What to know:

• Brompton Technology’s LED processors provided the processing backbone for the virtual production workflow used on 'Believe Me.'
• The production used a 30m-wide by 4m-high ROE Visual BP2V2 LED wall driven by four Brompton 4K Tessera SX40 processors.
• By using the same Tessera workflow during pre-production and principal photography, fivefold studios was able to validate the pipeline in advance, maintain a dependable visual reference, and give the creative team precise, repeatable control on the day.

The Virtual Production Workflow Used on 'Believe Me.'

Brompton Technology’s LED processors provided the processing backbone for the virtual production workflow used on Believe Me, ITV’s four-part true-crime drama produced by Etta Pictures, part of ITV Studios. With a significant proportion of the drama taking place inside a black cab travelling through London at night, virtual production specialist fivefold studios developed a controlled LED workflow that could support the story’s demanding creative, technical and performance requirements. The production used a 30m-wide by 4m-high ROE Visual BP2V2 LED wall driven by four Brompton 4K Tessera SX40 processors.

[London Academy of Music & Dramatic Art Goes Virtual... Production]

Filming the scenes conventionally on a low-loader would have required extensive night shoots on London streets and, according to the fivefold team, could have taken between three and five times longer.

"The controlled environment also helped protect the performances from the practical pressures of shooting such disturbing material at night on the streets of London,” explained Tom Murphy, head of production at fivefold studios. "Many of the key dramatic beats depended on traffic lights changing and the cab following specific routes. Being able to program those events, trigger them on cue and repeat them accurately allowed us to remain faithful to the script in a way that would have been extremely difficult on a low-loader.”

At the center of preparation was the ability to establish a reliable 10-bit image pipeline with an accurate reference for the displayed image and its color transforms. Using the same Brompton workflow during research and development and on set enabled fivefold to refine the setup in advance, providing a more controlled and predictable starting point when principal photography began.

“Brompton was central to giving us confidence in the image pipeline for Believe Me,” said Murphy. “Having access to the same Brompton workflow in our R&D Lab meant we could test, refine and validate color, image transforms and display accuracy before anyone arrived on set. That level of control made a real difference to the production, giving the team a reliable reference for the displayed image and creating a far more predictable virtual production workflow.”

Working closely with cinematographer Bryan Gavigan, the gaffer and the DIT, fivefold aligned the LED imagery with the physical lighting and camera requirements. "Our main job was to ensure that the background never took the audience out of the moment or the performance,” Murphy noted. “That meant getting the brightness, contrast, color, perspective and scale right, while maintaining a detailed record of every setup so that the production always had a faithful reference.”

Lighting fixtures could also be driven by the video playback, enabling synchronized effects to be mapped to specific areas of the content and reproduced consistently between takes. Detailed records were maintained for every setup, scene and take, providing the crew and production with an accurate reference should a sequence need to be revisited.

An iPad-based interface allowed the virtual production supervisor to remain alongside Ford and trigger events, reset the sequence to its starting position and reproduce cues efficiently. For the actors, the real-time environment provided visible movement and lighting to respond to naturally, reducing the need for additional direction and helping performances remain synchronized with the world outside the vehicle.

The controlled workflow also expanded what the production could achieve beyond the cab sequences. One opening shot, featuring a bus crossing a bridge and passing the London Eye, was written into the drama because virtual production made the sequence achievable with significantly less practical risk.

“Believe Me demonstrates the value of treating virtual production as a complete image pipeline rather than simply a screen on set,” concluded Patrick Goodden, technical sales manager (U.K. and Ireland) at Brompton Technology. “By using the same Tessera workflow during pre-production and principal photography, fivefold studios was able to validate the pipeline in advance, maintain a dependable visual reference, and give the creative team precise, repeatable control on the day. We are proud that Brompton processing helped remove technical uncertainty from such a demanding production, allowing the team to focus on performance, continuity and storytelling.”

Across two locations, Germany’s Technik Museum features over 6,500 exhibits that explore military history, aviation, space travel, and marine mechanics. A U17 submarine has become a highlight attraction at the Sinsheim museum, inviting visitors to dive into a multisensory journey that explores life onboard the vessel, as Genelec loudspeakers recreate the sounds of daily operations for a new generation of passengers.

[Luxury Audio by the Sea]

For several years Laboratonium Audioproduktionen e.K. has been creating multimedia audio projects, sound designs, and immersive audio installations for museums and exhibitions. To support Technik Museum Sinsheim, the team, led by managing director Marc Simon, audio engineer and project manager Jan Lipp, and sound designer Ksenia Cherkashina, set out to transform the U17 exhibit into an emotionally engaging, immersive experience through a custom-designed acoustic concept.

Full of narrow passageways and technology built for underwater use, the submarine presented a uniquely challenging environment to install an immersive AV system. “Metallic surfaces, narrow corridors, and many small compartments have specific acoustic characteristics,” Jan Lipp explained. “In order to integrate an impactful sound system, it required precise planning of loudspeaker positioning, discreet design, and a way to combat the complexities of technically sensitive spaces.”

Genelec loudspeakers were chosen to deliver the exhibition’s immersive soundscape. “We were committed to choosing Genelec loudspeakers from the outset because they match the installation’s requirements perfectly, both in terms of design and technology,” said Lipp. “A decisive factor that led to their selection was the robust, yet timelessly elegant form factor. They blend unobtrusively into the existing technical environment of the submarine, which was essential to the exhibit’s emotional impact. When loudspeakers are not consciously perceived, visitors are convinced that sound is emanating directly from the space itself.”

A total of 13 Genelec loudspeakers—including 11 compact 8010A studio monitors and two larger 8030C models—were supplied by Musikhaus Schlaile GmbH, all dark grey to correspond with the interior mechanics. As visitors explore the submarine, the hum of engines, metallic sounds of controls, sonar pings, and the oppressive sense of being underwater become increasingly apparent. With loudspeakers hidden discreetly in plain sight, the detailed soundscape adds an eerie atmosphere, while in some spaces, interactive sequences are triggered to heighten the experience.

For an exhibition where technology plays such a central role, the Genelec system integrates seamlessly into the environment while enhancing the emotional impact of the experience through sound. The result has proven to resonate with visitors, with some even describing the sensation of being onboard a moving and operational submarine.

“Sound design for a walk-through submarine is not an everyday scenario and required a high degree of creative flexibility and technical expertise, but this uniqueness was ultimately part of the project’s appeal,” Simon admitted. “We were very satisfied with the Genelec loudspeakers. In our own surround studio, we work with Genelec 8030 systems and are constantly impressed with their quality, precision, and flexibility; the same proved to be true in this installation."

Details:

• Wave Church turned to HouseRight, a house-of-worship AVL specialist, and to an L-Acoustics L-ISA immersive configuration built on L Series loudspeakers.
• The installation centers on a Scene system of five L-Acoustics L2D arrays.
• Beyond coverage, L-ISA has changed how the church’s team creates, giving them a far wider canvas of placement, texture, and movement to draw a congregation in.

Wave Church Draws the Congregation Closer with L-Acoustics

Wave Church, a multi-site house of worship in Virginia Beach, recently upgraded its 2,500-seat worship auditorium in its 80,000-square-foot headquarters. Serving a broad congregation across a calendar that runs from weekend worship to conferences and concerts, the church wanted production sound to match its ambition. For the upgrade, Wave Church turned to HouseRight, a house-of-worship AVL specialist, and to an L-Acoustics L-ISA immersive configuration built on L Series loudspeakers.

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

The room itself was the obstacle. The sanctuary is essentially a 180-degree space, wide across the seating and low in trim height, and the church’s previous mono system left dead spots and uneven coverage. The team’s desire was to not only resolve the coverage compromises, but also increase imaging throughout the venue. Every system they had weighed over the years carried the same penalties: many more conventional boxes, recurring line-of-sight conflicts with the architecture, and steep costs. Adding immersive capability on top looked harder still. Wave Church production director Steve “Tig” Tignor explained that one of the big issues the church long struggled with is achieving a stereo image in a room with a wide layout and low trim height.

The L2D array was the ideal fit. Its compact form factor delivered the output and clarity the room demanded without the bulk that had caused the sightline problems, finally putting both true stereo and immersive sound within reach.

“The production style at Wave Church is highly dynamic and creative,” explained Tony Alany, HouseRight’s church relations contact. “In my early conversations with Tig and the team at Wave, balancing that style with satisfying all of the challenges of trim height, volume targets, and coverage were never quite possible with any of the available products at the time—until the release of the L Series. When I saw its reveal event, I knew it was the key to what Wave was looking for. Within three days, I had arranged a trip up to NYC to see the product in person, and there was no turning back. Once they had settled on L2D, L-ISA was clearly the next conversation, which gave them a much wider palette to work with.”

The installation centers on a Scene system of five L-Acoustics L2D arrays. An Extension system adds four arrays of three A10i Focus over one A10 Wide, two on each side of the main Scene hangs, while out-fills comprise four A15i Focus over one A15i Wide behind the far left and right Scene arrays. Low end comes from nine KS28 subs flown centrally in three cardioid-configured hangs behind the middle Scene array. Out in the house, a dozen X12 serve as delays for the upper stadium seating areas, with eight more X12 spread out across the stage lip as spatialized front-fills. L-Acoustics LA7.16i amplified controllers drive the Scene and Extension arrays, out-fills and delays, while LA12X drive the subs and front-fills, and an L-ISA Processor II handles the auditorium’s object-based mix.

The room’s wide geometry shaped how the system was configured, and the priority was to keep every listener inside the L-ISA zone, including a ring of seating around the back of the space that the layout made awkward to serve. Rather than simply adding level there, HouseRight used L-ISA to match the front-fills at the front of the room with the rear arc of X12 as imaging delays, carrying the spatial placement that defines the rest of the room all the way to the back row.

“The challenge was getting coverage everywhere and keeping everybody within the L-ISA zone in what is essentially a 180-degree room,” said Alany. “The rear arc of X12 gives us that spatial imaging in the back, so every seat in the house gets the effect.”

The result reset what the room could do. Where the old mono system had left dead spots, the L2D arrays now deliver a true spatialized image to greater than approximately two thirds of the room, while the remainder of the space is getting a mono experience superior to a stereo or traditional mono system. The immersive layer from L-ISA sits on top of that. For Tignor, the wide sonic imaging is the headline.

“L2D gave us the power and impact we needed in a much smaller form factor, which resolved our line-of-sight issues,” he said. “Going from mono with dead spots to true spatial for most of the room was a night-and-day difference. The immersive sound is wonderful, but that panoramic image is probably my favorite thing about the system.”

The system also solved a long-standing practical headache. The front-of-house position has always sat slightly off-center, another function of the architecture. With object-based mixing, that no longer carries a penalty: engineers place each sonic element on the stage plane and the system delivers it evenly to every seat.

“If we had gone with a standard left-right line array, we would have had to rearrange the entire auditorium and spend hundreds of thousands of dollars to move front of house to the center,” Tignor recalls. “With L-ISA, an off-center mix position simply doesn’t matter.”

Beyond coverage, L-ISA has changed how the church’s team creates, giving them a far wider canvas of placement, texture, and movement to draw a congregation in. “I’m a music producer and was a pastor for years, and I always approached worship the way I would a record, engaging people with dynamic palettes, panning, and reverbs that make it personal,” said Alany. “Now Wave Church gets to do that with a live system, for thousands of people in the same space.”

What to know:

• Fellowship Bible Church's program of worship services, youth activities, and community events has recently been enhanced with the installation of a Martin Audio TORUS sound system in its multipurpose gymnasium.
• A Martin Audio TORUS constant curvature line array system was selected, taking advantage of its ability to direct sound towards the audience while minimizing energy directed onto the walls and ceiling.
• The result? Fellowship Bible Church now has a gymnasium that functions as a true multipurpose space.

Fellowship Bible Church Turns to Martin Audio to Enhance Multipurpose Space

Fellowship Bible Church (FBC), located in Sewell, NJ, serves hundreds of families with a program of worship services, youth activities, and community events. A Martin Audio TORUS sound system was recently installed in its multi-purpose gymnasium., enhancing the experience throughout the venue.

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

The gymnasium is one of the church’s most flexible spaces, regularly hosting church gatherings, youth group events, community wellness programs, and live worship. However, its existing sound system was no longer able to meet the demands of the room, prompting Fellowship Bible Church to turn to local AV integrator Starlite to design and install a modern replacement capable of delivering significantly improved clarity and coverage.

“Large, open gymnasium spaces are known for poor acoustics,” said Starlite’s Nick Minieri. “Hard surfaces, exposed structure and high ceilings create reflections that make speech hard to understand and music difficult to control.”

To achieve the consistent coverage required, Starlite specified a Martin Audio TORUS constant curvature line array system, taking advantage of its ability to direct sound towards the audience while minimizing energy directed onto the walls and ceiling, where unwanted reflections occur.

Acoustic treatment also formed an important part of the installation. Impact-resistant absorption panels were installed along the walls, while additional acoustic hardware was used to minimize reflections from the exposed steel roof structure. “We wanted something that would be relatively lightweight and easy to hang, and we wanted it to be passive so we didn’t need to install new electrical boxes,” Minieri added.

The final system comprises two flown hangs, each array featuring two TORUS T1230 and one TORUS T1215 elements, supplemented by a Martin Audio SX218 dual-18in subwoofer. Four Martin Audio CDD15 loudspeakers provide delay coverage while also allowing the space to be configured into multiple audio zones. Power is provided by Martin Audio iKON iK41 amplifiers.

The SX218 subwoofer delivers the low-frequency extension required for contemporary worship services and live music performances. “This space is being used as a worship space with a live worship band, so the sub was a must-have to support the bass and kick drum,” Minieri noted.

The completed installation has transformed the gymnasium into a highly capable multi-purpose venue, providing consistent, intelligible audio across a wide variety of applications.

“Fellowship Bible Church now has a gymnasium that functions as a true multi-purpose space,” concluded Minieri. “Speech is clear, music translates well, and events can shift throughout the week without technical limitations getting in the way.”

Details:

• Sweetwater recently developed a dedicated Home Audio Room at its Fort Wayne, IN, music store, designed to help customers compare and audition a wide range of passive home audio speakers in a controlled environment.
• Sweetwater selected LEA Professional Connect Series 168 amplifiers to power the installation as a solution that would remain sonically transparent throughout the signal chain. 
• Outcome: The completed Home Audio Room now provides customers with a highly controlled and consistent speaker audition environment that helps them make more informed purchasing decisions. 

LEA Professional Amplifiers Behind Sweetwater's High-Performance Home Audio Audition Experience

Founded in 1979, Sweetwater, U.S. retailers of music technology and audio equipment, serves musicians, engineers, producers, integrators, and audio enthusiasts worldwide. As part of its continued investment in customer experience, Sweetwater recently developed a dedicated Home Audio Room at its Fort Wayne, IN, music store, designed to help customers compare and audition a wide range of passive home audio speakers in a controlled environment. For an unbiased comparison experience, Sweetwater selected LEA Professional Connect Series 168 amplifiers to power the installation.

[Can an Online Music Creation Platform Fulfill Rock Star Dreams?]

Sweetwater needed a reliable amplification platform capable of powering up to 80 passive home audio speakers while maintaining absolute consistency across every listening test. The goal was to allow customers to audition different speaker models, one pair at a time, using the same source material and amplification settings.

Sweetwater needed an amplifier solution that would remain sonically transparent throughout the signal chain. The system also required high channel density, a compact rack footprint, and consistent power delivery across all channels.

Enter the LEA Professional Connect Series 168.

“The amplifier needed to be our ‘constant’ source that never changed to make it a level playing field as customers auditioned one speaker pair at a time,” said David Kars, IT audiovisual engineer at Sweetwater. “LEA was right in that sweet spot where we have the power requirements, the channel counts, and the super-efficient architecture.”

The CS168 is an 8-channel amplifier delivering 160 watts per channel in a compact 1RU chassis. Like all Connect Series models, it’s a professional-grade, IoT-enabled smart amplifier designed for installations of any size. It supports both Hi-Z (70V/100V) and Lo-Z operation, selectable by channel, eliminating the need for separate amplifiers to accommodate different speaker impedances. This simplifies system design, streamlines installation, and helps reduce overall equipment costs. The Connect Series also includes onboard 96kHz DSP as a standard feature, providing a range of benefits that greatly enhance audio performance and system versatility.

LEA Professional’s third-party API capabilities give integrators the flexibility to connect LEA amplifiers with a wide range of control platforms and custom software solutions. By supporting open API protocols, LEA enables deeper system integration, allowing access to amplifier controls, DSP parameters, monitoring data, and fault indicators. This open approach helps integrators deliver customized solutions that align with each customer’s needs.

“Having the ability to manage the amplifiers through the network connection and apply settings across all the amplifiers was incredibly useful and saved us a significant amount of time,” said Kars. “The biggest advantage for us was the Q-SYS integration and the plugin developed specifically to manage and control the amplifiers.

“We were already using Q-SYS to manage the Home Audio Room’s audio, user interface, and overall room control, so integrating the LEA amplifiers into the existing system was seamless. It allowed us to bring amplifier management directly into the workflow we were already using.”

The completed Home Audio Room now provides customers with a highly controlled and consistent speaker audition environment that helps them make more informed purchasing decisions. Both internal staff and customers have responded positively to the installation, citing the room’s superior performance and ease of use.

What to know:

• d&b Soundscape was selected to elevate the worship experience to a more impactful and immersive environment.
• The d&b audiotechnik system installed by Fresh Tech for Central Assembly of God comprises five 24S point source loudspeakers for the main sanctuary and six B6 subwoofers in inframode, with eight 5S point source used for fills. A pair of 40D amplifiers with a DS10 audio network bridge power the main speakers and subwoofers, while two 5D amplifiers support front and out fills. Processing is provided by the DS100 Signal Engine with En-Scene software, all managed via the R1 Remote Control software.
• Other equipment in the system includes solutions from Allen & Heath, NETGEAR AV, and Dante networks.

How Central Assembly of God Elevates Worship Sound with d&b audiotechnik

Central Assembly of God recently installed an advanced d&b audiotechnik Soundscape system in an effort to create a more inviting and engaging setting. The final result elevated the worship experience to a more impactful and immersive environment. Installed by performance audiovisual integrator Fresh Tech, the system includes the DS100 Matrix Processor with En-Scene spatial processing to deliver consistency across the octagonal-shaped sanctuary and provide an immersive worship experience at every seat.

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

With a 20-year-old sound system combined with outdated implementation practices, Central Assembly faced the challenge of a system that could not deliver consistent coverage across its uniquely shaped sanctuary. “With the old system, if it sounded good in the front, it was way too quiet in the back” Brandon Cecil, founder and head designer of Fresh Tech. “They were opting to run their PA on the quiet side, which affected their congregation’s ability to hear the message and be moved by the worship band.”

Central Assembly’s worship Pastor, Adam Brock, was determined to improve the situation. He had already budgeted for a more traditional left/right configuration from d&b audiotechnik when Cecil invited him to hear a Soundscape demonstration at the nearby Allison Park Church.

“I told Cecil that there wasn’t another solution I’d be willing to install at Central Assembly of God," Brock said. "I loved it and immediately called our leadership to say that for the modest price increase of a Soundscape system, it’d be a misstep if we didn’t make this decision for the church.”

Fresh Tech, known for their expertise in immersive mixing and d&b audiotechnik systems, worked closely with Central Assembly of God to design a Soundscape system that would meet their specific needs, while maintaining the established budget.

“Because of the depth and consistency of d&b’s product offerings, we were able to design a cost-effective solution," explained Cecil. "Designing in ArrayCalc enabled us to achieve full coverage for the room with the minimum number of speakers needed. ArrayCalc combined with d&b’s flexible rigging hardware also simplified the install by allowing us to use existing fly points from their previous system.”

The new Soundscape system with the En-Scene module provides Central Assembly of God with spatial audio capabilities that accurately positions each instrument and vocal within the sound field. The result is a more dynamic and detailed sound environment that feels natural, giving each worship performance new depth and presence. Now, said Brock, you can hear everybody, where in the past, that may not have been the case.

“Spatialization and immersion are great, and they’re synonymous with Soundscape, but another huge benefit is the clarity and consistent coverage it brings,” commented Cecil. “I can’t think of anything better for houses of worship. The audio system should complement the ultimate message being conveyed. You want everyone to experience the same thing. A shared experience builds community and by bringing Soundscape to Central Assembly of God, we’ve provided a consistent experience to their entire congregation.”

The results of the Soundscape installation have been overwhelmingly positive. Brock reports that the church has heard many comments that “this is the best the band has ever sounded,” which he expected, but comments from the older generation of the congregation took him by surprise.

“They said they more than ever understood the message during teaching time. I knew that musically we’d have a big jump in quality, but I didn’t expect the improvement in voice intelligibility," Brock concluded. "Our new d&b audiotechnik system is a gigantic leap from where we were. Many churches might think it’s a big hurdle to get into Soundscape, but it’s not as costly or difficult as it might seem, and well worth it when you consider the benefits.”

Details:

• A new live action projection mapping film 'Texas Legacy in Lights' was captured with Blackmagic URSA Cine 12K LF and Blackmagic PYXIS 6K digital film cameras.
• Director John Franklin Rinehart of Austin Film Crew created the project for the Gonzales Memorial Museum.
• The team used DaVinci Resolve Studio across editing, color grading, visual effects (VFX), and audio post production, with Rinehart citing DaVinci Resolve Studio’s all in one toolset as crucial to achieving the tight 45 day turnaround for post.

‘Texas Legacy in Lights’ Uses Blackmagic Designs Digital Film Cameras for Projection-Mapped Film

Director John Franklin Rinehart of Austin Film Crew recently created a film for the Gonzales Memorial Museum, producing a new, narrative film that’s projected twice a day against the large exteriors of the museum. The live-action projection-mapping film Texas Legacy in Lights was captured with Blackmagic URSA Cine 12K LF and Blackmagic PYXIS 6K digital film cameras.

[WATCH: Projection Mapping Lights Up the White Cliffs of Dover]

Rinehart collaborated closely with DP Alex Walker for the project. “When we first conceived Texas Legacy in Lights, the world’s first live action projection mapping film which covers the Texas Revolution of 1835, there were a lot of technical questions and challenges that came up right off the bat," he explained. "Alex and I were pioneering something together, solving problems that didn’t yet have answers. There were moments on set where we’d look at the monitor and realize we were capturing something that had never existed before."

The project’s main challenge was how to properly shoot for the architecture of the Gonzales Memorial Museum, which is 96x32 feet, approximately one-and-a-half times the size of an IMAX screen.

“When you’re shooting for projection mapping, you’re shooting for the architecture of the building itself," explained Rinehart. "We picked different points in the building’s architecture and different surfaces that would house various parts of the story, with the plan to blend the images together so that you could see the whole narrative on one giant canvas. In a way, we were shooting multiple films simultaneously and then compositing them into a single experience.”

Rinehart selected the URSA Cine 12K LF as the A camera due to its large format RGBW sensor, oftentimes shooting with up to five URSA Cine 12K LFs at once. He noted the PYXIS 6K was an ideal workhorse B camera, complementing the URSA Cine 12K LFs. The URSA Cine 12K LFs’ sensor quality and high resolution capabilities were paramount, since the team had to shoot very wide to allow for the building’s architecture.

“Having the ability to crop into the image became the backbone of our editing process," Rinehart said. "Since we had that extra resolution, we were able to be very creative in how we problem solved in post, in a way that no other cameras currently on the market would allow."

An example Rinehart provided was when they would use a tight shot on the right of the building and a wide shot on the left, showing the exact moment from two different framings simultaneously. In traditional filmmaking, these are shots you would usually cut back and forth between. But in this case, both images were playing simultaneously. The audience on the left side of the museum would have a different experience from those on the right.

“To make that work, we needed to shoot wide because there are different areas of the building’s architecture, and if you let the image bleed over, it ends up distorting," Rinehart added. "You have to mask out a window or other architectural elements, so the image almost seems to sit behind the architecture rather than fighting against it. To do that, you need a lot of latitude in your image to punch in and reframe. That’s where the URSA Cine really came in handy.”

The scale of the project often required five URSA Cine 12K LFs shooting simultaneously, all capturing one take. Rinehart explained: “We put our whole building together like a mosaic. Different façades yielded different images at various times, so if we wanted the entire image to come from a single scene, we needed five angles shooting simultaneously.

According to Rinehart, the cameras continued to prove themselves in post. “That’s when I was like, ‘Wow, this is really spectacular,’” he commented. “From a projection mapping perspective, having that latitude in post was crucial. We shot in Blackmagic RAW, which is second to none in terms of how lightweight it is and how well it works inside Resolve.”

The team used DaVinci Resolve Studio across editing, color grading, visual effects (VFX), and audio post production, with Rinehart citing DaVinci Resolve Studio’s all in one toolset as crucial to achieving the tight 45 day turnaround for post.

Since the film was projected on the side of the building, grading had specific challenges, with Rinehart noting: “With projection mapping, you don’t have a beautiful white screen. We were projecting onto a weathered sandstone museum with aging, color variations and surface inconsistencies. Each image had to be color corrected specifically for the part of the building it would hit.”

The team noted DaVinci Resolve Studio’s AI noise reduction tools were crucial for the scenes in low light. “We had a lot of nighttime and candlelit interior scenes, and the noise reduction tools handled it all beautifully without destroying detail. We could push those shots further than I’ve ever been able to before while keeping them clean. That kind of capability meant we weren’t limited creatively by technical constraints,” said Rinehart.

“This film, beyond its technical breakthroughs, wouldn’t be anything to talk about if we hadn’t been able to properly tell the story and let people know it won’t be forgotten," he concluded. "The cameras, the resolution, the workflow, all of that served a larger purpose. We built something permanent for a community that deserves to have their story told on the same scale and ambition usually reserved for major cities, and that’s what makes all the technical problem solving worth it.”

Morabito Art Villa turned to a Crest Audio Versarray Pro line array system with powerful CA 218 subwoofers and additional Crest Audio CPL+ loudspeakers and Peavey SP4 loudspeakers in a sonic upgrade for the luxury, beachfront property.

Nestled on Bali's spectacular southwest coastline, Morabito Art Villa blends boutique accommodation, fine dining, exclusive private events, and vibrant nightlife, into an oceanfront venue attracts that guests from across the world. Whether hosting internationally renowned DJs, live performers, private celebrations, or sophisticated sunset gatherings, every event revolves around atmosphere. Music plays a central role in shaping that experience, and a new audio solution centered around Crest Audio technologies now creates the energy that seamlessly carries guests from relaxed afternoons into vibrant evenings.

[How an 18,000-Square-Foot Entertainment Complex Sets the Right Atmosphere]

As the venue continued to evolve, management recognized the need for an audio system capable of delivering exceptional performance across its diverse indoor and outdoor spaces, while standing up to the demanding environmental conditions of a beachfront location. The venue needed concert-quality performance for headline entertainment while maintaining the warmth, detail, and musicality expected within a premium hospitality environment. Audio also needed to transition effortlessly between lounge sessions, private functions, live performances, and high-energy DJ sets, all while providing consistent coverage across multiple entertainment zones.

Adding to the challenge was the venue's location just feet from the Indian Ocean. Salt air, humidity, and changing weather conditions create an unforgiving environment for professional AV systems, demanding equipment capable of delivering reliable performance night after night.

To meet these requirements, Morabito Art Villa deployed a complete professional audio solution centered around Crest Audio technologies.

The installation combines Crest Audio Versarray Pro line array systems with CA 218 subwoofers to produce ow-frequency impact alongside detailed full-range reproduction. Additional Crest Audio CPL+ loudspeakers and Peavey SP4 loudspeakers provide flexible coverage throughout the venue, allowing the system to adapt effortlessly to everything from intimate lounge sessions to large-scale entertainment events.

Crest Audio Pro-LITE amplifiers and PCX digital loudspeaker management processors complete the installation, providing advanced DSP processing, crossover management, equalization, time alignment, and system protection. For Akshay Vaidya, director Asia Pacific at Peavey Commercial Audio, the project demonstrates Crest Audio's ability to deliver premium sound in a challenging environment.

Since the installation, Morabito Art Villa has further strengthened the immersive atmosphere that has become synonymous with its brand. Guests now enjoy crystal-clear audio that enhances every performance while preserving the sophisticated ambience expected of a luxury beachfront destination. Consistent coverage throughout the property ensures music remains engaging without becoming intrusive, allowing visitors to move effortlessly between dining, socializing, and dancing while experiencing the same premium sound quality wherever they are.

According to the Villa’s general manager, Tony Moutran, the difference has been immediate. "Since upgrading to Crest Audio, the vibe and atmosphere have significantly improved," he concluded. "The sound is crystal clear, and we've received many compliments from guests about the performance of the system. We're very happy with our choice."

What to know:

• Harvard's athletics department delivers over 325 live NCAA Division I sports productions and 500 edited videos a year.
• To ensure the highest quality storytelling and viewing experiences across traditional and social media platforms, Harvard's senior associate director of athletics for content and strategic communications, Imry Halevi, leveraged AJA gear for hybrid remote production needs spanning video capture, streaming, recording, and signal conversion. 
• The Harvard student crew produces most of the broadcasts, streams, and scoreboard media remotely for distribution to more channels using two centralized on-campus control rooms that power a distributed NDI workflow.

How AJA Gear Helps Transform Harvard Athletics' Storytelling

Collegiate sports production is advancing rapidly. Harvard's Ivy League athletics department delivers over 325 live NCAA Division I sports productions and 500 edited videos a year. To ensure reliable video capture, streaming, recording, and signal conversion, Harvard's senior associate director of athletics for content and strategic communications, Imry Halevi banks on AJA gear.

[Broadcast AV Takes Center Stage]

He not only leverages it to broadcast and stream games to fans, but also to create media that spotlights the personalities behind them, like the sailing team skipper working on vaccine lab research. “Creating compelling stories for audiences to watch across platforms while also preserving Harvard athletics’ rich history is our mission, which means we’re never standing still," he added. "When it comes to our workflow, people depend on us to do our job well, and we depend on equipment to get the job done, so the flexibility and reliability our AJA gear provide are paramount.”

Harvard athletics’ production pipeline has evolved significantly since Halevi joined the university 14 years ago. Back then, the crew traveled to each venue to produce the games, and scoreboard content was more limited. Today, Halevi and crew produce most of the broadcasts, streams, and scoreboard media remotely for distribution to more channels using two centralized on-campus control rooms that power a distributed NDI workflow.

“We’re creating long-form content for YouTube and ESPN+, and short-form videos for Instagram, Facebook and TikTok,” explained Halevi. “Our team is experimenting a lot with 9:16 and reshaping our scoreboard media based on fan input.”

With its remote infrastructure in place, the crew can easily produce four shows simultaneously. Halevi can manage a basketball game for ESPN and an in-arena video board show, while also facilitating soccer and field hockey productions. If his crew needs to produce more than four events, he can tap portable fly packs. For off-campus events, like rowing in New Jersey, skiing in Vermont, and sailing on the Charles River, Halevi sends the main feeds to the campus control rooms for production, with camera operators often the only ones to travel.

The NDI pipeline Halevi built enables the team to deliver high-quality 720p 59.94 streams and leverage their existing network without having to add more capacity. But even with NDI devices at the edge, SDI and fiber remain part of the workflow. To get NDI signals to SDI monitors and convert fiber to SDI, the crew uses AJA BRIDGE NDI 3G and FiDO Mini-Converters.

“If I’m producing a game and I have an SDI source I need to distribute via NDI, I just send it to the BRIDGE NDI 3G. The fact that I can preview everything in the UI with 16 windows has been helpful for our workflow,” he explained. “We also have a ton of AJA FiDO fiber converters in a rack, which are convenient for converting fiber to SDI on copper for use on our switchers.”

AJA U-TAP also supports remote production needs, enabling commentators to work from home on Zoom, which is useful for sports like rowing, where races start early in the morning. Halevi’s team just sets them up with Zoom on a computer and a U-TAP, so they can see and hear the production and know what they're calling. The device also supports social streaming needs, allowing them to get their produced live game stream to TikTok Studio software on Windows.

Twenty-six AJA HELO Plus devices power H.264 streaming and recording. Running all the time, they deliver one game feed to Harvard athletics’ international streaming site and another to its real-time clipping and tagging solution for the creation of social media highlight clips.

“Our HELOs run constantly without issue, and the audio meters in the interface and on the physical device are huge. Plus, we can easily monitor, start, and pause recording and streaming remotely from the UI, which is helpful for remote production,” he explained. “We also love the layout feature, which lets us view a recording of different in-venue video displays at the same time, so we can see an SDI stream on the center hung and an HDMI stream of the ribbon board, then use the feature to make them look nice and work well with each other. The HELO Plus essentially becomes a small but powerful switcher; it’s been a lifesaver."

Innovation remains a continued focus for Halevi, as he strives to make the department’s storytelling even more engaging for audiences while using his resources more wisely. “We’re continuously looking at how we can uplevel our content to shine the light on what makes Harvard so special, and leveraging reliable tools from manufacturers like AJA frees up more of our time to do that by reducing troubleshooting and headaches,” he concluded.

Daktronics has manufactured and installed an LED video board in the outfield of Field of Dreams Ballpark in Dyersville, IA. The new facility is adjacent to the famed corn field-framed ballpark from the iconic 1989 movie. Installation was completed this spring ahead of hosting a minor league all-star game and a professional baseball game later in the summer.

[Brave New Vision]

“The addition of the Daktronics LED display is another important step in bringing a first-class fan experience to the Field of Dreams Ballpark,” said Tyler Daugherty, ballpark general manager. “Whether we're hosting Northwoods, high school championships, collegiate competition, concerts or professional events, this technology allows us to create memorable moments for every guest while honoring the timeless tradition and magic that make the Field of Dreams so special.”

The video display in the outfield measures nearly 30x50 feet and features a 10mm pixel spacing for excellent image clarity, contrast, and viewing angles. The display can show one large image or be divided into zones of content much like a major league production.

The installation includes two pace-of-game clocks and a digital content package to be produced and delivered by Daktronics Creative Services. Altogether, it features everything needed to host contests from the little leagues to the major leagues.

Powering the equipment is the Daktronics Show Control system. This control system provides a combination of display control software, world-class video processing, data integration and playback hardware that forms a powerful yet user-friendly production solution.

“This isn’t just another ballpark,” added Daugherty. “This is a place that belongs to all of us—a living testament to why we love this game in the first place. It is for every fan who ever played catch with their father, every child who dreamed of the big leagues, every person who understands that baseball is more than a game.”

What to know:

• Murrieta Valley USD is a long-time user of Extron classroom audiovisual systems and GlobalViewer Campus Communication Suite (GVCCS). 
• Raptor Connect is an integration platform developed by Raptor Technologies to enable native, bi-directional integration of its emergency alert system with a school’s other digital security systems, including GVCCS.
• The result is a coordinated safety communication capability that strengthens emergency preparedness while remaining easy for staff to use under pressure.

Murrieta Valley Unified School District (Murrieta Valley USD) in Riverside County, California, serves 21,603 students in grades TK-12 on 21 campuses. With student safety a top priority, Extron and Raptor Technologies worked with MVUSD to integrate the public address functions of GlobalViewer Campus Communication Suite (GVCCS) with the emergency alert generation functions of Raptor Connect to deliver Emergency Management System (EMS) instructions.

[For Whom the Alarm Bell Tolls]

Raptor Connect is an integration platform developed by Raptor Technologies to enable native, bi-directional integration of its emergency alert system with a school’s other digital security systems, including GVCCS. It can activate an emergency response from a single point instead of activating separate systems. It streamlines digital emergency response activations, speeding notifications.

In the event of an emergency, alerts initiated by school personnel using the Raptor system automatically initiate pre-planned audible alerts developed and approved by the district and stored as public address announcement and bell presets within GVCCS. The announcements can be delivered immediately across campuses to provide clear, consistent guidance and are designed to reduce confusion, support calm decision making, and help ensure that everyone receives the same information at the same time. Alerts reach instructional spaces and common areas simultaneously, reinforcing situational awareness throughout the campus. GVCCS’s audio ducking function ensures that PA announcements override any other audio coming over the speakers in classrooms.

This integrated approach allows authorized personnel to initiate alerts quickly using familiar tools, supporting a fast response when every second matters. By relying on multiple communication pathways, the district helps ensure critical messages are delivered reliably, even in challenging circumstances.

"From concept, to design, to software development, culminating in going operational at our schools, Extron and Raptor Technologies worked together to get audible bell and paging EMS alerts up and running," said Jonathan Pratt, chief technology officer at Murrieta Valley USD. "We're very impressed with how rapidly Extron and Raptor responded, and with the performance of the integrated EMS capabilities.”

Operation of the integrated GVCCS-Raptor EMS system is straightforward and intuitive, enabling swift response by MVUSD personnel in high-pressure situations. As alerts reach instructional spaces and common areas simultaneously, GVCCS’s audio ducking function ensures that emergency PA announcements override any other audio coming over the speakers in classrooms. By bringing together trusted communication and safety platforms, the district has enhanced its ability to deliver timely, district-wide alerts that help protect students, staff, and visitors.

The skinny:

• The EAW AC6 ADAPTive line array elevated Mabel Tainter Theate’s sonic capabilities but also blended seamlessly into its ornate 19th‑century interior.
• The venue’s previous system, a point-source setup installed in 2007, struggled to keep up with the demands of modern productions.
• Additionally, EAW's Resolution software, gives The Mabel Tainter precise control over where sound goes inside its unconventional auditorium.

Eastern Acoustic Works’ (EAW) AC6 ADAPTive line array was recently selected for an audio upgrade at The Mabel Tainter Theater. The solution not only elevated the venue’s sonic capabilities but also blended seamlessly into its ornate 19th‑century interior, a tremendous challenge considering the theater's intricate architecture.

[No Drawing Required]

Built in 1889 as a memorial to Mabel Tainter, the Wisconsin venue is adorned with hand‑carved woodwork, hand‑painted stenciling, angled surfaces, and a uniquely shaped auditorium originally designed for Vaudeville theater. Today, it hosts everything from plays and musicals to concerts, weddings, and community events, demanding a modern sound system capable of handling diverse programming without compromising the building’s heritage.

The venue’s previous system, a point-source setup installed in 2007, struggled to keep up with the demands of modern productions. “It was difficult to get any meaningful gain before feedback with actor microphones,” said Spencer Berndt, technical facilities manager at The Mabel Tainter. “And balancing the pit with the stage was always a challenge. I could make certain things quieter, but I couldn’t make the actors or pit any louder.”

The challenge, thus, was whatever was installed had to respect the historic architecture and design while giving the performance the theater had been missing. Enter Metro Sound & Video, led on this project by systems engineer and integration designer Jonathan Harlfinger. Having worked for The Mabel Tainter previously, Harlfinger immediately recognized the AC6 as the right fit. “When I saw these speakers debut at a trade show, I told Spencer, ‘These would be a fantastic fit,’” Harlfinger said. “We’ve used them in large cathedrals and smaller contemporary churches, and they’ve always performed incredibly well. The size, the performance, the flexibility—it all made sense for a space like this.”

But performance was only half the story. The AC6 needed to visually disappear into the venue’s ornate proscenium. That meant custom paint, and not just any paint. Working closely with EAW, the team embarked on a meticulous color-matching process using Rosco’s Metallix paint line. After testing multiple blends, they landed on an 80% bronze, 20% gold mixture that perfectly matched the surrounding woodwork under the venue’s lighting conditions.

Then came the stenciling. Berndt enlisted local artist Wade Lambrigsten, owner of Vintage Sign Shop, who handles much of the venue’s decorative work, to recreate the building’s historic stencil pattern directly onto the speaker grills. EAW shipped the grills separately so the artwork could be applied before final assembly.

“It was a dance,” Berndt laughed. “But absolutely worth it. In low light, you almost can’t even tell the speakers are there. People who come to shows don’t even notice visually that we installed a new system.” Harlfinger agrees, adding: “A lot of the board members and community members were blown away. They love how it blends in. The customization was a huge part of the success of this project.”

Beyond aesthetics, AC6 has dramatically improved the venue’s sound fidelity and flexibility. “The clarity is just incredible,” said Harlfinger. “People at that first show were impressed by how good the system sounded, especially the piano. It was a night and day difference.”

For Berndt, the upgrade has unlocked entirely new workflow possibilities. “One of the biggest things is that I can finally use area microphones,” he said. “Before, stage sound was such a big issue. Now I can capture more of the space, create a better stereo image and actually mix the pit without worrying about feedback.”

AC6's ADAPTive technology, paired with EAW's Resolution software, gives The Mabel Tainter precise control over where sound goes inside its unconventional auditorium. Coverage can be shaped and adjusted to match the room's angled surfaces and varied seating areas, directing sound to the audience and away from reflective surfaces that have long worked against the space's acoustics. "It's miles ahead of what we had," Berndt said.

For a venue that has survived more than a century of change, the AC6 installation represents a thoughtful blend of preservation and progress. “This project honored the building while giving us the tools we need for the future,” Harlfinger concluded. “It’s exactly what The Mabel deserved."

The skinny: Ernest Tubb Record Shop embraced its historic Broadway space, using Yamaha and NEXO speakers to craft vibrant, balanced sound that highlights every note and elevates the entire musical experience.

• The backbone of the system is a series of Yamaha CZR line arrays and point-source cabinets.
• NEXO ePS Series loudspeakers round out the system.
• Black Box AVS was responsible for the design, engineering, and implementation of a complete AV system.

Ernest Tubb Record Shop's Reimagined Live Music Experience

Nashville, a city known for honky-tonk and live music at every street corner, has evolved into a creative hub for artists across genres. On Lower Broadway, the Ernest Tubb Record Shop reimagined what a live music experience could be by creating an audio environment that honors Nashville’s heritage while delivering a modern, high-fidelity experience that keeps patrons engaged and comfortable. To meet this vision, Black Box AVS was responsible for the design, engineering, and implementation of a complete AV system, delivering a solution backboned by Yamaha CZR line arrays and point-source cabinets.

[Can an Online Music Creation Platform Fulfill Rock Star Dreams?]

As Martin Lawrence, owner of Black Box AVS detailed the project required more than an audio upgrade. What was needed was a cohesive technology ecosystem that supported live music, venue operations, guest experience, networking, lighting control, and long-term serviceability. Lawrence and his team designed and implemented the venue's technology backbone, including network infrastructure, wireless connectivity, centralized control systems, equipment rack systems, and integrated lighting control.

The building posed a classic Broadway challenge: long and narrow, with exposed brick walls and wood floors throughout. Heavy acoustic treatment wasn’t an option, so the team relied on coverage, delay zones, and precise tuning. “The goal was simple in concept but demanding in execution: deliver consistent SPL from front to back while preserving the twang of a steel guitar, the resonance of an upright bass, and the delicate textures of acoustic sets," Lawrence explained. "In a city where every note tells a story, balance wasn’t optional, it was essential .”

The backbone of the system is a series of Yamaha CZR line arrays and point-source cabinets, chosen for clarity, punch, and musical fidelity. “The CZRs really let every instrument breathe,” Lawrence said. “You hear the subtle harmonics in a #MakeWaves steel guitar, the snap of an upright bass, and the shimmer of acoustic strings - all without cranking the volume.”

The CZRs’ wide dynamic range remains articulate even at high SPLs, so audiences hear music—not just volume—a critical distinction in a city steeped in live music tradition. Front fills maintain clarity for the first rows, while the compact footprint preserves sightlines and the venue’s open feel. Control moved to iPads linked to centralized racks in an AV closet, enabling full FOH and lighting control without traditional booths. Chauvet fixtures, Luminaire software, and Visual Productions cores integrated dynamic lighting into the same interface. NETGEAR switches and Ruckus access points ensured reliable connectivity across four floors, with Mid-Atlantic racks and Panduit cable management keeping the system clean and serviceable.

NEXO ePS Series loudspeakers round out the system with high-output, full-range performance, combining precise coverage, selectable HF directivity, and a compact, flexible set of mounting options that make them easy to deploy throughout the space.

The results were immediate. Patrons could hear instruments with clarity, not just volume . “People say it sounds great. It’s not super loud; you actually hear the individual instruments,” Lawrence said. “It’s helping start that shift from bars putting in systems that are just the cheapest and the loudest to something that’s different—building a system from the ground up that makes the user experience enjoyable,” he explained.

The Ernest Tubb Record Shop proves that meticulous engineering, intelligent system design, and thoughtful resource use can transform a venue into a truly immersive sonic experience while honoring the city’s rich musical heritage. “At the end of the day, that’s the goal—building a spot I’d want to take friends to when they come to town,” Lawrence said.

The skinny:

• Biamp was selected at an Adelaide, Australia office tower to address sonic requirements across four distinct zones.
• The system features Biamp Voltera D-series amplifiers and Tesira DSP for processing and distribution, Desono pendant speakers in the atrium for architectural integration, and Desono in-ceiling speakers throughout other areas for discreet coverage.
• The architecturally sensitive speaker placement maintains the building's sophisticated aesthetic, while the automated operation ensures reliable performance with minimal staff involvement.

Biamp has delivered a sophisticated background music system for 30 Pirie Street, a premium office tower in Adelaide, Australia. Working with Australia-based integrator Professional Technology Partners (PTP), Biamp offered an architecturally sensitive audio solution that enhances the building's welcoming atmosphere, masks unwanted noise, and operates with minimal intervention—critical requirements for the property owned by Quintessential.

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

"The challenge was balancing first impressions with conversation clarity," said Chad Penley, general manager, Professional Technology Partners. "In the foyer and atrium, we needed music that felt welcoming but didn't dominate. In the bike storage, we had to mask mechanical noise while keeping speech intelligible. And everywhere, the speakers had to blend seamlessly with the premium architecture."

PTP selected a comprehensive solution from Biamp to address these requirements across four distinct zones: the main Pirie Street foyer, the atrium, the rear entrance off Rundle Mall, and the bike storage area. The system features Biamp Voltera D-series amplifiers and Tesira DSP for processing and distribution, Desono pendant speakers in the atrium for architectural integration, and Desono in-ceiling speakers throughout other areas for discreet coverage. An Apprimo touch panel provides concierges with intuitive control, while Biamp Workplace automation handles day-to-day operation.

The Biamp Workplace platform proved essential for minimizing operational complexity. The system automatically adjusts throughout the day based on pre-programmed schedules, requiring virtually no staff intervention. When concierges do need to adjust, the Apprimo touch panel presents just three simple volume sliders—one for each zone—that automatically reset to default levels each morning.

"Biamp Workplace was the game-changer," said Penley. "It handles everything automatically—music starts and stops on schedule, volumes adjust throughout the day, and the system resets itself every morning. The concierge team doesn't need training or technical knowledge. They just have three sliders if they want to tweak anything, and even those reset daily so nothing gets left in the wrong state."

The completed system delivers crystal-clear, zoned background music that enhances 30 Pirie Street while addressing the building's acoustic challenges. The architecturally sensitive speaker placement maintains the building's sophisticated aesthetic, while the automated operation ensures reliable performance with minimal staff involvement. The networked Biamp infrastructure also provides Quintessential with flexibility to expand or modify the system as tenant needs evolve.

The skinny:

• Brighton Station is the first permanent Auracast installation in a railway station in the U.K.
• The Auri system makes it easy for anyone with Auracast-enabled hearing aids, headphones, earbuds, or Cochlear implants to access station announcements and hear them clearly in their devices.
• Ampetronic | Listen Technologies installed Auri TX2N 2-channel transmitters in the Brighton Station quickly without any disruption to service or station downtime.

Ampetronic | Listen Technologies’ Auri Installed at Brighton Station

Auri, the Auracast broadcast audio-based assistive listening solution co-developed by Listen Technologies and Ampetronic, has been installed at Brighton station in the U.K. This is the first permanent Auracast installation in a railway station in the U.K. The Auri system makes it easy for anyone with Auracast-enabled hearing aids, headphones, earbuds, or Cochlear implants to access station announcements and hear them clearly in their devices. Announcements are broadcast from Auri transmitters installed throughout the station to anyone with compatible receiving devices within range.

[Accessibility on Campus]

Being able to hear important information about gates and platforms, departure times, and safety while traveling is essential. Busy, noisy, transport centers like Brighton station can be challenging hearing environments, especially for passengers with hearing loss. The Auri system filters out background noise and delivers station audio directly to listeners’ ears for greater clarity and intelligibility. The system can also benefit people without hearing loss, including passengers who require language interpretation, are neurodiverse, or have visual impairments.

Southern, Thameslink, and Gatwick Express railways operating under Greater Thameslink Railway (GTR), sponsored the permanent installation of Auri at the 185-year-old Brighton station. Bristol Temple Meads station featured the Auri system last year as part of a trial of Auracast broadcast audio technology in its buildings.

GTR hosted an event at Brighton station on July 8 for members of the Brighton Hearing Loss Group so they could try the newly installed system. People who experienced the technology during the event remarked about the clarity of audio and expressed confidence at being able to hear important announcements.

Ampetronic | Listen Technologies installed Auri TX2N 2-channel transmitters in the Brighton station. The sleek, low-profile transmitters provide long-range, low-latency Auracast broadcast audio. The installation happened quickly without any disruption to service or station downtime.

Accessing the audio broadcasts is easy, convenient, and free for station visitors with compatible devices. They can find and select the broadcasts through their smartphones, similar to how they would search for and select a Wi-Fi network. Then, audio is broadcast to their Auracast enabled devices. “Google shared valuable insight into user onboarding methodologies, helping to inform our understanding of current device capabilities and future developments,” Jonathon Hoskin, division sales manager–specialist solutions at Ampetronic | Listen Technologies, added.

“We’re constantly looking for innovative ways to make it easier for everyone to travel on our network, particularly our disabled passengers," said accessibility lead for Southern, Thameslink and Gatwick Express Carl Martin. “This fabulous technology will have a huge impact, overcoming the difficulty of hearing announcements in our beautiful but acoustically very challenging, noisy station at Brighton.”

The skinny:

• A 135-inch Philips Unite LED 6000 Series All In One display was installed to transform meeting room capabilities at Leer Municipal government offices.
• Rich color depth, wide viewing angles, and durable make it well suited for municipal meeting spaces with demanding visual requirements.
• Benefits include: enhanced visibility for all participants, seamless hybrid meeting support, clear voice capture without the need for table microphones, and expanded functionality.

Philips LED Transforms the Meeting Room Experience Inside Government Offices

The PPDS Philips Unite LED 6000 Series All In One solution has been selected to deliver ‘transformational’ meeting room capabilities and experiences at the upgraded Leer Municipal government offices in Germany. Based in the Rathaus, Leer Municipal serves as the seat of local government where the mayor and administration oversee key decisions, manage local services, and handle civic matters for the community.

[Video Wall Brings MLK’s Vision to Life at Atlanta's King Center]

As part of its ongoing focus on improving operational performance and workplace efficiency, the Leer Municipal team set out to modernize its central meeting room with a new visual solution that leverages the latest innovations in display technology and collaboration functionalities. Working with local integrator, LS IT & Media, the requirements were clear: to take presentations, council work, and hybrid meetings to the next level.

Concluding extensive fact finding and site visits, the 135-inch Philips Unite LED 6000 Series All In One display from PPDS was immediately identified as the standout choice to achieve the team’s high expectations and ambitions. Designed for fast and hassle free installation, it was selected, in part, due to its enhanced image quality, reliability, and focus on energy efficiency and business sustainability.

With full HD resolution, 900 cd/m² brightness, and a fine 1.5mm pixel pitch, the display delivers enhanced image quality even in bright environments, with even the smallest details presented with crystal clear quality. The rich color depth, wide viewing angles, and durable design offered by the Philips Unite 6000 Series All In One make it particularly well suited for municipal meeting spaces with demanding visual requirements.

The integrated media player, broad connectivity options—including HDMI, DisplayPort, USB-C, and audio—and the included wall mounting system ensure flexible use and smooth integration into existing setups. Additionally, the Philips Unite LED 6000 Series AIO has been created with business sustainability in mind, consuming less energy versus comparable models, including just 0.5 watts in ‘ultra low’ standby mode.

Providing an unmissable and highly versatile centerpiece, the overall solution also incorporates a professional AVer PTZ camera for hybrid collaboration, two Sennheiser TeamConnect Ceiling Medium ceiling microphones for comprehensive room audio coverage, a high performance conferencing PC, and Dante audio technology for lossless signal transmission. Together, these elements create a meeting environment that combines exceptional visual performance with advanced audio and video conferencing capabilities.

The installation has added significant value for the city of Leer, including enhanced visibility for all participants, seamless hybrid meeting support, clear voice capture without the need for table microphones, and expanded functionality such as recording and AI powered transcription via tools like tucan.ai.

“With the Philips 135-inch Unite LED wall as the visual centerpiece, a modern, high performance meeting room was created that sets new standards for the Leer Municipal committee work," Eckhard Groen, a member of the management team at LS IT & Media, commented. “The high-quality image quality of the Philips Unite LED All In One, combined with professional audio and video technology, enables efficient, transparent, and contemporary council work.”

The skinny:

• WSDG was contracted to deliver structural acoustics, isolation and room acoustics, AV systems design, as well as technical interior design (TID) for newly opened La Caja de Música at University of the Andes in Bogotá.
• A multifunctional hub, La Caja de Música includes a 1,399-square-foot (130m²), triple-height live room, designed as both a recording space and a flexible venue for recitals, ensemble rehearsals, and lectures.
• Dolby Atmos and other technologies were included in the project.

La Caja de Música is the latest musical practice, recording, and film-mixing facility at University of the Andes in Bogotá. Officially opened earlier this year, the project combines architecture by university graduates, as well as an acoustics and AV systems design by WSDG.

[Florida State University College of Music Turns to L-Acoustics to Solve a Decades-Old Challenge]

University of the Andes launched an architectural competition in 2018 to determine the concept for the new music practice building. The competition resulted in a winning proposal by Carolina Jaimes, Juan López, and Alejandro Puentes, selected from five finalists. WSDG was invited to join the evaluation committee based on its extensive experience of designing major educational and technical facilities throughout Colombia. After the winning proposal was selected, WSDG was contracted to deliver structural acoustics, isolation and room acoustics, AV systems design, as well as technical interior design (TID) for the entire project.

Conceived as a multifunctional hub, La Caja de Música brings together music education, performance, recording, and cinematic sound production. At the heart of the facility is the 1,399-square-foot(130m²), triple-height live room, designed as both a recording space and a flexible venue for recitals, ensemble rehearsals, and lectures. The acoustics and technical performance of this signature space were central to WSDG’s work.

“This room needed to operate as a live recording space and as a venue,” said WSDG senior partner and co-CEO Sergio Molho . “It had to support everything from orchestral sessions to lectures, which meant full isolation, large-scale variable acoustics, and absolute flexibility.”

To achieve this, WSDG implemented a room-within-a-room construction for complete isolation from the busy campus environment, a critical requirement given the room’s extensive glass façade facing a public courtyard. In addition, motorised acoustic banners and movable wall elements allow the room to adapt instantly from a tight speech-focused acoustic to a reverberant musical environment. Attached to the live room is a fully equipped control room designed by WSDG to support Dolby Atmos and stereo workflows. The space features a monitoring system with Adam Audio studio monitors, custom diffusers, NC20-level isolation, and a minimalist, Scandinavian-inspired interior palette that visually ties back to the main room. On the upper level, WSDG designed a Dolby Atmos film-mixing theatre, complete with ISO booth and educational cinema seating, creating an advanced facility enabling students to work with immersive, object-based audio.

WSDG’s design extends across the entire facility, including isolation booths, technical rooms, AV systems specification, interior materials, theatrical lighting support, and integration of a complex technical infrastructure hidden neatly within architectural elements, particularly the uneven ceilings engineered for low-frequency control and to discreetly house lighting and technology systems. “We followed strict standards appropriate for both professional studios and educational facilities,” Molho explained. “This project demanded the latest technology, advanced acoustic criteria, and a high level of coordination with the architects to honor both performance and aesthetics.”

Now fully built and with the systems integration complete, La Caja de Música stands as one of the most advanced educational music and film-sound facilities in Latin America. “This building will allow students to engage with both the music and audiovisual industries at a truly professional level,” concluded Santiago Lozano, director of the University’s Department of Music. “It represents a national milestone and will transform how we teach through a direct, project-based experience.”

When the 2026 FIFA World Cup kicked off this summer, employees at City National Bank’s new Financial Center headquarters found themselves gathering in the breakroom—because the breakroom features a 32x9-foot, 0.9mm pixel pitch dvLED video wall, driven by a CALICO PRO video processor from tvONE.

[8.5 MILLION Pixels Power World Cup Fan Festival]

The wall is the centerpiece of the recently completed first phase of a building-wide AV deployment by integrator Avology. The headquarters was designed to pair intuitive operation with a premium aesthetic while providing the infrastructure headroom to keep expanding. Working closely with City National Bank, its architects, consultants and trade partners, Avology delivered complete audiovisual integration services—including system engineering, project management, installation, programming, commissioning, testing and end-user training—under the leadership of CEO Jorge Miralles and COO Andrew Menendez.

Phase 1 of the project included audiovisual systems deployed across more than 30 conference rooms, huddle spaces, and training rooms, all designed to provide a consistent Microsoft Teams Room experience and intuitive presentation capabilities throughout the building. However, it was the breakroom that was conceived as something more: the building’s town square, hosting company-wide meetings, employee communications, live presentations, and major events. Driving its dvLED wall is the CALICO PRO C7-PRO-2200.

Image quality, reliability, and flexibility were key considerations, noted Miralles. “The tvONE CALICO PRO provides the processing performance required to drive the high-resolution dvLED display while enabling multiple content sources to be displayed simultaneously without compromising image quality or latency," he added.

That processing headroom lets City National Bank switch between a wide range of content on the same canvas: corporate branding, executive presentations, live events, financial dashboards, digital signage, Microsoft Teams meetings, employee communications, and live television broadcasts.

“Its layout management functionality also provides the flexibility to adapt content configurations in the future without replacing hardware, helping to protect the bank’s investment over the long term,” noted Miralles.

Following commissioning, Avology trained City National Bank staff on room operation, presentation workflows and general system functionality—though by design, most employees barely need it. The systems, added Menendez, were designed to be intuitive, allowing employees to operate meeting rooms and presentation spaces with minimal training, while AV support personnel retain access to centralized management tools for future configuration requirements.

“From the early design discussions through commissioning, tvONE’s technical staff has been responsive, knowledgeable, and readily available whenever assistance was required,” concluded Miralles. “Their support has helped streamline deployment and ensure the system performs exactly as intended.”

Born & Raised, a 10,000-square-foot restaurant, accommodates approximately 200–250 guests across its main dining room, bar, and rooftop spaces. The San Diego steakhouse was designed to deliver an exceptional dining atmosphere, so when it came time to refresh the venue's audio system, CH Projects partnered with Caneno Systems and 1 SOUND to ensure the soundscape reflected that same level of craftsmanship.

[Up Close and Immersive]

The project centered around creating a premium audio environment capable of supporting everything from relaxed jazz or hip-hop during dinner service to higher-energy playlists later in the evening—all while remaining visually discreet within the restaurant's carefully curated design by Basile Studio.

CH Projects and Caneno Systems worked closely with 1 SOUND throughout the design process to create a distributed audio system tailored specifically to the restaurant's layout, acoustics, and aesthetic goals.

In addition to system design consultation, the project utilized the 1 SOUND Custom Shop to carefully select custom wood finishes and polished gold metal grilles that complement the warm material palette found throughout the restaurant. Rather than standing out, the loudspeakers were designed to feel like a natural extension of the interior architecture.

The result is a system that blends seamlessly into the space while delivering the performance expected from a high-end hospitality environment.

The main dining room utilizes a distributed deployment of Cannon C6i loudspeakers surrounding the space, while discreet Level L35 loudspeakers are integrated within the ceiling to provide additional coverage throughout the center of the room.

To provide impactful low-frequency support without occupying valuable floor space, SUB28 subwoofers were concealed within banquet seating and custom furniture throughout the restaurant.

This distributed approach creates a consistent listening environment throughout the dining room, allowing music to remain immersive and engaging without becoming overpowering. Guests enjoy balanced coverage whether seated at the bar, in a dining booth, or anywhere throughout the restaurant.

The experience continues onto Born & Raised's rooftop, where marine-grade Cannon C6 loudspeakers and WSUB45 subwoofers extend the same high-fidelity performance into an outdoor environment overlooking downtown San Diego.

Finished in custom exterior wood through the 1 SOUND Custom Shop and equipped with marine-grade stainless steel A4 316 components, the loudspeakers were designed to withstand the coastal environment while complementing the restaurant's outdoor aesthetic.

The result is a seamless transition between indoor and outdoor spaces, allowing guests to enjoy the same refined audio experience throughout the entire venue.

From opera and ballet to televised galas and contemporary performances, Place des Arts, Canada’s largest performing arts center, has welcomed renowned productions to its stages for decades. When it came time to modernize its followspot inventory, the venue’s technical leadership knew the replacement would need to meet exceptionally high standards, which they found with the Robert Juliat Arthur LT Long Throw LED Followspot.

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A current Robert Juliat Cyrano followspot user, Place des Arts recently upgraded to the Arthur LT fixtures in two of its busiest venues, marking a significant step in the organization’s ongoing transition toward energy-efficient lighting technologies. The installation includes four Arthur LT units at Salle Wilfrid-Pelletier, the center’s largest theater, and two units at Théâtre Maisonneuve.

“We have always been a Robert Juliat user,” said Guy Levesque, technical manager for infrastructure and equipment at Place des Arts. “We know the reliability, and we know the products last. The challenge wasn’t finding a brand we trust, it was finding an LED followspot that had the power and quality we require for our venues.”

Responsible for the lighting, audio, video, and stage equipment at Place des Arts’ six performance spaces, Levesque understands the unique demands of venue infrastructure. Followspots are often positioned significant distances from the stages and must deliver consistent performance across a wide variety of productions. Television broadcasts, in particular, impose stringent requirements on brightness, beam quality and consistency.

As a publicly funded cultural institution, environmental responsibility is an increasingly important consideration for Place des Arts. The reduced energy consumption of the Arthur LT aligns with broader organizational objectives while lowering operating costs and helping the organization meet its sustainability goals. Additionally, unlike traditional lamp-based followspots that require periodic lamp replacements, the Arthur LT significantly reduces maintenance requirements and minimizes downtime.

“The move to LED checked every box for us,” said Levesque. “Power consumption, maintenance, light quality, and ease of use all improved. It was the combination of those factors that made the decision straightforward.”

The upgrade also reflects the confidence that Place des Arts has built in Robert Juliat products over the years. While several venues across the complex continue to utilize existing followspots, the success of the Arthur LT installation demonstrates the ways in which modern LED technology can deliver the performance required by demanding professional environments without compromising artistic expectations.

CSX Transportation, headquartered in Jacksonville, FL, operates over 20,000 miles of track across 23 states, the District of Columbia, and two Canadian provinces. The national transportation provider is based in a 251-foot high-rise in the city’s Northbank district, overlooking the St. Johns River. CSX recently unveiled a Nanolumens custom LED sign atop its headquarters, featuring the company’s modern logo alongside a locomotive image.

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Phase Integration, a national commercial technology solutions provider, was selected to design, manage, and integrate the project. Building on prior success with Nanolumens, Phase Integration turned to the LED manufacturer for this highly visible installation. The two companies had previously collaborated on complex projects and Phase Integration trusted Nanolumens to provide the engineering expertise, design flexibility and reliability required for a rooftop display.

“One of the main reasons we chose Nanolumens was due to the complexity of the project,” said Casey Morris, senior director of operations for Phase Integration. “The engineering support and resources we knew we’d receive from them were a huge factor for us. The project at CSX Transportation Building was truly one of a kind, and Nanolumens is the go-to for anything custom when it comes to LED solutions.”

The installation at the CSX Transportation Building, however, was even more complex than Phase Integrations previous Brightline Station in Miami installation. “Unlike Brightline Station, which was mostly straight lines, this installation includes four distinct rooftop signs that define the Jacksonville skyline,” explained Morris. “There’s not another building in town that has anything like it.”

From concept to completion, Nanolumens collaborated closely with Phase Integration to bring CSX’s vision to life. “When a customer says, ‘We want our logo on top of our building next to a train, can it be done?’ our answer is always ‘Yes,’” said Morris. “Nanolumens collaborated closely with us on renderings, logo files and digital simulations, which enabled our clients to see their vision in advance. If we compare the renderings to the final installation today, they’re almost identical.”

The new signs offer flexibility for special events and community engagement. Most days, the displays highlight CSX’s core branding, but they can be adapted for occasions like Jaguars games, when teal colors and a jaguar graphic take over, or Fourth of July, when the American flag is prominently featured. “The new signs are more than branding. They provide CSX with a flexible canvas for community engagement,” said Morris.

Nanolumens’ Performance Series played a pivotal role in bringing CSX and Phase Integration’s ambitious vision to life, delivering a final product that is visually striking and resilient. “The client is absolutely thrilled with the finished product," Morris said, "over the moon, in fact.”

Each cabinet is fully IP67-rated, ensuring reliable protection against dust, water and harsh weather conditions. Built with premium components, the displays are engineered for durability and come backed by an industry-leading three-year extendable warranty. With the Performance Series, CSX Transportation gained a high-performance solution capable of withstanding the elements while showcasing its brand in a dynamic, modern way.

It was a longtime coming. The New York Knicks ended a 53-year NBA championship drought by defeating the San Antonio Spurs four games to one to win the 2026 title. A celebration five decades in the making was planned with an estimated two million people taking to the streets to welcome their victorious team along the Canyon of Heroes parade route, which saw unprecedented scenes of celebration culminate in a symbolic presentation of the keys to New York at City Hall. The delivery of reliable, crystal-clear audio was imperative for this event, so Eastern Stage Productions of New York (ESP) supplied a CODA Audio system to meet the requirements.

“I chose the CODA Audio system for the Knicks celebration because of its clean and clear coherency, phase alignment, high output, and small footprint, amongst other benefits," explained ESP owner Bill Danilczyk. "These features made it the perfect system to work with for an application like this.”

For what was a wide stage and audience area in front of City Hall, ESP deployed a CODA Audio system comprising ground-stacked and flown elements. The system was based around CODA’s flagship compact AiRAY line array. Part of CODA’s VCA family of seamlessly compatible loudspeakers (which also includes ViRAY and CiRAY), AiRAY brings together the high output of a large system with the flexibility of a compact system, making it the perfect fit for the widest possible variety of applications.

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At the City Hall site, the two main hangs combined four AiRAY and six CiRAY units each, with two SCP-F sensor-controlled 18-inch subwoofers per side. These were complemented by further seven ground stacks of three AiRAY with a single SC2-F sensor-controlled two 15-inch bass extension each. Completing the system were four HOPS8T (high output point source) as fills for the dais, two HOPS8 as backstage fills, two HOPS12 as center fills, eight ultra-compact CODA N-RAY line array units to cover the side seating area, with a further 10 SCP-F deployed for even low end coverage. Onstage monitoring was catered for with six CUE FOUR 3-way stage monitors, and the whole system was powered by 12 CODA Audio LINUS14D 4-channel DSP amplifiers.

The Knicks championship parade proved to be an overwhelming success in every respect, including from a technical point of view. Amongst the many tributes paid to the team, New York City Mayor Zohran Mamdani delivered a memorable speech, before an uplifting performance from partisan New Yorker Alicia Keys left the huge crowd in raptures.

“The AiRAY loudspeakers combined with the SC2 low end extensions keep the PA warm, allowing the articulation of the mid-high drivers to sparkle," Danilczyk concluded. "The SCP-F sensor-controlled subs are amazing. They are tight and deep, allowing the whole system to lock in; sonically, they are very smooth to the ear. CODA Audio continues to exceed my expectations time and time again for these large-scale, high-profile events.”

The Bayeux Tapestry, which depicts the 1066 conquest of England by the Duke of Normandy, is returning to London for the first time in nearly 1,000 years (970 to be precise). That's no typo... nearly one thousand years. To celebrate the tapestry's return, the British Museum collaborated with some Pro AV heavyweights for a projection-mapped thank you on the White Cliffs of Dover.

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The British Museum turned to Jon Sharpe and his Pixel Sharp team for the projection-mapping project, a company that is familiar with the White Cliffs of Dover having done projects on the 8-mile stretch of the English coastline. In short, England wanted to thank France for returning the Bayeux Tapestry to its homeland, which will be on display at the museum beginning in September 2026 and running through July 2027.

Why such a big to-do over the tapestry? According to Museums Association, this is not just any tapestry. The loan from France to England was an undertaking nearly a year in the making. Anthony Pickles, the museum's director of communications, posted on social media that "it was about watching an extraordinary team rise to an extraordinary occasion. Over the past year, they have lived and breathed this exhibition. They've solved problems that didn't have obvious solutions, worked quietly behind the scenes, and carried the weight of a moment that will become part of the museum's history."

According to AVIXA, Pixel Sharp reportedly selected four Panasonic RQ35K 4K laser projectors, a Datapath Fx4 display controller to bring the display to life, and MadMapper software, all of which is powered by Anker Solix F3800 rechargeable lithium batteries. Per Live Design Online, the content was provided by Elliot Wheatland-Clinch, senior content producer at the British Museum.

At NAB 2026, AIMS did something the IPMX community had not done before. It set aside a 1,600-square-foot room off the West Hall and ran classes. In the past, members of the community have given educational presentations, but never a sit-down training with an instructor and a curriculum. More than 40 people came through the first sessions, and for a format that had never been tried, in a market still forming its opinion of IPMX, that room was worth paying attention to.

A standard tends to become real in three stages. First it gets written. Then it gets built. And then people learn to use it. IPMX has cleared the first two. The core specifications are published, IPMX certification is in place, and certified products are shipping and running in real installations, from legislatures and universities to enterprise and government facilities. What the room at NAB showed is that the third stage had arrived. There is now a body of people who need to know how to design, deploy, and support these systems, and until recently there was no dedicated place to learn.

The timing is not incidental. AV over IP is no longer an emerging idea. AVIXA now describes it as a mainstream aspect of AV installations, and the wider Pro AV market it belongs to is forecast to grow from $332 billion in 2025 to $402 billion by 2030 in the association's Industry Outlook and Trends Analysis. Broadcast AV, the discipline closest to IPMX's roots, has climbed to become the second largest solution area in the industry, behind only conferencing and collaboration. The broadcast and Pro AV worlds that IPMX was built to bridge are converging in real spending, not just in theory. And the constraint on all of it has shifted. For years, the open question was whether the technology would be ready. Now it is ready, and the harder question is whether there are enough people who know how to work with it. Industry surveys consistently put skilled-labor shortages at or near the top of integrators' operational concerns, and the gap is increasingly about the right skills rather than raw headcount. A standard with no on-ramp is a standard that adoption outruns.

IPMX Training is Live

That place now exists. The IPMX training program is live at training.ipmx.io. It is free, it is module-based, and it is hosted on a learning management system open for sign-ups today. The first modules went live on June 15, 2026. Five are available now, with more scheduled to arrive around IBC. AIMS developed the program through its Education Working Group in partnership with AV Community, the AV education firm led by Patrick Killianey, and the material is delivered as professionally produced, self-paced video that a student can work through on their own schedule.

The model behind it is one the industry has watched work before. Dante did not earn its place in professional audio on technical merit alone. It earned it by becoming easy to learn, through free, tiered, online certification that produced a large pool of people who could confidently specify and deploy it. That pool became its own kind of advantage, because a technology many people already know how to use is a technology that gets chosen. IPMX is following the same playbook, with one important difference: it is doing so for an open, multi-vendor standard rather than a single company's ecosystem. That difference shows up in what the training teaches.

Most credentials in AV are either product certifications tied to one manufacturer's gear or general industry certifications that stay above the protocol layer. IPMX training sits in a different place. It goes deep on the transport itself, and on the networking fundamentals beneath it: multicast, PTP timing, and how media flows are described and carried over IP. What a student learns is the standard, not any one vendor's implementation of it, and those fundamentals carry well beyond IPMX. The skill is portable across every product that carries the IPMX mark.

The content is organized into three levels, each building on the one before. Level 1, Foundations, is the accessible on-ramp, written for the consultant or salesperson who needs to speak the language and specify a system correctly without necessarily configuring it. Level 2, Systems, moves into building a working system: media profiles, device capabilities, and how the pieces fit together into something that runs. Level 3, Networks, goes deeper into the layer underneath, the switching, timing, and traffic engineering that keep a live media system reliable at scale. Throughout, the courses address the standards IPMX is built on, AES67, SMPTE ST 2110, and NMOS, directly rather than only as background. Because IPMX is effectively a superset of ST 2110 and AES67, learning it well means picking up those standards and specifications along the way. A student who works through the program comes away understanding not just IPMX, but a good deal of the broader IP media family it belongs to.

One design choice runs through all of it: the program starts at the ground floor. It is built to be approachable to anyone with no background in networking or video, whether a junior engineer, a salesperson, or a consultant. That accessibility matters more than it might have a few years ago. As AI reshapes which careers feel secure, a generation is moving toward hands-on, hard-to-automate work, the so-called toolbelt generation that has been steadily filling vocational and trade programs. Skilled AV engineering belongs in that durable category. It is on-site, cross-vendor, and judgment-heavy, the kind of work that does not automate away, and IPMX training is a low-cost, standards-based way into it. The Education Working Group set out to lower the barrier to entry and grow the base of qualified professionals as fast as the demand is growing, and free, self-paced modules are how that scales.

This is a starting point, not a finished program. More modules arrive around IBC, and AIMS plans to organize additional training opportunities beyond the online modules, including on-site training. The longer arc points toward a recognized way for the industry to identify people who genuinely know IPMX, so that the skill carries weight in the market. The room at NAB was the first proof that the appetite is real. The site is the answer to it, and it is open to anyone. If you design, install, or operate AV and broadcast systems, or you simply want to understand where IP media is heading, the modules are free and signing up takes a minute.

Start at training.ipmx.io.

Chyron brings its cloud-based production platform to grassroots pickleball event in Kalamazoo, enabling multi-camera coverage, custom graphics, and remote commentary.

Friendly Pickle, a pickleball club in Kalamazoo, MI, recently produced a full live broadcast of its pickleball tournament with the help the cloud-native Chyron LIVE platform. The production featured a six-camera setup, a custom graphics package built in Chyron PRIME, and remote commentary, demonstrating Chyron LIVE’s ability to deliver broadcast-quality coverage for organizations well outside the traditional sports media landscape.

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Daniel Higgins, project lead, Chyron, worked closely with Friendly Pickle general manager Kristy Visser and owner Ben Ipema to explore the potential for Chyron LIVE to deliver professional coverage of the event. After seeing Chyron LIVE in action, Ipema agreed to host a full live-streamed production during one of the club’s upcoming tournaments.

“We pride ourselves on giving our members a top-notch club experience, so when the Chyron team met with us about bringing professional-level broadcast production to one of our tournaments, it was an easy yes,” said Ben Ipema, owner of Friendly Pickle. “Our players and their families got to see themselves on a stream that looked and felt like something out of a major tournament, right here in Kalamazoo.”

On March 21, the team produced a full day of live coverage for Mini MLP March Madness, a team tournament played across two skill divisions. The broadcast was built around six camera inputs: three BirdDog PTZ cameras and two Panasonic camcorders, covering the main game view, close-up rally action, and a wide venue shot, all switched live via Chyron LIVE. A custom Chyron PRIME graphics package built specifically for the event included a pickleball scorebug, a breakboard for series scoring, lower thirds, and team-versus-team intro graphics, all controlled through a Master Control Panel configured with saved messaging for instant recall throughout the day-long event. The broadcast streamed live to YouTube in 1080p and incorporated remote commentary, adding a layer of production value typically reserved for much larger events.

“Chyron LIVE was built to bring broadcast-grade production within reach of any organization, no matter the size,” concluded Higgins. “We deployed a full multi-camera workflow, real-time graphics, and remote commentary with a small team that included Friendly Pickle’s own staff stepping in as camera operators. It’s exactly the kind of project that shows what LIVE can do outside of a traditional broadcast truck.”

For Fellowship Church, production technology exists for one purpose—enabling people to clearly hear life-changing truths—and behind the scenes, new audio control surfaces support that goal. After more than three decades of growing its community of faith across multiple regional campuses and online, the Grapevine, TX-based house of worship has upgraded the audio infrastructure of its main 4,200-seat auditorium. Systems integrator Clark selected two DiGiCo Quantum3³⁸ digital mixing consoles, which are now being utilized at Fellowship’s FOH and monitor mix positions.

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“Our role is simple,” said a member of the church’s production leadership team. “We want to remove anything that distracts people from hearing God’s Word and engaging in worship. Here at Fellowship, production is not about spectacle; it is about removing distractions. When technology works the way it should, it disappears. And what remains is every microphone, every instrument, and every element of the service working together to create a meaningful worship experience.”

A key component of that approach rests on clarity, and, powered by DiGiCo’s Quantum processing engine, the new consoles deftly manage large input counts while maintaining clarity and consistency across all of Fellowship’s services. Ease of use was also cited as another benefit, as Fellowship Church depends on a strong culture of volunteers. Engineers, musicians, and technicians serve together each week, and the system needed to be powerful but simple to operate.

“The DiGiCo interface is fast and intuitive,” the team explained. “That allows our volunteers and staff to focus on serving people rather than managing technology.”

The recent console upgrade reflects a philosophy that has shaped Fellowship Church from its start, which is that excellence should serve the mission. “Pastor Ed Young often reminds the congregation that the church exists to help people discover hope in Christ and apply Biblical truths to everyday life," team members concluded. "Technology simply helps deliver that message clearly. As Fellowship Church continues to grow, our new DiGiCo Quantum3³⁸ consoles will provide a strong foundation for the future while supporting the church’s commitment to helping people encounter God and His timeless truths.”

Maersk, an industry leader in the global integrated logistics arena, has a track record that speaks for itself. In the world of transportation and logistics solutions, Maersk is highly respected, serving Fortune 100 customers and positioned as a prominent player in the field. Maersk’s operations span the globe, with operations in 130 countries and over 100,000 employees—a force to be reckoned with in the context of the global supply chain.

A recent project revolved around Maersk’s U.S. warehousing and distribution business operated by Maersk Warehousing and Distribution Services USA (Maersk WnD), and was spearheaded by Jacques Van Der Merwe, head of engineering and automation at Maersk, and Fitzgerald Speare, head of engineering maintenance. The implementation of Haivision technology in Maersk WnD’s Network Operations Center (NOC) was led by integrator Andrew Haner of IE Solutions.

Maersk WnD’s chief objective was clear: They sought continuity and consolidation of their assets and visibility from a single point. As an industry leader, Maersk WnD monitors diverse assets such as warehouse inventory, transportation fleets, facility equipment, supply chain components, IT infrastructure, storage facilities, and environmental conditions. Their need for effective asset oversight spans various critical elements fundamental to their expansive logistical operations, many of which benefit from Haivision’s video wall technology and its role in streamlining monitoring and management across their worldwide network.

This approach had to allow for scalability as Maersk WnD expands its network operations center across multiple national sites and, eventually, internationally. The mandate for Fitzgerald’s team was to maintain an aggressive uptime commitment within their facilities, and the Network Operations Center (NOC) played a crucial role in achieving this goal.

Enter Andrew Haner, the owner of IE Solutions, whose role was to help construct a plan for Maersk WnD’s NOC, allowing the team better visibility into the operational status of key facilities. His role as a key integrator connected Maersk WnD with Haivision, setting the stage for a transformational partnership.

Haivision emerged as the ideal partner for Maersk WnD, thanks to its undisputed standing as a cutting-edge video wall provider in the industry. With a reputation for providing intuitive, high-quality solutions, Haivision’s expertise complements Maersk WnD’s dedication to high-performance operations.

Quicker Decision-Making

The NOC acts as the nerve center, offering quicker decision-making through real-time insights and centralizing essential reports and data. The main function of the NOC is to provide monitoring of the Maersk WnD mechanized facilities; this is accomplished by stitching together all the warehouse control systems that detect any sort of issues and funneling different feeds monitoring asset functions—such as sensors, their warehouse control system, and cameras—back to the NOC.

Incoming information is channeled to the NOC, where a designated manager makes decisions about resource allocation. Each panel within the NOC serves a dedicated purpose, whether showcasing human-machine interface (HMI) screens for the warehouse control system (WCS) systems or live camera feeds to monitor specific building areas. The video wall displays critical management screens, weather updates, and key performance indicators, leveraging Haivision’s video wall solution API to unite content feeds into a single platform and preset content layouts for streamlined visualization and consistency.

This dynamic setup accommodates live feeds from multiple sites and offers customization that allows the team to visualize content from a variety of monitoring tools and technologies. In turn, this ensures the team can address specific needs and enhance operational efficiency. Additionally, Maersk WnD is able to integrate data from Power BI, ServiceNow tickets via web links, and even weather updates, giving users the complete and comprehensive picture of all system activities at the same time.

“The setup of our video wall provides immense flexibility,” Van Der Merwe explained. “It allows us to project various critical tools such as sensors, WCS, and cameras onto the screen. Simultaneously, our operators can work with these tools using their individual workstations, providing an efficient and adaptable system.”

Although Maersk WnD initially faced some challenges in terms of stability, Haivision’s dedication and commitment to solving these issues were exceptional. A system redesign was undertaken to improve overall stability and functionality. Ultimately, Maersk WnD highly valued Haivision’s adaptability and support.

“The account managers and technical support personnel were patient and dedicated to working collaboratively with us to find the right solution,” Van Der Merwe shared.

“The solution offers both continuity and asset consolidation while providing centralized visibility,” Speare said. “This adds substantial value to our operations by allowing us to monitor asset performance proactively. It significantly enhances reliability by enabling us to identify trends, collect real-time data, and analyze it comprehensively. Leveraging the Haivision video wall system, our team can scrutinize data for negative trends, interpret issues, and devise solutions, ultimately improving site uptime.”

With Haivision’s video wall solution, Maersk WnD was able to centralize its monitoring through the optimized NOC, significantly contributing to asset reliability. The system streamlined alerts and continues to help Maersk WnD to achieve its aggressive uptime commitments for its critical facilities.

The Haivision system became an invaluable tool in their arsenal, facilitating quicker issue resolution and upholding the critical nature of their operations. In addition, the NOC has proved to be an impressive marketing tool: You might go so far as to call it a wow factor, as it allows Maersk WnD to demonstrate its investment in innovation and leadership in logistics to potential customers.

Maersk WnD’s journey with Haivision doesn’t end there. They continue to explore new tools and plan to expand their NOC capabilities to more facilities, with a target of 30 facilities in the next year and aspirations for international expansion in the future. The flexibility of the Haivision setup provides them with opportunities to be proactive, enhance visibility, and drive essential continuity and consolidation of assets through a high-performance NOC.

From Maersk WnD’s experience, the importance of thorough documentation and the utilization of APIs can’t be overstated. These factors play a pivotal role in the seamless functioning of the Haivision video wall system. Additionally, support from companies like Haivision is important; Haivision can act as a partner who highlights needs and solutions that they may not have considered but should. By working closely with solution experts, you can confidently outline your operation center needs and a blueprint to tackle those challenges.

Haivision’s video wall solution, by centralizing monitoring, has not only enhanced asset reliability but also set a new industry standard by supporting Maersk WnD’s commitment to delivering top-notch services and maintaining facilities at peak performance. The collaboration has revolutionized the company’s asset management, making it a benchmark of efficiency and reliability, aligning with critical business goals, and promising scalability for future expansion.

Acting as Tallahassee’s primary performing arts venue, Florida State's Ruby Diamond Concert Hall seats over 1,100 and hosts everything from full opera, touring artists, and ballet productions to graduation ceremonies, academic lectures, and classical concerts. Thus, the PA had to be powerful enough to serve amplified productions yet compact enough to retract completely out of sight into the stage’s acoustical shell when acoustic performances required an unobstructed stage and acoustic sound. As FSU prepared for its 2025-26 school year, a new L-Acoustics K3i system was installed to solve both problems at once.

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“The theater is used for a lot of different types of productions,” explained Ruby Diamond’s head audio specialist Mike Shapiro. “We needed a top-tier, rider friendly system that would deliver powerful, impactful performances for our amplified shows, but that same system also had to have the ability to be raised through our reflective acoustic shell, out of the way, for acapella, classical acoustic, and other non-amplified shows. The L-Acoustics K3i checked every box.”

The installation was carried out by Clark, an Atlanta-based integrator and L-Acoustics Certified Provider for installations (CPi), working from a system design modeled in L-Acoustics Soundvision software.

The venue’s retractable speaker system dates to a $38 million renovation in 2010, when motorized hoists were installed to lift the PA up through openings in the acoustical shell above the stage. It is a practical and elegant solution—when the speakers are needed, they descend into position; when they are not, they disappear entirely, leaving the stage and its acoustic environment untouched.

The physical installation was itself a feat of engineering. The existing hoist motors—the mechanisms that raise and lower the speakers through the shell openings—had to be removed, serviced, and reoriented to accommodate the new system. The openings in the shell are narrow, leaving almost no margin for error.

The retractable design also gives lighting designers freedom they previously lacked. For operas, ballets, and classical performances on Ruby Diamond’s wide proscenium stage, lighting rigs need to cover the space from multiple angles—angles that a fixed PA system would obstruct. With the K3i raised and out of sight, that constraint disappears.

The new system features left and right main hangs of 10 L-Acoustics K3i per side, with a center-fill hang of one A10 Wide over one A10 Focus. Three KS28 subs are stacked on the stage below each K3i array, with six coaxial X8 spread out across the stage lip for front-fill. On stage, 10 X15 HiQ wedges provide monitoring. LA7.16i amplified controllers drive the entire house rig, aside from the subs, which are LA12X-powered. Additional LA12X drive the X15 stage wedges. The system also features a Direct Out Prodigy MP for Milan-AVB distribution, paired with six LS10 AVB switches.

One of the K3i’s most important attributes at Ruby Diamond is its full-range capability. Because the shell openings are too narrow to accommodate flown subwoofers, the system had to deliver meaningful low-end extension from the main hangs alone—and it does. For many productions, the bass from the K3i mains is sufficient on its own, with no subwoofers required at all. When concerts demand more impact, six KS28 subs, three per side, can be rolled out on L-Acoustics chariots for a ground-stacked LF solution.

Aesthetics are important in a classic hall like this, and the venue’s gorgeously muralled side walls meant that acoustic panels or other treatments were not possible. In order to avoid reflections, the system design leans into L-Acoustics Panflex technology, using the 90-degree asymmetric presets to direct energy away from the walls and from overwhelming suites and mezzanine boxes along the side walls, while the top two enclosures are in 70-degree dispersion configuration for far-field coverage.

Another unique aspect of the FSU project is the use of multiple mix positions, using a Milan-AVB network to let the venue’s AVID S6L console work from either the booth position or mid-house location.

“The system delivers exceptional coverage and outstanding sound quality throughout the venue,” Shapiro concluded. “The consistency from seat to seat is remarkable, ensuring every audience member hears the performance as it was intended, regardless of where they're seated. That's exactly the experience we were hoping to create.”

Located just west of Oklahoma City, Yukon is known for its strong school system. Football plays a central role in the community, making the Yukon High School football stadium an important gathering place for students, families, and residents throughout the region. When Yukon Public Schools wanted to enhance the fan experience at its high school football stadium by extending audio coverage beyond the main stadium bowl, it turned to LEA Professional as the solution.

[Course Correction]

The project required audio distribution to three concession stand areas, the visitor stands, and the wellness building while integrating seamlessly with the stadium’s existing infrastructure. District staff contacted Chris Tower, president of Video Reality, to recommend amplifier upgrades. Having worked with LEA Professional products for years, Tower recommended Connect Series amplifiers for their flexibility, reliability, ease of programming, and overall value.

“This was an upgrade and expansion to the current system, so maintaining reliability and simplifying deployment were both important factors,” said Chris Stephens, general manager at Video Reality. “We needed a solution that could efficiently distribute audio to multiple locations throughout the stadium complex, and I knew LEA amplifiers were well-suited for the job.”

Video Reality installed several Dante-enabled Connect Series 702D and Connect Series 704D amplifiers to power the stadium complex. The CS702D is a 2-channel amplifier with 700 watts per channel, and the 4-channel CS704D also provides 700 watts per channel. All Connect Series amplifiers are professional-grade, IoT-enabled smart amplifiers suitable for installations of any size, while Dante-enabled models add 96 kHz-capable Dante and AES67 connectivity. They support both Hi-Z (70V or 100V) and Lo-Z, selectable per channel, eliminating the need for separate amplifiers to handle different speaker impedances, 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.

Video Reality designed the system using Dante to streamline signal distribution across the campus, enabling efficient transport of low-latency audio between multiple locations with minimal infrastructure complexity. The CS704D amplifier powers loudspeakers covering the visitor seating area, while some of the CS702D amplifiers power loudspeakers at each concession stand. Additional CS702D amplifiers were installed in the Wellness Building to power loudspeakers throughout the facility.

The upgraded system has delivered dependable performance throughout the stadium complex, providing seamless audio coverage for spectators, athletes, and staff. For them, the system is transparent and “just works.”

“LEA has long been a go-to amplifier line for us because of the flexibility in options, reliability, and ease of programming,” said Stephens. “Bottom line is that we trust the company and its products.”

Christie projectors are helping tell the story of Canada’s national game at Toronto’s Hockey Hall of Fame. Specified by Audio Video Design and installed by Christie partner Applied Electronics, the projectors light up the screens in the Tim Horton’s Theatre and the TSN Theatre. They augment a previous installation of GS Series projectors in the National Bank World of Hockey Zone.

[AV Distribution That’s Above Par]

With the existing projectors in the TSN Theatre and Tim Horton’s Theatre nearing end-of-life, Rodney Joffe, owner, Audio Visual Design, worked closely with Christie to demonstrate how its projectors could be a fit for the Hall. “The demonstration at the Hockey Hall of Fame was impressive,” said Joffe. “On top of the presentation, Christie’s history of quality, service, and sales follow-up made these projectors a great fit for the Hall.”

An M 4K15 RGB pure laser projector was selected for the 125-seat TSN Theatre, which screens the family-friendly hockey adventure “Little Big Shot.” Part of the M 4K RGB Series, the compact, highly energy-efficient M 4K15 RGB offers 15,750 lumens, premium color reproduction and 4K UHD resolution for vibrant, true-to-life visuals.

In the Tim Horton’s Theatre, a 4K860-iS Inspire Series 8,500-lumen 4K UHD laser projector lights up the screen in this 120-seat space, which displays archival footage, including Stanley Cup championship highlight reels. Three blended GS Series laser projectors enhance the World of Hockey Zone, the largest dedicated exhibit area within the Hall, with over 20,000 lumens of brightness.

Joffe worked closely with Christie to optimize projector placement and settings to ensure seamless integration with the entire AV system. “The support from the Christie team was instrumental in the successful completion of this project,” he said.

“We value the opportunity to collaborate with Christie and Audio Visual Design on a project of this significance,” said Mike Dalton, VPof the audiovisual systems division at Applied Electronics. “Together, we’ve delivered a reliable, high-quality projection solution that not only supports the Hall’s mission to engage, educate, and inspire visitors through powerful visual storytelling, but also enhances how visitors engage with the history and excitement of the game."

Ohio’s Liberty Collective is an 18,000-square-foot entertainment complex designed to bring people together. The facility features five distinct restaurant concepts spread across two floors, along with a coffee and breakfast bar, an ice cream shop, and three bars, including a 30-tap self-pour beer wall. Setting the tone aurally is a must and Liberty Collective’s system is almost entirely used for background music. AtlasIED’s Atmosphere platform came to mind immediately for a recent upgrade.

[AV Distribution That’s Above Par]

The owners were working with Tom Kaper, owner of TECServices, to design and deploy the multitude of video displays throughout the building. Kaper contacted local integrator iCOMM Communications to help with the audio system. The building is approximately 160 feet long and 100 feet wide, with a very high ceiling and a large open area between the two floors. The architecture made audio intelligibility very challenging.

AtlasIED had the answer.

In turn, iCOMM Communications contacted Andy Black, McFadden Sales’ territory sales manager for Southwest Ohio and Kentucky, to assist with the AtlasIED installation. McFadden Sales has represented Pr AV and audio technology brands since its founding in 1938, building long-term partnerships with manufacturers such as AtlasIED.

“[Liberty Collective's] larger than similar concepts and incorporates outdoor space," said Black. "The inside design was gorgeous, but very acoustically challenging. A lot of work went into the design phase to come up with an audio solution that would suit the architecture.”

An Atmosphere AZM8 was well-suited for the venue’s needs. The AZM8 is an eight-zone digital signal processor and the heart of an Atmosphere audio control system. A built-in message player, virtual wall controllers, learning ambient noise sensing, Tilter Filter, auto-gain, GPIO, room combine, and more make the AZM8 a processing powerhouse. Two zones (east/west) were configured on each floor, while outside, separate zones were created for each side of the building.

Programming is simple via an on-board web interface optimized for common use cases. The control interface is device-agnostic, responsive, and meticulously designed to deliver an ideal user experience without sacrificing design freedom. In addition to Ethernet, built-in Wi-Fi allows tablets and other control devices to connect directly to the AZM8 via rights-based access.

A combination of the 800-watt DPA804, 1200-watt DPA1202, 2400-watt DPA2402, and 4800-watt HPA4202 amplifiers powers the loudspeakers installed throughout the venue. AtlasIED’s multiple-channel amplifiers are engineered to support 25V/70V/100V distributed systems as well as low impedance systems, making them versatile for a wide range of installations.

The building has garage doors that can open during warm weather, so wind inside the building can be considerable, making pendant loudspeakers problematic. Instead, iCOMM Communications proposed installing surface-mount loudspeakers much closer to the listeners to reduce intelligibility issues. After exploring options, Ken Sargent, owner of iCOMM Communications and self-proclaimed longtime AtlasIED fan, chose the AtlasIED 2-way SM82T loudspeakers based on their sound quality and commercial-grade durability. The largest of the SM Series at 16½ inches tall, the 30-watt loudspeaker features a high-efficiency woofer and 1-inch high-frequency compression drivers.

Outside, 12 AtlasIED AS-8T loudspeakers were mounted on light poles surrounding the volleyball courts, and “they sound great.” The AS-8T is a two-way, compact surface-mount loudspeaker that delivers a consistent, accurate broadband frequency response, both on- and off-axis. Equipped with a low-insertion-loss 60W transformer for 70V or 100V distributed applications, the durable, scuff-resistant, high-impact ABS enclosure with UV inhibitor is weather-resistant (IP55) for consistent performance in adverse conditions.

ALA20T column line-array loudspeakers flank the enormous, 25-foot-wide LED video screen that dominates the wall behind one of the bars. The 66-inch tall loudspeakers combine 20 3-inch full-range drivers and six 3/4-inch high-frequency tweeters, delivering maximum pattern control performance in a minimum footprint and making them ideal for applications that require exceptional speech intelligibility.

Newly completed, the entertainment venue has already proved to be a hit in the community, thanks in part to the superior sound Atmosphere delivers. By mounting the SM82T loudspeakers at the proper intervals and locations throughout the building’s interior, iCOMM Communications overcame the venue’s acoustic challenges.

"With a product catalog as extensive as AtlasIED's, it's fantastic to have a wide selection of high-quality indoor and outdoor loudspeakers. The audio experience is exceptional both inside and out," said Sargent. "AtlasIED's products are reliable, and their team is very knowledgeable. If someone doesn't know the answer to a question, they will find it out quickly. I truly enjoy working with them."

Get your free copy of SCN's Integration Guide to House of Worship.

Volunteer-Friendly AV

A new production environment for Tennessee’s RockPoint Church Chattanooga serves as the backdrop for a conversation with integrators about the importance of balancing needs with budgets and long-term scalability for houses of worship. Plus, learn how RockPoint has embraced its new, volunteer-centered workflow to create a seamless experience for both in-person and online audiences.

At Issue

Industry experts from Absen, AtlasIED, LynTec, and Riedel discuss how the use of volunteer crews impacts house of worship AV design and product selection.

Download the Integration Guide to House of Worship.

Read the July issue of Systems Contractor News.

Celebrity Cruises has completed a major premium entertainment technology upgrade aboard Celebrity Solstice, installing a new Martin Professional lighting system as part of the ship’s extensive 45-day dry dock modernization. The project replaced the onboard theater’s original MAC 700 lights fixtures after nearly two decades of service with the newly released MAC Encore Two.

[Riedel Hits the Open Seas with Royal Caribbean]

As the first ship in Celebrity Cruises’ Solstice-class fleet, the vessel underwent a comprehensive refurbishment as part of Celebrity Cruises’ broader fleet modernization initiative, which included upgrades to accommodations, public spaces and onboard entertainment facilities. The ship’s theater hosts multiple productions every day, with lighting systems operating for six to eight hours continuously and supporting three to four performances daily. Because cruise ship environments place unique demands on technical systems, reliability and serviceability were key considerations throughout the specification process.

The upgraded rig is anchored by MAC Encore Two fixtures to support the next generation of onboard entertainment, with Celebrity Cruises receiving the very first units produced and delivered from the factory. MAC Aura XIP fixtures were also selected to complement the Encore Two profile fixtures and provide additional creative flexibility throughout the theater. Together, the system delivers improved brightness, color consistency and effects capabilities while maintaining the reliability required for continuous operation at sea.

For an in-depth look at the installation, and to hear from those involved, watch the video below.

At its headquarters in Rockleigh, NJ, Crestron operates its Crestron Technical Institute (CTI), a hands-on training facility where integrators, engineers, and technology professionals learn to install, configure, and deploy Crestron systems at a professional level. As a refresh cycle approached to address outdated displays and aging mounts, the new environment needed to demonstrate what a modern AV deployment can deliver. What Crestron’s infrastructure team built, with the Chief Tempo flat panel in-wall mount system at its center, not only delivered on that goal, but added a training room where the technology itself became part of the lesson.

[Crestron and Creating a Culture of Collaboration]

The training rooms had last been updated roughly 10 years prior, with a pair of 86-inch displays and two 65-inch screens on traditional articulating wall mounts. The plan for the next chapter of the interactive, hands-on CTI courses called for five 98-inch LG CreateBoard touchscreens capable of supporting simultaneous input from multiple users at once. At that size and weight, traditional articulating mounts weren’t built for the job. Any flex or movement degrades the touch experience, and for a room designed to demonstrate precision AV, that wasn’t something the team could work around.

Two additional requirements shaped the install. First, Crestron wanted its DM NVX AV over IP solutions visible to students rather than hidden behind the displays, staged in dedicated accessory boxes beside each screen so trainees could see the infrastructure they’d be specifying in the field. That meant accommodating an unconventional three-box configuration per position. Second, the team needed easy serviceability.

Chief’s Tempo was selected for all 10 display positions across three classrooms. It keeps large displays tight to the wall, eliminates flex during touch interaction, and provides built-in service access without needing to remove the display.

“When you’re training the people who install AV systems for a living, the room itself sets the standard,” said Alex Villiard, principal infrastructure engineer, training, Crestron. “We needed mounting that could handle 98-inch touchpanels without any movement, support a custom layout that put the infrastructure on display, and let us get in and out for service without turning it into a project. The Chief Tempo flat panel in-wall mount system gave us the flexibility to build something that doesn’t exist as a standard configuration."

Making the DM NVX AV over IP platform visible has had a real instructional effect. The exposed Crestron solutions generate conversations in the room, where students ask about the hardware they’re looking at and get hands-on context for systems they’ll be specifying in the field.

“The Crestron Technical Institute is where our customers come to learn how to build with our systems,” added Villiard. “The touch experience is exactly what it should be, the infrastructure is visible and purposeful, and we can service everything without taking the room offline. That’s the environment we wanted to build.”

“What Crestron built in those training rooms is exactly what Chief mounts are designed to enable, a professional installation where the mounting solution supports the experience rather than limiting it,” said Dorian Haro, product manager, Legrand | AV. “Tempo was the right fit because it solved three distinct problems at once: stability for large-format touch displays, serviceability for a high-use environment, and the flexibility to support a custom layout that served a real instructional purpose. That’s the kind of deployment Chief is built for.”

Universities are under increasing pressure to deliver consistent, technology-enabled learning experiences across multiple campuses, often while managing growing AV estates with limited IT resources. For Fundación Universitaria del Área Andina in Colombia, a historic institution founded in 1893, addressing these challenges became a priority. It responded by launching RAUDA, an ambitious initiative designed to centralize and standardize audiovisual infrastructure across its campus network. The school turned to Kramer to do both.

[UNLV Immerses Higher-Ed AV/IT Professionals in Virtual Reality]

With locations in Bogotá, Pereira, and Valledupar, the university had developed a diverse AV landscape over time, designed to support both in-person and hybrid learning for undergraduate and graduate students across a wide array of disciplines. Relying on a mix of technologies, including classroom touchscreens and commercial displays in halls and reception areas, the systems were managed independently. This fragmented approach made it difficult to maintain consistency across learning environments and shared spaces, along with limited visibility into system performance and slowed response times when issues arose.

To address this, the university launched RAUDA. The goal was not only to improve day-to-day operations, but also to enable more consistent experiences for both faculty and students. Working with system integrator Merge, Fundación Universitaria del Área Andina implemented the first phase of the RAUDA project by deploying a centralized AV over IP architecture across its sites. Classrooms, auditoriums, meeting spaces, and digital signage endpoints were connected into a unified network, allowing content to be distributed and managed more flexibly across locations.

An array of Kramer solutions were selected. These included Kramer KDS-EN7 encoders and KDS-DEC7 decoders for content distribution; VIA GO 3 devices for wireless presentation and collaboration; KC Virtual Brain 5 and Panta Rhei for system management, monitoring, and control; VSM on Cloud for centralized, cloud-based management; a dedicated network infrastructure built around NETGEAR M4250 switches, and TP-583TXR units for transmission support.

“Kramer gave us the ability to centralize and simplify AV management across campuses while delivering a more reliable and consistent experience for users,” said César Andrés Rodríguez Ángel, national director of technological innovation at Fundación Universitaria del Área Andina.

The impact has been felt both operationally and from a user experience perspective. Centralized control has helped streamline support workflows and reduce incident response times, while delivering more consistent and reliable AV performance across campuses. According to the university, this has translated into improved availability of learning spaces and a smoother experience for both staff and students.

The new infrastructure has also unlocked additional capabilities, particularly in the area of digital signage. The university can now manage and update content in real time across high-traffic areas, supporting more agile and targeted communication with students and visitors.

Brompton Technology’s Tessera LED processors were at the heart of the revival of the American Psycho musical, which ran at London’s Almeida Theatre. Based on Bret Easton Ellis’s 1991 cult novel, the production brings satire and high-energy 80s pop aesthetics to life through an LED floor that is central to the show’s visual storytelling. The system, comprising ROE Black Marble 4 panels powered by Brompton’s Tessera SX40 processors, was supplied and integrated by Universal Pixels. Installation was led by Dom Coppola and Scott James of Universal Pixels, with final configuration by Matt Morris.

[dvLED Explained]

The production features set design by Es Devlin and video design by Finn Ross of FRAY Studio, with lighting by Jon Clark. Rather than a conventional upstage LED wall, the creative team opted for a full LED floor, a decision that allowed performers to become light sources themselves, lit from beneath, creating an immersive and psychologically intense visual environment. The floor incorporates a drop, slide, and lift mechanism, enabling set pieces to be pre-loaded and deployed rapidly within the Almeida’s intimate space.

The requirements set by the creative team were stringent: An LED floor that was capable of 10-bit color, which was non-negotiable. “We were able to utilize our ROE Black Marble 4 on Brompton, which was the perfect product for this," explained James Paul, theater lead at Universal Pixels. "The LED panels needed to be incredibly bright, as they were the only light source in the room at some moments, creating an impressive visual effect. The product also needed to be flush at the edges so the thrust stage looked as clean and sharp as possible, allowing the audience to sit close to the stage.”

Durability was equally critical. The cast’s demanding choreography, combined with the constant movement of scenic pieces across the floor, required a surface that could withstand heavy use without deterioration. The ROE Black Marble 4’s hardwearing matte tile surface proved ideal for the job. The processing setup, two 4K Tessera SX40 LED processors and four XD 10G data distribution units with full processor and cable redundancy, reflected how integral the LED floor was to every aspect of the production.

Having worked on both the original 2013 Almeida production and the 2016 Broadway run, video designer Finn Ross was determined that this revival would look entirely different: A complete visual overhaul to reflect both a new political moment and a more stripped-back, performer-led approach to the storytelling.

To this end, the LED floor represented both a creative and technical breakthrough for the show. “Rather than working with the usual upstage LED wall, it was quite satisfying to do away with that and have the actors stand on the LED floor instead,” he explained. “Working with a lighting designer like Jon Clark, who isn’t afraid to use just a few lights or let people actually be the light source, was exciting. You have these moments where people have this incredible glow lifting them from underneath, reinforced by something that can produce a solid, reliable color that you can key in with lights."

The intimacy of the Almeida placed particular demands on color precision. With audiences seated close to the stage, the absence of any visual artifacts was vital. As Ross explained, LED walls in theaters, which are not typically bright, are a difficult thing to make work because they like to be bright. “Having features like PureTone keeps the color range but also allows you to use the wall at a much lower level," he added. "Being able to work in 10-bit was really helpful, too. Because the audience is just so close, there’s nowhere to hide when people are close to the pixels, and because we were working in a lot of block colors and gradients, having that color information was invaluable.”

The content itself, displayed on the LED floor, was built around a strict visual language developed by Ross and set designer Es Devlin; a system combining block text, gradients, and analogue noise interference. Noise textures were locked tightly to the music using drum stems from the show’s electronic dance score, with frames advancing on the beat. Luma mattes shaped the stage around performers, and at key dramatic moments a white noise blood splatter erupts beneath a character. Art-Net control over the Brompton processors allowed smooth, dynamic level changes throughout, with the production ultimately driving the floor to full brightness for the show’s climax, a first for Ross in a theatre environment.

For Universal Pixels, Brompton’s reliability and support made it the natural choice for a production where failure was not an option. “Reliability and fast support is critical when working on theatre productions,” said Paul. “For shows like this where the screen is integral to the storytelling, we have nowhere to hide. With long gradients spanning the entire length of the screen, we were able to avoid banding due to 10-bit color and utilizing features like Dark Magic and Extended Bit Depth to give us perfectly smooth gradients.”

"American Psycho is a perfect example of what's possible when LED technology is pushed beyond its conventional use in theatre,” concluded Patrick Goodden, technical sales manager (U.K. and Ireland) at Brompton Technology. “The creative team's decision to put the screen on the floor rather than the wall, and use the full range of brightness in such an intimate space, speaks to a growing confidence in what Tessera processing can deliver. We're proud to be part of productions that treat LED as a genuine storytelling tool."

Opened to the public in 2004, As-Syafaah Mosque in Sembawang, Singapore has completed a renovation to modernize video distribution across its four-story facility. The upgrade streamlines daily operations throughout the main prayer halls, women’s prayer area, 17 classrooms, and a basement overflow space. It also improves streaming and recording for Friday prayers to accommodate a growing congregation and ensure a more inclusive worship experience. All of this was completed within one month to avoid disrupting the mosque’s daily operations.

[Video Wall Brings MLK’s Vision to Life at Atlanta's King Center]

The solution integrates Extron AV technologies for AV signal switching, scaling, and distribution over shielded twisted pair cabling, enabling 4K video routing and delivery to 14 displays and 10 projectors across reception areas, prayer halls, classrooms, and the main auditorium.

“Extron was chosen for their established brand, fantastic support, and local repair center," said Alan Hong, sales and project manager, Maxxmedia International. "Extron products have been successfully deployed at many mosques around Singapore and are well known for their reliability, ease of use, and performance.”

To support the needs of all worshippers, As-Syafaah uses an Extron SMP 351 H.264 Streaming Media Processor with Dual Recording LinkLicense enhancement to stream and record sermons, including Friday prayers. Streams are distributed to monitors throughout the mosque and recordings are accessible online. Extron TouchLink Pro touchpanels and IPCP Pro control processors provide intuitive system control for non-technical staff, including video layouts, picture-in-picture, PTZ camera control, routing, and audio preset switching.

Additionally, the team selected an Extron DXP HD 4K PLUS high-performance 4K/60 HDMI matrix switcher, DVS 605 scaler with seamless switching, DTP HD DA 4K 330 distribution amplifiers, and DTP HDMI 4K 330 transmitters and receivers to perform AV signal switching, scaling, and distribution over shielded twisted pair cable throughout the expansive mosque’s four levels.

The new installation at As-Syafaah has been very well received. Staff appreciate the user-friendly GUI, which they find highly intuitive, and report a significant improvement in the daily flow of operations. They also value the peace of mind that comes with Extron’s reliability and support.

The AV system upgrade at As-Syafaah has transformed the mosque into a modern, highly functional space for religious and community activities. Through the seamless integration of Extron products, the mosque now benefits from an advanced, user-friendly AV solution that elevates its programs and services. This project showcases the capability of Extron technology to provide reliable, high-performance AV systems designed to meet the unique demands of religious centers.

Crowne Plaza Adelaide Mawson Lakes officially opened as northern Adelaide’s first premium full-service hotel. Anchored by a dramatic 46-foot-high atrium, the hotel offers four purpose‑built conference and event spaces totaling 4,758 square feet, including the Shoalhaven Ballroom and pre-function areas, supporting up to 250 guests. Integration firm Corporate Initiatives designed and deployed a venue-wide audiovisual system centered on JBL Professional loudspeakers and Crown amplifiers.

[4 Opportunities in 2026 for Pro AV Integrators in Hospitality]

Combining contemporary hospitality spaces with integrated event infrastructure, the hotel was built to support a wide range of corporate meetings, functions, and social gatherings while allowing staff to manage the majority of AV requirements internally without dedicated on-site technicians. The installation spans more than 80 loudspeakers across reception, lobby spaces, restaurants, bars, conference facilities, public amenities and recreational areas, creating a consistent audio experience throughout the property while maintaining operational simplicity for hotel staff.

“Music creates an emotional connection,” said Faisal Sayed, general manager of Corporate Initiatives. “It sets the tone, energy and mood in every space. It supports the brand experience, activates areas commercially and helps deliver seamless conferencing. A good sound system is fundamental.”

A venue‑wide JBL Professional audio solution, powered by Crown amplifiers, were deployed throughout the reception, lobby, bar, restaurant, atrium, balcony, gymnasium, elevators and function spaces. 14 JBL Control 16 ceiling loudspeakers installed throughout reception, lobby and amenities areas, while 25 JBL Control 18C/T loudspeakers support ballroom spaces, the gymnasium and additional high-traffic zones. Three JBL Control 24CT loudspeakers provide coverage within elevator areas, and 20 JBL Control 65 pendant speakers selected for the hotel’s bar, restaurant and reception environments. 20 JBL SLP14 surface mount loudspeakers deployed throughout the balcony and the venue’s 14-meter-high atrium space, while four JBL 8128 in-ceiling loudspeakers support select gym and reception areas. The system is powered throughout by Crown amplifiers, providing centralized control, reliable operation and scalable zone management.

“We’re working closely with IHG on standardizing audiovisual platforms across its hotels,” said Gayan Dias, strategic relationships manager at Corporate Initiatives. “JBL offers the versatility we need, from indoor to outdoor applications, and when paired with Crown amplifiers, it provides the zoning sophistication and reliability hotels require.”

One of the hotel’s primary goals was to create conference and function spaces that could operate independently without requiring extensive external AV support. The integrated system allows guests to host presentations, meetings and events using built-in microphones, displays and sound reinforcement already configured within the venue.

“Most clients only need a microphone, a lectern, and a screen,” said Amy Davies, director of marketing and sales at Crowne Plaza Adelaide Mawson Lakes. “What sets our spaces apart is that all the technology is already there. Guests can host professional events without bringing in external AV or additional equipment.”

The project also emphasized the role of background music in shaping guest experience across hospitality environments. Different playlists, voicing profiles and volume levels were configured for specific spaces throughout the hotel, allowing audio to adapt naturally between dining, conferencing and social settings.

According to Nick Screen, VP and GM, HARMAN Professional Solutions, APAC, hospitality venues increasingly require systems that balance audio performance with operational simplicity. “Hotels today need AV systems that are powerful and flexible, but also intuitive for non-technical staff,” said Screen. “A unified ecosystem like JBL and Crown allows venues such as Crowne Plaza Adelaide Mawson Lakes to move seamlessly between conferencing, events and social settings while maintaining a consistent guest experience.”

More than a year after opening, Crowne Plaza Adelaide Mawson Lakes continues to expand its appeal beyond business travelers, attracting sports groups, leisure guests and private events. With integrated JBL Professional loudspeakers and Crown amplifiers supporting conferencing, hospitality and public spaces throughout the property, the hotel has established a flexible AV foundation capable of adapting to evolving operational and guest demands.

Saint Sophia’s Greek Orthodox Cathedral, also known as the Cathedral of Divine Wisdom, stands in the district of West London. While the cathedral’s domed roof and arched windows draws hundreds of visitors each week, its original sound system was no longer fit for purpose. Renkus-Heinz UBX16 loudspeakers were installed to modernize the cathedral.

[London Academy of Music & Dramatic Art Goes Virtual... Production]

Week after week, congregants reported difficulty hearing clearly. While it could provide low-level background music for visitors during the day, the system performed poorly when used for speech during services, producing muddy and unintelligible results. System integrators API Sound & Visual, who specialize in the design and installation of AV systems for houses of worship, heritage buildings, community spaces, and commercial buildings, worked closely with distributors CUK Group to start from scratch and design a new, dedicated speech system that delivers clarity from front to back, while respecting the space and its architectural limitations.

Stephen Neath, sales director at API Sound & Visual, explained that in a space of the scale of Saint Sophia’s Greek Orthodox Cathedral, dominated by hard marble surfaces, sound reflects endlessly. "It was imperative that the system was highly directional, focusing audio precisely where people are seated; otherwise, the spoken word would simply be lost,” he said.

To meet these goals, two Renkus-Heinz UBX16 loudspeakers were installed as the main left and right sources, chosen for their precise vertical pattern control. Their beams were aimed to cross approximately two-thirds of the way down the nave to provide primary coverage. To ensure even horizontal dispersion, two powerful but compact UBX8 loudspeakers were positioned on the left and right sides and aimed outward. An additional pair of UBX8s was installed further down the room at the sides as delay fills, reinforcing the main system and maintaining clarity and level consistency for attendees towards the rear.

Guided by CUK Group, compact Powersoft amplification was specified to pair effectively with the loudspeakers, enabling a tidy rack installation while providing greater flexibility for system tuning and overall performance. Control is handled via a single-button wall panel with a small display, allowing preset “scenes” to be selected so the system is automatically configured. This ensures that, during services, staff can focus entirely on worship.

“API approached us for design ideas in this unique space,” explained James Lawford, live sound channel manager at CUK Group. “We carried out a 2D direct sound simulation using EASE Focus to check coverage and dispersion from the main loudspeakers. This allowed us to confirm the placement of the delays and ensure the system would cover the entire space.”

Prior to installation, a system demonstration was held for key cathedral staff, allowing them to hear the results first-hand. “The difference was immediately obvious,” added Neath. “The new system was a million times better than what they were used to.”

The cathedral’s extensive marble surfaces meant direct drilling was not an option. The previous system had been mounted using wooden backings fixed into the grout rather than the marble itself, and this approach was carefully reused for the new installation. Another challenge presented by the marble was in cabling, however, the installation progressed smoothly overall. The loudspeakers’ black casing also helped blend discreetly with the cathedral’s detailing, minimizing overall visual impact and preserving the unique aesthetics.

Where complaints about poor audibility had once been a weekly occurrence, the response has since been overwhelmingly positive, with worshippers able to hear clearly throughout the space, without compromising its historic character.

“The project is a credit to API’s careful installation process, and the predictable, high-quality results that can be achieved using Renkus-Heinz UBX Series loudspeakers, even in highly reverberant environments,” concluded Lawford. The result is a system that finally allows the spoken word to be heard as intended, restoring clarity, enhancing engagement, and ensuring the cathedral can continue to serve its community with confidence.

Extron AV switching and control helped transform a Highland Community College (HCC) distance learning classroom into a dynamic esports hub. The HCC team envisioned a facility capable of hosting weekend-long tournaments with high schools in the local area. These tournaments would give students a hands-on experience competing in an esports environment. The room also needed to foster teamwork, collaboration, and a strong sense of community between players and coaches.

[Course Correction]

The presentation needed the capability to switch seamlessly between gaming stations and send the signals to large screen displays. To achieve this, the athletic director and coaches relied on Extron AV technologies to build a presentation system capable of 4K scaling while maintaining uninterrupted signal integrity.

“We have Extron products on our campus that have remained powered on for over 12 years and that we still use every day,” said Michael Gunderson, information technology services support specialist, media systems, with HCC. “The durability, features, and simplicity of Extron products makes all the difference in keeping our esports center running smoothly.”

Extron’s DTP CrossPoint 84 4K matrix switcher, which is at the heart of the AV system, distributes content from PCs and gaming systems to spectator viewing displays. Extron DTP Series wallplate transmitters were also used to position input connections in convenient locations. HCC has a well-established relationship with Extron and relies on the manufacturer's proven track-record of delivering high-quality, reliable products and industry-leading support.

For advanced signal routing and real-time switching between gaming systems and displays, the DTP CrossPoint 84 4K provides everything HCC needs without signal lag or delays. This improves coordination during team play, allowing coaches to analyze each player’s development. Engineered for flexibility, the DTP series products make it easy to connect devices, ensuring reliable signal routing with little to no cable clutter throughout the facility. Thanks to Extron AV technology, HCC’s esports facility has become a vibrant hub that empowers students to compete and engage with one another.

The new esports facility is a big hit across campus and amongst outside guests. Students enjoy high-quality audio and visuals during practice sessions and tournaments, while coaches focus on improving team coordination and player development. Extron’s reliable, high-performance technology lets players and coaches compete and train in a dynamic, fast-paced environment. HCC has made Extron products its first choice when considering upgrades to the new esports facility.

The World Cup has filled venues across the United States, with major cities taking part in outdoor fan festivals, bringing the action to hundreds of thousands of more soccer fans. Unilumin helped bring one experience to life, deploying two large-scale LED installations at FIFA Fan Festival Dallas, including a custom 16.4-foot Interactive LED Sphere and the Main Stage LED display at Dos Equis Pavilion. Together, the installations deliver more than 8.5 million pixels of immersive visual experiences for fans throughout the festival.

[Estadio Banorte Stadium Is Now the World’s Largest 10G SDVoE AV over IP Network]

Developed in collaboration with AMS Events, the Interactive LED Sphere combines large-scale LED technology with fan participation to create an immersive experience that invites visitors to become part of the display itself. Designed as a giant illuminated soccer ball, the sphere serves as a centerpiece attraction where fans can scan a QR code, upload a photo, and watch as their image appears on the massive LED display in near real time. The result is an engaging and shareable experience that celebrates the excitement, energy, and global community surrounding the world’s most popular sport.

Located within FIFA Fan Festival Dallas at Fair Park, the Interactive LED Sphere is positioned to engage fans from around the world in an environment designed to accommodate up to 35,000 visitors at a time, creating a highly visible and shareable destination within one of the tournament’s premier fan celebrations. The sphere features 3.9mm outdoor LED technology, weighs approximately 13,000 pounds, and contains approximately 3.7 million pixels. Construction, integration, testing, and commissioning required seven days to complete prior to opening.

Beyond the Interactive LED Sphere, Unilumin, which partnered with AMS Events, also supplied the LED display for the festival’s Main Stage at Dos Equis Pavilion within Fair Park. Measuring 46x26 feet, the URMIII 3.9mm outdoor LED wall delivers a resolution of 2912×1664 and more than 4.8 million pixels, providing a stunning visual backdrop for live programming and fan experiences throughout the event.

Orlando Science Center has unveiled its newly renovated eight-story dome theater, The Dome by Dr. Phillips Charities, featuring a Christie RGB pure laser projection system that transforms the former IMAX venue into a versatile immersive theater with 8K content for educational programming, giant-screen presentations, live planetarium experiences, and special events. Christie partner SSIA Technologies consulted and installed the systems.

[Increase Engagement, Reduce Waste]

At the heart of the installation are eight Christie Griffyn 4K35-RGB projectors configured in a full-dome projection system that delivers bright, high-resolution imagery across the theater's newly resurfaced dome. The Dome also includes an inset Christie CP4435-RGB pure laser cinema projector for 3D science, nature and space movies.

"One of our primary goals was to replace our aging film projection system with the best solution available for our guests," said Stephen Holt, VP of facilities and exhibits, Orlando Science Center. "Working with our consultant and project partners, we identified a state-of-the-art projection and audio solution that would allow us to create immersive experiences for years to come. The result is a venue that can support everything from live planetarium shows and giant-screen films to educational programming and special events."

"We were tasked with delivering a solution that met stringent requirements for resolution, brightness, image quality, and overall performance," said George Barnett, co-CEO and founder at SSIA Technologies. "The Christie Griffyn projectors enabled us to achieve those goals while overcoming the physical constraints of an existing IMAX theater. The combination of image quality, reliability, and flexibility made them an ideal fit for this application."

Installing the projection system presented unique challenges. Four Griffyn projectors and the CP4435-RGB cinema projector were housed within the theater's existing projection gallery, while four additional Griffyn units required custom placement at the front of the dome to ensure complete image coverage. The installation team also worked within tight physical spaces while coordinating with ongoing construction activities throughout the renovation.

Despite those challenges, the project was completed in time for the theater's public opening.

The renovated theater seats more than 300 guests and serves as a multipurpose immersive venue rather than a traditional planetarium. While astronomy programming remains an important part of the theater's mission, the upgraded projection system enables a much broader range of educational and entertainment experiences.

The Science Center also invested heavily in content creation as part of the project, ensuring visitors would immediately experience the full capabilities of the new venue.

"Technology is only as good as the content it presents," said Annette Sotheran-Barnett, co-CEO/founder at SSIA Technologies. “Orlando Science Center recognized that from the beginning. They made content development a priority, creating experiences that showcase both the technology and the stories being told. When audiences see real-time astronomy visualizations and immersive fulldome content running on this system, they immediately understand what's possible."

One highlight is an introductory dome presentation, custom-produced by SSIA, which showcases the projection and audio systems while offering visitors a behind-the-scenes look at the technology powering the experience.

"Any time that presentation is running, I find myself stopping to watch it," added Holt. "It highlights the effort that went into creating the dome experience and showcases the incredible range of content that can be presented in the space. It leaves guests excited about what they're about to see."

Holt Renfrew recently expanded its investment in premium audio with a second deployment of 1 SOUND solutions at its flagship Toronto location. Holt Renfrew partnered once again with GAV MGMT to elevate the in-store experience through thoughtfully integrated sound.

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Located at 50 Bloor Street East in Toronto, the project focused on creating a refined audio environment that complemented the retailer's luxury atmosphere while maintaining the clean architectural vision developed by STUDIO PAOLO FERRARI. The objective was to deliver clear, full-range sound with balanced low-frequency support and consistent coverage throughout the space without drawing attention to the technology itself.

After upgrading Holt Renfrew's experiential floor with a premium 1 SOUND system, the retailer experienced stronger sales and events during the first month following the installation. Encouraged by those results, the decision was made to continue investing in premium audio by upgrading another floor of the store.

The second installation became part of a larger initiative to create a more immersive shopping experience throughout the flagship location, recognizing that carefully designed sound contributes meaningfully to the way customers experience a luxury retail environment. Luxury retail presents unique design challenges. Every element of the customer experience is intentional, requiring technology to enhance the environment without competing with it visually. GAV MGMT approached the project with equal attention to acoustic performance and architectural integration.

The design process began with a detailed evaluation of the floor's layout, customer circulation, ceiling conditions, merchandising zones, and acoustic characteristics. Using 1 SOUND's Auralis prediction and 3D design software, the team modeled loudspeaker coverage before installation, allowing placement to be optimized for consistent performance while preserving the store's refined aesthetic.

Rather than forcing a standard loudspeaker layout into the space, the system was designed specifically around the architecture and customer journey. The distributed audio system utilizes 1 SOUND Cannon C5i loudspeakers paired with MiniSUB5 subwoofers to create a balanced listening experience across the retail floor. By combining column-mounted loudspeakers and ceiling mounted MiniSUB5 subwoofers extending only five inches below the ceiling, GAV MGMT created a system that delivers articulate music playback, controlled low-frequency support, and even coverage throughout the space while remaining visually unobtrusive.

The result is an audio environment that feels natural and is sonically intelligible rather than distracting. Music remains clear, warm, and consistent from one department to the next, contributing to the atmosphere without overwhelming conversation or competing with the luxury shopping experience.

Within Holt Renfrew, audio serves a purpose beyond background music. It helps shape how customers perceive the environment, how long they remain engaged within the space, and how the overall brand experience is delivered. By integrating premium sound seamlessly into the architecture, GAV MGMT created an environment where technology supports the retail experience without becoming its focus.

Hennepin Arts, the non-profit organization dedicated to preserving and enhancing the historic theaters of downtown Minneapolis, has completed a major audio upgrade at the State Theatre. Designed and installed by Audio Logic Systems, the new d&b audiotechnik KSL-Series line array system replaces the theat’s aging, unsupported audio system, catapulting the 1921 "pleasure palace" into the modern era with pristine audio quality, improved sightlines, and unmatched efficiency.

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The 2,181-seat State Theatre hosts a varied mix of Broadway touring productions, concerts, and comedy acts. Because its decades-old audio system had aged out, the venue needed a solution that would meet the expectations of today's audiences and touring acts.

"Audiences are accustomed to the sound quality and experience at the bigger shows they attend, and we don't want to lag behind," explained explained Merritt Benton, head sound engineer at the State Theatre. "When management asked if the investment was necessary, I emphasized that the new system was rider-friendly. d&b sounds incredible, and in the touring music world, it’s what you see most often. It's the wish list PA for touring folks.”

Addressing the State Theatre’s unique architectural acoustics was a primary challenge. According to John Simshauser, director of operations and design at Audio Logic Systems it is essentially three distinct acoustic spaces in one: the main floor, a typical balcony, and a very deep, 50-foot under-balcony space. "The broadband directivity provided by KSL-Series, really cleaned up the room by providing better control in the 90 to 400Hz range, a common problem zone for theatres like this," he said. "We chose to implement d&b's ArrayProcessing, to ensure every seat in the house had the same tonal balance and sonic experience. This mitigated some of the tuning and carving we might otherwise need to do and were able to seamlessly manage those three different zones. The KSL’s incredible rear rejection also cleared up the room’s 250Hz low-mid buildup that hit the performers' microphones on stage.”

In addition to sonic improvements, Audio Logic Systems also achieved critical practical victories. By relying on the precise modelling of d&b’s ArrayCalc, software the team was able to fly the new line arrays five feet higher than the previous system, drastically improving sightlines for patrons on the outer sides of the theatre. Furthermore, the efficiency of the d&b amplification recovered valuable real estate, considering the theater used six, 44-space amp racks to power the previous system.

The environmental adaptability of the system also proved to be a major advantage in Minnesota's fluctuating climate. "Here in Minnesota, when the doors open, the humidity in the room can swing by as much as twelve points,” Benton shared. “In the past, I would reach for a 31-band EQ to tame the highs. Now, I just update the temperature and humidity control in the R1 Remote Control, and it adjusts the frequencies right back into place. Fixing this on the array, rather than the console was a fun, new concept for me.”

As part of this comprehensive audio overhaul for Hennepin Arts, Audio Logic Systems also installed a new d&b audiotechnik system at the nearby Pantages Theatre. Opened in 1916, the intimate 1,014-seat venue required a system with ample power and exceptional pattern control, utilizing fewer amplifier channels. Audio Logic Systems deployed the new d&b CCL (Compact Cardioid Line array) system that features broadband directivity control while only utilizing a single amp channel.

Since the installation at the State Theatre, acts ranging from comedians like Chelsea Handler to musicians like Raye and SatchVai have performed in the upgraded room. "There are always happy faces and handshakes at the end of the day, which is as good as you can get in the rock and roll world," Benton concluded. "Our PA is miles and miles ahead of what it used to be.”

The story of Mic Drop starts inside the former West Hollywood home of Larrabee Studios, the legendary recording space founded by Carole King and Gerry Goffin. For Mic Drop founders Leo and Oliver Kremer, a professional musician himself, that history was more than just trivia—it was a technical mandate. To bring their vision of a hip, modern karaoke bar into fruition, the Kremer brothers teamed up with the engineers at Pineapple Audio to create a technical backbone powered by the Sennheiser EW-DX digital wireless system.

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Having formerly acted as the bass player for Third Eye Blind, Kremer understood the value of high-quality audio and wanted to kill off the thin, distorted sound that usually defines a night of karaoke. He envisioned "Art Disco"—a vibe that’s equal parts 1920s glamour and 1970s glitz.

The project was a massively intricate undertaking. With 30 wireless channels running at the same time across 13 private suites and a main stage, Matt Edgar of audio visual consultant Pineapple Audio noted that the main hurdle of integration was delivering acoustic separation while keeping that high-end studio feel across a 6,000-square-foot floor plan.

"We were intentional about preserving the building's integrity," Edgar explained. "Each room acts as its own controlled environment. Our goal was to minimize bleed between suites while maximizing clarity. We wanted guests to get the same performance they'd expect in a professional studio, no matter where they are in the venue." The EW-DX was the only piece of technology considered to properly bring the vision to life. The system features an ultra-low 1.9 ms latency, which is the difference between a singer feeling "in the pocket" or feeling a distracting delay in their monitors.

Managing 30 channels in the middle of West Hollywood has the potential to become an RF nightmare. Edgar’s team handled this by utilizing Sennheiser’s Wireless Systems Manager (WSM) software to perform floor-by-floor environmental scans. By mapping the RF floor and using a centralized receiver setup, they assigned frequencies with surgical precision.

"The EW-DX system uses an equidistant frequency grid," said Edgar. "It makes coordination way simpler because it gives us consistent audio across every channel without intermodulation risks. We used Sennheiser Control Cockpit for the initial naming and network setup, but now we handle the ongoing management through remote monitoring." On the operational side, Mic Drop uses CHG 70N network-enabled chargers. When a group leaves a suite, the handhelds go right back into the docks to top off the BA 70 rechargeable batteries. This allows the staff to monitor battery health from the front desk, ensuring that no guest is ever interrupted by a dead battery.

At Mic Drop, the gear is part of the art. The venue uses bespoke, gold-plated Sennheiser microphones that stand out against the burgundy and midnight blue walls. These aren't just for show; they’re the primary connection between the singer and the stage. "The microphone is the ultimate touchpoint," Oliver Kremer said. "You feel the weight. You feel the power the second you grab it. It changes how you perform."

That love for the hardware is even built into the ceiling. The room’s centerpiece is a functioning disco ball sculpted as a 30,000-tile replica of the Sennheiser e 835 mic dubbed the “Macrophone.” As Leo Kremer put it, "We debated altering the design but ultimately decided that it had to be an exact replica. It’s eye catching, it's elevated, and it's super fun. That’s Mic Drop to a tee."

New amplifiers, line switches, racks, and user interfaces are now ensuring crisp audio and venue flexibility at Petco Park. Daktronics recently completed an audio control system upgrade with the San Diego Padres. The overall project makes it possible to route more than 430 audio channels to over 200 different destinations in the ballpark for the 2026 season.

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“This upgrade represents a significant step forward in how we deliver the game experience at Petco Park, ensuring our fans can clearly hear and feel the energy from every seat,” said Erik Meyer, Padres VP of broadcasting and entertainment. “Through our partnership with Daktronics, we’ve implemented a best-in-class system that gives us precise directional and locational audio control so we can tailor sound throughout the ballpark. Our enhanced game presentation creates an engaging and memorable experience for everyone who walks through the gates.”

The project began with a Digital Signal Processor (DSP) upgrade with redundant Q-SYS enterprise servers from QSC. This open architecture platform allows for multi-channel, multi-destination audio processing and distribution. This upgrade includes multiple pieces of audio equipment and software preparations, including 80 in-bowl amplifiers; 15 back-of-house amplifiers; 26 NETGEAR AV line switches; fully-isolated analog backup system for all in-bowl amplifiers; Yamaha DM7-EX mixing console; 14 new control racks built on site, integrated with 12 existing racks; and 24 user interfaces.

Installation of new Dynacord IPX and IX amplifiers included more than 350 amplifier-speaker terminations to ensure everything was operational and fully functional.

“This project was a large undertaking that our team was able to complete in nine weeks, all while making sure the existing system was operational up until three weeks before the start of the season,” noted Doug Dodge, Daktronics audio field engineer. “We were able to fully install and complete the programming of the system in this short window with the entire audio team executing multiple phases both on- and off-site leading up to a successful first event.”

Daktronics in-house programming provided monitoring, control and alerts from all audio system components with custom plugins for interfacing with USP battery backups, amplifier room temp sensors, loudspeaker complex impedance and existing legacy audio hardware. The team also created 24 user interfaces to ensure control flexibility for the Padres and their team from touchscreen interfaces in clubs, restaurants and monitoring stations throughout the venue.

For years, many felt that “good enough” in higher education classrooms meant a projector, a screen, and maybe a monitor. But "good enough” doesn’t cut it anymore. Amid enrollment pressures, rising costs, faculty adoption, and shifting expectations for hybrid learning, institutions are rethinking how they approach AV upgrades and installations.

“The baseline functionality of ‘good enough’ has increased and will likely continue to trend upwards,” said Ben Pickrel, president of CCS Presentation Systems. And that baseline of what you need in classrooms has clearly shifted since the pandemic.

“It’s gone from being a nice-to-have to being a need,” said Erin Maher-Moran, IT manager for classroom technology at Johns Hopkins University and chair of the Higher Education Technology Managers Alliance (HETMA). This evolution has been key to changing what is “good enough,” and it’s clear that some of these investments and upgrades are becoming indispensable on campus.

Hybrid Is Not Optional

Based on the comments from the experts who spoke with SCN, hybrid is not optional on campuses. “The demand for hybrid teaching environments have forced schools to invest in a more robust technology package that includes multiple cameras and audio solutions in support of both in person learning and online video calls,” said Pickrel.

And it’s not just installing a single camera pointed at the professor, which is something we saw a lot of interest in early in the pandemic. It’s about understanding that hybrid isn’t just about broadcasting a class or lecture; it’s about engaging with students. “The goal is to make remote students feel like they are in the room, and that means showing and hearing both the professor and the students in the classroom,” Pickrel noted.

One way to address this has been to use multiple cameras that capture both the instructor and the students, along with microphones that support discussion-based learning. “Cameras and tracking systems are getting better, particularly with the implementation of AI," noted Troy Dale Powers, AV systems support lead at Northwestern University and vice chair of HETMA.

Lecture capture also extends the reach of classroom lectures, enabling institutions to reuse and share course content. “Video capability combined with lecture capture systems stretch resources, allowing a professor to teach from one classroom to multiple locations,” Pickrel explained. “More students attending the same class increases the overall tuition dollars without sacrificing the quality of the teaching, along with access to the recorded material.”

An Emphasis on Sound

Sound reinforcement in classrooms is also being treated as a priority and critical need rather than an afterthought as it was in the past. Those who choose to underinvest in classroom audio enhancements risk missing the mark, and students’ learning outcomes can suffer.

“Classroom voice amplification systems are essential to help schools meet the needs of students and instructors,” said Joe da Silva, VP of marketing at Extron. “By distributing sound evenly throughout the room, they ensure that every student hears the instructor’s voice clearly, no matter where they are seated. These professional-grade systems maximize speech intelligibility for students while also reducing vocal strain for instructors, allowing the freedom to move naturally around the classroom.”

Larger campuses are relying on standardization and consistency to support large-scale deployments across multiple rooms. Standardized systems streamline installation and maintenance for integrators, and faculty become more comfortable.

“Well-designed campus AV relies heavily on consistent user experiences from room to room,” da Silva added. “For faculty, a unified interface ensures that every room works the same, allowing instructors to walk in, start teaching, and not be distracted by the technology."

This also allows faculty to focus on delivering content without worrying about not being able to access it if they have trouble using the technology in the room. “The faculty want to be able to concentrate on their content delivery,” said Maher-Moran. “They don’t want to have to worry about walking into a space and having to be like, wait, what is this room like? They want to have the same user experience from room to room.”

This level of standardization also helps lighten the load for campus IT teams supporting hundreds of classrooms. It’s much easier to troubleshoot, in person or remotely, if the rooms are standardized from one to the next.

Touchpanel Importance

One of the most visible elements of the AV system is the control system touchpanel, which faculty frequently interact with directly. “With the interface having such a central role, the quality of the entire AV system is often judged by the experience the user has with the touchpanel,” said da Silva.

The latest and greatest technology—and how complex it is—doesn’t really matter to the faculty if the interface doesn’t make any sense to them. If the interface feels clunky, it will make the system seem unworkable and cause them to avoid engaging with it. “They don’t care how complex the room back end is,” Powers explained. “It doesn’t matter to them, as long as it makes sense on that little touchscreen and they can push a couple of simple buttons and make it work.”

On the flip side, many institutions learn the hard way what doesn’t work for modern classrooms. Complexity is clearly not synonymous with greater impact. Not every room needs every imaginable feature, and many institutions overspend on impressive technology that doesn’t align with needs or faculty comfort levels. Schools have to balance power with usability.

“The goal of any technology integration into a classroom setting is to enhance the learning experience for the students,” Pickrel said. “Proper design principles will balance the need for complex capabilities with an intuitive, easy-to-use control interface, allowing the professors to focus on teaching, not on the technology.”

Avoiding Misalignment

There has often been a misalignment between technology and pedagogy, but Maher-Moran noted that institutions are doing a better job through collaboration with instructional technologists. “It’s much better for us to work with the instructional designers and find out exactly how these instructors are going to be teaching,” she explained.

This also helps avoid a common problem of installing something and hoping people will just use it. The more a system requires support or cheat sheets to use, the less it will be used, and technology that isn’t used is just a wasted line item. That’s why faculty adoption is so critical—without it, even the best-designed systems will fail, even if they work perfectly.

Investing in training will boost instructor confidence and help them discuss elements they may be resistant to. You can also look for internal advocates who can help others use the technology. “Identifying ‘champions’ within the university is an extremely successful method to help drive adoption long after the initial training sessions are done,” added Pickrel.

Looking ahead, industry professionals see a focus on adaptable, flexible classroom design and an increasing reliance on AI integration. Maher-Moran noted that the use of AI will extend beyond its current applications, such as camera tracking, to include system monitoring and room health. She also highlighted that AI-powered learning tools are gaining traction. “Chat agents, AI chat agents are somewhere I think we’re going to see growth,” she predicted.

As it is in many industries, AI is where the next evolution of classroom technology is heading. Potential future applications we could see AI supporting range from syllabus-based Q&As to more complex classroom simulations. “With AI becoming so prevalent in everyday life, I think there’s going to be more of a push to utilize AI tools in classrooms and within our systems,” Maher-Moran said.

Powers agreed but offered a note of caution. “I think the problem is we don’t know what it’s going to look like,” he said. “The AI that we were talking about two years ago isn’t what we’re talking about today.”

Looking for more knowledge about classroom AV? Get your free copy of SCN's Integration Guide to Education.

Clear-Com has provided Gen-IC virtual intercom, its cloud-based voice communications system, for SaxaVord Spaceport, the first fully licensed vertical launch spaceport in Europe.

SaxaVord Spaceport is located at Lamba Ness on the island of Unst in the Shetland Islands, and is developing infrastructure and critical services to support future orbital test flights. The site has secured Spaceport and Range licenses from the Civil Aviation Authority and is designed to support small rockets delivering payloads into low Earth orbit.

Gen-IC has been deployed to support the spaceport’s ground control center. The system includes a 32-user license supporting PCs located within the control center, mobile devices operating on-site and off-site, and remote access for operators who require connectivity beyond the facility.

“Reliable communication is essential to safe and efficient launch operations,” James Withey, senior systems consultant engineer, CC Sales UK at Clear-Com said. “Gen-IC lets SaxaVord’s teams and visiting payload operators connect instantly from any location, while giving administrators the control and scalability needed to support evolving mission requirements.”

The system allows range administrators to remotely add, manage, and remove users, as well as assign voice loop communication keys as needed. This enables rapid reconfiguration of user interfaces to support visiting payload teams and changing operational requirements.

An on-premises voice recording system is also included, capturing audio from eight dedicated voice loops via a Clear-Com LQ eight-channel interface. The system provides storage and playback capabilities to support operational review, health, and safety requirements, as well as training.

Future expansion may include integration of tactile control hardware and the site’s radio network through additional interfaces.

Brighton College, located in the United Kingdom, makes its performing arts program a major focus on campus. Students benefit from enhanced facilities, including the new Richard Cairns building which houses the 400-seat Cairns Theatre, as well as other spaces dedicated to drama, music, and dance. A number of lighting fixtures by Martin and Elation help to bring the stage and students to life.

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The College stages a wide range of musical, dramatic, and dance performances, from informal concerts to large-scale productions, and placed a strong emphasis on equipping its new facility with technical provision of the highest level to support a fully professional experience for audiences and participants. The college invested in a significant number of lighting fixtures by Martin and Elation (both distributed in the U.K. by Live Technology) to best serve its ambitious program.

“We wanted to invest in kit which easily caters for the varying demands of the venue, and also enables us to follow a five-year growth plan to invest in equipment and brands that allow us continuity and consistency when purchasing products or topping up from hire houses further down the line,” performing arts technical and facilities manager Joe Wailes explained.

While predominantly based in The Cairns Theatre, the kit is also moved around the site to cater for various events in the school’s other 60, 80, and 120-capacity spaces, covering everything from drama, musical theater, classical music, rock nights, comedy, and corporate functions. In order to achieve optimal results, Wailes looked closely at a number of options, and arranged on-site demonstrations of prospective solutions, including one conducted by Live Technology.

Per Wailes, a majority rig of Martin MAC Viper XIP’s was selected due to the build quality, light output, and feature set, offering good value for money. A plan is in place to add MAC Encore Two to the package to provide, what he called, top-quality, high-fidelity lighting options. “Due to the layout of the space, we then needed to look at a smaller profile option that would work alongside the VIPER XIPs," he added. "Josh (Wakley) of Live Technology suggested that we look at the Elation Paragon S, and it turned out to be a clear winner in our eyes, offering high color rendering and impressive output for its size, while its IP rating offered us the ability to use the units for functions across the site."

Wailes also added Martin MAC One Washes along with the VDO Grid Mount system. The current inventory of 22 is planned to grow to 64 by the end of 2027.

As well as Martin MAC Viper XIP, Martin MAC One Washes and Elation Paragon S, the college also took delivery of two Martin Macula remote follow spot systems, used to make standard moving lights follow performers and/or objects on stage. The college’s investment in its new Martin and Elation stock allows it to be self-sufficient and push beyond the boundaries of ‘school theater’ into a firmly professional realm. With close connections to the community, which sees it in year-round operation in and out of term time, The Cairns Theatre is set for a very bright future.

AVPro Edge together with regional distributor Duoson AV, brand representative Polaris Controls, and systems integrator POP Media Technology, has completed the world's largest 10G SDVoE AV over IP single network powered by AVPro MXnet at Mexico City's Estadio Banorte football stadium. Known across Mexico as "El Coloso de Santa Úrsula," after the neighborhood in which it is located, the venue now features more than 500 video displays and over 20 video walls, creating the ultimate live sports experience for fans. The system delivers live action, replays, wayfinding, and branded content on screens throughout the venue—an engineering achievement made possible by the unmatched performance of AVPro's 10G SDVoE AV-over-IP ecosystem.

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The Estadio Banorte stadium is the largest stadium in Latin America. Opened in 1966 and rising more than 7,000 feet above sea level, the immediate challenge was of immense scale. For tens of thousands of fans in the stands and millions more watching around the world, every one of those screens must come alive at exactly the right instant. So, how do they deliver pristine, perfectly synchronized video to every concourse screen, suite, hospitality space, and giant video wall throughout an enormous concrete bowl, all from a single source?

The answer was a single AVPro MXnet ecosystem. AVPro delivered a complete end-to-end ecosystem engineered to function seamlessly as a unified solution. At the heart of the system are MXnet 10G SDVoE transceivers—compact encoder/decoder endpoints installed behind each display—paired with MXnet 100G core switches, MXnet access switches, and dual CBOX-HA control systems for high-availability management of the entire network. Together, these components route spectacularly clear and detailed live video content to displays and large-format video walls throughout the stadium. Because every endpoint communicates on the same network using the same protocol, any source can be routed to any screen, anywhere in the building, on demand.

“The AVPro design team set up and carefully tested the entire AV system in the factory laboratory before deployment, validating the system architecture prior to delivery to Mexico City,” explained Kevin Wang, VP of product development at AVPro. “This level of preparation ensured a seamless installation once onsite, demonstrating the significant value of combining detailed engineering and design preparation carried out by the entire AVPro team.”