security expert, Rebecca Katz, Ph.D., M.P.H., a professor at Georgetown University and HSOC Director. “Our goal was to make the HSOC a trusted resource for the public health community, health systems, and most importantly, the public. We were able to bring that mission to life by ensuring our teams operated within a connected environment for distilling public scientific data into actionable guidance during a complex, large-scale event.”

Quick view:

• It is the first high school in the nation to implement the Daktronics Camino show control platform.
• The project features a new Daktronics LED video display measuring 27.56x80.05 feet at Paul Brown Tiger Stadium.
• Camino enables dynamic, data-driven event presentations and streamlined production workflows.

Daktronics  has partnered with Massillon Washington High School in Ohio to install a new LED video display and become the first high school in the nation to implement the Daktronics Camino show control platform, bringing production capabilities previously reserved for collegiate and professional sports venues to a high school environment.

[Circa: A High-Tech Oasis Rising above Low-Tech Downtown Vegas]

The project features a new Daktronics LED video display measuring 27.56x80.05 feet at Paul Brown Tiger Stadium. Integrated with Camino, the system provides advanced game-day production tools, including real-time graphics, statistical integration, dynamic animations, automated content triggering and coordinated presentation workflows. Previously used exclusively by collegiate and professional sports organizations, Camino enables dynamic, data-driven event presentations and streamlined production workflows.

As the first high school to implement Camino, Massillon continues its tradition of adopting innovative technologies that elevate the game-day experience, reinforcing its reputation for investing in the fan experience while embracing innovative production techniques. The decision to implement Camino was driven by a desire to maximize the capabilities of the new display and enhance content presentation throughout the stadium.

"When construction of a new locker room required the removal of our old scoreboard and install of a new one at the other end of the stadium, we knew this was our chance to upgrade our game day," said David Wagner, scoreboard operations manager at Massillon Washington High School. "But this new board will only be as good as the content that is being played on it. This is why we wanted to get Camino as part of our new system. The ability to improve the displaying of our GIP, stats and sponsors was a huge draw for me after seeing several videos, including the one from the (New England) Patriots. I can't wait for our fans to see this new board."

Beyond enhancing the fan experience, the system also creates opportunities for students to participate in live event production. Students can contribute as content creators, camera operators, producers and technical operators while gaining experience with workflows and tools commonly found in professional sports environments.

Drawing on experience in professional sports production, including work with the Cleveland Browns and Columbus Crew organizations, Wagner helped shape a vision that combines advanced presentation technology with opportunities for student involvement and community engagement.

"Massillon has continually demonstrated a commitment to creating premier experiences for its students, fans and community," said Kyle Sydow, Daktronics high school market manager. "Becoming the first high school to implement Camino reflects a forward-thinking approach to game-day production. This project shows how technology traditionally used at the collegiate and professional levels can enhance high school event presentation while creating meaningful opportunities for students."

Summary:

• Feld Entertainment deployed RF Venue’s RF PA Extension Kit paired with a CP Stage Antenna, creating a reliable, high-performance wireless audio link across three stadium zones, reaching remote speaker positions up to 300 feet away without the time, complexity, or infrastructure required by traditional cable runs.
• The RF PA system offered a straightforward, plug-and-play installation that streamlined load-in and simplified system calibration.
• The deployment successfully proved that wireless signal extension can save significant time while giving production teams greater flexibility to place delay speakers throughout large venues.

Feld Entertainment recently brought the Monster Jam World Finals XXV, the 2026 championship event, to Rice-Eccles Stadium at the University of Utah, where its sound team faced a familiar challenge for large-scale stadium production: extending PA coverage to remote speaker locations without the time, complexity, and infrastructure required by lengthy cable runs. To meet the challenge, the team turned to RF Venue’s RF PA Extension Kit paired with a CP Stage Antenna, creating a wireless audio link that proved both simple to deploy and reliable across the expansive venue.

[The Next Chapter of Pro AV]

“We needed to extend the range of our PA system without running additional cable,” said Clarence Achille, Feld Entertainment manager, sound operations. “The RF PA Extension Kit eliminated that requirement entirely, giving us the coverage we needed without the added infrastructure.”

The Feld Entertainment audio team, including Achille serving as system tech, Denicia White at front of house as A1, and Austin Powell of Poll Sound handling RF coordination, divided the Monster Jam World Finals system into three zones throughout Rice-Eccles Stadium, with the most distant speaker position located approximately 300 feet from the transmission point. Despite the distance and the challenging RF environment of a major stadium event, Achille reports that the RF PA Extension Kit maintained a solid connection throughout the deployment.

For transmission, the Feld team paired the RF PA Extension Kit with RF Venue’s CP Stage Antenna, a compact circularly polarized antenna designed for demanding live production environments. According to Achille, the combination made setup particularly straightforward. “We paired the CP Stage Antenna with the RF PA Extension Kit, and the installation was seamless, genuinely plug-and-play,” he notes. “The CP Stage was compact and easy to deploy, and we were especially impressed with the range of the antennas.”

Because Monster Jam productions operate in demanding environments where equipment may be exposed to changing weather conditions, the outdoor-ready design of the system provided another important advantage. “Setup was straightforward, and the IP rating gave us real peace of mind for our outdoor event,” Achille says. “Knowing the system could handle exposure to the elements meant one less thing to worry about on site.”

Rice-Eccles Stadium also presented the team with a crowded RF environment. Working alongside several Shure PSM 1000 systems, RF Coordinator Powell was able to easily slot the RF PA Extension Kit into the production’s overall frequency plan as it operates in the less congested 470-to-506 MHz UHF band.

The Monster Jam deployment marked Feld Entertainment’s first experience with RF Venue products. The company worked directly with the RF Venue support team in selecting and deploying the solution, with the results opening the door to additional applications on future productions. For Feld Entertainment, the ability to establish remote PA positions without hundreds of feet of additional signal cable offers practical benefits that extend beyond a single event. By reducing cable infrastructure, the RF PA Extension Kit can help streamline load-in and deployment while providing production teams with greater flexibility in placing delay speakers and other remote PA elements throughout large venues. What’s more, the RF PA receiver units have up to 800 milliseconds of built-in digital delay to allow time alignment with the main PA’s propagation.

“The kit simplified our workflow considerably and saved us significant time,” Achille concluded. “Across the board, everyone involved was pleased with the results. Overall, we were extremely impressed with the performance of the system, and we’re excited about the possibilities it opens for our more complex projects going forward.”

Quick view:

• To support everything from corporate events to live music and celebrity DJ sets, Astys Audio Video installed a complete Optimal Audio loudspeaker system powered by LEA Professional Connect Series amplifiers, delivering even coverage, tonal balance, and high output without distortion.
• The venue’s audio network relies on Dante-enabled LEA Professional CS704D and CS1504D 4-channel amplifiers, providing up to 1500 watts per channel alongside onboard 96kHz DSP.
• To simplify staff operations, a wall-mounted Connect Series Touch PoE panel was installed, allowing venue employees to manage volume levels and select audio sources across individual zones effortlessly, ensuring the sound environment matches the venue's shift from relaxed dining to peak nightclub energy.

Located in Pune’s vibrant Phoenix Mall of the Millennium, F Lounge by FTV features a contemporary interior complemented by an expansive alfresco area, creating a dynamic environment that transitions effortlessly from daytime social gatherings to high-energy evening events. With dedicated VIP seating, a spacious dance floor, and flexible event spaces, the lounge accommodates a variety of experiences, from casual dining and corporate functions to live music performances and celebrity DJ appearances. LEA Professional was called up to provide a complete audio system design capable of serving multiple hospitality functions throughout the venue.

[A High-Tech Oasis Rising above Low-Tech Downtown Vegas]

The venue's owner, a seasoned international traveler with extensive exposure to premium hospitality experiences worldwide, had high standards for the audio system. One of the primary challenges was achieving consistent coverage and tonal balance throughout the space while maintaining the ability to deliver high output when needed. The venue ultimately selected a solution built around Optimal Audio loudspeakers powered by LEA Professional Connect Series amplifiers.

"The goal was to provide even, high-quality sound that could get loud without distortion while maintaining tonal balance throughout the venue," said Sparsh Basak, owner of Astys Audio Video . "LEA amplifiers stood out because of their power density, built-in DSP, loudspeaker presets, flexible control options, and overall sound quality and reliability."

Astys’s team installed several Dante-enabled Connect Series 704D and Connect Series 1504D amplifiers to power the nightclub. The CS704D is a 4-channel amplifier with 700 watts per channel, and the 4-channel CS1504D provides 1500 watts per channel. The Connect Series also includes 96kHz DSP as a standard feature, providing a range of benefits that greatly enhance audio performance and system versatility.

A Connect Series Touch PoE-powered wall controller was also installed to provide a tactile controller for the system. The wall-mounted, touch-enabled control panel is designed for simple and intuitive control of LEA amplifiers, including source selection and volume adjustments by individual zone.

Astys’s team utilized LEA’s free SharkWare software to configure a base profile and push it out to all the pre-staged LEA amplifiers. SharkWare includes amplifier grouping, offline design, granular user access control levels, locked speaker tunings, and a graphical EQ. SharkWare also allows users to monitor the status of every amplifier connected to the network, as well as the status and performance of individual channels. Additionally, with LEA Cloud, AV integrators like Astys can remotely control and monitor amplifiers from anywhere.

Today, the audio system at F Lounge delivers the premium experience envisioned by management, providing clear, balanced sound throughout the venue while maintaining the flexibility to support everything from relaxed dining periods to high-energy entertainment events.

What to know:

• Because concrete, glass, and ice create severe acoustic reflections, integrator Avonlyd utilized the arena's short throw distances and KV2 Audio’s precise directional control to keep audiences in the direct sound field, maximizing speech intelligibility without resorting to excessive volume.
• Avonlyd and KV2 Audio extensively mapped the venue using EASE and SketchUp software to test coverage, delay times, and speaker placement in advance.
• To avoid obstructing the existing central media cube, the team engineered a new steel suspension structure to hang an oval array of eight KV2 VHD4.18 subwoofers around the cube, complemented by 26 ESD12 full-range loudspeakers flown around the rink's perimeter.

Indoor ice hockey arena, Leangen Ishall (Arena) opened in 1977 and is home to Nidaros, one of Norway’s Elite Hockey League teams. The 3,000-capacity venue hosts competition matches, training sessions, and public skating events throughout the year. A recent renovation of the ice arena called for an audio upgrade, one that could deliver precise, intelligible sound across the venue. A new KV2 Audio system was selected to meet the challenge.

[Inspiration for Creating Immersive Experiences]

AV integration specialist Avonlyd AS designed and commissioned the upgrade that would fulfill the requirements of the venue. “The arena demanded a sound system capable of delivering exceptional speech intelligibility for announcements, high-quality music playback, and consistent coverage across audience seating areas,” said Edgar Andraa Lien, partner, founder, and sales director at Avonlyd. “Due to the inherently reverberant nature of an ice hockey arena, there were several acoustic challenges that we needed to overcome.”

The performance requirements were set by consulting engineers COWI, whose tender specified two demanding—and potentially conflicting—targets: high sound pressure level and a high Speech Transmission Index. Built from large concrete walls, exposed steelwork, and expansive reflective surfaces of glass and ice, Leangen Arena’s previous sound system struggled to overcome the long reverberation lines.

Avonlyd had been in contact with KV2 Audio from the early stages of this project, during which a core solution was developed by the two companies well in advance of the installation. Lien worked closely with Leo Tanzil, KV2’s technical support director and product specialist for APAC, throughout the design process, refining the EASE models and optimizing the loudspeaker design.

“Loudspeaker positioning, amplifier racks, cable routing, and mounting details were all digitally modeled to verify coverage, delay values, and predicted intelligibility,” Lien explained. “KV2 Audio’s comprehensive SketchUp library proved invaluable as it allowed every loudspeaker to be precisely integrated into the digital venue, giving us detailed data for coverage and intelligibility.”

Fredrik Haugdal and Øyvind Antonsen of COWI met with Avonlyd and KV2 Audio at Integrated Systems Europe (ISE) in Barcelona. The consultants placed significant emphasis on simulation data, documentation, and design methodology, and the meeting gave Avonlyd the opportunity to present its EASE models, SketchUp drawings and the technical reasoning behind every major design decision.

“Meeting the consultants face to face at ISE was extremely valuable,” said Lien. “It allowed us to walk through the project together, explain our design philosophy and demonstrate how every engineering decision had been validated. Those discussions helped build confidence—not only in our approach, but in KV2 Audio as the right solution for the venue.”

An eight-piece subwoofer array system from KV2’s VHD Series and twenty-six ESD Series full-range loudspeakers were chosen to deliver power and clarity across the arena. “The original plan was to suspend the subwoofer cluster in the centre of the ice rink for low-frequency reinforcement, but a media cube was already suspended in this position to display scores and live match content to the audience,” he said. The digital EASE model had already allowed them to determine the optimum loudspeaker placement, leading to the installation of a completely new steel suspension structure around the media cube from which eight VHD4.18 subwoofers were deployed in an oval geometry that reflected the layout of the arena. Additionally, 26 ESD12 2-way, passive loudspeakers were flown around the perimeter of the ice rink, with four positioned along each short side and nine along each long side.

Since the installation, Leangen Arena has seen significant audio improvement during ice hockey matches and public skating events. KV2’s VHD and ESD Series deliver smooth, even full-range coverage across the seating areas, ensuring audiences hear all announcements and enjoy pristine music playback during matches, intervals, and public events.

“One of the most rewarding aspects of the project was working with people who share the same engineering mindset,” concluded Lien. “KV2’s Leo Tanzil, Sascha Khelifa and Dominik Krampera were always available throughout the design and integration process, and this close collaboration ensured that every aspect of the system was carefully refined, from the earliest EASE model through to final optimization."

Quick view:

• The new 30,000-plus-square-foot facility replaces an aging infrastructure with high-performance Extron AV technology, enabling secure, real-time audio and video sharing across autopsy suites, observation areas, and training spaces.
• Utilizing Extron DTP matrix switchers, signal transmitters, and SMP 352 dual-channel recorders, the facility allows medical staff to view live procedures, capture high-definition recordings for case documentation, and streamline clinical and training workflows with simple TouchLink Pro control panels.
• Supported by Extron's extensive control driver library, the control processor coordinates PTZ cameras, microphones, displays, and an Extron ShareLink Pro wireless system alongside a Cisco Webex Codec, delivering unified, hybrid conferencing and remote collaboration across all facility spaces.

Extron AV technology has been deployed at the new Lubbock County Medical Examiner’s Office in Texas to enable secure, real-time communication between autopsy suites, observation areas, and training spaces. Designed by DataCom Design Group and installed by Moyers Group, the system supports clinical workflows, forensic accuracy, and training requirements across the 30,000-plus-square-foot facility.

[Integrators … Mount Up!]

Two independent AV systems, each centered on an Extron DTP CrossPoint matrix switcher, provide reliable routing of video and audio between spaces while allowing separate operation and controlled interconnection for live demonstrations and collaboration. The result is a flexible, standards-based AV environment that enables staff to view procedures in real time, communicate across rooms, and record sessions for later review.

“Extron allowed us to implement a robust yet flexible control system to give medical staff access to a wide range of AV technology,” said Nick Rogers, CTS programming and commissioning agent. “Extron excelled with a wide range of control drivers that allow simplified control and programming of third party devices such as conferencing codecs, microphones, displays, and PTZ cameras.”

Lubbock County needed clear audio and video between autopsy rooms, the special autopsy space, the viewing room, and the training conference room. Each space had different routing needs. The system had to send signals only to selected rooms. Staff wanted to see procedures in real time, record sessions, and review material without delays. They also needed simple controls for switching and monitoring.

The new facility introduced two separate AV environments with different roles. One covered the autopsy, observation, and circulation spaces, while the other served the training conference room. The county needed both to operate independently, yet still support direct communication between locations. A routing method was required to connect these systems without merging them.

Coordination with the IT department was important. The training room had to work with the county’s Cisco Webex Codec. This required careful planning. The codec needed to integrate with touchpanels, cameras, microphones, and local device inputs. Staff training also mattered. The system offered many options, so users needed to understand each function.

The system uses Extron DTP HDMI transmitters and receivers for signal extension, along with SMP 352 dual channel recorders to capture live procedures for documentation and training. A dedicated AV system in the training conference room integrates an Extron ShareLink Pro system for wired and wireless content sharing and connects to a Cisco Webex codec for real-time communication with the autopsy suite. Extron TouchLink Pro touchpanels and an IPCP Pro 255Q xi control processor provide intuitive system control, enabling staff to manage routing, camera feeds, audio, and recording with ease. The completed installation delivers a modern AV infrastructure that supports medical training, case review, and day-to-day operational needs while ensuring reliable, clear communication throughout the facility.

The county now has an AV environment that fits the clinical demands of the building. It supports training, case review, and communication. With their system design, and use of Extron technologies, the Moyers Group helped the medical examiner move from an aging facility to a modern space with reliable AV tools across all rooms.

Summary:

• FORM50 Fitness partnered with Pro Audio Design (PAD) to address room reverberation and echo.
• The installation pairs full-range DAS speakers for impactful, rhythmic bass with Symetrix audio processing.
• PAD delivered a seamless audio infrastructure, serving as a proven operational model and high-standard design blueprint for future FORM50 studios as the brand continues to expand.

FORM50 Fitness, a boutique reformer studio brand founded in 2018, combines streamlined strength training with Pilates-influenced precision movement to deliver full-body workouts centered on proper form and hands-on coaching. Following the success of her original location in Astoria, Queens, founder Monica Marder recognized that expanding the brand would require elevating the physical and acoustic environments of her spaces. To achieve a premium sonic atmosphere for her Brooklyn Heights studio, Marder partnered with Pro Audio Design (PAD).

[The Next Chapter of Pro AV]

In fitness environments, sound directly shapes the client's emotional and physical performance. While initial retail audio equipment provided sufficient volume, it lacked the vocal clarity necessary for instructors to deliver precise coaching safely without straining their voices. PAD approached the project holistically, combining customized acoustic treatment with high-performance audio hardware to solve the challenges common to long, reflective workout spaces.

The team addressed room reverberation while installing full-range DAS speakers to supply powerful, motivating low-end frequencies alongside clear high frequencies. To keep operations simple for instructors, PAD integrated Symetrix audio processing, which provides user-friendly volume control and feedback suppression without requiring complex technical adjustment.

"PAD’s specialized attention to our needs made a massive impact on this location.," Marder said. "They managed every stage of the project from design, to installation, to tuning, to calibration, and I felt confident at every step that we’d made the right investment."

By aligning high-end audio architecture with functional fitness design, the Brooklyn Heights location creates an immersive environment where music energizes participants while instruction remains effortlessly clear. The successful integration now serves as a blueprint for future FORM50 studios, giving leadership the operational confidence to expand the brand while maintaining high standards for client experience and instructor support.

“The studio is a completely seamless sonic environment to step into and it makes the instructor setup incredibly simple and easy to dial-in so they can focus on what matters most,” Marder concluded. “Being able to ensure that high-quality experience gives me a lot of relief and freedom to run the business. PAD was instrumental in ensuring that.”

Quick view:

• The space incorporates 38 Harman JBL Pro speakers—including 13 subwoofers and JBL-M2 master reference monitors—powered by Crown amplification, BSS digital signal processing, and a Dante network to deliver reference-grade accuracy and balanced imaging from the front to the back of the room.
• Unlike traditional loud venues or clinical recording studios, the lounge was developed in collaboration with ArchitectureWorks to feel like a comfortable living room.
• The custom audio infrastructure offers full operational versatility, distributing sound throughout the entire venue

An integral part of Birmingham’s Lakeview Marina District, the High Dive HiFi Lounge, places an emphasis on creating a space with exceptional audio fidelity. Founder Bart Stephens was focused on immersive group listening and feature top-notch HiFi systems.

[The Real Differentiators]

At the onset, Stephens wanted to develop a HiFi lounge that raised the bar on what was possible acoustically and sonically. This goal led him to Grammy and Emmy Award-winning producer and mixer Nathaniel Kunkel, of Studio Without Walls, who is a collaborator with Advanced Systems Group (ASG) and was lead systems designer for this project. Kunkel became the principal audio designer of High Dive Lounge, working closely with ASG and Jim Pace, president, audio intervisual design and VP/partner ASG, who led the overall initiative for ASG.

“Of all the projects I have designed playback systems for I must admit I am most proud of the system at the High Dive HiFi Lounge," Kunkel said. "The systems perform at the highest level in so many respects. The imaging from room front to room rear, balance of reverb time to absorption, flexibility of format capability, system linearity, environmental comfort, and lastly, sheer power, make this a place to experience music with others that is truly unparalleled.”

With Kunkel and acoustician Jeff Minnich of Valencia Technical Consulting, both long-time ASG collaborators, the team handled all the acoustical design, equipment selection, sale and delivery, plus stayed in consistent dialog with Stephens from the concept stages until completion.

Like a recording studio, the architecture and interiors are designed to keep the room quiet and the music crystal clear. Music is played at the lounge all day and night with levels low enough for conversation. Nowhere in the space is acoustically challenged, and when it’s time for the full experience, “Even if you sit in the far back, it’s still going to thump,” said Pace. “There are eight, 12-inch subwoofers in the ceiling alone.”

The ASG audio team worked in close collaboration with Bruce Lanier and his team at ArchitectureWorks to ensure the mechanical and electrical design performed and looked as good as the owner wanted.

“The room is designed to feel comfortable, more like a living room than a recording studio,” explained Lanier. “There was an intentional effort to keep an emphasis on things like good daylighting, honest materials, and thoughtful details throughout the process—even as we were working to incorporate high performance audio systems and acoustical design.”

The selection of speakers was critical in achieving Stephen’s goal of having optimized sound. High Dive has 38 Harman JBL Pro speakers, including 13 subwoofers. “The JBL-M2 master reference monitors continue to fill a performance threshold for rooms of this size," said Pace. "The BSS processing mates with these and the entire Harman network is Dante capable, as are the amplifiers. Speakers are in the ceilings, in the bathrooms.”

By integrating JBL Professional studio monitors with BSS processing, Crown amplification, and a Dante network extending to outdoor and ancillary spaces, High Dive HiFi Lounge delivers reference‑level accuracy alongside the scale and impact required for live performance. "It’s a system designed entirely around listening quality, without sacrificing operational flexibility,” concluded Chris Hansen, director, recording and broadcast, Harman International.

Summary:

• Highmark Mann Center completed major venue upgrades—including a new L-Acoustics sound system—to celebrate its 50th anniversary in 2026.
• The new L2D speaker system fixes long-standing coverage gaps, giving lawn and terrace audience members the same high-fidelity sound quality as those sitting inside the main pavilion.
• By using Soundvision prediction software and L2D directional control, the venue can project full, powerful sound to the back edge of the lawn without spilling over into the adjacent Parkside neighborhood.

Philadelphia’s Highmark Mann Center for the Performing Arts opened in 1976 as the summer home of The Philadelphia Orchestra. Fifty years later, the venue draws more than 400,000 visitors annually to Fairmount Park. Ahead of its milestone anniversary, Highmark Mann underwent extensive upgrades, including a new backstage facility, the Skyline Stage, a reimagined plaza, and an innovative L-Acoustics L2D audio system.

[Colorado's Historic Fox Theatre Modernizes Audio]

When VP and general manager Evan Rogers joined Highmark Mann five years ago, he audited the legacy sound system and consulted touring crews, peer venue operators, and major promoters. Discovering that nine out of 10 incoming productions requested L-Acoustics, Highmark Mann partnered with local certified provider Bauder Audio Systems. By the end of this summer season, major acts had (or will have, with a few weeks to go) utilized the new setup.

The venue seats 4,500 under the TD Pavilion roof, 2,000 in the Connelly Terrace, and over 6,000 on the Great Lawn. Delivering premium sound to lawn patrons while mitigating noise pollution in the adjacent Parkside residential neighborhood presented a core challenge. Highmark Mann mirrors other urban venues like the Hollywood Bowl, where boundary control is essential. Following a successful demo in late 2025, four compact L2D enclosures were flown above the lawn at pre-existing delay points in mid-May.

Despite using only four hang points, the L2D array delivers exceptional output. Each unit houses 20 transducers powered by an LA7.16i amplified controller, replacing the need for 24 conventional boxes. Powered by Progressive Ultra-Dense Line Source (PULS) technology, the system maintains a coherent wavefront across long distances, ensuring pristine audio clarity for patrons sitting at the very back of the lawn.

Additionally, the L2D system addresses previous sound coverage gaps in the Connelly Terrace. Its 60-degree progressive vertical directivity and cardioid design allow the lower modules to cover near-field terrace seating while upper drivers push sound to the lawn edge. The system debuted on June 13 for a performance by Bleachers, delivering full-range audio across the entire lawn without requiring supplementary delay hangs.

Using L-Acoustics Soundvision CAD software, Bauder Audio Systems predicted exact sound coverage and containment before installation. The precise directivity allows Highmark Mann to deliver high-fidelity concert sound while respecting its surrounding community.

“L-Acoustics and Bauder have been right here with us all along during this upgrade, and it really feels like a very successful partnership," Rogers said. "That’s not always the case when you’re dealing with vendors that are just pushing the next sale. The most important thing is that sense of engagement, of being connected to what’s happening inside the pavilion, and our new system truly delivers that.”

Details:

• Transformation Church deployed a comprehensive Riedel Communications system across its three-story venue to support a high-volume digital ministry reaching hundreds of thousands of viewers.
• The new ecosystem eliminated previous system bottlenecks by providing full-facility wireless coverage, crystal-clear audio that reduces listening fatigue, and per-source volume control for custom audio mixes.
• Color-coded SmartPanels and intuitive software made configuration easy enough to delegate to line techs, while direct, proactive support from Riedel ensured a seamless, reliable operation for the production crew.

Transformation Church is a digital ministry which has deployed a comprehensive communications infrastructure built around the Riedel Communications Artist intercom ecosystem. Reaching tens of thousands of concurrent viewers live and hundreds of thousands more online, the church requires flawless real-time communication among directors, camera operators, lighting teams, audio engineers, stage managers, and broadcast staff. As production scale increased, the church’s previous setup operated at its absolute limits, prompting the move toward a more flexible, reliable, and scalable matrix system.

[The Integration Guide to House of Worship]

Designed and deployed by system integrator Diversified in collaboration with the church's internal technical team, the new communications network spans Transformation Church’s expansive three-story facility. The venue features a 3,000-seat auditorium, production control rooms, media studios, meeting areas, and children's ministry spaces. At the core of the deployment is an Artist-1024 intercom matrix, supported by more than 50 Bolero wireless beltpacks distributed across 39 antennas, over 40 1200 Series SmartPanels in 1RU and 2RU configurations, and more than 90 Riedel headsets in PRO and AIR variants.

The immediate improvement in audio clarity drastically reduced listening fatigue for crew members working long production days. Staff members no longer need to run beltpack volumes at maximum levels just to understand cues. Additionally, the Bolero wireless ecosystem provides complete, uninterrupted coverage throughout the entire building—including elevators and exterior areas—allowing staff to roam freely without losing connectivity. Beltpacks also leverage Bluetooth pairing, enabling hosts and operators to handle personal calls or IFB monitoring through a single headset without switching devices mid-show.

The addition of SmartPanels streamlined day-to-day operations through intuitive, color-coded interfaces that allow users to easily distinguish channels, groups, and priority feeds. Unlike the church's previous party-line setup, the Artist matrix provides per-source volume control, allowing back-end level adjustments for individual users without affecting the entire team. This ease of configuration enabled production leaders to delegate daily communications management to dedicated technical staff, freeing executive directors to focus entirely on show execution.

"We like to say we're a content house packaged as a local church. Everything we do is a coordinated effort — whether it's video, lighting, audio, stage management, or cameras — communication touches every part of the production," Tyler Tritten, technical director at Transformation Church. "The flexibility and reliability of the system make it easier for our teams to stay connected and focused on what they're doing.”

Beyond hardware capabilities, the direct partnership with Riedel Communications proved invaluable. Proactive manufacturer support, including unprompted site visits from sales engineers to resolve minor technical issues on the spot, established a high level of trust. By integrating Riedel's scalable Artist matrix and Bolero wireless infrastructure, Transformation Church built a robust, future-proof platform capable of supporting its expanding production demands and global digital ministry.

Details:

• Z2 Entertainment kept the Fox Theatre's 30-plus year old outdoor PA system instead of replacing it, refurbishing the speaker enclosures to maintain the venue's visual and acoustic identity.
• Lux AVL replaced the failing, power-hungry original amplifiers with compact Powersoft X Series units.
• The upgrade eliminated technical failures and added modern digital control (via Dante and ArmoníaPlus).

The Fox Theatre in Boulder, CO, managed by independent venue group Z2 Entertainment, is historic live-music hall that balances heritage with the technical demands of modern touring productions. Over the years, Z2 Entertainment built its reputation on preserving classic rooms while updating crucial infrastructure to deliver consistent performance for visiting artists and sound engineers. However, balancing preservation with modern expectations often brings unique technical challenges.

Powersoft answered those challenges, helping to modernize the Boulder classic.

[The Next Chapter of Pro AV]

When recurring amplifier failures threatened live performances at the Fox Theatre, Z2 Entertainment brought in Lux AVL to diagnose the issues and implement a reliable, long-term solution without altering the venue’s iconic acoustic character. The source of both the challenge and the charm lay in the venue’s legacy loudspeaker system. Originating from large-scale outdoor events across Colorado during the 1990s, the system was later repurposed for permanent installation inside the Fox Theatre. Rather than replacing these historic enclosures, Z2 Entertainment chose to refurbish their internal components. This decision preserved a piece of local audio history, but it introduced severe technical constraints. The power-hungry PA required multi-channel amplification and substantial wattage for every single cabinet.

Beyond resolving reliability concerns, Z2 Entertainment wanted to optimize its physical layout. The technical team aimed to relocate the heavy amplifier equipment off the stage area and into a compact loft space. This shift freed up valuable stage footprint for touring productions, but required a high-power system with an extraordinarily small footprint and lower electrical draw.

To solve this spatial and electrical puzzle, Lux AVL selected Powersoft’s X Series amplifier platform, integrating a mix of X8, X4, and X4L models. Designed for demanding touring and installed sound environments, the X Series consolidates amplification and advanced loudspeaker management into a single lightweight chassis. By combining high channel density with internal DSP, routing, and matrix capabilities, the new platform allowed the engineering team to consolidate the entire drive system into a drastically smaller rack. Ethernet connectivity, three-phase power supplies, and redundant signal paths—utilizing both Dante and analog inputs—ensured rock-solid stability during live shows.

Altogether, the installation included four Powersoft X8 units, one Powersoft X4L, and one Powersoft X4, all featuring integrated DSP and Dante connectivity, alongside eight B&C Speakers 18SW115 drivers. The hardware is housed in a Middle Atlantic BGR-25SA-32LRD rack equipped with a Middle Atlantic FAN2-DC-FC cooling unit and two custom-labeled Lux AVL keystone patch bays. Network infrastructure and signal routing are managed via two NETGEAR switches: an MSM4214X-100EUS and a GSM4212P-100NAS.

Additionally, the integration of Powersoft’s ArmoníaPlus software platform provided Z2 Entertainment’s technical staff with intuitive control, remote Wi-Fi monitoring, and streamlined workflows consistent with modern touring standards. The result is a seamless hybrid: historic enclosures driven by state-of-the-art power and processing.

“They walk into the room and it still feels like an old club," Wessley Stern, director of operations for Lux AVL, concluded. "But when you turn it up, it sounds like a modern system, and that’s exactly what they were aiming for.”

Since commissioning, the upgraded system has operated with total stability, eliminating past component failures while delivering exceptional clarity and headroom. By pairing refurbished vintage speakers with cutting-edge amplification, Z2 Entertainment and Lux AVL extended the life of a legacy audio system, demonstrating how smart technical choices can keep historic, independent venues modern, competitive, and true to their roots.

Summary:

• UMD journalism lecturer Josh Davidsburg is using Sony FX30 cinema cameras to teach students how to merge traditional reporting with cinematic techniques for social media, digital platforms, and modern documentaries.
• The FX30 offers high-end features—such as low-light capability, advanced autofocus, S-Cinetone color science, and lightweight ergonomics—at a fraction of traditional production costs.
• Journalism students at UMD start on standard ENG-style video cameras to learn core production basics before "graduating" to the FX30 for advanced cinematography and documentary courses

Josh Davidsburg, a documentary filmmaker and principal lecturer at the University of Maryland’s Philip Merrill College of Journalism, is using Sony’s FX30 cinema cameras to help his journalism students at the learn new ways to tell a story. He finds the Sony FX30 is the right camera for the evolving field of “creator” journalism, a unique blend of feature and documentary-style filmmaking suited for social media and digital platforms from YouTube to streaming services.

[Ready for the Virtual World]

“Growing up, I was deciding between being a TV journalist like my dad or a movie director because I had a passion for film and cinema,” said Davidsburg. He chose the former, which led to a journalism degree and eventually a teaching position at UMD.

Davidsburg describes modern-era documentaries as a convergence of journalism and cinema, likening them to the pioneering work of 1970s “new journalism” writers like Hunter S. Thompson or Tom Wolfe, who injected literary techniques into their reporting. Newer camera technologies have also dramatically democratized filmmaking, now with high-end capabilities that cost a fraction of the early prices of production cameras, putting them easily in reach of students and reporters at any level.

Currently, UMD has six FX30 cameras and about 40 Sony ENG-style cameras—a mix of the HXR-NX800, HXR-NX5U, and HXR-NX3 models. Journalism students start with the ENG cameras in their first video production course and then “graduate” to the FX30s in cinematography and documentary producing courses.

Davidsburg’s personal filmmaking projects were also responsible for bringing the FX30 to the UMD students. He shot his latest documentary, “A Banner Year” about local, nonprofit newspaper The Baltimore Banner with Sony’s FX3 cinema camera, which he described as a perfect run‑and‑gun camera with the ergonomics and video‑focused controls to match his shooting requirements.

“When you're following newspaper reporters who are often dealing with sensitive topics and confidential sources, you don't want something big and imposing,” Davidsburg said. “I was often filming at night and with the FX3’s low light capabilities, the camera can almost see in the dark.”

Production for “A Banner Year” is complete and his experience with the FX3 led him to choose the FX30 for his coursework. The FX30 offers many of the FX3’s capabilities but at a lower price and with enough features to give students an entry into the cinematic world.

“The FX30’s ergonomics are great,” he said. “Students aren’t complaining about lugging giant cameras everywhere. The leap in quality from the cameras we were using to the FX30s is incredible. They can go out and come back with a beautiful image that inspires them and gets them excited about this type of work.”

Students find the FX30’s autofocus valuable when dealing with the shallow depth of field of cinema shooting. The camera’s color science with the S-Cinetone picture profile combined with its dynamic range elevates everybody's shooting according to Davidsburg. The UMD program is also pairing the FX30s with Sony wireless audio, and the camera-to-editing workflow is straightforward and compatible with UMD’s editing software.

Most importantly, UMD students are getting a head start on their future careers, gaining valuable hands-on experience that they will eventually apply on a set or in a newsroom. “If you're doing documentaries right, you're taking cinematic techniques and journalistic techniques and combining them to do journalistic storytelling," he concluded. "With these cameras, we’re on that track.”

Details:

• Refreshed end zone videoboard and control system are ready for the coming 2026 college football season.
• The display improved resolution 4.5 times the previous screen using the Daktronics Renew product line.
• The display is capable of variable content zoning so it can show one large image or multiple zones of content to meet the needs of UTEP Athletics at every event.

Daktronics has refreshed the video display and control system at the University of Texas, El Paso’s (UTEP) Sun Bowl Stadium. The display improved resolution 4.5 times the previous screen using the Daktronics Renew product line, adding to the visual game-day experience for Miners fans. Daktronics is also including a complete Show Control solution as part of the upgrade.

[A High-Tech Oasis Rising above Low-Tech Downtown Vegas]

“We’re grateful for our continued partnership with Daktronics, and we’re excited about the recent enhancements that have been made to the Sun Bowl video board,” UTEP VP and director of athletics Jim Senter said. “This comes at an opportune time as we launch a thrilling new era in the Mountain West Conference and are introducing numerous initiatives designed to improve the fan experience.”

While the physical display dimensions remain the same at 33.5x60 feet, the resolution improves with a new 10mm pixel spacing compared to the previous 15HD pixel layout. This brings 50% more LEDs spaced closer together, creating 4.5 times the resolution to deliver greater image clarity and contrast to Miners fans.

“Daktronics is honored to assist in upgrading the game-day experience at the Sun Bowl, one of college football's most unique stadiums,” said Daktronics sales representative Charlie Durrenberger. “It was great to work with the university and its fine staff on this project from the early stages through to completion.”

The display is capable of variable content zoning so it can show one large image or multiple zones of content to meet the needs of UTEP Athletics at every event. This includes any mix of video, replays, statistics and game information, graphics and animations, and sponsorship messages.

Quick summary:

• Ninety-six A15i speakers, and16 KS21i subwoofers were installed at Houston's 20,656-seat Shell Energy Stadium, replacing an outdated 2012 vocal-only PA with a high-energy, music-friendly setup.
• Engineers solved complex coverage gaps around the stadium's north video screen without structural modifications..
• The new system tightly directs clear, impactful audio into the stands while keeping noise off the field for game officials and out of the surrounding downtown neighborhood, earning immediate praise from fans.

The 2026 FIFA World Cup brought re-found soccer fandom to Houston, which served as one of the major host cities. Since 2012; however, the city's soccer culture extends far beyond international tournaments, operating weekly at Shell Energy Stadium. To enhance the game-day experience, LD Systems, a Clair Global brand, recently installed L-Acoustics A Series loudspeaker system.

[LD Systems Gets NFL Stadium World Cup Ready with Enhanced Sound]

The 20,656-seat venue, which is the first downtown soccer-specific stadium in Major League Soccer, hosts four distinct teams: Houston Dynamo FC, the National Women’s Soccer League's Houston Dash, Texas Southern University Tigers football, and the Houston Gamblers of the United Football League. Since majority owner Ted Segal committed over $30 million to venue overhauls starting in 2021, upgrading the stadium’s original 2012 audio system became a top priority. The club sought higher energy, superior intelligibility, and impact for fans without increasing off-site noise pollution in the surrounding East Downtown neighborhood or interfering with players and officials on the pitch.

Sustainability and physical constraints were central to the redesign. The venue actively works toward LEED-certified decarbonization goals, requiring any new system to limit electrical draw. LD Systems achieved this by utilizing existing cabling infrastructure and keeping structural modifications to a minimum, powered efficiently by just twelve L-Acoustics amplified controllers.

The physical layout of the stadium presented unique acoustical challenges. While the east and west bowls feature large overhangs for easy speaker suspension, the north and south ends lack overhead structures. The north end is further complicated by a massive video display measuring 34x73 feet, leaving limited mounting space near a noisy, angled supporters' section. Using L-Acoustics Soundvision modeling software, engineers mounted enclosures directly onto the scoreboard structure and directed additional corner arrays back toward the end zone, closing coverage gaps seamlessly.

In total, the installation features 96 A15i enclosures (84 Wide and 12 Focus models) paired with 16 flown KS21i subwoofers for full-range musical fidelity. Powered by 10 LA12X and two LA4X amplified controllers, the system delivers precise vertical directionality, keeping high-SPL audio focused on the stands while avoiding the playing field.

The new deployment replaced the old vocal-reinforcement setup with a dynamic, music-friendly sound system ideal for matchday DJs and live production. The immediate improvement in clarity and low-end impact transformed the overall game-day atmosphere, earning instant acclaim from stadium attendees and technical operators alike.

“We heard a ton of unsolicited comments about how much better the sound is from people that had no idea that there even was a new sound system in there," Matt Rhodes, sales engineer at LD Systems, shared. "Fans, who are not technical people, said to us, ‘Wow, it sounds so much better this season.’ To get that kind of feedback was really cool.”

By pairing advanced L-Acoustics technology with smart engineering choices, LD Systems provided Shell Energy Stadium with a high-impact, energy-efficient audio solution. The upgrade ensures the venue remains a premiere destination for live sports and entertainment while honoring its environmental commitments and downtown neighbors.

Quick view:

• Edith Cowan University (ECU) implemented a full Riedel Communications ecosystem (including Artist nodes, Bolero wireless intercom, and MediorNet units) that unifies audio, video, and comms across multiple venues, enabling complex capabilities like running two independent broadcasts simultaneously.
• The infrastructure brings real-world live production workflows directly into the educational environment, giving students hands-on experience with contemporary, industry-standard equipment and practices used at professional venues like the Western Australian Academy of Performing Arts (WAAPA).
• By using Riedel SimplyLive RiCapture, instructors and students can record up to six video streams along with production communications. This allows them to replay live feeds to analyze workflows, retrace decisions, troubleshoot mistakes in real-time, and preserve session recordings as study materials.

Edith Cowan University (ECU) in Perth, Australia, implemented a comprehensive Riedel Communications infrastructure that brings professional live production workflows into the teaching environment. Connecting spaces across the university—from broadcast facilities to the theater—the integrated ecosystem makes communications, audio, video, and recordings flexibly accessible throughout the building.

[How Radford University Achieved 'Flawless Audio']

At the heart of this infrastructure are two Riedel Artist-1024 nodes, which are primarily used at the Western Australian Academy of Performing Arts (WAAPA) — a specialized academy within the university — as well as in the broadcast department. In addition, stage managers and directors can use Riedel Bolero wireless intercom to move between different event areas while maintaining uninterrupted communication with the rest of the production teams.

MediorNet is now being used as the technical backbone to ensure reliable distribution of audio and video. The ECU team utilizes five MicroN UHD units as well as an additional mobile unit that reliably transmits signals within the building and, when a fiber-optic connection is available, also supports outside broadcast scenarios. MediorNet HorizoN connects traditional SDI and MediorNet infrastructures with ST 2110 workflows within the broadcast environment. This ecosystem ensures the independent execution of two parallel broadcasts. Furthermore, live productions from the theater auditorium can be fully integrated into the broadcast environment, including backstage communication, video, and audio transmission.

“Our partnership with Riedel has significantly transformed communications and coordination across our venues," said Richard Reddrop, associate professor of associate dean (production and design), WAAPA. "Stage managers, front-of-house teams, technicians, backstage crews, and production staff are now able to work together through a single integrated communications platform, creating a more connected and professional operating environment. Importantly, it provides our students with the experience of industry-standard workflows and technologies that reflect contemporary professional practice."

Another key component of the ecosystem is Riedel SimplyLive RiCapture. ECU operates three RiCapture servers, including two larger systems for 4K workflows and a dedicated system for teaching. With SimplyLive, students and instructors can record up to six video streams simultaneously along with the associated production communications. During training sessions, they can replay the recorded feeds and communications to review production workflows, retrace decisions, and identify where and why issues occurred. This gives students immediate, practical feedback on their work in a professional live production environment. Instructors can also record teaching sessions and make them available to students afterward as part of the course materials.

“Artist, Bolero, MediorNet, and SimplyLive create a learning environment here at ECU that can be ideally adapted to the students’ needs as well as to various production formats," concluded Chris Johnson, director Oceania at Riedel Communications. "Students are thus given the opportunity to experiment and work in a practical environment that mirrors real-world production workflows."

The New York Stock Exchange creates a steady stream of live content, including opening and closing bell ceremonies, corporate announcements, interviews, IPO events, broadcasts, digital streams, and its daily live show, NYSE Live.

A few years ago, it became clear to the production team that an upgrade was needed. As production demands grew across the trading floor and event spaces, the team pushed its control room, which had not been updated since 2010, to its limits.

“We were definitely behind on technology, and some of it was even starting to die on us," recalled Ian Wolff, director of broadcast and AV operations, NYSE. "We were also lacking space for everything we wanted to do. There were some days we did two or three events in one control room, which isn’t ideal. There’s only so much jerry-rigging you can do."

To meet growing demands and prepare for the future, last year the NYSE decided to redesign the area and build three matching control rooms. Planning for future scalability was also key. The NYSE kept SDI for most of the facility, added NDI where it added clear benefits, and ensured the new setup could adapt as requirements evolve.

The new control rooms are built on Ross Video technology. Each room supports identical workflows, giving the team a consistent environment and the ability to move productions between rooms quickly.

Three Carbonite switchers are central to the project, with one in each control room. The main room uses Carbonite Ultra 60 for NYSE Live, handling larger productions with more guests, feeds, and complex visuals. The other two rooms support more live events, such as investor programming and daily content.

XPression remains important in every control room. By combining XPression with Carbonite, the team created a smooth workflow and can trigger graphics more quickly. Three additional TouchDrive panels further improved control and efficiency.

The project also introduced openGear and Ross Tally to simplify signal conversion, standardize infrastructure, and support production throughout the building. NDI is used in select rooms and event spaces where permanently installed cameras reduce setup time and help the team respond quickly to new productions.

“The combination of a Carbonite switcher, Xpression, and Ross Tally made everything a whole lot easier than doing productions with several different machines. They just talk seamlessly," Wolff said. "openGear has proved a lifesaver and a space saver. You don’t have racks and racks of encoders, just a 4 RU unit with a few cards in the back.”

CTI managed the integration and worked closely with the NYSE team throughout the project. They developed a tailored solution based on how the team operates and supported the move from the legacy control room to a temporary setup and ultimately the final space. Ross Video provided hands-on technical support during the process and continues to support the team today.

With three identical control rooms, the NYSE can now run multiple live productions simultaneously, with less strain on people and systems. Interviews, ceremonies, investor events, and daily programming no longer have to compete for space.

Having identical control rooms also reduces operational risk. If one room has a problem, productions can move to another with the same setup and continue with minimal interruption—a redundancy that was a key objective from the start.

The facility is also built for the future. While SDI meets current needs and security requirements, the system can scale to support 12G-SDI and 4K workflows over time.

Details:

• Going wireless removed trip hazards, cable ramps, and floor obstructions, creating a safer, cleaner environment that directly benefited guests using wheelchairs or mobility aids, catering staff, and event attendees.
• The RF Venue system overcame difficult architectural limitations—where floor or overhead cable runs were impossible—delivering clean, delay-optimized audio for both the luncheon and gala speaker setups.
• Eliminating long cable runs significantly reduced setup time, simplified logistics, and proved so successful that Midway Production Services integrated the system into more than 20 subsequent productions.

Midway Production Services recently deployed the RF Venue RF PA Extension Kit, alongside RF Venue Diversity Fin antennas and DISTRO distribution systems, to solve audio challenges during two VIP fundraising events at Radford University in Virginia. By adopting this wireless approach, the production team eliminated extensive speaker cable runs across public walkways, delivering flawless, uninterrupted sound without creating safety hazards or aesthetic disruptions.

[A Dream(scape) Come True: UNLV Immerses Higher-Ed AV/IT Professionals in Virtual Reality]

The events included an informal luncheon and a formal black-tie gala. Radford University, recognized for academic excellence, innovative technology, and sustainability, hosted alumni, donors, and university leaders. Both gatherings demanded reliable wireless microphones and distributed loudspeaker coverage. However, the venue’s architecture offered no viable traditional cable paths. Floor runs would have obstructed heavy foot traffic, and overhead drops were impossible due to ceiling construction.

Midway paired RF Venue Diversity Fin antennas and DISTRO systems with the RF PA Extension Kit to power two Turbosound iP300 loudspeakers for the luncheon delay system. Later that evening, they used the same setup to feed the main array of Electro-Voice EV Evolve 50 speakers. The wireless link maintained pristine audio throughout both settings without requiring cables to be taped down or covered with ramps.

This cable-free solution proved vital for accessibility, as many guests relied on walkers, wheelchairs, or other mobility aids. Eliminating floor hazards created a safer, cleaner, and more welcoming environment.

“Clients rarely comment on the technology itself; they simply expect everything to work,” said Brian James, senior project manager for Midway Production Services. “This time was different: the client specifically noticed there weren’t any cables on the floor, and one guest with mobility challenges thanked us because navigating the venue was so much easier.”

The kit also simplified logistics and reduced setup time by eliminating lengthy runs. Configuring the receiver's built-in delay timing took only minutes. Midway has since integrated the RF Venue system into over twenty subsequent productions with excellent results, praising its ability to streamline workflows while enhancing safety and guest comfort. Ultimately, the invisible technology allowed Midway to meet both technical demands and high event standards seamlessly.

Quick hits:

• Brompton Technology’s 4K Tessera SX40 LED processors and Tessera XD 10G distribution units powered the visual clarity, color accuracy, and contrast needed to render the piece's complex pixel structures and deep black backgrounds.
• Artist Kim Asendorf, who builds software art intended for universal device playback, noted that Brompton’s system's "almost surreal" display quality, making Brompton controllers his preferred setup after first using them at Art Basel Miami Beach.
• The project highlights an ongoing shift in contemporary digital art, where processing hardware is treated as an active part of the artwork rather than a passive display screen.

Brompton Technology’s Tessera LED processing recently helped bring German visual artist Kim Asendorf’s PXL DUO POD to life at Art Basel Hong Kong, delivering the color, depth, and precision required to present its evolving pixel structures on a large-scale interactive LED installation.

[The Art of Digital Signage]

Presented by New York and London-based contemporary art gallery Nguyen Wahed, PXL DUO POD formed part of Zero 10, Art Basel’s global initiative dedicated to art of the digital era. A special development within Asendorf’s expanding PXL ecosystem, PXL DUO POD followed PXL DEX, the first work in the series, and its cylindrical successor, PXL POD. Asendorf developed the Duo version after discovering an unexpected visual relationship when viewing two PXL POD works adjacent to one another.

Presented across two LED screens positioned side by side, PXL DUO POD placed two evolving systems alongside one another, allowing their colors, movement and pixel density to interact. Visitors could use a control pad to rotate the forms, zoom in and alter the camera angle, directly influencing how the work was experienced.

For the Hong Kong presentation, a ROE Visual Topaz 2.6mm LED system was driven by Brompton’s 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units. The combination enabled the work’s individual points of light, carefully developed color palettes, and deep black backgrounds to be reproduced with the clarity required to preserve its spatial qualities and constantly changing detail.

“I create software art meant to run on every device. Brompton Technology changed my mind,” said Asendorf. “I care deeply about display quality, but what Brompton controllers bring to LED walls is almost surreal. Now I have a first-choice setup.”

Asendorf’s relationship with Brompton began at Art Basel Miami Beach, where his work Raster und Spektrum was presented during the inaugural Zero 10 program. Following Asendorf’s meeting with the Brompton team at a demonstration in London, the gallery requested that Brompton’s processing technology be used for his Miami Beach presentation. Fuse Technical Group provided technical management and introduced the project team to Absen. As a result, Absen LED panels were used for the exhibition, paired with Brompton LED processing to deliver the deep blacks and pixel separation essential to Asendorf’s work.

The progression from PXL DEX, through PXL POD to PXL DUO POD reflects a wider shift in contemporary digital art, where software, interaction, physical installation and display technology all contribute to the artwork. The screen is therefore more than a surface for presenting a finished image, making accurate color reproduction, contrast, motion and processing essential to preserving the artist’s intent.

“I was fortunate to be in the room when Kim visited our London headquarters with Matthew,” concluded Rob Fowler, director of business development at Brompton Technology. “It was fascinating to learn more about this rapidly growing area of art as well as see how the work we have been doing over the lifetime of Brompton Technology to enhance accuracy and faithful image reproduction dovetails with the work Kim is creating.

“Seeing his response to our Tessera platform, and the pleasure he took in viewing his work rendered on LED using features we have developed over more than a decade, was hugely gratifying. It demonstrated how processing can become integral to the way an artwork is experienced, rather than simply a means of displaying content.”

Summary:

• Integrator ArtAV standardized on LEA Professional Connect Series amplifiers and Fohhn loudspeakers to tackle complex, temporary museum installations.
• For John Akomfrah’s 'Listening All Night To The Rain' exhibit, ArtAV deployed LEA Connect Series 168 amplifiers to power and synchronize 104 audio channels across multiple gallery spaces.
• LEA Professional's web GUI (WebUI) simplifies daily operations for front-of-house staff, while IoT capabilities allowed ArtAV’s team to remotely monitor metering, perform fault-finding, and adjust levels directly from the U.K. throughout the exhibition’s run in Italy.

Galleries and museums around the world host an enormous range of art installations and exhibitions, but what appears on screen or occupies the space is often only part of the experience. Audio plays a significant role in these environments, whether by setting the atmosphere, providing complementary background music, or serving as the installation's soundscape. Recently, integrator ArtAV has gradually standardized on Connect Series amplifiers from LEA Professional and loudspeakers from Fohhn.

[No Drawing Required]

ArtAV specializes in exactly these kinds of spaces, where the supporting AV technology must be technically sophisticated, reliable over extended periods, and nearly invisible. The relationship between ArtAV and LEA was facilitated by Audiologic, whose expertise and industry relationships helped connect the two companies. Together, these technologies have enabled ArtAV to balance operational simplicity with a robust technical foundation across several international exhibitions, including the Venice Biennale.

Behind the scenes, though, these systems are far from simple. Many installations involve a lot of audio channels spread across several rooms or outdoor areas, with equipment concealed in walls, plant spaces, or temporary racks. ArtAV's team sets up, measures, and fine-tunes the audio at each installation using LEA Professional's extensive DSP parameters and its highly regarded Sharkware configuration suite.

“Usability can be every bit as important as amplification power and sonic performance,” said Simon Weightman, project manager at ArtAV. “In addition to the built-in DSP capabilities and speaker tunings, LEA amplifiers offer an absolutely fantastic web GUI [WebUI] that simplifies day-to-day operations for front-of-house staff. That is a huge benefit and a significant part of the reason we standardized on LEA for amplification.”

ArtAV worked alongside John Akomfrah on his largest and most ambitious exhibition to date, Listening All Night To The Rain, at the 60th International Art Exhibition at the Venice Biennale. It included 104 audio channels distributed across a basement gallery, flanking side rooms, and a main hall, all of which were required to play in precise sync.

Each space carried its own distinct soundscape: 18 loudspeakers setting a foreboding tone in the basement, voices threading through a suspended sculptural cloud of tape players and vinyl records, and a sphere of sound shaped by 20 loudspeakers in the main gallery's immersive eight-projection wrap-around. With spaces in close proximity and wildly different sonic characters, the audio mix needed to both stand alone in each room and cohere as a single, unified experience.

LEA’s amplifiers proved central to achieving that balance. ArtAV’s team installed several Connect Series 168 amplifiers to power the exhibit. The CS168 is an 8-channel amplifier providing 160 watts per channel. All amplifiers in the Connect Series are professional-grade, IoT-enabled smart amplifiers suitable for installations of any size. They support both Hi-Z (70V or 100V) and Lo-Z, selectable by channel, eliminating the need for separate amplifiers to handle different speaker impedances, while streamlining installations and reducing equipment costs. The Connect Series also includes 96kHz DSP as a standard feature, providing a range of benefits that greatly enhance audio performance and system versatility.

Artgoers and critics responded very positively to the exhibit, praising its immersive blend of moving image, sound, and archival material, with major reviews calling it a “magnificent” and emotionally overwhelming experience.

“As installations become more immersive and increasingly reliant on complex audio, having intelligent amplification is now just as important as having great loudspeakers,” said Weightman. “With LEA, we know we have a platform that is reliable, flexible, and easy to support remotely, which allows us to focus on helping artists realize their vision.”

Details:

• Vue, the largest cinema operator in the U.K. and Ireland, has installed Auri across 20 cinemas—covering over 28% of its total circuit admissions..
• Guest experience next-generation Bluetooth Auracast technology.
• The system installs quickly on walls or ceilings without requiring expensive venue retrofits or operational downtime.

In a major step forward for entertainment accessibility, Vue, the largest cinema operator in the U.K. and Ireland, is rolling out the innovative Auri assistive listening system across its locations. Co-developed by industry pioneers Listen Technologies and Ampetronic, Auri leverages Bluetooth Low Energy Auracast broadcast technology to deliver crystal-clear, personalized audio directly to moviegoers. The initial deployment spans 20 Vue cinemas, covering more than 28% of the circuit’s total admissions. This initiative reinforces Vue's commitment to combining premium comfort with technology to create an inclusive, top-tier big-screen experience for all patrons.

[Ready for the Virtual World]

“This installation of Auri in Vue Cinemas marks a major milestone in the adoption of Auracast technology within the cinema industry," said Craig Davey, national sales manager U.K. and Ireland, Ampetronic | Listen Technologies. "As one of the first large-scale deployments of Auracast in cinemas, it demonstrates how next-generation assistive listening technology can be seamlessly integrated into entertainment venues.

“The rollout highlights Vue’s commitment to improving accessibility and offering a more convenient and personalized listening experience. It also showcases the growing momentum behind Bluetooth LE Audio and Auracast as the future standard for public venue accessibility.”

Auri transforms the cinema experience by offering a seamless "bring your own device" model. Moviegoers with Auracast-enabled hearing aids, cochlear implants, earbuds, or headphones can simply select the venue’s audio stream to receive low-latency, high-quality sound directly through their personal devices. For guests without compatible tech, dedicated Auri receivers paired with standard headphones are available to borrow. Beyond serving those with hearing loss, the system delivers audio descriptions for visually impaired guests and provides tailored sound options for neurodivergent individuals seeking a less overwhelming environment.

Narinder Shergill, general manager at Vue U.K. and Ireland, emphasized that partnering with Ampetronic and Listen Technologies helps remove barriers so audiences can focus on deeper emotional connections to the film. Auri joins a series of recent innovations at Vue, including spacious Ultra Lux recliner seating, EPIC premium large-format screens featuring HDR projection with Dolby Atmos sound, and streamlined retail concepts.

From an operational standpoint, Auri provides a hassle-free, future-ready solution for venue operators. The system installs quickly without requiring structural retrofits or costly downtime. Compact black or white transmitters mount easily on walls or ceilings to blend into the decor while broadcasting to an unlimited number of devices within range. Operators manage the network using centralized Auri Manager software, and the system can operate alongside legacy accessibility setups.

Craig Davey, national sales manager for Ampetronic and Listen Technologies, highlighted the deployment as a landmark milestone for Auracast adoption in the entertainment industry. Vue joins other notable U.K. venues utilizing Auri, including Brighton Station, the University of Oxford, and the Birmingham Hippodrome. As consumer adoption of Bluetooth LE Audio devices continues to accelerate, Vue’s proactive installation positions the chain as a leader in modern, accessible cinema.

Details:

• The d&b audiotechnik installation by CAVS at Napa Music Hall spans two floors.
• The upstairs Ballroom utilizes CL-Series CCL8 and CCL12compact cardioid line arrays with d&b's ArrayProcessing technology to ensure even coverage, complemented by KSL-GSUB subwoofers strategically buried beneath the stage.
• The Club utilizes an assortment of models from the xS series including 12S, 10S and 8S point source loudspeakers, complemented by a cardioid subwoofer array comprised of three Bi6-SUBs. The entire system is driven efficiently by a combination of 40D, 25D, and 5D amplifiers.

The newly launched Napa Music Hall, housed in the 19th-century Napa Valley Opera House, was designed to be Northern California's luxury entertainment destination. Spearheaded by wine and hospitality entrepreneur John Anthony Truchard and Commercial Audio Video Solutions (CAVS), the venue utilizes a d&b audiotechnik audio system, featuring CL-Seriescompact cardioid line arrays, KSL-GSUB subwoofers, and U-Series point source loudspeakers to deliver unparalleled auditory experiences for touring artists and audiences alike.

[A High-Tech Oasis Rising above Low-Tech Downtown Vegas]

Truchard, founder and CEO of John Anthony Wine & Spirits, is no stranger to blending wine, hospitality, and music. After spending a decade as a presenting sponsor for the BottleRock Napa Valley music festival, Truchard saw a unique opportunity for his hometown.

"Our goal with Napa Music Hall is putting Napa on the map for music another 362 days a year," explained Truchard. "We want to be an unmissable stop for artists that are touring through this route, making Napa Music Hall the perfect intimate add-on for their VIPs, most loyal listeners, and fans."

Napa Music Hall features two distinct performance spaces: the 650-capacity standing-room Ballroom upstairs, and the intimate 160-seat Club downstairs. When renovating the spaces to accommodate diverse entertainment options ranging from acoustic sets and comedy to high-energy rock and EDM, the venue's 15-year-old legacy sound system needed a dramatic upgrade. Truchard prioritized a highly rider-friendly system that would attract premium talent. After extensive modeling and listening tests, he chose d&b audiotechnik. "It operates exactly as advertised," Truchard notes. "d&b presented a solution, and then they delivered perfectly on that."

Don Lynch of CAVS specified the d&b audiotechnik CCL-Series for the main Ballroom because they offer true broadband directivity, combined with low-frequency cardioid performance, keeping the stage quiet while focusing all the energy out into the house. Low-frequency support proved just as impressive, with KSL-GSUB subwoofers placed out of sight under the stage. Jamie Trant, production lead at Napa Music Hall, especially appreciated the cardioid nature of the subwoofers, noting that the PA can be on at full volume, and you can still have a normal conversation on stage, allowing musicians to easily hear each other.

When Napa Music Hall successfully opened its doors this past May with acts like LCD Soundsystem and Bush, the results spoke for themselves. "Between the quality of the venue, our professional staff, and our choice of d&b audiotechnik, there's not a musician in the world who’s not going to be delighted to play here," Truchard concluded. "It sounds great, and more importantly, the bands themselves tell us it sounds great."

In this installation, Genelec helped:

• Keep foreground audio as a central pillar of the hotel's luxury experience, character, and brand identity.
• Helped solved the distance issue via a single network cable per speaker while preserving the luxury aesthetic with the Genelec Smart IP loudspeakers using Power over Ethernet (PoE).
• Used the loudspeakers as a visual and technical feature, intentionally displaying 21 surface-mounted Genelec 4430 in the Mojo Lounge.

While luxury hospitality traditionally focuses on fine dining, elegant interiors, and attentive service, JAG Hotel in downtown St. John’s, Newfoundland, sets itself apart through sound. Under the guidance of owner John Steele, whose passion for music shapes the property’s character, audio quality is built into the hotel’s identity rather than treated as an afterthought, which was Genelec was selected for the guest experience.

[AV/IT Summit Offers Solutions to Today’s Integration Challenges]

This music-driven philosophy took center stage when JAG Hotel expanded its top three floors to include the office floor, a penthouse suite, and the Mojo Lounge—a lavish cocktail bar on the eighth floor. To deliver an exceptional listening experience, the property required a premium audio system capable of making sound a core part of the guest environment.

To achieve this, Steele Hotels collaborated with Canadian AV distribution and integration specialist SFM to select and program the system alongside the hotel’s in-house installation crew. The project faced key challenges: The upper floors were located far from the main AV control room on the second floor, the timeline was tight, and the equipment needed to integrate cleanly with the lounge’s high-end decor.

SFM selected Genelec’s Smart IP series, utilizing Power over Ethernet (PoE) technology to power and network the system over single network cables. This approach solved the long-distance cabling challenge without cluttering the visual environment or requiring extensive new infrastructure.

The hotel’s technical team installed 71 Genelec Smart IP loudspeakers across the new spaces. Fifty 4435 in-ceiling models provided discreet coverage throughout the top floors, while 21 surface-mounted 4430 models were placed in the Mojo Lounge using adjustable brackets. Rather than concealing the wall-mounted units, the design team intentionally displayed them to complement the lounge’s aesthetic and signal the hotel's focus on high-fidelity audio.

The installation succeeded in moving beyond standard background audio, creating an immersive atmosphere that aligns with the property's musical roots and receives strong praise from guests and industry visitors.

"We at JAG Hotel don’t believe in background music," concluded property manager Shawn Basha, "it’s something we actively avoid. Instead, we believe in the power of foreground music for defining the atmosphere and identity of our hotel. With Genelec, we have been able to create a space that reflects the true JAG Hotel brand—bold, music-led, and committed to the experience of our guests."

What to know:

• Tateside repurposed existing audio hardware and engineered a central Mac Studio and QLab system—supported by an NDI decoder—to control five projectors, multi-channel audio, and automated door mechanics from a single playback platform.
• Complex technology was hidden behind simple, single-touch operation.
• Extensive offsite testing ensured instant, flawless deployment.

Trillium, a Berkeley Group residential development in Marylebone, London, offers premium homes paired with private wellness and lifestyle amenities. To introduce prospective buyers to the project, the Sales & Marketing Suite on Edgware Road features an immersive projection room designed to showcase the lifestyle on offer. Tateside was appointed to redesign the technically complex space, engineering a unified show-control system that seamlessly integrates projection, audio, touchscreen operation, and automated door control.

[Ready for the Virtual World]

"Creating a successful system involved much more than installing the projectors," explained Jonny Faint, project manager at Tateside. "We were delivering a fully sequenced storytelling environment designed to help prospective buyers picture the development and the experience of living there."

Tateside joined the project after previous setup attempts failed to deliver the required experience. While existing audio equipment—including loudspeakers, amplifiers, and DSP—was retained, the projection, media control, and room automation needed to be brought together into a reliable solution.

To achieve this, five Epson EB-L210SF short-throw projectors were positioned to cover three walls and the floor, with the main wall using a seamless two-projector edge blend. Custom shrouds conceal the white units within the dark environment while preserving ventilation. At the heart of the system, a Mac Studio running QLab acts as the central playback engine, coordinating all visual, audio, and room functions. An added NDI decoder handles video distribution for the floor projector, keeping the entire showcase running off a single, streamlined platform.

Despite the technical complexity behind the scenes, staff operation remains completely straightforward. An OpenAVC control system links a user-friendly touchscreen to QLab, allowing team members to launch the presentation or access a separate HDMI input with a single touch. At the conclusion of the sequence, QLab triggers a WebRelay connected to a concealed door, automatically opening it to transition guests into the next phase of the tour.

Offsite pre-building and close collaboration with OpenAVC allowed Tateside to resolve communication issues ahead of time and meet a strict onsite schedule. The system proved its reliability immediately after installation when staff hosted an unexpected live visitor, executing a perfectly synchronized show from projection down to the final door reveal. With the core presentation now delivering the intended impact, Tateside will return for final lighting integration, leaving Trillium with a powerful, automated sales tool.

What to know:

• Strict security rules required UMass Boston to keep all doors locked, eliminating traditional internal cable routes.
• Despite operating in a notoriously crowded wireless spectrum, the system delivered a strong signal with clear audio and simple delay configuration over a 2,000-foot student processional route.
• The wireless kit drastically reduced setup and testing time from hours to minutes. Its ease of use and reliability made it an essential, permanent "workbox tool" for production crews facing unpredictable venue challenges and tight installation windows.

When event security requirements, pedestrian safety concerns, and complex venue logistics threatened to complicate audio distribution for the University of Massachusetts Boston campus commencement ceremonies, Capron Lighting & Sound turned to RF Venue's RF PA Extension Kit to replace lengthy cable runs with a reliable wireless solution that simplified deployment while delivering uninterrupted audio performance.

[AV/IT Summit Offers Solutions to Today’s Integration Challenges]

“Live event professionals constantly face changing venue requirements, tighter installation schedules, and increasing logistical challenges,” said Chris Regan, chief innovation officer at RF Venue. “The RF PA Extension Kit was developed specifically to eliminate the time, labor and safety concerns associated with long analog cable runs while maintaining the audio quality and reliability professional productions require. It’s rewarding to see companies like Capron Lighting & Sound using the system to overcome real-world challenges at high-profile events.”

Supporting the university’s student processional system required reliable audio transmission between front-of-house operations to where graduates were lining up more than 700 feet away. While the university’s recently installed fiber infrastructure transported audio to a campus technology room the bulk of the distance, the remaining 150-foot span crossed a large glass atrium inside the Campus Center and continued across an outdoor pedestrian parkway, areas where traditional cable deployment had become increasingly difficult. The RF PA receivers fed a distributed PA system covering the approximate 2,000 feet of the student processional route.

In previous years, production crews were forced to route cables across audience seating areas, active roadways, multiple pedestrian walkways and through the Campus Center building. These installations often required overhead cable runs using platform lifts or extensive cable protection systems such as cable troughs.

Adding to the challenge, university security protocols required that all campus doors, including staff-only and non-public entrances, remain closed and secured throughout event preparation, eliminating the ability to route cables through the building and significantly reducing available installation and testing time.

The RF Venue RF PA Extension Kit provided a wireless alternative. Purpose-built for professional live sound applications, the RF PA Extension Kit pairs a two-channel 1RU transmitter with two single-channel IP54-rated diversity receivers featuring built-in compensation delay, allowing production teams to deliver high-quality audio to remote loudspeaker systems quickly, safely and cost-effectively when traditional wired connections are impractical.

“The RF PA Extension Kit was the perfect product to solve the problem,” said David Messcher, senior project manager/LED video screens at Capron Lighting & Sound, with the setup performing flawlessly despite the use being in one of the most RF-congested environments in the Northeast. “It worked exactly as advertised even in close proximity to Boston’s Logan International Airport and the busy downtown Boston area, including the Prudential Center. Signal strength remained rock solid throughout commencement despite the tremendous amount of RF activity and thousands of people on campus. Audio quality was excellent, delay configuration was simple, and deployment was significantly easier than previous methods we’ve used.”

Using the RF PA system, Capron Lighting & Sound transmitted audio wirelessly across the Campus Center atrium and outdoor pedestrian areas without interfering with pedestrian traffic, building access, or university operations. The receivers were positioned at the student lineup location, feeding a distributed PA system covering approximately 2,000 feet of student processional route.

“Instead of spending valuable time installing hundreds of feet of cable across heavily trafficked areas,” said Messcher, “we had the system operational within minutes. It allowed us to broadcast cleanly across the atrium and outdoor parkway without blocking doors or disrupting pedestrian traffic, making installation, testing and event operation incredibly straightforward.”

Within minutes, Messcher and his team was fully operational, ready to broadcast cleanly across the atrium and outdoor parkway without blocking doors or disrupting pedestrian traffic. The RF PA Extension Kit has also earned a permanent place in the company’s production inventory. “Beyond commencement, this is simply a great workbox tool," he concluded. "Every production company encounters unexpected situations where running cable isn’t practical. Having a dependable wireless audio transport solution like the RF PA gives us another option for solving problems quickly and professionally.”

What to know:

• Overcoming low ceilings and hard room reflections, a tailored point-source deployment brings high-energy worship and crystal-clear preaching to every seat.
• By bringing the speakers closer to the audience, Stage Audio Works achieved complete coverage while drastically reducing room reflections.
• Tailored for contemporary worship, The Father’s House Church system uses Plus Audio CPH212 and CPH210 point-source speakers complemented by CPU105 front fills and ET218B subwoofers.

Gqeberha (Port Elizabeth)-based Father’s House Church had a classic contemporary worship challenge: a wide seating layout, low ceilings, and polished concrete floors. To elevate both high-energy worship and clear, articulate preaching, the church partnered with long-time integration partner Stage Audio Works (SAW) to install a distributed Plus Audio system engineered specifically to handle the building's physical real estate.

[Now Available: The Integration Guide to House of Worship]

Balancing impactful music with intelligible spoken word demands uniform coverage across the entire room. Instead of driving high volume from a traditional front-of-house array, which triggers harsh acoustic reflections in wide, hard-surfaced spaces, SAW adopted a decentralized approach. By bringing the speakers closer to the audience, SAW achieved complete coverage while drastically reducing room reflections.

"In spaces with reflective concrete floors and low head-height, pushing sound across long distances usually backfires, creating a wash of room reflections that buries the vocals," explained Kieren Hempel of Stage Audio Works. "By distributing Plus Audio point-source cabinets in localized zones, we keep direct acoustic energy focused right where the congregation is sitting. It delivers dynamic worship impact and vocal precision without forcing FOH to fight the building."

Tailored for contemporary worship, The Father’s House Church system uses Plus Audio CPH212 and CPH210 point-source speakers for clear, controlled main and delay coverage, complemented by CPU105 front fills and ET218B subwoofers for warm low-end headroom. Driven by networked AC415 and AC420 Dante amplifiers, the system relies on onboard DSP and FIR filtering to ensure an uncompromised signal chain and exact time alignment across all zones.

For the church’s technical production crew, the biggest day-to-day win is consistency of the sound mix. By eliminating volume drop-offs and uneven frequency response across the sanctuary, FOH engineers can mix with complete confidence, knowing that what they hear at the sound desk faithfully translates to the back row and side wings.

"The SAW team understood our vision from the very beginning," said Vincent Swanepoel of Father’s House Church. "They presented us with clear, well-considered design approaches tailored specifically to our space, making it easy for leadership to approve a system that serves our entire congregation every Sunday. The collaboration felt natural, and the final result speaks for itself."

What to know:

• Global AV Group installed a custom 1 SOUND system that allows Madison Modern Social to transition smoothly from clear, background ambient music during daytime dining to high-energy, full-frequency audio for evening jazz performances and DJ sets.
• Following the initial installation, B|R Hospitality expanded the concept with OLS (Our Little Secret).
• By combining Cannon C8s, Contour CT28s, and SUB310 subwoofers the installation delivers balanced, high-fidelity sound tailored to the unique aesthetic and energy needs of both environments.

When Madison Modern Social first opened in Old Bridge, NJ, B|R Hospitality set out to create more than another upscale restaurant. To support the vision of a versatile destination capable of transitioning effortlessly from refined daytime dining to lively evenings featuring live jazz, DJs, and a vibrant nightlife atmosphere, B|R Hospitality partnered with Global AV Group to design and integrate a premium distributed audio system built around 1 SOUND loudspeakers.

[Do-Re-Mi-Fa-So-La-AI]

The initial setup succeeded in delivering balanced, high-clarity sound during lunch service while offering the dynamic output needed as energy builds throughout the night. The success of that installation paved the way for the venue's next chapter: OLS (Our Little Secret), an intimate luxury speakeasy hidden discreetly beside the main restaurant. Accessible through a concealed entrance, the Celano Design Studio-designed lounge features moody lighting, a striking marble bar, and an exclusive atmosphere.

To handle the restaurant's shifting energy levels without relying on sheer volume, Global AV Group deployed a distributed 1 SOUND system tailored to each space's unique acoustics and layout.

In the main dining area of Madison Modern Social, Cannon C8 loudspeakers paired with SUB310 subwoofers deliver consistent coverage across every room. This setup provides exceptional midrange clarity for comfortable daytime conversation while supplying robust low-frequency impact for evening entertainment.

Next door in the OLS speakeasy, the system combines Contour CT28 loudspeakers, custom-finished Cannon C8 units, and SUB310 subwoofers. Custom-matched through the 1 SOUND Custom Shop to complement the dark interior, the hardware generates high-energy impact suited for craft cocktails, late-night DJ sets, and intimate lounge gatherings.

By pairing thoughtful interior design with precision acoustic engineering, Madison Modern Social and OLS demonstrate how integrated audio can unify two distinct hospitality experiences under one roof. The result is a seamless journey for guests—moving from elevated dining to an exclusive speakeasy without sacrificing sound quality.

What to know:

• Extron and AV Structural built a centralized, standards-based AV infrastructure using DTP CrossPoint matrix switchers, TouchLink Pro touchpanels, and a 70V audio distribution system across clinical rooms, imaging suites, and executive offices.
• AV Structural successfully managed a highly compressed installation schedule alongside active framing and electrical trades, while quickly redesigning signal pathways on the fly.
• Leveraging Extron’s responsive technical and sales support, the team executed rigorous installation standards (including pre-tested 568B terminations and automated occupancy sensor controls) to deliver a flexible AV system that meets current clinical needs while allowing for seamless future expansion.

Extron and AV Structural Streamline AV for High-Performance Medical Clinic

Extron and AV Structural have delivered a unified, standards-based AV solution for Human Longevity’s advanced medical clinic in South San Francisco, enabling seamless support for video conferencing, patient consultation, medical imaging, and digital content delivery across the entire facility. Designed to complement the clinic’s focus on precision wellness and personalized care, the system leverages Extron DTP CrossPoint Series scaling presentation matrix switchers to provide centralized signal routing, integrated control, and consistent user experiences across diverse spaces, including consultation rooms, imaging suites, executive offices, and public areas.

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The timeline for this project presented immediate constraints. Because AV Structural was engaged after construction was already underway, both the design and installation phases were significantly compressed. With framing, drywall, and electrical work already progressing, access to key rooms was delayed and often fragmented. This required the AV team to sequence installation around other trades, often working in off-hours or shifting focus room by room based on availability. Product procurement had to be executed in parallel with system design and coordination, demanding accurate development of the bill of materials and fast internal approvals.

In the MRI suite, an unforeseen conflict required a full relocation of AV conduit and terminations to accommodate DMX-controlled lighting systems. The design team responded by rerouting feeds and updating signal pathways without delaying construction. Amid these changes, AV Structural maintained strict standards for physical infrastructure. All cable pulls were labeled, terminated to 568B standards, and tested in advance of rack placement. Audio zones were mapped using a uniform 70V topology to simplify distribution, reduce amplifier count, and support long-term scalability.

“Extron’s technical and sales support made a huge difference,” said Teo Nguyen, senior systems engineer/programmer at AV Structural. “With deadlines tight and logistics changing daily, having direct access to people who could get us answers and hardware quickly was critical. The system we delivered gives Human Longevity what they need today, and it’s built to grow with them as their clinic evolves.”

The installation includes Extron DTP 4K transmitters and receivers, TouchLink Pro touchpanels, and TLS 1025M scheduling panels to streamline room control and coordination while preserving patient privacy. An Extron DMP 64 Plus digital matrix processor manages audio across a facility-wide 70-volt distribution system, while XPA U and MPA Series amplifiers and SF 3CT LP SoundField ceiling speakers deliver clear, consistent sound. Occupancy sensors automate room behavior, enabling intuitive operation and reducing staff interaction with technology.

The AV systems now in place at Human Longevity’s South San Francisco clinic represent a complete integration of architecture, workflow, and technology. The Extron DTP2 CrossPoint matrix switchers enable full system routing across the entire building. Clinical rooms, imaging suites, executive offices, and shared zones all share the same control logic and user interface, reducing training time, and minimizing support calls. Clinic staff have responded positively to the system’s consistent interface design and responsive performance, because it enables seamless transitions between rooms with different AV profiles.

"What made this clinic stand out was how much ground we had to cover, from public video walls and sound masking to MRI interfaces and executive conferencing," concluded Tom Bustillos, principal, AV Structural. "The Extron platform was able to handle all of that, making the install smoother, and the result stronger.

Executive Summary

• Nature sound recordist Thomas Rex Beverly conducted expeditions in Hawaii and French Polynesia, developing a custom 3D-hydrophone array to capture high-definition, spatialized audio of humpback whales.
• Sennheiser played a critical role in the project: the HD 300 PROtect headphones ensured Beverly could safely monitor extreme acoustic soundscapes during long overnight sessions, while the MKH 8020 microphones captured ambient surface-level sounds to create an immersive blend of the underwater and above-water worlds.

Nature sound recordist Thomas Rex Beverly has spent years chasing the sounds of the natural world, from Patagonian mountain ranges to glaciers of Greenland to the ancient redwood canopies of California. Now he has gone further than ever before, plunging beneath the surface of the Pacific Ocean to capture the extraordinary songs of humpback whales. Armed with a trusted set of Sennheiser HD 300 PROtect headphones, his long-standing companions, MKH 8020 microphones, and a bespoke 3D hydrophone array, Beverly undertook two expeditions, first to Hawaii and then to French Polynesia, in pursuit of high-definition, spatialized recordings that no researcher had previously made.

Beverly has followed three core themes in his field recording expeditions; glaciers, weather and ancient trees, and has now added a fourth, whales. He found that while the existing recordings were interesting, he felt he could do more to really capture their other-worldly songs and the essence of their habitat, specifically with a more accurate recording of the vast spatial nature of the underwater world. His adventure began in Hawaii, where he recorded the unique underwater world of the wildlife around the Big Island, and ended in French Polynesia where, with the help of Sennheiser, he listened to the enticing songs of humpback whales.

Typically, existing recordings of whale song have been recorded for research purposes and are optimized by scientists for ultra-long recordings of up to six months. This makes the results factually accurate, but not of high enough resolution to be suitable for spatialised sound or high-definition listening. As a field recordist, Beverly strives for perfection. His sound libraries are used by sound designers for film, TV, video games, and museums, with his clients including Oscar, Emmy, and Golden Globe-winning sound designers and sound editors.

“I started recording whales in Hawaii during February 2025. This was my first whale project, and I did a huge amount of learning,” Beverly recalls. “I got some great recordings, but for my French Polynesia trip in October 2025, I was able to really improve on that experience, refining my techniques and immersive hydrophone arrays.”

Building a Robust Gear Pack

Capturing the unique and almost alien environments of the sea requires robust and reliable equipment. For his latest adventure, Beverly relied on the accuracy and safety of his Sennheiser HD 300 PROtect headphones, alongside a complex and completely bespoke 3D-recording hydrophone rig. The HD 300 PROtect are fitted with Sennheiser’s ActiveGard technology, which protects the wearer’s hearing from sudden sound bursts without interrupting the audio signal, an added safety feature that differs from traditional acoustic shock clipping circuitry. The headphones proved critical for long overnight sessions spent immersed in some of the ocean’s loudest and most dynamic soundscapes.

Beverly recounts, “I’m sitting in the dark, rocking gently on a catamaran off the coast of an island that looks like Jurassic Park. I’m in French Polynesia and the humpbacks have all gone quiet. They’re hiding to protect their calves from a pod of Orcas that have been hunting. It’s been eerily quiet for almost an hour. I start to hear a sound like distant machine guns firing constantly. Then I hear a whistle. I realize something magical is about to happen, so I start scanning the horizon.

I see the first spinner jump. They really spin as their whole body flies out of the water. So neat. The dolphin pod was curious about why we are floating out in the open ocean with hydrophones and decided to check us out. The giant cube of 8 hydrophones captures them swimming in three dimensions. Some of their sounds are in the audible range, but I know there’s a wild world of ultrasonics happening at the moment. I could feel my headphones screaming to reproduce them and got this weird ear fatigue all of a sudden...but luckily the HD 300 PROtect headphones protected my hearing and let me enjoy the moment. It was a beautiful wildlife encounter that I’ll remember when I’m 80.”

Beverly discovered that the Arctic population of humpback whales spend their summers in Alaska, but when winter begins, they migrate to Hawaii. Their food sources are in Alaska, so the whole journey is spent fasting. They congregate to mate, rear their calves and, importantly for Beverly, sing.

“The Humpback soundscapes in French Polynesia are wildly different from the ones I recorded previously. In Hawaii, it’s a chorus of twenty to fifty whales singing at the same time. And in French Polynesia, it’s usually a solo humpback echoing to infinity.

I’m pretty sure the male humpbacks pick locations that are optimized for acoustic sound quality...like singing in an underwater canyon so their echoes sound better. At least that’s what I was imagining when lying on the deck of a sailboat in the dark in the middle of the Pacific Ocean, listening to the magical underwater soundscapes of these massive whales.”

“Not all environments benefit from a 3D recording, but the whales really do,” he expands. “They are spread around and often glide up and down, anywhere from 100- 500 meters in depth, so capturing that dynamic was important. The hydrophones were custom-built. We got some cool, very dense recordings in Hawaii. It’s something that very few people have done, so figuring it out was always going to be tricky, but we learnt a lot of lessons.”

The designer of the hydrophones Beverly uses is Jules Ryckebusch. He is a retired US Navy veteran with 20 years of experience as a submariner. He has a passion for recording and, while serving, he developed expertise on how the Navy uses hydrophones. After retiring from the Navy, he quickly got interested in all the sounds he could hear, and it made him want hydrophones of his own, leading him into custom design. He now shares those designs, as well as his audio expertise, widely on sites like Instructables.com, showing how these remarkable hydrophones can be made for the reasonable outlay of around $250 each. Beverly first used the Gladys hydrophone in 2019 and has had them as an essential part of his toolkit ever since.

“The speed of sound is different under water, it is roughly 4.5 times faster than in air, depending on the depth and temperature,” Beverly explains. “So, this affects the size of the array. On land, I would aim for about 40cm, minimum, for an omni array, but the minimum distance to achieve a stereo image under water is going to be about two meters.”

Building a Seven-meter Cube Beneath Mo’orea

For his work in French Polynesia, Beverly expanded the size of his array to seven meters cubed. Here, the whales are from a range of species, so the songs they sing occupy a huge frequency range. The real stars were the humpbacks, with their distinctive calls, but there were also fin whales, which make much deeper, more bass sounding calls and songs. In the upper ranges, high frequency clicks from dolphins and orca were also audible, with the presence of orca pods having a surprising effect on his recordings.

“Orcas hunt humpback whales,” Beverly explains. “A transient pod would move through the area we were recording in, chasing after the calves. When they were around, the humpback whales stopped singing and started hiding. It was interesting because the fin whales did not stop singing. That could be because they were farther away, but it could also be that they were just not bothered by the orcas.”

Beverly often recorded at night, when noise pollution from other vessels was limited. He found a willing local guide who was excited by his endeavors and owned a sailboat. The guide agreed to take him out, in return he got to listen to the remarkable songs too, something that his lifetime on the sea had not given him the opportunity to do before. His base was the beautiful island Mo’orea about 10 miles west of Tahiti.

With his experience from Hawaii, Beverly engineered a modified array system, with a central recording position. A stereo cable ran from here to each corner of the boat, with two hydrophones attached to each cable, the first at 25 meters, with the second seven meters below that. The result was a seven-meter cube, submerged 25 meters under water to reduce surface noise, with far less handling noise and much faster deployment than the Hawaii frame method.

Monitoring at Depth with the Sennheiser HD 300 PRO

“The whole setup was much easier with me sitting in the middle of the boat,” Beverly continues. “I’d got the HD 300 PROtect’s SPL limiting enabled, so I was much happier about listening for long periods of time with the volume cranked up. It is a limiter rather than a cut-out, so it just gave me peace of mind. There was a moment when I was listening to the sounds of the coral reef, half asleep, when a male humpback started singing loudly to the left of the sailboat. This came suddenly out of a quiet, subtle soundscape. I had the volume cranked way up, so I might have damaged my hearing without the limiters on the HD 300 PROtect.

Another dramatic sound came from snapping shrimp: powerful miniature creatures that use a high-pressure burst of water to stun prey and communicate. Despite their tiny size, their sounds are as loud as a dolphin’s and dominate the reef soundscape.

Overnight, Beverly also heard sharks and rays stalking their prey. As he moved into deeper water, these sounds faded into the background, like cicadas fading on summer evenings on land. Left in the foreground were the mournful, echoing calls of the humpback.

Nicknaming the producers of these calls “the subwoofer whales”, the calls of the humpback can go as low as 20 Hertz. At these frequencies Beverly was feeling more than hearing the sounds, but his headphones were able to reproduce enough of the sound for him to truly experience these vocalizations.

“I had no idea how far away the whales were, because the sounds travel so far,” he says. “They could be fin whales, humpbacks, or even blue whales, whose sounds are more like a low-frequency pulse. These sounds create amazing layers, going down to around 20-80 Hertz, with singing in every layer, added to by the background noise of the reef with shrimp clicks and animals that live in the coral. In the middle ground areas, you get these cool reflections from the underwater canyons. I really wouldn’t have been able to enjoy all these sounds as fully without the limiter on my headphones. During the night, I would be lying on the deck of the boat at night, maybe sipping rum, and if I didn’t have that added protection, I wouldn’t be as comfortable. The limiter on the HD 300 PROtects is a useful feature for people recording in the field.”

Sennheiser MKH 8020 Bridges Two Worlds

Beverly also experimented with layering in above-water sounds. In his experience, there was a real juxtaposition between the calm, still nighttime air and the cacophony of sound just below the waves. The stillness was occasionally broken by the emergence of humpback whales, slapping their flukes and playing as they came up for air.

For these moments, Beverly turned to his Sennheiser MKH 8000 Series microphones, specifically the MKH 8020, the same omnidirectional RF condensers that have accompanied him on every expedition, from the ice of Patagonia to the canopy of California’s redwoods. Their exceptionally low self-noise, flat frequency response, and ability to handle extreme conditions make them as well-suited to the salt air of the Pacific at midnight as they are to a howling Andean gale. Blending the airborne world with the alien sounds of the underwater realm gave back a sense of reality, and it was these shifts in perception that pleased Beverly.

“Under water, you have the snapping shrimp, which make an almost electric popping sort of sound,” he says. “When it starts raining on the surface of the water, you have this underwater rain sound that’s mixed with the electrical crackling, and it starts sounding like a sci-fi rain. If I mix that with the sounds captured by the 8020s and switch between the two, it gives a shift that I find really interesting. Moving from the heard world above water, to the unheard world below.”

The stereo MKH 8018, on the other hand, was used as a spot microphone, adding effects like the wind in the sails or any moving sound sources.

Other Worldly

For Beverly, this trip was more than capturing audio, it was an experiment in understanding an alien soundscape that few get to hear. His recording sessions were done from a large sailboat and he wasn’t allow to get in the water while recording. However, French Polynesia is one of the few places in the world where you can snorkel with humpback whales. You just have to charter a special boat that is permitted to do guided whale swims. So, after recording these majestic creatures from a safe distance, Beverly packed away his hydrophones and came face to face with the humpbacks during a guided swimming session. During this unique experience, he made eye contact with a humpback calf and it left a lasting impression. He discovered more about nature during his time in French Polynesia than he could have imagined.

“I think one of the main reasons I like whales so much is that you don’t have a reference for them,” he concludes. “If I go from Texas to Tanzania, I hear birdsong – it may sound very different, but they still sound like birds! You have a reference because there are birds where you live. Underwater sounds are very foreign to me. It’s just another planet down there. The whales make all sorts of crazy sounds and I’m excited to share more of them.”

As he reflects on this latest chapter, Beverly is already thinking about what comes next. His MKH 8000 Series microphones, battered by glacial winds and ocean spray across years of expeditions, remain as indispensable as ever. That is proof, if any were needed, that great field recording begins with microphones that can be trusted in the harshest and most unpredictable environments.

If you’d like to read a full technical article about hydro arrays, please read Beverly’s blog post on 3D Immersive Hydrophone Arrays.

Quick summary:

• A network of 14 Green Hippo media servers (eight Kasai MX and six Boreal+ MK2) drove high-resolution LED canvases throughout the stadium.
• Built for zero-fail live environments, the system provided rock-solid stability under relentless demands.
• The visual setup acted as the central engine for the 106,000-fan spectacle, continuously shifting screen roles between custom pre-rendered entrance graphics, sponsor messaging, set transformations, and live TV broadcast feeds during matches.

WrestleMania 42 drew over 106,000 fans across two nights at Allegiant Stadium in Las Vegas, delivering WWE’s signature mix of athletics and spectacle. The visual engine behind the production was a high-performance Hippotizer Media Server system from Green Hippo supplied by Upstaging. The system adapted seamlessly across the two-night event, moving from a Mad Max-inspired theme on opening night to a sleek, modern look on the second night.

[A High-Tech Oasis Rising above Low-Tech Downtown Vegas]

Video serves as an essential, constant element in WWE productions, displaying custom pre-produced graphics, sponsor messaging, set transformations, live camera feeds, and IMAG content. Hippotizer media servers powered an expansive network of LED canvases throughout the venue, including the ring posts and skirt, trusses, barricade, over-ring trons, entranceway, ramp, and stadium ribbon boards. During matches, control of select screens shifted to the TV truck for live camera coverage.

To handle the immense scale and high resolutions required, the technical setup featured eight Hippotizer MX Series Kasai Media Servers alongside six Hippotizer Boreal+ MK2 Media Servers. The compact Kasai units proved crucial for heavy-duty playback, driving massive displays such as the over-ring trons (7,272x864 pixels), stadium VOMs (6,080x128 pixels), and lower ribbon boards (13,856x448 pixels). Meanwhile, the Boreal+ MK2 servers managed the entranceway, ramp, barricade, and other LED installations.

WWE media server programmer Chris Keene, working alongside Upstaging project manager Tony Thompson, highlighted content management and network synchronization as the production's primary challenges. The crew spent days continuously downloading, encoding, and syncing media across the network. Managed through a grandMA3 console, the Hippotizers provided dependable stability, allowing the team to prepare surprise entrances and execute last-minute programming adjustments on spare machines during live action.

A standout moment occurred during Cody Rhodes’ entrance, which transformed the main stage into a Batman-inspired cave. The sequence required multiple screens to play precisely timed clips perfectly synchronized with audio, demonstrating the Hippotizer network's tight system integration.

The reliability of the Hippotizer hardware allowed the production team to manage complex visual workflows with total confidence, cementing Green Hippo and Upstaging as crucial partners in executing one of live entertainment's largest visual productions.

What to know:

• ReelWorks Denver is the second venue in the Americas to permanently install the L-Acoustics DJ system.
• By pairing this spatial audio setup with the venue’s existing 360-degree 3D projection-mapped walls, ReelWorks can synchronize movement in light and sound across the entire space for a fully multi-sensory experience.
• Housed in a historic 1940s film reel factory, the venue transformed from a simple warehouse and corporate event space into a technologically advanced concert venue.

ReelWorks Denver, a 2,000-capacity venue located in Denver’s River North Art District, has overhauled its live audio capabilities by installing a 3D spatial sound system. Housed in the historic 1940s Goldberg Brothers Tinners factory—a former manufacturer of Hollywood film reels—the venue transformed from a warehouse into an independent concert destination. While ReelWorks already featured immersive 360-degree projection-mapped visuals, its growth was limited by an outdated 2007 house sound system suited for corporate events rather than high-energy concerts, which was enhanced recently by L-Acoustics.

[What SCN Discovered about Pro AV's Top AV Consultants]

To elevate the space, director of operations Basil Osman collaborated with local integrator Brown Note Productions to deploy an L-Acoustics L2D spatial loudspeaker system paired with the L-Acoustics DJ ecosystem.

“I was very curious to check out L-Acoustics DJ, and next thing I knew, I was on a flight to California to experience the system for myself,” said Osman. “When I heard it, I thought it was absolutely groundbreaking tech. All it took was one listen. The L-ISA Processor part of it was just mind-blowing, and I couldn’t say no. It was fantastic.”

This makes ReelWorks only the second venue in the Americas to permanently feature the technology. Introduced in 2025, L-Acoustics DJ uses low-latency machine learning via proprietary "Source Separate" technology to split any stereo DJ track into discrete stems—beats, basslines, melodies, and vocals—in real time. DJs can position and move these audio elements anywhere in the room using a spatial mix engine without altering their standard gear or performance workflow.

Brown Note utilized L-Acoustics Soundvision acoustic simulation software to design a seamless, full-room spatial environment. Over the main stage, three L2D arrays in a left-center-right configuration preserve sightlines, while the dedicated center array anchors vocals and cardioid directivity keeps audio energy off the stage. Eight cardioid-configured KS28 subwoofers flank the stage to provide even low-end response across the floor. Mid-room, rear-room, side-fill, and pre-wired balcony arrays composed of A15i Focus and Wide enclosures surround the space to complete the spatial field. In the DJ booth, dual A15 Focus and KS21 subwoofer stacks deliver dedicated surround foldback for the performing artist.

The entire system is driven by an L-ISA Processor II core and powered by LA7.16i and LA12X amplified controllers. By pairing spatial sound with existing 360-degree projection mapping, ReelWorks now synchronizes multi-sensory experiences across the entire room. The system offers visiting DJs plug-and-play ease, letting them intuitively explore 3D sound design on the fly.

“ReelWorks has already wowed roomfuls of people who had never experienced electronic music this way, and we are just now on the precipice of creating some truly magical experiences that will make lifetime memories," concluded Osman. "With L-Acoustics, we are setting the standard for electronic music and clubs, and it has been a joy making this dream come true for our customer.”

Incoming students at Indiana University (IU)’s Media School in Bloomington, IN, have a new, fully immersive video production space to go with a slate of new classes on virtual and augmented reality production. Called the Kinetic Immersion and Extended Reality (KIX) Lab, the area allows students to make feature films, videos, and live productions, just like an increasing number of professional productions are being done today by media outlets like Fox, NBCUniversal, and Warner Bros.

Located in the Radio-Television Building at the IU Bloomington campus, one of the largest studio spaces in the Midwest, the new KIX Lab is the brainchild of David Tolchinsky, dean of the Media School and a filmmaker by trade. He saw an opportunity to create a next-level space that would bring the school's curriculum in line with what’s going on in the world of professional production for feature films and television.

“As a filmmaker himself, David had the vision to offer IU students a full immersion lab and the very latest in production tools to allow them to create high-impact storytelling,” said Jay Kincaid, director of facilities and technology at the Media School. “That’s really the mission at IU, to give students the best education and opportunities to succeed in the real world.”

Multi-Use Production Space

The Radio-Television Building is also home to WTIU, the Indiana Public Media TV Station, and will soon include a large sound immersion and performance space for live event projects that will cover the center of the evolving studio space. In fact, the school is spending more than $3 million to refresh its technology facilities. “Retrofitting the entire building went from being a big idea to a grand idea that could support a multitude of departments here at IU,” Kincaid said.

To see the KIX project to fruition, Kincaid brought in veteran systems integrator American Sound, which has completed several projects on the IU campus over the years. Daniel Martin, director of engineering at American Sound, along with Jeremiah Cooper, project manager at American Sound, oversaw a team of engineers and technicians from IA Stage and American Sound that constructed a free-standing (counter weighted) 32x15-foot, Unilumin 1.8mm UpadIV wall, pitched in 1-degree increments to create a seamless viewing experience.

They also installed a motorized 19x13-foot ceiling structure of Unilumin 3.9mm URMIII Pro LED cabinets, grouped in three sections, that can be lowered for ground-level maintenance and creative adjustments. And there's a 29x14-foot, Unilumin 3.9mm UDF03 LED “dance floor.” All three LED wall configurations are operated from a single NovaStar MX6000 COEX processor. A series of Kino Flo lights for keys and fills were borrowed from the school’s theater department and can be hung from the ceiling LED truss structure as necessary to illuminate desired areas of the virtual stage.

All signals are fed to a nearby equipment rack for real-time processing and monitoring. American Sound selected Pixotope Technologies for the professional virtual production software that fosters hands-on learning for students to gain industry-standard skills in AR, MR, and XR workflows in real time. The company said that its advanced image processing technology, which it offers to universities at a steep discount, prepares students for careers in virtual production “through practical experience with real-time technologies.”

IU’s KIX Lab uses Pixotrope to render a background scene across the LED wall. The system currently tracks a single camera and lens on only one plane using Pixotope’s Vision and Marker systems, but it can be upgraded to include the LED floor and celling planes with minimum hardware. Along with the camera tracking, the virtual production environment also uses Pixotope’s TalenTrack system, which tracks human talent in real time using static cameras to optically track and map subjects onto the virtual rendered video.

Teaching Production Workflows

Virtual projects are shot against the wall using a Canon EOS C300 MKIII digital cinema camera in 4K mode with a Canon 18-80mm T4.4 compact servo lens mounted to a Maxicrane Ostrich MK2 robotic camera crane. When the KIX space is complete (Phase 2 is planned), images will be processed in real time using an Unreal Engine system.

“Currently, the floor and the ceiling are not included in the Unreal Engine workflow,” Kincaid explained. “Those right now are treated more like lighting elements. It’s a better experience for the students to use the Pixotope software for things like camera tracking and 2D motion capture. We’ll be adding real-time processing for all workflows at a later date.”

With the current setup, students can create wireframe renderings of their desired scenic effects. For creating an AR experience that interacts with graphics and other visual elements, it’s more than suitable.

The system is genlocked to the building's master control room clock to keep all devices in sync.

“We’re tied to the main control room’s genlock as we are also getting feeds from their master control down into the KIX Lab space, which allows students to maintain sync at any given moment for other projects besides the immersive part,” Martin said.

Calibration is another critically important element to setting up a virtual production stage LED because it bridges the gap between the physical and digital worlds, ensuring that the camera captures a seamless, photorealistic image rather than a mismatched, artificial-looking scene. “The Pixotope software has a way of calibrating that makes sure that the lens optics and camera are synced in real time, both to the space and to the user,” Martin added.

In this way, the parallax effect—where foreground objects appear to move faster than background objects when an actor on set moves, creating an illusion of 3D depth—is set correctly for students to use and the actors correctly appear in the virtual scene.

Budgets and Expectations

IU’s Kincaid said it’s important to have a person with extensive knowledge of virtual technology workflows on hand when necessary. To this end, IU employs Scott Carmichael, who has worked in radio and television at IU for 30 years.

“Scott is not only a professional graphic designer, but also a super smart guy who understands these virtual workflows,” Kincaid said, adding that Carmichael worked closely with American Sound during installation and setup. “There are so many questions when setting up and maintaining systems like these, and his knowledge helped make the KIX Lab what it is today. Without Scott and American Sound, there's just no way this could have ever been done. So much of the success of this project was working with the right partners."

For example, American Sound understood the complex nature of project budget approvals at IU and helped the nine-month project (August 2025-April 2026) run smoothly. “What happens with so many system designers is that the budget is just kind of a suggestion and it just keeps growing," Kincaid said. "It's never been that way with American Sound.”

“There's always a challenge to meet the budget,” Martin admitted. “In a lot of cases, it's usually a dance and that involves ways to keep talking or reframing the conversation to what is it we're trying to accomplish—what matters most to the client and to the space. And if you try and honor that and be true to that, there's places where you can make compromises that don’t diminish quality nor take away the functionality that they want.”

Giving students the best tools to succeed was paramount to bringing IU’s curriculum of building immersive experiences to the next level. They’ve also hired new faculty, led by Ivica Ico Bukvic, professor of media arts and production and KIX Lab director, to shepherd students through a new series of associated courses.

“We prepare students for careers, knowing that when they graduate, they have a good grasp of the types of tools and technology that they’ll see in the outside world,” Kincaid said. “At the Media School, we’re always looking at the most innovative technology and then making it accessible to our students in the easiest way possible. The new KIX Lab is just the latest example of that.”

Details:

• Sony’s FX6 and NX800 evolve the university’s media production education while providing students access to professional equipment.
• Professors emphasized the ease of use and learning curve in teaching students to use the equipment.
• The benefits and quality resulting from the use of Sony’s cameras are noticeable and helping to support students’ job prospects and employability.

North Texas Ups Its Game with Sony Camera Technology

The University of North Texas (UNT) in Denton, TX has a strong focus on career readiness, artistry, and innovation. In order to make significant strides in enhancing its media arts curriculum, the university integrated Sony's latest professional camera technology. Both undergraduate and graduate students now have access to the FX6 cinema camera and HXR-NX800 handheld camcorder to learn the fundamentals of media production, get acclimated to the tools that will be used in their careers, as well as enhance their creative vision on real-world projects which includes narrative and documentary storytelling.

[Course Correction]

In collaboration with Texas Film Gear, the University upgraded its technology, selecting the NX800 4K model with 20x optical zoom lens, a variable neutral-density filter, AI-powered subject recognition and high-precision autofocus for its introductory film production courses, while the FX6 Full Frame Cinema Line camera is used for intermediate and graduate level courses.

Brandon Gaesser, assistant professor at North Texas' Department of Media Arts and interim chair for the department’s production committee, teaches undergrads and students enrolled in the Master of Fine Arts (MFA) program, with a focus on documentary filmmaking. When the department had an opportunity to replace its aging camera technology, Gaesser sought a solution that would align with industry standards, give students the relevant skills and experience for the workforce, and set them up for continued success. Furthermore, he wanted cameras that would be ready to use, out of the box, without requiring additional accessories and investment to build out.

“We chose Sony because we felt that would best prepare and position the students for entry-level roles as camera operators, and cinematographers at production companies," he explained. "Sony has a robust camera lineup that is widely used by working professionals and having familiarity with the menu structures and button layouts helps students seamlessly transition into those positions.”

As someone who learned the trade on Sony’s PXW-FS5 and PXW-FS7 cameras, and owns Sony models, Gaesser emphasized the ease of use and learning curve in teaching students to use the equipment. “These are cameras that are very user friendly and easy to teach the students. The students can pick them up and learn them quickly, building muscle memory that extends across the Sony lineup.”

UNT’s MFA students, who are standardized on the FX6, have taught undergraduates in the school’s Introduction to Media Arts Production course to operate the NX800, which gives both levels of learners the fundamentals to easily navigate other cameras within Sony’s ecosystem.

Sony’s Image quality was a big point for UNT. In the MFA program, capturing observational, verité style content involves dynamically changing environments and lighting, and the Sony cameras have been up to the task.

“The students need a versatile camera that can adapt with them," said Gaesser. "The FX6 does just that. It can handle fast changing lighting situations, as well as low light, and offers high contrast, great dynamic range, an ergonomic form factor, and helpful autofocus.”

He added that the feedback has been positive, especially with the FX6s. He also noted that the benefits and quality resulting from the use of Sony’s cameras are noticeable and helping to support students’ job prospects and employability. “The students’ level of work has really increased substantially," Gaesser concluded. "They love these cameras, and so do we.”