For more than a decade, AV Technology and Systems Contractor News have joined forces to deliver a full day of hot-topic panels, peer networking, and intimate conversations with vendors at the AV/IT Summit.

If you are a CTO, CIO, AV/IT director, consultant, or integrator, the AV/IT Summit on Aug. 5, 2026, in Times Square, is the must-attend event of the summer.

Space is truly limited, so apply now.

Check out the video below and learn why SCN’s Mark Pescatore and AVT’s Cindy Davis think you need to register to attend.

Designed to Engage, Inform, and Inspire

Our keynote, "The AI Moment for the Collaborative Workplace," delivered by Byron Tarry, founder and chief transformation officer of NΞXXT, is sure to inspire you and challenge your assumptions of AI in the workplace. Tarry will explore how analytics, automation, and intelligent agents can anchor the digital layer of a space, offering the ability to generate insight, optimize performance, and increasingly collaborate with the people who use it.

Pain Points 2026: Bring yours and get answers!

Designing the Modern Higher Ed Classroom: Moderated by HETMA's Joe Way

Broadcast-Level AV for Enterprise and Higher Ed: What you need to know to get started and level up.

The Consultant’s Roundtable: Learn how they can help your organization plan, design, deploy, and manage AV and IT infrastructure solutions—and, of course, simplify the process.

The State of Collaboration: We discuss the new collaboration space and the drivers for high-quality solutions.

The Great AI Debate: We discuss how AI is truly impacting Pro AV.

Better Every Year

“Each year I have been involved with the AV/IT Summit, it gets better and better,” said Cindy Davis, content director for AV Technology. “Last year, we introduced the Pain Points session, and it was so much fun. Attendees bring their top AV/IT pain points, and our panel of experts and other attendees attempt to solve them.”

On a more serious note, our panels cover some of the most important topics in the AV/IT industry today. There’s plenty of networking time to talk further with our speakers, your peers, and the AV/IT Summit vendors to share ideas.

You might think that stating that space is limited is a marketing ploy, but it’s not; we can only accept a limited number of people. Attendees must qualify to attend, so register today!

We look forward to seeing you at the AV/IT Summit!

AV Technology’s Cindy Davis and Sound & Video Contractor’s Cynthia Wisehart asked their respective audiences to share some questions about the real value of creating high-quality broadcast AV in non-traditional broadcast environments. During a candid discussion, they put the challenge to Ross Video’s Matt Morgan and Joe Davenport.

Why would or should you bother creating high-quality broadcast AV for corporate studios, control rooms, live event production, brand experience centers, and visualization spaces such as corporate lobbies—all managed through shared control rooms and studio infrastructure? Ross Video answers your questions.

Check out the video interview below!

Below are a few of the questions AV Technology’s end-user and Sound & Video Contractor’s integrator audiences requested we ask.

We tackled the big question head-on, and it challenged the title of the discussion. It applies to end-users and integrators.

From an end user: When people hear “you need high-quality,” all they hear is you want me to spend a lot more money on expensive gear, and frankly, in some cases, that’s true.

What do you mean by “high-quality”? Are you talking about the best-quality microphones and cameras, because many have already made the investment in conference room AV?

From an integrator: Our customers are getting a lot of competing input about what translates to ROI. For example, they're hearing that integration with enterprise AI should be a top priority. Or security. How can the integrator frame the case for broadcast-quality as the priority, and to whom should they frame it?

From an end user: Can you provide examples of how corporations can transition from relying on ad hoc, outsourced setups to save money on creating an in-house production studio?

From an integrator: We’ve heard you talk about "broadcast resiliency." How does ensuring system uptime, a longer shelf life, and robust support translate into tangible financial and strategic benefits for the organization? What types of organizational goals gain the most from these types of systems?

From an end user: What are the applications where broadcast standards really matter?

From an integrator: Can you give us an inside scoop on what we can expect from Ross at InfoComm?

The conversation between Davis, Wisehart, Morgan, and Davenport ventured beyond these questions. Check out the video here.

DO YOU HAVE A QUESTION YOU'D LIKE ANSWERED DURING A CINDY & CYNTHIA ASK THE QUESTIONS?

If you're an AV/IT end-user and have a question you'd like answered, please send it to Cindy at cindy.davis@futurenet.com

If you're a ProAV integrator and have a question you'd like answered, please send it to Cynthia at cynthia.wisehart@futurenet.com

Let's keep the conversation going.

If you want to attract attendees to your booth, create a spectacle. And Epson did just that—a spectacular spectacle.

I passed by the Epson booth every day during ISE 2026 in Barcelona, and it was packed with attendees, especially around a stunning, dimensional, and immersive art installation.

On the last day of the show, there were finally a few moments when I could experience the installation without a hundred other people.

From the outside, the hanging plexiglass-like panels were changing colors, creating a beautiful art installation. But it wasn’t until I got closer that I realized there was an opening that invited the participant inside. Once inside, the projected images combined with the mirrors on the ceiling and floor transported me into a tunnel of undulating rectangles that changed color as they sped past.

A huge shoutout to Epson and the creative team for taking the digital experience to the next level.

Runners Up

I’m a sucker for creative and immersive digital experiences. Here are five more booths from ISE 2026 that caught my attention.

For as many years as I have been going to the shows, I’ve always been in awe of the projection-mapping Christie applies to sculptural elements. They didn’t disappoint this year.

For the past few years, LG has created a show-stopper at the corner of their booth. So many people were stopped taking in the experience, it was a challenge getting through that aisle—a small price to pay. It goes floor to ceiling and always draws a crowd. The creative team knocked it out of the park again this year. And, I meant it when I said “show-stopper.” I wouldn’t change a thing.

If anyone is still wondering where the crown jewels stolen from the Louvre are, it was “clear” that the creative team from Absen is in the know. Check out that transparent screen!

Planar has always created an attraction. I was particularly impressed with the “center-hung” oval over the booth. I loved seeing the construction of all the panels on the back. Of course, the moving display was also very cool.

And for the past few years, if I want to sneak away from the crowds and escape into another world, Optoma has created just the space for it. Thank you!

These are only a few of the amazing experiences from ISE 2026. It gets better every year.

Check out SCN's Mark J. Pescatore's Points of Interest from Barcelona.

The creative and technical teams behind Cirque du Soleil ALIZÉ, are redefining what's possible in live acrobatic entertainment. For ALIZÉ, the team designed a stage in a 3D environment that mirrored the real stage, allowing them to simulate realistic lighting and effects. The goal was to blend projection so seamlessly into the performance that it feels like light is transforming the set, slowly building intensity and motion until everything comes alive.

“Projection is a powerful tool that helps bring our stories and characters to life; it can transform a set, replace textures, and even change the very nature of an object,” Félix Fradet-Faguy, projection designer of Cirque du Soleil ALIZÉ, said.

As the official projector partner of Cirque du Soleil Entertainment Group, Epson's high-performance laser projectors officially debuted in Cirque du Soleil ALIZÉ (“ALIZÉ”) at Berlin’s Theater am Potsdamer Platz. Helping bring the magic to life, Epson worked with Cirque du Soleil’s technical experts to implement the ideal projection system. Fusing physical artistry with illusion in a new performance style called “Acromagic,” ALIZÉ proves how talent and projection technology can turn the impossible into reality.

“As its first show incorporating 'Acromagic' and its first European residency, Cirque du Soleil ALIZÉ crystalizes a milestone moment for Cirque du Soleil, both from a creativity and a business growth perspective,” said Matthew Nickel, chief show creation and production officer, Cirque du Soleil. “This bold new production allows us to push creative boundaries yet again, and we’re thrilled to count on Epson’s technology as we open the door to an entirely original world.”

A New Era of Artistic Expression

Acromagic represents the culmination of more than 20 years of artistic innovation by pioneers of the Magie Nouvelle (new magic) movement, Valentine Losseau and Raphaël Navarro, who are directors, authors, magic designers, and invisibility system designers for Cirque du Soleil ALIZÉ. Magie Nouvelle is reinventing magic, transforming it into a language of artistic exploration and a means of creative expression. ALIZÉ takes Magie Nouvelle and integrates it with Cirque du Soleil’s signature acrobatics for the first time to deliver Acromagic.

At the heart of Cirque du Soleil ALIZÉ lies the dedicated work of over 100 technicians and creation team members who collaborated to transform Berlin’s Theater am Potsdamer Platz to meet the unique demands of this complex resident production. ALIZÉ extends beyond the stage into the auditorium, drawing spectators into a completely immersive experience. Epson’s cutting-edge projection technology played a key role in turning this into reality.

“Above and beyond delivering images, the projections in this brand-new production interact with the performance,” Émilie Émiroglou, director of creation for Cirque du Soleil ALIZÉ said. “During early planning, many of us were wondering how we would make the special effects work. With the incredible help of our creative and technical team, as well as the cutting-edge technology behind their talent, we were able to make what seemed unachievable, something real.”

Innovation Meets Artistry

Used as an omniscient tool, projection transforms every part of the theater—from the floor to the set pieces to the performers—creating both a visual spectacle and narrative focus. Large-scale canvases, like the one in Cirque du Soleil ALIZÉ, often require multiple projectors working together. Eight overlaying Epson EB-PU2220B 20,000-lumen large-venue laser projectors, paired with a selection of lenses, were used to create the theater’s dynamic canvas, blurring the lines between reality and illusion as each illumination pulls the audience deeper into a world of shifting perception.

A major challenge in live entertainment is maintaining projection alignment, especially when the projectors need to move during scenes. While static projectors can be calibrated in advance, moving ones require real-time calibration using tracking cameras and infrared trackers embedded in scenic elements. Epson’s very precise real-time calibration capabilities allow dynamic realignment as projectors are manually moved onstage and effortless adaptation to the diverse installation and placement demands, enabling seamless integration of visuals into every corner of the theater.

“Projection technology can create a feeling that time is slowing down or even that actions become deeper and richer,” Fradet-Faguy said. “It helps us create an experience where we can tell a story and amaze the audience, all the while concentrating the attention on human performance.”

“To see the end result of Cirque du Soleil ALIZÉ is nothing short of remarkable,” Jason Meyer, director of product management at Epson America, said. Partnering with Cirque du Soleil on this groundbreaking residency is an honor. This team is crafting unique experiences, unlike anything before seen, that fuse together innovation and illusion while preserving mystery and amplifying wonder. We look forward to the many opportunities that this creative alliance will unlock in the future.”

As the first of many projects together, ALIZÉ demonstrates how Epson’s projection technology can bring new dimensions to Cirque du Soleil’s visionary storytelling. Looking ahead, the partnership will continue to evolve as Epson and Cirque du Soleil work together on technology integration into shows that will amplify experiences and captivate audiences.

Go ahead and admit it. Whenever you hear mention of the word Olympics, you hear the tympani and cymbal crash in your head before the blaring of horns in John Williams masterpiece of a theme song. That's because no matter where in the world the Olympics are, the games are brought right to you, in your living room thanks to the latest and greatest technology.

[The Future of Sports]

Now, we understand that most of this fits in the new 'Broadcast AV' category that continues to grow as the convergence of broadcast and Pro AV blurs further each year. That said, a lot of people watch the Olympic Games, and that means there is some really interesting stuff behind the scenes.

The 2026 Milan Cortina Winter Olympics kick off Friday, Feb. 6 and run through Feb. 22, with the Paralympics following on March 6-15. We'll continue to update this running blog as we find out more.

Grass Valley

NBC Sports Selects Grass Valley for Production Infrastructure

NBC Sports has selected Grass Valley to provide advanced infrastructure, routing, orchestration, and frame rate conversion solutions for its production of the 2026 Milan Cortina Winter Olympics and Paralympics. NBC Sports will utilize Grass Valley to deliver advanced signal conversion, routing, and orchestration technologies for its production of the 2026 Winter Olympics and Paralympics. These solutions will be deployed onsite in Italy, at NBC Sports’ facilities in Stamford, CT, and 30 Rockefeller Plaza in New York, helping NBC Sports route the excitement in Italy back to viewers watching coverage of the Games in the United States.

Planar

Planar to Provide LED Video Walls for the Winter Olympic Games

NBC Sports will utilize Planar to deliver fine pixel pitch LED video wall technology for its production of the 2026 Winter Olympics and Paralympics. Planar DirectLight Pro Series LED video walls in a 1.2mm pixel pitch will cover architectural archways and windows within Studio A and Studio B in Milan helping NBC Sports route the excitement in Italy back to viewers watching coverage of the Games in the United States.

“We’re proud to return as an LED video wall provider for the world’s most prestigious sporting event, powering NBC Sports’ broadcast coverage of the 2026 Milan Cortina Winter Olympics with leading-edge LED video walls that deliver stunning visuals,” said Tom Petershack, general manager of media and special projects at Planar. “Our displays are built to elevate the broadcast environment, enabling storytelling that connects with audiences in meaningful ways. We’re honored to once again support NBC Sports with technology that broadcasters trust—helping ensure that viewers at home feel the same energy, excitement and immersion that comes alive inside the studios in Italy.”

Canon

Canon to Provide Broadcast Lenses for Winter Games Production

NBC Sports will utilize Canon to deliver 115 Canon UHD broadcast lenses for its production of the 2026 Winter Olympics and Paralympics. Canon will also send support staff, with four service and support members onsite in Italy, helping NBC Sports route the excitement in Italy back to viewers watching its coverage of the Games in the United States.

Canon has worked with NBC Sports for 35 years, assisting NBC Sports’ production efforts at previous Olympics and other major international sports events in North and South America, Europe, and Asia.

“We are immensely honored that NBC Sports has once again selected our finest broadcast digital imaging solutions and chosen us as their dedicated broadcast lens provider for the 2026 Milan Cortina Winter Olympics and Paralympics,” said Sammy Kobayashi, president and CEO, Canon U.S.A.

Chyron

Chyron to Provide Graphics, Virtual Sets for Winter Olympics Coverage

NBC Sports will utilize Chyron PRIME CG to produce live broadcast graphics to display names, athlete information, scores, statistics, leaderboards, headshots, and more for its production of the 2026 Winter Olympics and Paralympics. The full spectrum of design and data integration features in these Chyron technologies will be utilized, along with highly customizable playout Control Panels, enabling operators to display graphics and information quickly, accurately and on-brand throughout the Games in northern Italy, helping NBC Sports route the excitement back to viewers watching coverage of the Games in the United States.

Chyron has worked with NBC Sports for over 20 years, assisting NBC Sports’ production efforts at previous Olympics and other major international sports events throughout the world.

“NBC Sports is not just a customer for us, but a strategic partnership that drives innovation,” said Chyron CEO, Mike Truex, “and we are always excited to see those innovations driving content that delights the whole world at major events like the Milan Cortina Winter Olympics.”

Ross Video

Ross to Deploy Virtual Reality Technology

NBC Sports will utilize Ross Video’s Rocket Surgery RSVP to deliver virtual and augmented reality in its production of the 2026 Winter Olympics and Paralympics. Rocket Surgery will showcase the combined creative strength of Ross Video, with on-site teams in Milan, Cortina, and Stamford, and deep collaboration with spidercam, helping NBC Sports bring the excitement of the Games in Italy back to viewers in the United States.

Ross Video’s RSVP has worked with NBC Sports for 10 years, assisting NBC Sports’ production efforts at previous Olympics . “We’re thrilled to partner with NBC Sports for the Winter Games and to showcase the combined strength of Rocket Surgery and Spidercam," said Jim Doyle, vice president of creative services, Ross Video - Rocket Surgery. "With teams in Italy and Stamford, we’re ready to deliver next-level AR experiences to audiences everywhere."

SONY

NBC Sports to Utilize Sony Electronics’ Solutions, Support, and Expertise for Its Production in Italy

NBC Sports has selected Sony Electronics to provide technology, including more than 100 cameras and nearly 500 monitors, as well as lenses, accessories, and on-site support for its production of the Winter Games.

NBC Sports will utilize Sony Electronics to deliver imaging, monitoring, and technical support for its production of the 2026 Winter Olympics and Paralympics. At this year’s events, a range of Sony’s cameras featuring various form factors and capabilities will take center stage, including the HDC-series system cameras which will enable high frame rate capture and offer options with newly developed Variable Neutral Density filters, while the company’s pan-tilt-zoom and cinematic cameras will provide depth of field, and the use of Sony’s CNA-2 camera control network adapter will centralize multi-camera control, helping NBC Sports route the excitement in Italy back to viewers watching coverage of the Games in the United States.

“Like the Paris Olympics, NBC plans to use technology to both enhance storytelling, and give viewers at home deeper analysis; this time from thousands of miles away,” said Darryl Jefferson, Senior Vice President, Engineering & Technology, NBC Sports & Olympics. “This includes specific use of 2110 transport, teams of color experts shading Sony’s HDR cameras from a distance, enhanced PTZ robotic cameras, and support for our end-to-end BT-2020 HDR Workflow through production and our facility in Stamford. To make a finer point, converting the NBC Sports headquarters wholly to a mezzanine HDR format has been built on the continued partnership with Sony on high quality monitoring, color grading tools, and highly customizable remote production workflows.”

Brompton Technology's Tessera LED video processors are bringing a dystopian future to life in Oscar At The Crown, an innovative theatrical experience running in a converted basement venue beneath London's Tottenham Court Road. The production showcases how advanced LED processing technology can transform intimate spaces into immersive storytelling environments.

[Yo Ho, Yo Ho: Disney's Destiny Cruise Ship Becomes Largest Canvas of Creativity]

The production utilizes a Brompton 4K Tessera SX40 LED video processor paired with a Tessera XD 10G data distribution unit and redundancy system, all supplied and supported by Stage Sound Services. The centerpiece is a 32.8x6.6- foot (10x2m) INFiLED AR series 2.97mm pixel pitch LED wall, concealed behind a two-way mirror that dramatically reveals itself during key moments of the show.

The venue itself, a former storage basement, was transformed into multiple performance spaces including a half tube carriage, banks of TV screens, a bar, stage, and DJ booth, with the LED wall running along one entire wall, which serves dual purposes. It provides set extensions that transport audiences into spaces beyond the physical venue, and creates a massive canvas for the characters' imagination. Content includes Unreal Engine-generated environments that mirror the physical space, alongside live camera feeds from three PTZ cameras capturing the performers.

The production demands enhanced color accuracy and intensity, particularly challenging given the two-way mirror placement and the show's theme of media overload with rapid-fire visual cuts. "Color is really important to me, along with the intensity of the image," noted Dunn. "I always ride the processor really, really high, and then dim down the content so that if we do need that pinprick sparkle, we can really get it."

The SX40’s interface proved crucial for quick adjustments during the intense production schedule. "How the interface works is really intuitive. I found that very useful, as was just being able to drag colour to where it was required. It seemed to be that my requests were met really quickly," Dunn explained.

A two-way mirror presented specific technical challenges, adding a brown tint and dimming the display. Dunn and the PixelLux team, who worked on both the content and engineering of the show, used Tessera's Overdrive function to push through these optical barriers while maintaining color fidelity. "We found the Overdrive button and hit it to make it push through,” added Dunn. “Having something that's reliable that we can hand over to an in-house team who know how to troubleshoot it was really important."

Oscar At The Crown pushes the boundaries of theatrical experience, combining a club atmosphere with narrative storytelling. The LED screen displays live camera feeds so audience members at the bar can watch the performance, graphics for post-show DJ sets, and animated content synchronized to performers' voguing movements.

"Information in this show is delivered thick and fast,” said Dunn. “One of the roles of video was to try and support the speed of information delivery, because the whole show is about media overload." The SX40 handles this rapid delivery of content while maintaining consistent visual quality across multiple input sources and output formats.

The production concludes each evening by transforming from theatrical performance into an actual club night, with the LED technology seamlessly transitioning from narrative support to dance floor enhancement.

"What was also amazing, just as a workflow thing, is being able to send content upstream and knowing that it will reach the processor reliably. The signal path felt really true to what we were outputting. That was crucial, especially when you're trying to match costume and lighting states,” concluded Dunn. "The show is unique because it's a club night, but it's also a club night with heart because there's a story. Brompton’s LED processing makes this blend of theatre and club environment possible, maintaining consistent visual quality from intense performance moments to post-show DJ visuals.”

The Canadian singer-songwriter known as The Weeknd is not only attracting massive crowds through his light-lyric tenor vocals and emotive songs, but also through the creative production behind the tour. Solotech, a SCN Top 50 Systems Integrator 2025, provided the technical know-how behind the video production for the tour. Solotech wanted to deliver a spectacular experience to fans during the “After Hours Til Dawn Tour,” which kicked off in 2023. To pull this off, the production crew needed advanced switcher and camera technology from Panasonic to enable more creative freedom.

[Top Integrators 2025: Top Trends for 2026]

Three weeks before the tour kicked off, the tour’s production manager Rob DeCeglio approved the switch to KAIROS. “We took a chance on KAIROS because we needed a system that gives operators the creative freedom to make live changes during a show,” said Richard Parkin, show director of the “After Hours Til Dawn Tour.” “KAIROS does that and more. Following the installation, Panasonic’s Frank Yost spent time teaching me the ins and outs of the KAIROS, helping me fully harness its power and flexibility.”

The team added Panasonic’s KAIROS Live Studio Production Platform, seven AW-UE150 PTZ Cameras, two AK-PLV100 4K CINELIVE Cameras, and five AK-UC4000 Studio Cameras to the third leg of the tour. These solutions empowered the crew to evolve the existing city scape backdrop on a larger 124x63-foot-tall LED screen, seamlessly aligning the vivid, scenic visuals with the mood of each song to tell a cohesive story.

“During the rehearsal period, it was clear that KAIROS would enable greater creative freedom during the tour,” said Tim Jones, director of video engineering, US/APAC, Solotech. “KAIROS starts off as a blank canvas, allowing us to quickly build complex scenes and launch them to the live audience at the touch of a button.” During the song 'Reflections,' Parkin, created stunning 4K images with reflections of The Weeknd that were displayed on the large LED wall while simultaneously communicating with the camera team to direct live shots he envisioned on the fly, allowing the production crew to truly immerse the audience in real time creative experiences.

“KAIROS is instantaneous, allowing us to deliver 4K video to the LED wall with no lag and maintain the low light settings to visually represent the mood and tone of Reflections,” said Parkin.

KAIROS also allowed the team to tap into unlimited video layering to create looks that weren’t achievable with traditional switchers. With KAIROS’ built-in effects, like real time layering, dynamic keying, and scene transition, the operator could easily compliment the show’s lighting and match different moods of each song by programming visual designs across all cameras.

Camera feeds are received by KAIROS via SDI. By connecting over a unified IP network, KAIROS communicates with Panasonic’s suite of cameras to manage pan, tilt, zoom, and preset functions on each camera. The cameras are assigned to different areas of the arena based on where they’re most useful. The AW-UE150 PTZ Cameras were placed on a PanaPod, an elevation unit specifically designed for Panasonic PTZ cameras that allow them to ped up and down, at the end of the runway. Using the AW-RP150 camera controller, the camera operators can make the elevation units go up and down to pop-up on-stage level when needed and disappear to prevent obscuring audience view of the show. KAIROS can also send commands directly to the PTZ cameras to adjust the height of the PanaPod. These PTZ cameras deliver high-quality, 4K visuals and feature a 20x optical zoom and optical image stabilization for clear, steady shots of The Weeknd, giving audience members around the stadium a front row view. With the AW-UE150, color correction is managed through KAIROS and can be toggled on or off for each camera input or output within the switcher.

The AK-UC4000 Studio Cameras are also positioned on stage. Equipped with long lenses, they capture tight shots from a distance without compromising image quality. The AK-PLV100 4K CINELIVE Cameras are positioned in the pit, between the barrier and stage, equipped with a lens designed to deliver a shallow depth field, capturing intimate, cinematic shots.

“The Weeknd crew wanted a clean look, and we’ve achieved this by shooting everything in 4K,” said Jones. “On future tours, we plan to explore additional uses of KAIROS, such as the streaming functionality and continue leveraging Panasonic’s suite of cameras to create more dynamic video that enhance the concert experience.”

Located in Manhattan’s Financial District, Cipriani 25 Broadway is a Beaux-Arts landmark originally built in 1921 as the Cunard Steamship Company’s ticketing hall. Now one of New York City’s premier event venues, it hosts galas, corporate gatherings, and immersive experiences within its marble-clad interiors. At its heart lies the Great Hall, a grand architectural centerpiece renowned for its vaulted ceilings and dramatic sense of scale.

Originally installed in 2018, the Great Hall’s multimedia system relied on a conventional HDMI matrix and fiber extender infrastructure. The venue’s complex geometry—vaulted ceilings, domes, and alcoves—demanded high-resolution, synchronized video distribution with minimal latency and zero visual compromise.

Moment Factory Creates an Immersive Experiences with Matrox ConvertIP and IPMX

Moment Factory, a Montreal-based multidisciplinary entertainment studio, worked with Matrox Video to reimagine a 360° multimedia environment in an iconic New York City landmark. The result: an upgrade from a traditional HDMI-based system to a next-generation IP-based distribution architecture, built on open standards and future-proof flexibility.

When the time came for a full system refresh, Moment Factory set out to:

> Transition to UHD@30 Hz uncompressed distribution, with the option to upscale to 60 Hz.

> Achieve synchronized, minimal latency performance.

> Simplify deployment, maintenance, and redundancy.

> Integrate tightly with existing control dashboards.

> Adopt a cost-effective, future-proof open standard.

Matrox ConvertIP and IPMX at the Core

After extensive evaluation, Moment Factory selected Matrox ConvertIP and IPMX as key components of its new video distribution setup, supported by Matrox NRG redundant power supply units to ensure uninterrupted operation.

ConvertIP enables the conversion of HDMI signals into IPMX streams, allowing traditional video sources to be distributed over standard IP networks without compromising quality or latency. IPMX is a suite of open standards and specifications for AV-over-IP designed to ensure interoperability between devices, provide flexible transport of compressed and uncompressed media, and simplify integration across network-based systems.

For Moment Factory, this standards-based approach provided the performance and adaptability needed to support its creative workflows. The solution offered several key capabilities, including IPMX and ST 2110 compatibility, the flexibility to use compressed or uncompressed signals, NMOS device discovery and control, an intuitive ConvertIP user experience, and network-based monitoring and maintenance that streamline system management and troubleshooting.

“Within ten minutes of unboxing the ConvertIP units, we had a pristine, low-latency feed over the network. The ease of use was remarkable,” said Arnaud Grosjean, Solution Architect at Moment Factory.

Integration and Workflow

The new system integrates seamlessly with Moment Factory’s media servers, delivering 62.4 megapixels of content to 17 4K projectors mapped across the Great Hall. Each 4K video output is transmitted over distances of up to 100 meters, with a redundant design ensuring uninterrupted performance.

Key elements of the workflow include: Redundant media servers with one-to-many warm backup capability; ConvertIP transmitters and receivers for ultra-low latency AV-over-IP signal distribution; Network-based monitoring and open REST API control for configuration and real-time visibility.

Moment Factory evaluated other AV-over-P technologies, but found the interoperability of IPMX more aligned with the long-term vision of the 25 Broadway venue.

Replacing the traditional HDMI matrix with an IP-based solution fundamentally changed the way Moment Factory operates:

Faster setup and deployment: Software patching replaces physical cable switching.

Remote diagnostics: Engineers can now monitor fiber connectivity and signal integrity without physical access to projectors.

Reduced points of failure: Network-based redundancy increases system resilience.

A Playground for Experimentation

Beyond the technical success, 25 Broadway has evolved into a lab for innovation. The venue now doubles as a creative lab where engineers and artists experiment with AI-driven, adaptive, and real-time 3D mapping.

Moment Factory plans to continue firmware updates to enhance monitoring and control while exploring the use of real-time game engines to stream directly to media servers via IPMX—pushing real-time rendering and interactive storytelling even further. “We’re already applying what we’ve learned here to future projects. IPMX is part of our roadmap and how we keep evolving,” said the Moment Factory's Senior Director of Technology, Jérôme Gasselin.

The collaboration between Moment Factory and Matrox Video at Cipriani 25 Broadway demonstrates how open standards and creative engineering can transform historic architecture into programmable, living environments. With ConvertIP and IPMX, Moment Factory has established a new benchmark for immersive media infrastructure that is ready for the future.

As the Official Projector Partner of Cirque du Soleil Entertainment Group, Epson's high-performance laser projectors officially debuted in Cirque du Soleil ALIZÉ (“ALIZÉ”) at Berlin’s Theater am Potsdamer Platz. Helping bring the magic of Cirque du Soleil’s first-ever European residency to life, Epson worked with Cirque du Soleil’s technical experts to implement the ideal projection system. Fusing physical artistry with illusion in a new performance style called “Acromagic,” ALIZÉ proves how talent and projection technology can turn the impossible into reality.

[SCN Installation Showcase 2025]

“As its first show incorporating “Acromagic” and its first European residency, Cirque du Soleil ALIZÉ crystalizes a milestone moment for Cirque du Soleil, both from a creativity and a business growth perspective,” said Matthew Nickel, chief show creation and production officer, Cirque du Soleil. “This bold new production allows us to push creative boundaries yet again and we’re thrilled to count on Epson’s technology as we open the door to an entirely original world.”

At the heart of Cirque du Soleil ALIZÉ lies the dedicated work of over 100 technicians and creation team members who collaborated to transform Berlin’s Theater am Potsdamer Platz to meet the unique demands of this complex resident production. ALIZÉ extends beyond the stage into the auditorium, drawing spectators into a completely immersive experience. Epson’s projection technology played a key role in turning this into reality.

“Above and beyond delivering images, the projections in this brand-new production interact with the performance,” said Emilie Emiroglou, director of creation, Cirque du Soleil ALIZÉ. “During early planning, many of us were wondering how we would make the special effects work. With the incredible help of our creative and technical team, as well as the cutting-edge technology behind their talent, we were able to make what seemed unachievable, something real.”

When Innovation Meets Artistry

The creative and technical teams behind Cirque du Soleil ALIZÉ designed a stage in a 3D environment that mirrored the real stage, allowing them to simulate realistic lighting and effects. The goal was to blend projection so seamlessly into the performance that it feels like light is transforming the set, slowly building intensity and motion until everything comes alive.

“Projection is a powerful tool that helps bring our stories and characters to life; it can transform a set, replace textures and even change the very nature of an object,” said Félix Fradet-Faguy, projection designer of Cirque du Soleil ALIZÉ.

Used as an omniscient tool, projection transforms every part of the theater—from the floor to the set pieces to the performers—creating both a visual spectacle and narrative focus. Large-scale canvases, like the one in Cirque du Soleil ALIZÉ, often require multiple projectors working together. Eight overlaying Epson EB-PU2220B 20,000-lumen large venue laser projectors, paired with a selection of lenses, were used to create the theater’s dynamic canvas, blurring the lines between reality and illusion as each illumination pulls the audience deeper into a world of shifting perception.

A major challenge in live entertainment is maintaining projection alignment, especially when the projectors need to move during scenes. While static projectors can be calibrated in advance, moving ones require real-time calibration using tracking cameras and infrared trackers embedded in scenic elements. Epson’s very precise real-time calibration capabilities allow dynamic realignment as projectors are manually moved onstage and effortless adaptation to the diverse installation and placement demands, enabling seamless integration of visual into every corner of the theater.

“Projection technology can create a feeling that time is slowing down or even that actions become deeper and richer,” said Fradet-Faguy. “It helps us create an experience where we can tell a story and amaze the audience all the while concentrating the attention on human performance.”

“To see the end result of Cirque du Soleil ALIZÉ is nothing short of remarkable,” said Jason Meyer, director of product management, Epson America. “Partnering with Cirque du Soleil on this groundbreaking residency is an honor. This team is crafting unique experiences, unlike anything before seen, that fuse together innovation and illusion while preserving mystery and amplifying wonder. We look forward to the many opportunities that this creative alliance will unlock in the future.”

The New York Public Library’s Library Lions Gala honors legendary authors, artists, musicians, and more. This year’s event, held in the Library’s Rose Main Reading Room, celebrated Bruce Springsteen, Shonda Rhimes, James Patterson, Louise Erdrich, Daniel Kehlmann, and James McBride—each inducted as the 2025 Library Lions.

[SCN Installation Showcase 2025]

Alongside other NYC production partners, L&M Sound & Light provided audio and lighting design and production across most of the event, including the Library’s grand entrance, Astor Hall, and the sound for the Rose Reading Room. For the exterior, L&M created a warm, celestial-inspired lighting design to welcome guests, setting the tone for the evening. Inside Astor Hall, the team produced two distinct looks—an elegant cocktail reception followed by an energetic after-party transformation.

For the gala event in the Rose Main Reading Room, which spans 297 feet with 52-foot ceilings, L&M created a 1 SOUND audio system designed to meet the space’s demanding acoustics and architectural characteristics. Four 1 SOUND Tower Systems were placed at the front of the stage as the mains, providing even coverage for speeches and live performances—including a surprise performance by Bruce Springsteen.

The Towers’ controlled directivity with a wide dispersion pattern and narrow throw of 5 degrees off the top of the loudspeaker ensured clear, balanced audio without reflections bouncing off the vaulted ceiling. Their active cardioid cancellation helped maintain clarity for both spoken word with live lectern microphones and live music, minimizing sound spill onto the stage.

Each Tower System included three Tower LCC44 loudspeakers and a CSUB610 subwoofer, deployed horizontally in omni mode—taking up just 11 inches of floor space for these ground stacks. For delay coverage, three Contour CT28 loudspeakers per side provided full range, medium-far throw coverage needed for consistent sound across the full length of the Reading Room. Their horn-loaded, controlled linear dispersion design kept off-axis reflections to a minimum.

L&M’s audio design for the gala delivered a discreet system that ensured consistent coverage and clarity in the space. Allowing for the 540 attendees to keep their attention and focus on the front of the room, undistracted from the meaningful message spoken at the event.

For Springsteen’s performance, L&M used four 1 SOUND CM38 Cardioid Concert Monitors. Compact at just 8 inches tall with a max SPL of 130 dB and a 3-way crossover, these wedges were ideal for the elegant setting—low-profile enough not to obstruct sightlines and high-powered to deliver detailed audio. The CM38’s linear passive cardioid behavior provided an 8 dB reduction behind the monitor, preventing excess stage spill and maintaining clarity for the first rows of seated guests.

The MasterChef Live workflow demanded a high level of stability and low latency. Green Hippo’s Hippotizer Media Servers fired up a central role in the U.S. touring production of MasterChef Live, providing real-time video control, camera integration, and playback management in a compact touring package. The system was specified, supplied, and operated by VUE Show Design Group, led by production designer Charles Ford.

Produced by TCG Entertainment, MasterChef Live transfers the TV cooking competition into a fast-moving stage show combining live cooking challenges, audience participation, and multimedia presentation. It traversed the USA this Fall, opening in Williamsport, Pennsylvania, and ending in San Francisco, California.

Two Hippotizer Amba+ MK2 Media Servers were deployed—one main and one redundant—to manage all visual playback, camera routing, and time-based graphics. The servers are controlled from a grandMA3 lighting console, allowing a single operator to trigger video, lighting, and audio cues simultaneously via DMX.

The system supports both SDI and NDI inputs, including one wireless camera for the host and four robotic cameras connected over Cat5. By processing NDI directly within Hippotizer, VUE Show Design eliminated the need for external DAs or video switchers, reducing rack size and cabling while maintaining full creative flexibility.

“NDI was a game-changer,” Ford continues. “It allowed us to monitor cameras both backstage and at front-of-house using a single cable. With NDI built into the Hippo, signal distribution became simpler, faster, and far more adaptable for a touring show.”

The Hippotizer Media Servers also generated and managed multiple countdown timers for the contestants, ensuring precise pacing during each performance. Because all cueing was centralized through Hippotizer, the operator could respond instantly to changes in timing or show flow—a critical requirement in a live cooking environment.

The MasterChef Live workflow demanded a high level of stability and low latency. Hippotizer’s real-time processing and DMX integration enabled Ford’s team to execute complex cue sequences. “The Hipptizer’s responsive control made it straightforward to adapt on the fly and kept everything consistent under pressure,” he adds.

This streamlined setup allowed the team to tour with a smaller technical footprint while retaining the creative tools needed to update content and adjust visual timing between venues.

Custom-created content, live camera feeds, and lighting effects were blended to highlight the chefs’ on stage antics. Ford noted that the flexibility to combine pre-rendered visuals with real-time sources was vital to maintaining an engaging look throughout the performance.

Owned by Boots, No7 Beauty Company is a U.K. skincare brand with products sold in more than 22,000 stores across 29 markets worldwide. Its annual product launch tends to be one of the most anticipated events on the calendar for media, retail partners, influencers, and industry insiders. U.K.-based integrator Insight Presentation Systems turned to Visionary systems to bring this year's so to immersive life.

[Florida Panthers Invest in Immersive Fan Experience at Amerant Bank Arena]

While the event has evolved year after year, the latest edition featured a new approach to design and production. Shifting to an end-on performance configuration, the stage included expansive wall-to-wall projections and a thrust stage extending into the audience to create a fully immersive environment that elevated the brand experience.

Insight Presentation Systems was selected to design, execute and manage the production. “We’ve been producing events for Boots for over seven years,” said Mathew Cook, technical director for Insight Presentation Systems. “No7 Beauty Company’s annual launch has become a highlight of our calendar, and every year the scope expands. This year’s configuration was the most ambitious yet.”

Traditionally, these events relied heavily on standard SDI-based systems for video delivery. Insight Presentation Systems has worked with Visionary’s 5 Series, but only on a limited scale. “In the past, we’ve worked with Visionary, but it’s traditionally been a couple of screens here and there,” explained Cook. “Our prior events with No7 Beauty Company relied on SDI and HDMI, but as video-over-IP continues to gain traction, we decided to leverage Visionary’s 5 Series for the event.”

With eight screens surrounding the stage and a need to deliver higher resolutions than SDI could easily accommodate, the production team determined that Visionary’s 5 Series offered an optimal solution. “Almost overnight, we shifted nearly the entire video system to Visionary,” said Cook. “This became the largest live event project we’ve ever done with Visionary by a significant margin.”

The transition was made possible by a large installation project already in progress, which left a significant number of Visionary’s 5 Series units in Insight’s warehouse. “When Jacques [Batchelor] came by on the Sunday before the rig and asked to borrow some, I agreed without realizing it would be so many,” recalled Cook. “It turned out to be 20 endpoints, all ready to go, which saved us from having to source additional units.”

Scaling Visionary to this magnitude for a live event carried some risk, particularly when it came to latency, which is a critical factor in live production. “It was, in some ways, a baptism of fire,” said Batchelor. “We decided to just go for it and see how it performed. Fortunately, our prior experience gave us confidence that it would do what we needed.”

Visionary’s low-latency performance and the 5 Series Decoders’ network loop-through feature proved invaluable. “The network loop-through meant we didn’t have to run multiple network cables to the truss for projector control,” noted Batchelor. “That made the install smoother and saved us time on-site.”

The system integrated seamlessly into the existing network infrastructure, supported by strategically placed NETGEAR switches. “Since we already had a robust network in place, adding Visionary wasn’t a major change to our overall system design,” Batchelor explained. “Unlike other video products, Visionary fits into our existing network architecture without requiring major reconfigurations.”

During the event, a couple of technical challenges arose. Visionary’s technical support team responded quickly. “We had senior-level technical support within hours,” said Cook. “Chuck Larson (director of training and support for Visionary) joined a call despite the time difference. While his involvement was focused on fixing our immediate issue, he genuinely wanted to understand our real-world use case to help shape future product development. The speed and level of response were impressive, especially given that we’re a relatively small operation.

“Visionary’s 5 Series delivered the performance, flexibility, and low-latency operation this high-profile launch required," he concluded. "The 5 Series integrates seamlessly with our existing infrastructure, offers features that make installation easier and comes with outstanding technical support. For us, the 5 Series is now part of our toolkit for the future.

Pacific Coast Entertainment (PCE) has partnered with Eastern Acoustic Works (EAW) once again to further enhance the sound system at Great Park Live. Following last year’s installation of EAW’s powerful Anya ADAPTive system, PCE returned ahead of the 2025 summer season to upgrade the rig and ensure flawless coverage for the venue’s newly expanded seating.

[Premium Sound for Every Seat]

“Last year’s system sounded fantastic, but the venue has since evolved,” said Tom Pappanduros, production manager at PCE. “When the City of Irvine decided to widen the seating sections, we needed to make sure the system could cover every new seat without compromise. Adding to our existing EAW system gave us the flexibility to expand while maintaining consistency and clarity.”

Originally launched with 24 Anya boxes and 24 Otto subwoofers, the initial installation successfully addressed the venue’s unique acoustic challenges, particularly minimizing sound bleed into surrounding neighborhoods. However, with the addition of approximately 1,500 new seats across both sides of the venue, the system required further expansion.

The upgraded system now features two columns of 16 Anya modules providing 140 degrees of horizontal coverage per side that supports the more than 220-foot-wide seating area. Two Anna modules were added beneath each main hang to strengthen center fill, while three more per side serve as delays behind front of house. The 24 Otto subwoofers remain in place, finely retuned for the new configuration.

“The difference was immediate,” said Pappanduros. “Adding those Anna boxes underneath completely transformed the center section. It was a space we didn’t realize needed reinforcement until we heard the results. Now the system sounds balanced from left to right and front to back.”

To ensure the upgrade met the highest standards, EAW sent engineers onsite to fine-tune the system. “We were very fortunate to have EAW’s team work directly with us,” Pappanduros noted. “It speaks volumes about their commitment that they not only provide excellent products but also support them in the field to guarantee the venue is sounding its best.”

That support, combined with the adaptability of EAW’s ADAPTive technology, ensures the venue is ready for a wide range of performances—from orchestras and symphonies to touring acts and high-energy concerts.

Since the upgrade, Great Park Live has hosted a variety of shows, all benefiting from the expanded system. Highlights include Hawaiian reggae artist Kolohe Kai, which drew the largest audience yet to the venue, with nearly 7,000 attendees.

“The rig performed wonderfully,” said Pappanduros. “Artists’ front of house engineers are consistently impressed with the headroom and even coverage. We often have to remind them that they don’t need to keep pushing the levels—the sound carries evenly all the way to the back.”

For PCE, the upgrade marks an important step in Great Park Live’s growth and reflects their long-standing trust in EAW. “The EAW system excites touring engineers, impresses audiences and positions Great Park Live as a destination venue,” Pappanduros says, “We’re proud to play a role in that and to continue working with EAW on projects that raise the bar for live sound.”

Les Salles du Carrousel, housed beneath the iconic glass pyramid of the Louvre in the heart of Paris, offers more than 71,00 square feet of modular interior space to cater for events of all types and sizes. As the site operator, Viparis has relied on the expertise of Magnum to deliver high-end audiovisual solutions that elevate the prestige and excellence of the events it hosts. When the time came to renew the audio systems, Magnum selected the new CCL (Compact Cardioid Line Array) system from d&b audiotechnik to elevate the venue’s audio offering while respecting both Viparis’ and Magnum’s stringent sustainability criteria.

[SCN Installation Showcase 2025]

“The previous system, while functional, was over 10 years old, and starting to show signs of wear and tear,” explained Eduard Dubus, who heads up the technical team at Magnum. “We were looking to replace it with something more modern, and ideally visually discreet to cater for the wide variety of events held in Les Salles du Carrousel. After much discussion and several demos, it became clear that we didn’t need to look any further; the new CCL system from d&b was exactly what we needed.”

Magnum equipped three rooms with the new CCL system—Delorme and Le Nôtre, each accommodating up to 2,500 guests, and Gabriel, a smaller space situated directly behind Delorme that can be opened up to form one expansive hall. The challenge in all three spaces was a combination of low ceilings and reflective wooden floors, which generated unwanted sound reflections. Magnum also wanted a compact solution that required fewer loudspeakers than the previous point source system, which had been highly visible.

“Our new CCL system met all of Magnum’s requirements, significantly improving sound quality, intelligibility and visual impact,” said d&b’s technical project lead, Boris Jaquier-Laforge. “The superior directivity control and cardioid design, which means very little excitation behind the loudspeakers, has made an enormous difference to the sound quality in the Salles du Carrousel.”

Working closely with d&b, Magnum selected clusters of three CCL12s as the base configuration mounted on specially designed trusses that match the curvature of the ceiling. The same trusses also house the lighting equipment. The larger rooms benefit from seven clusters each, arranged in three rows of two down the length of the room, plus a central cluster. The smaller space has four clusters in two rows. All are powered by d&b D40 amplifiers.

“We preferred to have small clusters of just three boxes each to cover short distances as it makes the system much more modular and flexible and is much less visually imposing than larger arrays,” revealed Dubus. “The laser-precise directivity and the almost complete lack of backspill thanks to the cardioid design make this possible. We can really place the sound exactly where we want it and reflections have been significantly reduced.

“It’s been a journey for us, as the d&b workflow is very different to what we’ve been used to for the last decade or so,” Dubus continued, “but the results are excellent, as has been the service from d&b who have accompanied us every step of the way. We couldn’t have hoped for better.”

In addition to the CCL system, Magnum has also invested in 10 compact CCL-SUB subwoofers which are completely mobile, in addition to 20 44S frontfills and 10 versatile E8 loudspeakers that serve as stage monitors. Finally, Magnum also equipped the foyer area with five custom-painted 24C column loudspeakers for background music, announcements, and vocal reinforcement.

“Working with d&b has been a real pleasure,” confirmed Magnum’s deputy MD, Jean-Michel Lenoir. “They’ve not only fulfilled our technical requirements, but from a sustainability perspective, d&b has also shown they meet all our criteria. Sustainable development is a subject very close to our heart at Magnum, and it’s also a driving force for Viparis. I’m delighted that d&b takes the subject as seriously as we do, and I look forward to further successful collaboration in the future.”

The new musical "Masquerade" has been captivating visitors and critics alike in New York City since the end of July 2025. The reinterpretation of Andrew Lloyd Webber's classic "The Phantom of the Opera" is an immersive experience that transcends traditional theater boundaries. Instead of having fixed seats, guests move freely through a multi-story building in Midtown Manhattan and are right in the middle of the action. The special room architecture and the constant change of audience positions have placed extreme demands on the sound system, for which sound designer Brett Jarvis was responsible. That challenge has been solved with an extensive LD Systems audio installation.

[An Immersive, Ghost-Busting Adventure]

The venue has been completely remodeled and transformed into a world of experience at every performance. Each floor presents its own settings, from opulent ballrooms to mysterious catacombs. Drama, music, dance, and detailed set design fuse into a production that the audience experiences up close and from constantly changing perspectives.

The requirements for the entire audio and PA system were extraordinary: uniform sound distribution across several very differently designed rooms, maximum speech intelligibility at every angle, minimal susceptibility to feedback with headsets and lavalier microphones, natural high-frequency reproduction for classical arrangements, and powerful low-frequency reproduction for organ sounds, all embedded in an immersive sound design. In addition, the loudspeakers had to be integrated so unobtrusively into the scenery that they did not disturb the immersive experience, especially as the audience is often only a few metres away from the performers.

“From the very first meeting with sound designer Brett Jarvis and Andrew Lloyd Webber producer Lee McCutcheon, it became clear that we had to pull out all the stops for Masquerade,” explained Jens Kleinhuis, pro audio field application engineer with the Adam Hall Group. Together with Ivan Klepac, integrated systems field application engineer from the integrated systems project support team, an audio setup was created over the course of several demo dates and training sessions that is unrivalled in the history of LD Systems and Adam Hall Integrated Systems: over 1,000 speakers, including around 660 CURV 500 satellites, 186 DQOR, and over 80 MAILA array systems alone, ensure that the audience is right in the middle of the action at Masquerade wherever they are.

In addition to MAILA, DQOR and the CURV 500 systems, the Masquerade producers have made use of the entire LD Systems portfolio: MAUI i1 in-line speakers and CFL in-ceiling systems through to the new ICOA PRO SUB 21 A high-performance subwoofers. Even a pair of ANNY 8 Bluetooth PA speakers was used. The complete system is driven and controlled by 68 IPA 424 T 4-channel installation amplifiers, each equipped with an X-EDAI Ethernet and Dante expansion card to integrate all components into the existing Dante network.

"This project was anything but ordinary,” confirmed Ivan Klepac. “We have supported Brett and his team at all levels to help them realize the full potential of the LD Systems portfolio. Our project support team was available around the clock to help solve installation issues. Working closely with other departments such as Mechanical Engineering and R&D, we were able to ensure a smooth set-up and configuration.”

“Brett Jarvis was faced with the challenge of providing five completely different floors with a stable and consistent sound throughout, said Rob Olsen, sales director for Adam Hall North America. "When he discovered the LD Systems product range, tried it out and heard it at the Adam Hall headquarters, he knew he had found the perfect solution.”

After years of speculation, the initial fear surrounding artificial intelligence (AI) and machine learning has largely subsided. Today, Pro AV professionals are actively exploring how to harness AI to streamline production and distribution. Yet, with so many options in GenAI, the process isn’t simple—and despite heavy promotion, the technology remains in its early stages for the video production industry.

Commonly used to create text, images, music, and video from existing data patterns, GenAI clearly holds promise. Still, experts acknowledge that AI is currently in the “hype” phase.

At the recent AV/IT Summit in New York City (presented by SCN and AV Technology), a panel of experts concluded that while AI is sparking excitement, many professionals are still figuring out which tools to use and how to apply them. This uncertainty has already led to the creation of new AI specialist roles within Pro AV companies to help guide adoption.

One panel participant, Bill Bennett, product design and solutions manager at ENCO Systems, leans toward optimism for the future. His company specializes in real-time, AI-powered translation and transcription. At the event, ENCO demonstrated its enCaption Sierra product, a live system that runs entirely on-premise, avoiding cloud costs and connectivity issues, while instantly displaying captions during the summit.

According to Bennett, customers increasingly want automated, on-prem systems but also demand instant multilingual translations for global audiences. Instead of human captioners, AI can now deliver faster, more accurate transcripts, and many clients have already integrated such solutions.

Regardless of whether you believe the hype, AI is poised to transform Pro AV by automating tasks that were once manual and inconsistent. Real-time transcription, multilingual translation, intelligent camera tracking, audio enhancement, and predictive analytics are just a few areas where AI is making an impact.

Across the industry, experimentation is accelerating. There’s a growing sense across the industry that those who fail to adopt AI risk losing their competitive edge.

Expert Perspectives

AI-Media’s latest solution, LEXI Voice, translates live speech into multiple languages and delivers natural-sounding voice output in real time—expanding accessibility and audience reach. Powered by speech recognition, translation, and voice synthesis models, LEXI Voice enables attendees at live events or viewers of live streams to hear content in their own language, instantly and cost-effectively.

Russ Newton of AI-Media emphasized that while many companies are embracing AI, true impact comes from integrating it at the core of workflows. “Some are simply layering AI tools on top of legacy workflows, missing the opportunity to truly reimagine processes for speed, scalability, and cost efficiency,” he explained. “The best approach is to integrate AI at the core of your workflow, especially for repetitive, accuracy-critical functions such as captioning, translation, and voice synthesis. This is where AI delivers the greatest impact and return on investment."

Systems integrator CTI is also adopting AI for efficiency and transformation. Dave Hatz, VP of machine intelligence, explained that the company uses AI not only for design automation and invoice accuracy but also for employee support via chatbots. For him, success depends less on the technology itself and more on aligning AI projects with business value, working closely with stakeholders, and deploying securely.

“From the leadership level down, we are adopting AI for both incremental efficiency gains as well as exploring transformational changes to how our teams work,” Hatz said. "I lead our DevOps team, and while we started with the 'let's try ChatGPT and Copilot' phase like everyone else, we've moved well past that. We have dedicated AI developers and a structured approach that takes projects from idea through R&D, pilot, and into production quickly and effectively. From there, we quickly learn, refine, and expand the solutions with a focus on delivering true business impact.”

Today, CTI is actively using AI in its daily operations to spec and manage system integration projects. “Our design consultants and engineers use AI-generated scope of work documents integrated directly into our D365 CRM system,” Hatz said. The company is also piloting an AI system that helps their finance team catch errors on invoices before sending them to customers, errors that would otherwise delay payment from the customers.

“The key insight we've learned is that the AI technology isn't the hard part," Hatz offered. "Success depends much more on ensuring you are aligned to delivering true business value, developing solutions with business stakeholders and not just for them, and deploying in a secure and scalable manner."

AI-Assisted Auto Tracking

Meanwhile, Sony is embedding AI into robotic PTZ cameras and professional displays. Features like auto-tracking, intelligent framing, brightness adjustment, and predictive maintenance improve efficiency and personalization. Sony’s latest firmware updates for its 4K/HD PTZ cameras expand intelligent automation even further, with tools like subject framing, fixed angles, and natural composition adjustments.

“AI is being integrated across a range of AV products to enhance performance and user experience,” said Karim Springer, lead sales support engineer, professional display solutions, Sony Electronics. “In PTZ cameras, it's powering automated shooting with advanced auto focus, auto tracking, and auto framing for seamless, efficient operation. In professional displays, AI enables content personalization, environmental adjustments like ambient light adaptation, and predictive maintenance, among other smart capabilities.”

Last year, Sony showed how its deep learning technology enables precise subject tracking, maintaining consistent framing even when faces are partially obscured. This year, it unveiled the version 3.0 firmware update for its SRG-A40 and SRG-A12 PTZ cameras. Features include “Tracking Range,” which provides auto-framing of a defined area to avoid unintended subjects, “Fixed Angle Position” for pausing and holding a predefined view for consistent framing, and “Lead Room Effect,” which adjusts composition naturally to provide space in the direction of the subject’s gaze.

Looking Ahead

Despite progress, challenges remain. Ethical concerns about bias and job displacement persist, while accuracy and reliability are critical in broadcast and Pro AV work. Costs of implementation and the constant influx of new platforms also pose hurdles. Plus, the real challenge might be the need for employees with specific knowledge of the various AI platforms (with new ones appearing virtually every week) and what they can do.

That said, experts agree that AI will soon play a larger role in live production. From automated camera switching and captioning to audience sentiment analysis and real-time translation, AI promises to make events more global, inclusive, and cost effective. Some predict AI will handle much of the technical execution, freeing human teams to focus on creative storytelling and audience engagement.

Newton expects live event production to be AI-orchestrated, with speech, video, text, and metadata flowing seamlessly across platforms and devices in real time. “Expect AI to take on more live functions, from camera automation and audience sentiment analysis to adaptive captioning and localized voice translation," he said. "At AI-Media, we see this as an opportunity to not only reduce costs and improve workflows, but to transform live events into truly global, inclusive experiences accessible to all."

“I think we're heading toward a fundamental shift in what's possible creatively in live event video production,” said Hatz. “The pattern I see across AI implementation is that it handles the technical execution, freeing humans to focus on the creative vision and storytelling."

Producing high-quality live events today requires teams of specialists, such as camera operators, TDs, graphic designers, and audio engineers. While that expertise will always be valuable, Hatz believes AI is going to democratize access to professional-level production capabilities.

“Imagine a live event where AI handles real-time camera switching based on the content and energy of the presentation, automatically generates graphics and lower-thirds, optimizes audio levels, and even creates social media clips in real-time,” he offered. “The humans can focus entirely on the creative storytelling—what shots tell the story best, what moments deserve emphasis, how to craft the overall narrative experience. The future isn't fewer creative people involved in live events, it's creative people being able to focus entirely on creativity rather than being limited by technical execution constraints.”

During this year’s Milan Fashion Week, Soho House Cities Without Houses partnered with M-Cube, the in-store digital solutions provider, to deliver a refined digital experience for the High in Bloom event held at Garden Senato.

M-Cube designed and installed a series of bespoke LED touchpoints, including a large LED wall, custom LED strips, and transparent circular displays to complement the natural garden setting. Each element was carefully positioned to blend technology and nature, enhancing the event’s ambiance while maintaining Soho House’s premium aesthetic.

Check out the video below to see the video displays take shape!

As part of Soho House’s global initiative to bring its signature community experiences to cities without permanent clubs, the Milan event brought together members and guests for an evening of conversation, creativity, and connection. M-Cube integrated digital technology seamlessly into the garden venue, enhancing the ambiance without disrupting the natural setting.

M-Cube designed and installed a series of bespoke digital touchpoints, including a large LED wall, custom LED strips, and three transparent circular LED displays. Each element was engineered to align with the garden’s pathways and greenery, creating a subtle interplay of light, texture, and movement. The displays were understated focal points that supported the event’s atmosphere rather than dominating it, transforming light into a storytelling tool.

Leonardo Comelli, business director at M-Cube, said, “Our approach was to let technology support the experience rather than dominate it. In Milan, the LEDs enhanced the event’s atmosphere, creating memorable moments for guests while remaining discreet. This project shows how digital installations can elevate premium events by combining design, innovation, and careful integration into natural or architectural settings.”

Visual content, produced in-house by M-Cube and supported by AI tools, was tailored to the Soho House brand aesthetic while remaining sensitive to the venue’s organic environment. The result was a cohesive digital layer that enhanced the sense of exclusivity and connection central to the High in Bloom experience.

Home of Munich's Bayern Basketball team, the FC Bayern Basketball Arena was transformed into an immersive concert venue for this year’s special edition of Schlagerboom, a celebration of Germany’s hit pop music.

Augmented reality (AR) effects, a huge LED stage driven by Green Hippo’s Hippotizer Media Servers, numerous state-of-the-art light projections and laser beams, combined with each audience member wearing lighted wristbands, created a ‘sea of light’ that delivered a night to remember.

Driving an Immersive Concert Experience

Jürgens TV produced the event for Bayerischer Rundfunk, and commissioned content production studio LUPIXX to create the video elements. The visuals were designed to enhance each song, visually expand the stage, and create a sense of depth. LUPIXX Visual Artist and Managing Director Saskia Olma, ramped up the video elements by integrating a tracked Spidercam with augmented reality.

Manipulating the video effects and AR elements were two Hippotizer Tierra+ MK2, three Hippotizer Boreal+ MK2 and one Hippotizer Boreal+ Media Servers, supplied by ICT.

“We needed fast and reliable machines that we can count on, and the Hippotizer Media Servers were rock-solid at every moment, allowing us to bring our creative ideas to life seamlessly,” said Olma. “We used stYpe as the tracking system for the Spidercam, and its integration with Hippotizer is well-tested, stable, and always on point. stYpe enabled us to achieve unparalleled precision and accuracy in their camera movements, resulting in a seamless integration of virtual and real-world elements.”

German singer Florian Silbereisen hosted the televised show, introducing a range of acts including Andrea Berg, Howard Carpendale, and Bonnie Tyler.

“The show’s setup was highly challenging due to limited rehearsal time and a dynamic stage configuration,” added Olma. “We had platforms that were arranged differently for each song, which meant that, in addition to our creative content, we had to integrate on-screen markers to help the crew position the platforms precisely. This required extensive coordination in advance. Each song received custom-tailored content adapted to the specific platform setup. The augmented reality elements visually extended the floor visuals and provided additional support.”

Working with ICT’s Project Manager, Martin Fröhner, to ensure a smooth technical workflow, Olma and her team created the content primarily in Notch, with the help of Cinema 4D, and rendered it in Notch LC. On the team were four Content Designers: Vlad Befus, Giulia Bowinkel, and Friedemann Banz; and Saskia Olma, who was responsible for content creation and direction for Ludwig Mond at Jürgens TV.

WYO Performing Arts & Education Center in Sheridan, WY, has installed Auri, powered by Ampetronic and Listen Technologies, for assistive listening in its Main Stage, known as “Sophie’s Stage.”

[Go Inside the Historic Carolina Theatre for a Projection Mapping Experience Like No Other]

Originally opened in 1923, the building now known as the WYO houses two theaters and several multi-functional spaces. Accessibility is central to the WYO’s mission to inspire, educate, and entertain. The WYO accessibility committee is continually looking for ways to make performances more accessible and ensure that everyone who attends the theater has a positive, engaging experience.

Auri will complement the WYO’s existing hearing loop system, increasing accessibility to clear audio within the space. Auri uses Auracast broadcast audio, a new capability from Bluetooth technology, to broadcast high-quality, low-latency venue audio to an unlimited number of Auracast-compatible devices and dedicated receivers within range.

The Auri system includes transmitters, receivers, docking stations, Manager Software, and accessories. A low-profile Auri transmitter resembling a Wi-Fi access point is installed in the WYO. The transmitter can connect to theater audio sources, such as speakers and microphones, and broadcast the audio using Auracast broadcast audio technology.

Theater guests with Auracast-compatible hearing aids, earbuds, headphones, or smartphones will be able to access the audio broadcast via their own device. The theater will have a limited number of Auri receivers for guests to borrow if they do not have an Auracast-compatible personal device.

Guests can connect earbuds or headphones to their Auracast-compatible smartphone or the Auri receiver and hear the broadcast audio directly in their ears. Background noise is filtered out for improved speech clarity. A limited number of neck loops will also be available to support guests who have telecoil-equipped hearing aids and cochlear implants.

Beyond assistive listening, the WYO can use Auri to provide audio description for visually impaired guests. The system can also be used to support delivery of language interpretation.

“The WYO is committed to making the performing arts and education accessible. We have fabulous performances planned and are excited to begin the next season with the Auri system installed. Auri offers guests another way to access assistive listening within the theater. As Auracast-compatible devices become more prevalent, the WYO will be future-ready with Auri,” said Erin Butler, executive director, the WYO.

As more venues in densely populated urban settings embrace live music, the conversation around balancing live events and community has become increasingly important, and increasingly rewarding when done thoughtfully.

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Forest Hills Stadium in NYC’s Queens borough is regularly home to the US Tennis Open but has also long been a major stop for music during the touring season. Like many urban venues, it has navigated the ongoing conversation with local residents about balancing powerful live sound with neighborhood comfort. However, the music is a lot sweeter this year now that Forest Hills Stadium has installed, on a semi-permanent basis, an L-Acoustics L Series sound system.

Provided and managed by Firehouse Productions, the longtime AV vendor for the venue, the new system comprises main arrays of two L2 over a single L2D per side, each flanked by an out-fill hang of one L2D. Fill sound is supplied by 20 Kara II loudspeakers, with plenty of controlled low end from 16 KS28 subs, and the entire setup is powered by four LA7.16 and three LA12X amplified controllers.

The results are clear: Off-site sound levels are measuring 10 to 15dB lower than last year’s system. Tim Fraleigh, Firehouse Productions’ system engineer onsite for the season, credited the dramatic improvement to a recommendation from legendary live-sound guru Dave Rat. Rat suggested the L Series would offer the same sonic quality as the K2 system deployed in past years, but in a more compact form factor with even greater sound control. “It was a good call and quite an accomplishment,” said Fraleigh, referring to the off-site measurement improvement. “Great sound makes for good neighbors.”

He attributed the improvement to the L2’s innate cardioid design, as well as L-Acoustics Soundvision software, which predicted the sonic boundaries with great accuracy. And L2 achieved the main goal of mitigating sound leakage while also improving sight lines, thanks to its compact size. “It’s one of those things where when you first put it up in the air and you step back from it, you’re kind of like, ‘wow, is this really going to do it?’” he said. “And then you turn it on and it’s pretty amazing.”

Steve Gordon, account manager at Firehouse Productions, came to his role after years on the road as a touring production manager, and he said what Forest Hills Stadium and its neighbors had been experiencing is a universal problem for touring music. “We always used to ask, ‘why are we trying to do a rock show in a place where you can’t make noise?’” he mused. “But that’s the nature of the issue. It’s challenging for everyone: the engineers, the audience, and the artists because the whole experience changes. And I’ve run into it all over the world. Gordon points out, though, that the L2’s “cohesiveness” is key to making it the right solution for Forest Hills Stadium’s situation. “One of the great things about L Series is that it doesn’t have to be run loud to be impactful. That really helps keep the levels under control.”

"As an FOH mixer, you don’t feel the same need to turn it up to get impact," Fraleigh confirmed. "That’s really helped make it more manageable this season.” That certainly applied to EDM-influenced indie rockers Bloc Party, the first show in a five-month-long season that will also include performances by Shawn Mendes, the Black Keys, Phish, Mumford & Sons, and Alabama Shakes. “Even the low end stays comfortably within the guidelines,” he said.

That’s exactly what Bryan Berge, production manager for Function of Gravity, the production management company for the venue, discovered when standing out in the street during the season’s first show. Brought on to consult on the noise-mitigation issue, Berge said the L2 made a huge difference, with a distinct lowering of measured sound levels without any attenuation of perceived impact, even with the tightened metrics in place this season. In addition, he said, the L2 offers a more encompassing, less directional listening experience, one that deepens fan engagement with the music. “When you see production elements like speakers, it tends to subconsciously take you out of the moment,” he explained. “But there’s something about the L Series—their smaller size, their engineering—that makes you feel they’re not there, that you’re connecting directly with the music. That’s a very satisfying experience.”

After initially being denied a permit for this year’s shows, concertgoers are celebrating now that the city cleared the way for the show to go on at the storied venue after an agreement between stakeholders let the permits go through. Much of that is a result of the implementation of the new L-Acoustics L Series sound system, which will assure that the music will stay exactly where it needs to be.

“Our goal at Forest Hills Stadium has always been to create unforgettable moments for our fans, and with the L-Acoustics L Series system, we’re doing just that,” confirmed Jason Brandt, general manager for the iconic outdoor venue, which is operated by The Bowery Presents. “This cutting-edge sound technology ensures the music remains immersive within the venue, allowing our audiences to connect with the music on a deeper level, all while being the best possible neighbors to the surrounding community. We’re excited for many more seasons of incredible music.”

Located 20 minutes from downtown Dallas, TX, the Curtis Culwell Center is a multi-purpose facility boasting over 190,000 square feet of space, including a 7,000-seat arena and conference center. Opened in 2005, it was time for an audio upgrade, which was enhanced by LEA Professional amplifiers as part of the retrofit.

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The venue, owned by the Garland Independent School District, was initially used for community and school functions such as graduation ceremonies. Currently, it hosts a broad scope of different types of revenue-generating events.

After 20 years of operation, some of the original audio infrastructure began to fail. Individual devices were replaced to keep the system functioning, but the school district recognized they needed a more comprehensive equipment overhaul to ensure reliability for crucial public address functions. Culwell Center staff contacted Ron Stanley, Proprietor of NX A/V, with whom they had a long-standing relationship for audio systems support, to recommend system upgrades. Stanley immediately included LEA Professional.

“Recently, I was trying to decide on what our go-to amp was going to be moving forward, so I brought in several amps for a shootout,” said Stanley. “LEA was the winner, not just for the sound quality but feature set as well.”

Stanley’s team installed five Connect Series 354, four Connect Series 704, and four Connect Series 1504 amplifiers to power the venue’s public address system. The CS354 is a 4-channel amplifier with 350 watts per channel, while the 4-channel CS704 offers 700 watts per channel, and the 4-channel CS1504 provides 1500 watts per channel. All Connect Series amplifiers are professional-grade IoT-enabled smart amplifiers for any size installation, support Hi-Z (70V or 100V) and Lo-Z selectable by channel, and feature Smart Power Bridge technology. Curtis Culwell staff can connect to the built-in Wi-Fi access point, the venue’s Wi-Fi, or the local area network via Cat5 or Cat6 cable.

The Connect Series features free-to-use LEA Cloud connectivity, allowing AV teams to remotely control and monitor the amplifiers regardless of the location or time of day.

“With the cloud registered amps, we, as well as registered venue staff, can get notification of events and faults, like a speaker circuit that is over or under the expected impedance that could indicate a blown speaker or broken wire, often before anyone in the venue actually notices,” Stanley remarked.

Given the smaller form factor of the LEA amplifiers, Stanley was able to consolidate five racks of amplifiers into two, thereby significantly reducing space without losing any functionality.

“The built-in speaker tunings in the LEA amps were great for this application, as was the impedance monitoring,” said Stanley. “With the upcoming graduations, the system has to work error-free, and LEA amps fit the bill perfectly.”

Vancouver Symphony Orchestra Symphony at Sunset concert series—one which atrracts upwards of 20,000 guest—brought enhanced sound to concert-goers this summer. The venue upgraded to a d&b audiotechnik SL-Series loudspeaker system which was designed and deployed by Gearforce. The new SL-Series broadband cardioid technology reduced on-stage noise for the performers and simultaneously mitigated bleed into neighboring communities, while ArrayProcessing ensured consistent, high-quality sound to the sound to the crowd seated across the expansive outdoor waterfront venue.

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There were acoustic challenges, including long throw distances, potential wind interference, and the need to minimize noise disturbances to nearby residents. As Robert Nevalainen, founder and chief system designer of Gearforce, explained that two years prior Vancouver Symphony challenged Gearforce to create an ideal listening experience where each audience member, front row or in the furthest seats, could hear the orchestra with equal clarity. "People have been conditioned to believe that if they sit further away, it's just not going to sound as good, but d&b audiotechnik gives us the tools to address that," he explained. "Their proprietary and optional ArrayProcessing function compensates for varying temperature and humidity considerations in the field and enables us to provide consistent tonal balance and even level distribution over the entire audience area."

The VSO had previously relied on a sound system that required delay towers in the middle of the audience. These towers were visually disruptive and the older system did not provide adequate coverage or consistent sound quality throughout the venue."The VSO disliked the reliance on delay towers and they were skeptical that we’d be able to achieve full coverage without use of them," continued Nevalainen. "We've built their trust over the years on various projects and deployed a d&b audiotechnik V-Series system with ArrayProcessing the first year of Symphony at Sunset. With V-Series, we easily achieved the throw necessary to completely and evenly cover the outdoor venue.

"While VSO was happy, Nevalainen wasn't prepared to rest on his laurels, "What we deploy somewhat relies on available inventory," said Nevalainen. "So, when Gearforce took delivery of a d&b XSL loudspeaker system, I knew we could improve the performance even further.”

The first improvement addressed concerns voiced by the orchestra. "Orchestral musicians can be sensitive to the on-stage noise that emanates from most loudspeakers, and they typically don't like performing with a PA," commented Nevalainen. "When they discovered that the XSL system could do everything that their V-Series system could, and because XSL offered superior broadband cardioid pattern control, we were able to reduce the stage volume as well. They found this very appealing."

The quieter stage presented by the XSL system also had an unexpected benefit for VSO mix engineer, James Perrella. "Aside from having the reliably excellent sound of a d&b audiotechnik system, broadband directional control also helped on-stage with gain before feedback concerns," he explained. "I was able to capture the orchestra using wide-patterned microphones—without worrying about feedback. The results were similar to those I get when using omni-directional mics while recording. I could build the mix with the sound of the whole orchestra rather than isolated sounds of close microphones. It was a real joy."

Another improvement that the XSL system addressed was mitigating excessive audio bleed to the high-end residential properties located nearby. "Symphony at Sunset was staged right by expensive beachfront property, and whether it's the symphony or not, the neighbors are sensitive to any noise they hear," Nevalainen explained. "By using ArrayCalc to carefully design an XSL system with its cardioid configuration, we accurately predicted where the sound would propagate while still maintaining maximum coverage across the performance area. I'm happy to say that we didn't just satisfy the bylaws, city representatives said this year's Symphony at Sunset series were the best-sounding events they've ever held there."

"While it's satisfying to know that our upgrade to SL-Series this year was well received by the city, the VSO, and James Perrella, it really wouldn't matter without a positive response from the audience; VSO's audiences are very discriminating,” stated Nevalainen. “On that note, I have a funny anecdote to share: With their previous sound system, the VSO always felt the need to place someone at front of house to run interference for the mix engineer by fielding complaints. At first, they insisted that we have that person present for our installation, but after using their new d&b audiotechnik system for a while, they heard only compliments and realized he wasn't necessary anymore."

The Regency Center has long been one of the San Francisco neighborhood of Lower Nob Hill's treasured cultural landmarks. Over the decades, the space has served as a movie theater, banquet hall, and dance studio before becoming one of San Francisco’s premier live music venues. Since 2008, it has been operated by promoter Goldenvoice, the regional affiliate of entertainment giant AEG, which recently elevated the room’s sound quality to match its visual splendor via a new L-Acoustics L Series concert sound system.

Originally rising from the rubble three years after the historic 1906 earthquake as a Masonic Lodge, the formidable structure is widely heralded as one of the finest examples of Scottish Rite temple architecture in the country, featuring a magnificent blend of Gothic, Neoclassic, and Beaux-Arts styles. The gravitational center of the building is The Regency Ballroom, a 1,400-capacity performance hall boasting 35-foot ceilings, 22 turn-of-the-century teardrop chandeliers, blonde hardwood floors, a horseshoe-shaped balcony, and built-in stage.

“The system’s reputation spread like wildfire. Even during peak season, with shows across the city, our PA became the talk of the town. And engineers who’ve mixed on it are unanimous – this rig sets a new standard,” said Regency Ballroom production manager Kelly McDowell. “Our first show with the new rig was Blind Guardian, but the first one where we really opened it up and let it rip was the electronic duo Chase & Status. I had never heard The Ballroom sound like that before! It was amazingly clear and powerful. You could feel the energy in the room and people were loving it.”

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Two of the biggest ‘wins’ of the new L Series system have been its ability to eradicate the sightline and onstage noise challenges of the venue’s prior loudspeaker design. “The nice-and-neat, streamlined look of the L2/L2D offers a much better viewing experience,” said McDowell. “That, and excessive volume onstage with our old PA were often an issue. The rear cancelation on this new L Series is really impressive. The Ballroom, with its many reflective surfaces and big open ceiling, can be difficult to mix in. But with the shading capabilities of the P1 processor and amps—combined with L Series’ adjustable Panflex directivity—we were able to really dial it in.”

“Our previous loudspeaker system was a fine rig 15 years ago, but it was really time for an upgrade,” McDowell added. “It had been installed when Goldenvoice took over the booking and management of the venue, and many of the components of the old PA were truly starting to show their age, and we were doing constant maintenance and replacing of parts.”

In choosing a new system, AEG Presents SVP of production Jonathan Baden said that the choice of loudspeaker partner was clear from the very start. “L-Acoustics is an industry leader in audio and continually at the top of any artist rider requests for PA systems,” he said. “We had full confidence that working with them would bring the highest quality sound to the venue, both for the artists playing onstage and the fan experience in the room.” After a thorough review and analysis of the room, L Series was determined to be the best fit. “True to L-Acoustics’ reputation for excellence, the system delivers pristine sound while its compact profile preserves sightlines and streamlines installation – saving both time and resources.”

Having L-Acoustics in the venue provides peace-of-mind to artists and engineers alike. “The L-Acoustics signature guarantees performers and engineers exceptional sound that honors the artists’ visions,” Baden explained. “When the sound is perfect, you can feel the energy shift in the room. By investing in the L Series system, we’re demonstrating our commitment to creating experiences that keep audiences coming back.”

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Installed by Regency Ballroom’s house audio team in just four days, assisted by Sound Image and the L-Acoustics Application team, the room’s new system comprises a tidy setup of one L-Acoustics L2 flown over one L2D per side, powered by LA7.16i amplified controllers, and complemented by one ground-stacked A10 Wide plus one A10 Focus per side for front-fill. Eight KS28 subs are positioned under the stage, driven by a pair of LA12X, with everything controlled via a P1 processor. A new pair of DiGiCo Quantum2²⁵ consoles at the front-of-house and monitor mix positions, each with its own 56-in/32-out SD-Rack, are joined by an XTA MX36 switcher and Lab.Gruppen LMX 48 Lake Processor at FOH.

“Everything is running via P1 and Milan-AVB,” shared Regency Ballroom head audio Marco Martin. “After a brief learning period, the platform has been incredibly stable. We’ve all been particularly impressed with the power, clarity, and headroom of the L2 paired with the LA7.16i amplified controller. We could not be happier with the quality and performance of this system.”

The events industry has undergone a seismic shift in recent years, redefining how businesses, organizers, and attendees approach gatherings. In 2019, the industry was comfortable with traditional, in-person formats—conferences, expos, and live events where physical presence was a core requirement. Technology, while present, played a supporting role rather than being central to the experience. The labor market in the industry remained stable, with roles and responsibilities evolving at a steady but predictable pace.

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Fast forward to 2024, and the industry has been revolutionized by a combination of necessity and opportunity. The pandemic acted as a catalyst, driving rapid adoption of advanced technologies and reshaping expectations for how events are designed and experienced.

This shift has brought with it a heightened demand for skilled labor, particularly in areas like digital production and virtual platform management. Companies embracing trends with technology and making data-driven decisions are redefining what it means to host engaging events. Conversely, those clinging to outdated models are finding themselves unable to compete in an increasingly competitive market.

Make Mine Hybrid

One of the most significant shifts in the events industry has been the rise of hybrid and virtual events. Initially accelerated by the pandemic, these formats have evolved from a temporary solution into a lasting standard for many organizations. Participants can now join from virtually anywhere, eliminating barriers such as travel costs, geographic limitations, or health concerns. This approach has empowered companies to extend their reach beyond local or regional audiences, engage with diverse demographics, and delivering highly personalized experiences tailored to attendees’ preferences.

Moreover, the hybrid model has redefined how event content is consumed and leveraged. Events are no longer confined to a single day or physical location—recordings, digital resources, and interactive elements can be reused, repurposed, and shared across multiple platforms, creating ongoing value for both businesses and participants.

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For example, the virtual concert market alone generated $76.6 billion in revenue in 2024 and is projected to reach a staggering $115 billion by 2031, underscoring the immense potential of virtual engagement. This trend is not slowing down; instead, it is paving the way for a more interconnected and innovative industry. Hybrid events also offer a scalable model for future growth, allowing companies to adjust their strategies based on evolving audience needs and technological advancements.

Ultimately, organizations embracing hybrid formats are doing more than hosting events—they are cultivating global connections. This evolution marks a transformative era for the events industry, where innovation, inclusivity, and scalability are at the forefront.

The People Pipeline

Along with the drive for more technologically complex events, the demand for skilled production teams has intensified. Managing livestreams, multi-platform broadcasting, and interactive tech requires specialized expertise, as these elements have become the backbone of modern event experiences. Successful companies can’t just hire talent; they must invest in training and career development to build a workforce that can adapt to evolving technologies.

This proactive approach ensures employees stay ahead of trends, mastering tools and platforms that keep events innovative and competitive. A strong talent pipeline, combining experienced professionals and new specialists trained in hybrid setups, fosters both success and scalability.

However, the rapid pace of technological change demands continuous learning. Businesses that neglect training or expect ready-made expertise often face challenges, as their teams struggle to keep up with advancing technology. Skills gaps can result in inefficiencies, lower-quality outcomes, and missed opportunities to exceed client expectations.

In contrast, organizations that support and empower their workforce not only close tech gaps but also cultivate loyalty and future readiness. Providing access to ongoing education, certifications, and hands-on experience with emerging tools readies the teams to handle both current demands and future innovations.

Operational Evolution

The need for advancement extends far beyond client-facing interactions. Behind the scenes, the processes that shape how events are strategized, documented, and executed also require significant modernization. The adoption of digital tools and centralized platforms are critical for meeting the growing complexity of events. Seamless communication, enhanced collaboration, and improved data-driven decision-making are now standard.

Centralized systems allow teams to access real-time information, coordinate across departments, and streamline workflows, ensuring that every detail is accounted for from planning to execution. These tools empower operations staff to respond swiftly to last-minute changes, reducing stress and enhancing overall efficiency.

Organizations that prioritize operational evolution, such as leveraging cloud-based solutions, automating repetitive tasks, and fostering real-time collaboration will position themselves as leaders in the field. These advancements not only reduce inefficiencies but also empower teams to focus on creativity and innovation rather than being bogged down by outdated processes.

Companies that embrace technological advancements position themselves to meet evolving client expectations while simultaneously improving internal efficiency. Beyond the immediate operational benefits, modernizing processes also opens doors to innovation, enabling organizations to experiment with new formats, features, and engagement strategies that keep them ahead of the competition.

[Viewpoint: Managed Services Are a Must]

The events industry has entered a new era, driven by technological advancements, shifting consumer expectations, and the rapid adoption of hybrid and virtual formats. Once reliant on traditional in-person gatherings, the industry now thrives on the integration of physical and digital experiences, offering unprecedented accessibility and advancement.

This evolution has reshaped not only how events are designed and consumed, but also the skills and infrastructure required to execute them successfully. Companies that embrace innovation, invest in talent development, and modernize their operations are setting the standard for delivering impactful, inclusive, and memorable experiences.

Vizrt, a leader in real-time graphics and live production solutions, hosted the ONE Vizion Summit, a three-day hybrid conference that united over 200 employees in person and hundreds more via live streaming. The event aimed to align the company’s global workforce, spread across 37 countries, with its vision and strategy.

Traditional face-to-face meetings aren’t practical for Vizrt’s global, distributed workforce. Instead, video emerged as a sustainable and effective medium for engaging employees, ensuring clarity and connection regardless of location. The Summit’s primary goal was to deliver a unified message that resonated equally with on-site and remote participants.

The main challenge was ensuring remote attendees felt as engaged as those present in person. Chris Black, Vizrt’s chief marketing officer, emphasized the importance of clear and compelling communication to ensure alignment with leadership’s vision. He said, “One of the biggest challenges for large organizations, especially those like ours with offices in over 37 countries, is ensuring that everyone understands the CEO’s vision and message clearly.”

At Vizrt particularly, high production quality was crucial to meet the expectations of an audience familiar with broadcast-level standards.

To address this challenge, Vizrt utilized its own advanced video production tools to create a polished, professional event. The company’s approach was multifaceted. “Our audience is unique because they regularly work with broadcasters and expect a high level of production quality,” Lennie Nelson, vice president of brand at Vizrt noted. “We couldn’t just show up with a computer and PowerPoint. We need to add some dynamic media to it.”

The infrastructure counted on a TriCaster, the Flex Dual control panel, PTZ cameras, Viz Flowics for graphics, and Viz Virtual Studio Go for AR graphics, making the visual experience more immersive and engaging for the viewer—all powered by NDI.

A TriCaster served as the central component for producing the hybrid event. The award-winning media production system managed video feeds from multiple cameras—live video switching, streaming, and recording of sessions for on-demand access. Graphics from Viz Flowics and remote presenters via Microsoft Teams were also integrated into the system.

[What to Know About Vizrt's TriCaster Vizion and TriCaster Mini S]

The Flex Control Panel was used to remotely reposition the Vizrt PTZ3 PLUS Cameras and adjust the zoom levels. The panel also enabled the control of audio connections, audio and video mixing, and talkback via NDI.

Vizrt PTZ3 PLUS cameras were strategically placed to capture different angles throughout the venue. The cameras provided high-quality images even in low-light conditions. Equipped with presenter tracking technology, the cameras automatically followed the speaker on stage, adding a professional touch to the production without manual camera operation.

Viz Flowics, the most comprehensive cloud-native, web-based platform for generating live HTML5 graphics from anywhere, was used to create and control on-screen graphics, web-based digital signages, and live data integration. The system enabled a seamless display of lower thirds, titles, attendees’ information, and real-time questions from both in-person and virtual participants.

Augmented reality (AR) elements were added using Viz Virtual Studio Go, a fully equipped AR graphics and virtual studio in a box. The integration of AR provided an immersive experience for the audience.

The team meticulously planned the technical setup to integrate Vizrt’s tools with the venue’s infrastructure. A detailed wiring diagram streamlined the complex arrangement of cameras, monitors, projectors, digital signage, and audio systems, ensuring smooth operation.

The event was live streamed, allowing remote employees to interact via Microsoft Teams to provide real-time feedback and questions. Dynamic content delivery, including live graphics, video playback, and media switching, kept the audience engaged. This ensured a consistent, high-quality experience for both in-person and remote attendees.

The ONE Vizion Summit successfully engaged Vizrt’s workforce and aligned them with the company’s strategic goals. Employees rated the event highly, with video quality and live-stream value scoring 4.2 out of 5 in post-event surveys.

Research commissioned by Vizrt found how effective video communication can be, with 65 percent of those surveyed agreeing that video updates improve understanding and alignment with company goals.

The ONE Vizion Summit showcased the transformative power of video in internal communications for global organizations—with Vizrt demonstrating how leveraging the right tools can create a unified and engaging experience for employees anywhere in the world.

SCN: How long have you been with this company, and what are your responsibilities?

Bill Thrasher: I have been with AV-Tech for 15 years. I’m currently the COO, overseeing all sales and operations of the business. My experience in the AV industry extends over 27 years, having grown up immersed in it and involved in every aspect of the industry and its various vertices. 

[Executive Q&A: Sign of the Times]

SCN: What advice do you give clients to help them achieve meeting equity?

BT: To achieve meeting equity, I advise clients to prioritize audio optimization, as it's crucial for communication, and to understand that while budget constraints may lead to simpler video setups, investing in advanced systems can enhance the experience significantly. 

SCN: Are huddle rooms still a thing—and if so, how have they evolved?

BT: Huddle rooms continue to be highly utilized, evolving to serve as private offices or for dual-screen applications, enhancing functionality for co-presentations and data examination, with multi-screen setups becoming essential. 

SCN: Is the 21:9 display trend still growing?

BT: Regarding the 21:9 display trend, I personally find it lacking due to the need for larger displays to accommodate the reduced content space, suggesting that a 32:9 or dual 16:9 setup provides a better experience without compromising room functionality. 

[Viewpoint: Exploring the 5 Pillars of the New Workplace Paradigm]

SCN: I know we tend to focus on technology, but how important is the furniture to your workplace hybrid solutions?

BT: Furniture plays a critical role in workplace hybrid solutions, often prioritized at the expense of AV system functionality, highlighting the ongoing challenge of balancing form and function in these environments. 

SCN: AI is the buzzword these days, but what do most clients get wrong about the technology?

BT: Many clients misunderstand AI technology, often expecting a single solution to suffice indefinitely, not aligning IT and AV teams, which can lead to operational challenges and overlook the essential human element in AV tech. 

SCN: When it comes to live events, how has AV-Tech Media Solutions dealt with the recent challenges of hiring and retaining talent?

BT: To address hiring and talent retention challenges for live events, AV-Tech Media Solutions focuses on developing internal talent, staffing flexibility based on event and client needs, and relying on a robust pool of contract experts. 

SCN: Has the live event market slowed down or is it continuing its post-pandemic surge?

BT: The live event market is experiencing rapid growth, driven by the demand for in-person experiences and the significant role of production value, indicating continued expansion in this sector. 

SCN: Sustainable Pro AV solutions: Mostly a must-have or just a nice-to-have for your clients?

BT: Sustainability in Pro AV solutions is not always a priority for our clients, with initiatives sometimes sidelined despite improvements in products that incorporate sustainable features and design. 

[Top Integrators 2023: Meeting Equity]

SCN: You get approached by a potential new client to upgrade their corporate space for their hybrid workforce. What are the first questions you ask and why?

BT: When approached by a potential new client for upgrading their corporate space, I would ask what they aim to achieve with the technology to understand their expectations for connected experiences and inquire about their budget. 

SCN: What’s the next big trend for the Pro AV industry?

BT: The next big trend in the Pro AV industry is the increasing separation from IT, despite ongoing synergies, as AV requires unique expertise in upgrade support and implementation that IT teams may not fully accommodate.

Cirque du Soleil Entertainment Group has made Epson its official projector partner. Exploring new ways to expand storytelling beyond show boundaries, Cirque du Soleil turned to Epson to help redefine the future of immersive experiences. Focused on engaging consumers with captivating experiences across North and South America, Cirque du Soleil and Epson will work closely together to identify and bring extraordinary concepts to life. Combining the power of Epson high-performance 3-chip 3LCD laser projectors with the brilliant minds behind Cirque du Soleil’s theatrical ingenuity, this partnership is poised to revolutionize immersive entertainment and illuminate Cirque du Soleil’s creative vision in new ways.

“As a longstanding leader in live entertainment and innovative projection technology, Epson is the ideal partner to support our efforts in bringing one-of-a-kind experiences to our guests,” said Lauren Hart, head of partnership strategy at Cirque du Soleil. “With Epson’s cutting-edge projection and industry expertise, we will be able to design and deliver true immersion into creative visuals unlike anything we’ve done before. Our team is eagerly anticipating the opportunity to explore the power of Epson projection firsthand.”

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Cirque du Soleil is actively working on crafting immersive experiences tailored for diverse formats across various locations and developing unique special events to enhance upcoming show formats. As the official projector partner, Epson will provide cutting-edge projectors to power Cirque du Soleil concepts and play a crucial role in manifesting Cirque du Soleil’s visions into a reality. 

“This partnership provides an opportunity for Epson to collaborate with a renowned live entertainment brand and demonstrate the power of Epson’s large-venue laser projector lineup,” said Richard Miller, VP, commercial marketing and service, Epson America. “Merging sophisticated projection with Cirque du Soleil’s awe-inspiring imagination enables the creation of extraordinary, immersive and unique experiences, and we look forward to helping them bring their creative concepts to life.”

The Napa Lighted Art Festival, which took place in downtown Napa, CA, from Jan. 20-Feb. 18, celebrated creative arts, bright lights, and the technology that brings it altogether. The first nine nights of the festival saw three Napa buildings—First Presbyterian Church, Historic Napa County Court House, and Native Sons—become canvases for artists' creativity. To project their creations onto the iconic buildings, A3 Visual turned to Panasonic projectors.

[How Panasonic Connect Il-LUMA-nates Binghamton]

"It's an outdoor projection mapping festival that they do every year in Napa," explained Tim Morin, strategic account manager, live entertainment for Panasonic Connect. "They bring in artists from around the country and around the world to project on historic buildings. It really brings the community together, especially in Napa. While it's already such a tight-knit community, this event gives them some of the cultural exposure typically reserved for big cities."

Panasonic Connect is no stranger to the Napa Lighted Art Festival, nor working with A3 Visual. Known for its event production and immersive services with locations in Los Angeles, San Francisco, and Miami, A3 Visual recently teamed with Morin on the "Let's Glow SF" holiday event in December. And much like that event, the Napa Lighted Art Festival was illuminated by Panasonic PT-RQ35KU 4K laser projectors, which offer 30,000-lumen brightness.

"We all have our strong points, but some of the key factors that differentiate Panasonic projectors from other manufacturers are their reliability, clarity, and quality," Morin said. "So, when it comes to outdoor projection mapping, just the image you get from a unit like the RQ35 or RQ50 does set it apart from other projector models."

The projectors—which produce high-quality images and colors while simplifying the projection of artwork onto the twists and turns of large, city buildings—were double stacked for each of the three buildings, allowing artists to create content that illuminates the entire building and bring stagnant architecture to life in an all-new light. One of the challenges with the setup was that there was no way to use a typical outdoor enclosure, so A3 Visual used a couple of Conex containers.

"They double stacked shipping containers," Morin explained. "They had all the power distros and everything there because that's the only way they could do it safely."

A3 Visual also had one other enclosure that was large enough to handle two projectors. "So, they had that outdoor enclosure for one of the other buildings, and the third one was ground supported Connex container as well," Morin added. "[Outdoor projection] is not typically designed to have three-phase power sitting there or to have proper pathways for cables. You have to makeshift what you're going to do. And a Conex container makes it kind of easy—you can run all the cables in there, you can run the projectors in there. They're large enough for venting, so it is a nice, secure way to do it."

[Classroom Projectors: What You Need to Know for the First Day of School]

The Conex containers eliminated concern of poor weather, since everything from the projectors to the power to the distribution was consolidated to one sheltered space. Of course, Mother Nature has other obstacles than the weather … like trees.

Morin explained how the projectors seemingly dodged trees that they couldn't simply chop down for one event. "It'll be the blending. We calculate our overlap, and then we do some geometry management to it, and we square it back off," he said. "It's challenging, but the ability to blend the way Panasonic projection does is second to none. When you start doing stuff like that and you're blending on a building around a tree, we have that ability that separates us."

The artists used Modulo Pi media servers and are very involved with how the content is displayed. A3 Visual provided a template, and the artists created the content based off that. They can dictate brightness or when to dim colors, playing an interactive role with the producers to bring everything together.

Speaking of interactive, one of the more memorable projections was one that visitors could have some connection with themselves. "One of the buildings had a very cool installation where there was a QR code," Morin recalled. "You could take your phone, scan the QR code, you'd put in a message, and it would turn [that message] into virtual flowers. The different type of virtual flowers would create this collage and this mosaic on the building. So, every time someone came up and just put in a different phrase, it would change. It was very interactive and unique."

[Powerful Projection Mapping Provides Engaging Spectacle for Charity]

This was Morin's first trip to the Napa Lighted Arts Festival since joining Panasonic Connect just over a year ago. Like many of the spectators, he was blown away. "The emotional connection you get when you see a building like that," Morin reflected. "You see it every day and it's just a big slab of brick. But then you walk by it the next night, and it just takes your breath away because you're like, 'I didn't even know this was there.' You start getting a new appreciation for your town."

The 66th GRAMMY Awards are in the books, and for yet another year, Shure was part of the technology that allowed for another successful show. For everything from live performances, speeches, and plenty of good-natured razzing from the night’s host, Trevor Noah an expert production team trusts Shure wireless technology to make these memorable moments come to life.

“Shure’s Axient Digital wireless technology delivers the high-quality sound and reliability that our team depends on for the GRAMMY Awards,” shared Michael Abbott, audio producer for the 66th GRAMMY Awards show. “Their wireless, along with the wide variety of Shure mic capsules, ensures the artists sound their best for the live broadcast.”

[The Displays That Lit up the Super Bowl at Allegiant Stadium]

To flawlessly broadcast the audio of music’s biggest night worldwide to an enormous 16.9 million viewers, a stalwart group of industry veterans, including Abbott, relied on 28 channels of the Shure Axient Digital Wireless Microphone System and eight channels of Axient Analog. Artists used Shure PSM 1000 in-ear monitoring systems during their performances, with a total of 190 Shure bodypacks used throughout the evening. 

Frequency coordination serves an essential role in managing the staggering amount of wireless used throughout the GRAMMYs. Working in the already frequency-dense downtown Los Angeles, Stephen Vaughn, Soundtronic’s RF Coordinator, oversaw this pivotal function with Axient Digital and, for monitoring, Wireless Workbench. 

“Shure’s Wireless Workbench and Axient Digital prove themselves year after year on the GRAMMY stage,” shared Vaughn. “Tools, like Wireless Workbench, give me reliable control and flexibility in LA’s challenging RF environment.”

“Shure is the gold standard when it comes to microphones. They have proven that in my 20-plus years in the industry,” shared Jamie Pollock, front of house (FOH) music engineer for the 66th GRAMMY Awards. “I use their products in the studio, on the road, and at large-scale live events such as the GRAMMY Awards.”

The night’s crew also included Broadcast A1, Tom Holmes, and Music Mixers Eric Schilling and John Harris. Front of house was overseen by FOH production mixer and ATK project manager Jeff Peterson. Other microphones used included the SM58 (used by SZA and others) and 565SD (used by Miley Cyrus in her performance of "Flowers" among other performances), as well as the Company’s latest microphone innovation, the Shure KSM11, used by the likes of Dua Lipa and Olivia Rodrigo. Celebrating the tail-end of their residency at Las Vegas’ Sphere, U2 relied on Shure Axient Analog wireless and SM58 mic capsules.

[SCN Finally Goes Inside the Vegas Sphere ... and We Had a Ball]

Each of these performances, also including Billie Eilish, Tracey Chapman, and Luke Combs, were made possible with Shure’s Axient Digital wireless technology, supplied by ATK and Soundtronics. ATK also provided IEMs as well as RF for all microphones. 

“At Shure, we develop the innovative technology our customers need to take their creativity to the world’s largest stages. We’re grateful to have our gear deployed by the talented production team and artists who brought the 66th GRAMMY Awards to life,” shared Jenn Liang-Chaboud, Manager of Entertainment Relations, at Shure.

When it comes to labor in general, employers are all too aware that it’s a buyer’s market. Companies in every industry are struggling to fill gaps in the workforce, and Pro AV is no exception.

[Real Problems with Fake Products]

Recently, SCN sat down with companies that offer AV integration, managed services, and live event production to gain an understanding of how difficult finding the right talent is. Needless to say, the struggle is real in every area. Here are some of their observations and potential solutions.

Integration and Managed Services

As we all know, the pandemic taught people they could work remotely—and, in many cases, on a flexible schedule. Dave Van Hoy, president of Advanced Systems Group (ASG), an AV design, integration, and managed services firm headquartered in Emeryville, CA, said many workers are reluctant to give this up. “That’s definitely one of the challenges, a high degree of resistance to people returning, physically, to where they once were,” he explained.

Coupled with this is a shortage of younger talent. ASG, which supports a strong list of clients in the broadcast market, has trouble finding young people with these skills. “There is only a handful of schools in the United States today that turn out people with actual broadcast engineering as either a degree or part of their degree,” he noted.

On the managed services side of the spectrum, meeting support resources are hard to source. Chris Jamison, director of the managed services practice at AVI Systems, an AV design, integration, and managed services firm headquartered in Eden Prairie, MN, believes this is due to two things: Customers are downsizing their internal AV/IT teams, and an increasing number of the firm’s clients are bringing employees back to the office.

“It’s really creating this need for meeting support and training and adoption,” Jamison said. “For the most part, customers are asking for full-time [managed services staff], but there are some that are exploring part-time options to fill gaps in their workplace.”

Chance Turner, director of recruiting at AVI Systems, explained that the company strives to attract and retain talent by offering a healthy work environment. The firm’s Employee Stock Ownership Program (ESOP) is also appealing. “There’s a lot of value in the company being 100% employee-owned,” he said. “I think driving a positive company culture in which people know they’re valued for their contributions is extremely important."

Live Events

Arguably, live event production houses have faced the most challenges when it comes to hiring talent these days. At the height of the pandemic, there was no work, either driving people to seek out other employment opportunities in AV or leave the industry outright. Now, with live events back in full force, there aren’t enough skilled professionals to go around, especially in the freelance pool.

Mario Educate is president and CEO of OSA International, a live production and AV integration firm headquartered in Wood Dale, IL. He said his company’s biggest challenge right now is securing freelancers to support live events.

“Corporations or producers will delay getting the information out there, which makes it harder for all of us to lock in crews,” he explained. This leads to a scramble for local talent or an investment in airfare and accommodations to bring people to a job. “We’re running up against what everybody else is: finding talent that is available," he added. "And the better they are, the less they’re available.”

“If you’re really good at what you do and you’re very skilled, you have something squared away—either five companies that you work for all the time, or maybe a full-time gig—so those people are taken out of the realm,” explained Mel Baglio, director of operations at AV Chicago, a Chicago-based AV production and event management firm. As a result, she said companies have to seek out people with less experience and teach them the skills they need. “We’re trying to reinvent how to get people to come on board with us, how to train them, and how to get them up to speed so that they can start working with us more consistently.”

AV Chicago is partnering with schools to develop a new talent pool, and is seeking out training opportunities from manufacturers. For example, the company will send people for training at Shure’s nearby headquarters. Baglio said the firm will also approach those with transferrable skills, such as recording engineers or theater techs.

In general, referrals from employees and freelancers produce the most success. “I think that almost half of our company has been hired by word of mouth,” Baglio added. “We call it unicorn farming—finding those people that are fantastic, that fit with your dynamic, that fit with your culture and your team.”

What Workers Want

“It is a good time to be an AV professional and a challenging time to be an AV integrator,” noted Peter Hansen, economist at AVIXA.

While there is much discussion around the desire for flexibility (usually through hybrid or remote work) and the chance to work for an organization that aligns with their values, AVIXA’s research shows that earning a good salary remains the highest priority for job candidates. “Salary is the first reason we work—it’s the core of the equation,” Hansen said. “It’s the number one thing businesses should be thinking about. If you’re struggling to hire, think about your pay first. If you’re having retention issues, think about your pay first.”

That said, candidates are also seeking organizations that offer development opportunities and the chance for advancement. “If you’re a company that’s struggling to hire, and you’re maxing out the compensation that you can absolutely manage, the next place that I would think about are promotion pathways and really making that clear,” Hansen offered. In AV, he noted, a young professional can realistically envision being in the C-suite at some point, and integrators should make them aware of this.

And while it may not be the highest priority, many professionals want the ability to work remotely. In AV, of course, not all job roles allow for this, but Van Hoy said ASG is offering more flexibility than it did before the pandemic. He admitted this is a significant challenge, but one considerable benefit is that remote work expands the talent base.

“If the position can be remote, that means our pool of applicants can be much larger—we’re not limited to a certain geography,” Van Hoy said. However, he underlined, this depends on the specific role. “Some positions really can be done from home, as long as you have the right tools and procedures. Others really can’t.”

Talent Development (and Awareness)

To fulfill the need for talent, many AV companies are focusing on upskilling their labor force. Tom LeBlanc, executive director of the NSCA (National Systems Contractors Association) in Cedar Rapids, IA, cites IoT-driven tech as a key opportunity for AV integrators, but not all of them have the necessary skills to take advantage of this.

“Integrators are well-positioned to be at the epicenter of an IoT device explosion,” LeBlanc said. “The labor-related question the integration company leaders are asking themselves is: Are we ready for this IP endpoint environment? Are [our] people skilled for what we need today and tomorrow?” 

If the answer is “no,” he said, integrators will lose out. “The industry and demand are moving ahead regardless of who is ready and who isn’t,” he noted.

According to LeBlanc, one of the biggest recruitment-related challenges AV integrators face is that people outside of the industry don’t know it exists. “It’s like we’re in a bubble,” he said. “We aren’t on the radar of the young professionals we want most.”

[NSCA Revises Labor Installation Standard Data for 2022]

This was driving factor behind the NSCA’s launch of its Ignite program. Designed to create industry awareness, Ignite provides resources to AV integrators to help them educate potential candidates about the careers that exist within the realm of Pro AV. “They can be the boots on the ground at career fairs, technical schools, and universities, casting a wider net and helping the industry to burst through the bubble,” he explained.

In conjunction with these efforts, AV firms should also solicit tech talent from related professions. “They need to be looking in the IT and MSP space and other adjacent technologies/industries,” said Mike Abernathy, director of business resources at the NSCA. “These candidates have the networking certifications and experience integrators need to install and manage the mission critical systems.”

Because good help is so hard to find, it’s wise for AV integration firms to concentrate on keeping the employees they already have. One way to achieve this is by providing them with the chance to grow their skill sets. Some organizations may do this by developing their own internal training programs, while others can take advantage of the courses offered by trade organizations and schools.

“It’s important to focus on how they can keep people interested and motivated,” Van Hoy said. “Pay for people’s time for them to go to junior colleges or trade schools to pick up relevant skills. We find that those are some of the things that have helped with retention the most.”

Skills in Demand

Some skills are harder to find than others. According to our experts, here are what Pro AV firms are struggling to find right now:

Live Events

• LED engineers

• Media server technicians

• PTZ camera operators

• vMix engineers

“You could have 150 stage hands on your roster, but you probably only have 7-10 really solid LED techs that exist in the city alone. And we’re not the only company in town, and other people have video walls,” said AV Chicago’s Mel Baglio. “We actually have to go out of city [or] out of state to bring people in, because that’s the only way that we can continue to do work for some of these bigger, heavy-hitting shows that we have.”

Integration and Managed Services

• Design engineers

• Field engineers

• IT skills

• Meeting services positions

• Networking skills

• Programmers

• Skilled installation technicians

“If you want to watch a system integrator’s eyes roll, just say, ‘Crestron programmer,’ and they’ll lay on the ground in a fetal position and cry,” said ASG’s Dave Van Hoy. “I don’t know how the market ended up this way, but there certainly aren’t enough of them. And the variation in skill is wide, and it’s hard to judge without seeing somebody actually do some work.”

UPDATE MARCH 15, 2023: Please note that per PAMA this event has been rescheduled for March 30 at 12:30 p.m. ET from the original date of March 16 at noon ET. The below release remains the same; however, the date, time, and registration link have been updated.

The Professional Audio Manufacturers Alliance (PAMA) is gearing up for its next monthly online event on Thursday, March 30, at 12:30 p.m. ET. This open meeting will feature the presentation "Mixhalo: Unrivaled, Immersive Audio Experiences At Live Events" with the CEO of Mixhalo, John Vars, a prominent online technology specialist for more than two decades.

[Executive Q&A: PAMA Says Now Hear This]

By leveraging its patented, ultra-low latency technology, Mixhalo delivers pristine soundboard mixes at concerts, play-by-play broadcasts at live sporting events sans delay, and clear conference audio to fans and event attendees in real time. Vars will tell the story of Mixhalo’s founding by Incubus guitarist Mike Einziger and internationally acclaimed violinist Ann Marie Simpson, from the original epiphany through the challenges of inventing a new technology, bringing in A-list investors and clients, and all the ups and downs along the way.

Join the session to hear a truly original story and how the world of live events is changing before our eyes and in our ears. This meeting is free and open to all, but registration is required. Visit this page to reserve your spot.

When Harry Potter comes to town, it’s always a big deal. In the case of Harry Potter: A Yule Ball Celebration—a live re-creation of a gala that takes place in the film Harry Potter and the Goblet of Fire. The event’s Houston debut on November 18 marked the first time this international recreation has taken place in the U.S. Previous iterations were held in Mexico City, Montreal, and Milan, according to co-producer Warner Bros. Themed Entertainment. 

The Triwizard Tournament tradition, a night of fabulous and festive dancing and pageantry, took place at Houston’s recently reopened Paraiso Maravilla venue. The events (up to five of the two-and-a-half-hour-long soirees took place each day as it ran over the next several weeks) were also notable for something that didn’t happen: RF dropouts were absent on any of the one-dozen channels of Shure UR4D wireless microphones deployed by the event’s AVL producer, Houston-based GTX Productions. That was thanks to their use of wireless antenna systems from RF Venue.

[Check Out the AV that Rocks Between the Dawn and the Dark of Night] 

“The action was rather spread out, over three areas: mainly the lobby and the ballroom, as well as the hallways leading to the green rooms for the actors,” explained Darwin Zelaya, audio engineer at GTX Event Productions. “The actors made their entrance on the staircases and then spent about 40 minutes roaming the floors, talking to visitors and doing things like teaching magic tricks, really helping everyone get into the Harry Potter experience. Then the MCs came out to start the dance, which is the focus of the event. It was a lot of action, and we did between two and five shows a day, and each one had to be perfect.”

[Tried-and-True Wins the AV Heart and Business] 

And they were, thanks to the deployment of the Diversity Fin Antennas. Zelaya said he had initially used a pair of antennas from another company during setup and rehearsal, awaiting the arrival of the RF Venue units, and found that even with two paddles, he was getting dropouts, especially in the hallway leading to the green rooms. “Using just one of the D-Fin antennas I was able to get perfect wireless performance, far better than using two of the other ones,” said Zelaya, who had only used RF Venue systems once before. He then deployed two Diversity Fin Antennas, one in the ballroom and one on the ceiling of the lobby, for complete redundancy. “With two, the coverage was absolutely perfect,” he said. “I used the 4ZONE to create the two zones we needed, between the lobby and the ballroom, and I was able to reach all the way to the back of the building and to the green rooms from my mix position, which is where we also had the DISTRO4 Antenna Distribution System located. It all worked perfectly, with zero dropouts.”

That perfect performance is why GTX audio technician Alex Perez chose to use the RF Venue products for this critical event. “RF Venue works as intended, every single time,” he said. “That’s important for a company like ours, because for an event like this, which has a very specific look to it, we have to keep the system out of sight. The D-Fin lets us cover very large areas with a single antenna and still completely avoid dropouts. It also lets us achieve a very clean look and is very simple and intuitive to use. RF Venue is a winner.”

As a live music and media company, Dayglo Presents has built a reputation for creating unique and meaningful experiences. Dayglo Presents’ FANS.live has streamed thousands of concerts from the venues it operates, including Brooklyn Bowls in multiple cities, The Capitol Theatre and Garcia’s in Port Chester, New York, LOCKN’ Farm in Arrington, Virginia and from its Relix Studios in New York City.

As senior vice president of marketing and streaming at Dayglo, Jonathan Healey also serves as the on-site engineer in charge and director for most of these live concert streaming events. Healey is a longtime collaborator with Dayglo founder, Peter Shapiro, and was instrumental in creating the hugely successful “Fare Thee Well: Celebrating 50 Years of Grateful Dead,” which set the record for the largest music pay-per-view event of all time, with more than 400,000 cable/satellite subscriptions and online streams. To deliver an intimate experience that immerses viewers in the performances, Healey relies on the miniature CV503 and CV506 POV Cameras from Marshall Electronics.

[Streaming Services: Houses of Worship and the Online Experience]

Dayglo has been using Marshall cameras for close to 10 years now. “We have been using Marshall POV cameras for so long that it has become second nature,” said Healey. “When we need to capture certain shots, we know we can rely on our Marshalls. When I am personally directing shows, they are the backbone of the video system. The Marshalls are especially useful for areas where you need to get in a really tight space. The cameras are incredibly small and so streamlined that the artists don’t even notice them, and the production teams are used to them as well. Everybody likes the miniature size and that’s exactly what they are.”

The cameras are used primarily to capture drums and percussion as well as keyboards and organs. “While every one of our venues has two or three CV506s, our traveling rig has up to seven CV503 cameras,” added Healey. “The Marshalls are crucial for drums and keyboards. We mount them on mic stands with mic adaptors, and they stay out of everyone’s way while capturing these great musicians from unique perspectives. We also use the Marshall’s wide FOH for static live shots of the crowd as well as in the back of the room to capture crowd participation.”

Healey most recently deployed his Marshall cameras as he traveled the country for nine Phil Lesh shows at the Capitol Theatre in New York and six Bob Weir shows, three at The Warfield in San Francisco, two at Mission Ballroom in Denver and one at Westville Music Bowl in New Haven.

[SCN Top 50 Systems Integrators 2022] 

“The Marshall cameras are not only purpose-built, but they’re also rugged,” added Healey. “The Marshalls travel with me wherever I go, and it’s very reassuring to know that I can throw them in a Pelican case, and they are good to go. I love the CV506 and have enjoyed the long relationship we have had with our Marshall equipment and the great support team.”  

The Marshall CV503 Full-HD Miniature Camera (the CV506 also features HDMI) offers performance, flexibility and value in a tiny form factor. Built around a next-generation 2.5-Megapixel, 1/3-inch sensor, the Marshall CV503 and CV506 deliver ultra-crisp, clear progressive HD video up to 1080p/720p at 60fps as well as interlaced 1920x1080i in broadcast framerates. In addition, Healey uses a variety of lenses including M12, 2.3MM, 2.8MM, and 4MM.

[AV Network's top stories, product news, and expert insights] 

The Marshall POV cameras can capture detailed shots while maintaining an ultra-discreet miniature point-of-view perspective without sacrificing versatility or convenience. Remote adjust-and-match settings are delivered remotely via CV-RCP-V2 touchscreen Camera Control Unit (CCU), free Camera Control Software or third-party control decks such as Cyanview and Skaarhoj. Users can adjust a wide range of picture settings such as color matrix, white and black balance, exposure, gain, pedestal, white clip, gamma, and more required for live performance and changing light characteristics.

Registration is now open for the 2023 NAB Show, taking place April 15-19, at the Las Vegas Convention Center. Marking NAB Show's 100th anniversary, the convention will celebrate the event's rich history and pivotal role in preparing content professionals to meet the challenges of the future.

NAB Show is the preeminent convention featuring the technology and visionaries driving the evolution of broadcast, media and entertainment. With extensive global reach and hundreds of exhibitors representing major industry brands and leading-edge companies, NAB Show is the ultimate marketplace for solutions to transform digital storytelling and create superior audio and video experiences.

[NAB: Broadcast Quality for the Next Generation]

"As we mark our centennial, we also celebrate the possibilities ahead and the incredible power of NAB Show in shaping the next generation of media and entertainment." said Chris Brown, executive vice president and managing director, NAB Global Connections and Events. "We look forward to delivering an exceptional experience for our community in this milestone year and into the future."

Organized around three areas representing key stages in the content lifecycle—Create, Connect, and Capitalize—NAB Show provides comprehensive hands-on learning, discovery and networking experiences that support collaboration. A fourth area, Intelligent Content, examines the impact of data, AI, and automation on all aspects of the content lifecycle.

NAB Show also honors the accomplishments of leading visionaries and industry icons. Specialized conference programs and workshops include the Devoncroft Executive Summit, Post|Production World, Streaming Summit, and NAB Show Conference, featuring the Broadcast Engineering and Information Technology (BEIT) conference and Focus on Leadership Speaker Series, among others.

[AV Network's top stories, product news, and expert insights] 

Notably, the deadline for submission of speaker and panel proposals, as well as technical papers for the BEIT conference, has been extended to November 18, 2022. Proposal may be submitted online by accessing the NAB Show general Call for Speakers. For details about the 2023 BEIT conference, visit the BEIT Call for Papers and Panels portal.

Professionalism has been a hot topic in recent months, as the live event industry roars back to life from a two-year hiatus. In August, Live Nation reported it had sold more than 100 million tickets for concerts this year, which was more than the full ticket count for 2019 (and that was a record-setting year). That means the demand of labor in the events industry, not just in traditional corporate events but large scale social and entertainment, is at an all-time high, and companies are looking to hire the best talent available.

[Viewpoint: Hidden Safety Concerns Should Be Top Priority for Event Productions]

Being a professional is more than dressing the part or being on time. Although those are important pieces to consider, there are certain characteristics that can allow someone to stand out as a professional.

This industry needs people who are ready to take on challenges, galvanize one another, and lean on each other’s strengths. There are no “easy gigs” right now; time and resources are scarce. We need people to help drive the success of events going into 2023, because there is no sign of demand slowing on the horizon.

Positive Attitude

Bringing a positive attitude to work every day is not always easy with long days and quick turnarounds, but we are all fighting the same battle and trying to accomplish the same goals. That's why we need to work together.

A concept discussed in The 15 Commitments of Conscious Leadership is "above the line and below the line." If you are operating above the line, you are open, curious, and committed to learning. You can respond effectively and usefully in any given situation. If you are below the line, you’re closed off to ideas—your results might support you in the near term, but will be at the detriment to the rest of your team. Be ready to be a team player and collaborate with others. Be open to change and be ready to lend a hand.

[Viewpoint: It’s Time to Reintroduce Accountability to Pro AV]

Being able to relate to one another is critical during these stressful times. We are all human beings, and we want to be understood and appreciated. People aren’t perfect.

This industry is growing rapidly, and mistakes will be made along the way. There are a lot of missing positions and pieces. We can’t scale up without people giving grace, and there is no time for anyone to be a jerk. How you communicate and carry yourself matters.

If you have a fixed mindset of how things were in the before times, you are not open to new ways of doing things. Professionals will have a growth mindset, being open to others, and challenging the status quo in a respectful, not condescending way. This will foster an environment of respect, create higher levels of productivity, allow more efficient conflict resolution, and enhance communication. Actions always speak louder than words—how you act even under times of stress shows the kind of professional you truly are.

More Than Words

Maintaining effective work habits is a skill that not everyone has, but it’s instrumental in being a successful professional. Doing what you say you will do, by when you say you will do it, not only shows people they can trust you, but it also shows your professionalism and how you manage priorities. You can be a great engineer or technician, but if you cannot keep up with your schedule, projects, and deadlines, you can never truly be successful.

The lack of accountability is a ripple effect that’s larger than anyone can comprehend. From labor coordinators to project managers, everyone will need to put in extra time and resources to cover for your shortcomings. You may find that you are offered less work in the future, because companies aren’t willing to put up with inconsistencies, especially with such a tight labor market.

Everyone needs to be accountable for their actions on and off the clock.  Calling out of an event last minute because you double-booked yourself—or missing a deadline because you lost track of time—is unacceptable and will not be tolerated. People will notice and it could impact your ability to get work in the future.

[Viewpoint: This Is How It Is Now]

The live event industry isn’t slowing down. According to the Occupational Outlook Handbook from the U.S. Bureau of Labor Statistics, approximately 16,600 openings for meeting, convention, and event planners are projected on average each year over the next decade. Many of those openings will be from people exiting the labor force or changing occupations.

This is the time to strive for raising the bar on professionalism. We need to show up to support each other, allow room for new ways of thinking and growth, and be accountable. Show up to put your best work forward.

To provide Grammy-winning hard rock band Halestorm with simple but impactful lighting for their 2022 U.S. tour, Bandit Lites deployed a dynamic rig using Martin Professional lighting solutions.

With budget and gear constraints still affecting the live music industry following the COVID-19 pandemic, the band wanted a lighting rig that heightened their classic-meets-modern rock sound and provided maximum impact for their fans despite the logistical limitations. To meet these goals, lighting designer Craig Richter worked with Bandit Lites and Scott Anderson from Martin to design a rig featuring Martin VDO Atomic Bold, Atomic 3000 LED, and MAC Viper Profiles.

[Martin Professional Gives DFW a Fun, Colorful Way to Keep Travelers Up to Date]

“Coming out of the COVID situation and the entire world being on tour right now, we really had to figure out something that was impactful, different and still fit within the limitations that we had truck and budget wise,” said Richter. “I've always wanted to go back to an old-school PAR can style system, but obviously I don't want to carry around 180 actual PAR cans because that would be a nightmare. So, I had been looking around for the past couple of years for a light that could pull off that look for when the band needed a full production system.”

With a wide range of functions in a compact and easy-to-rig design, the Martin VDO Atomic Bold is a powerful addition to touring rigs of any size. The Atomic Bold features an innovative dual-layer lens that combines a full color beam with a pixel-controllable RGB Aura backlight, which allows for vivid color blends, deep washes and unique effects.

“The front lens and aura effects look super cool,” added Richter. “They cut through perfectly, and the color temperature range is ridiculous. I'm able to get a bunch of different eye candy effects out of them and wash my entire stage with backlight while keeping a unique look that's different from most tours rolling around right now.”

Crucially for Halestorm’s tour, the Atomic Bold also faithfully emulates tungsten-style lighting, which helped Ricther achieve visuals that harkened back to lighting from golden-age classic rock shows. For additional authenticity, Ricther rigged the lights to an old-school, double-hung PAR truss system, into which the Atomic Bolds fit seamlessly.

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“The size is just about perfect for a replacement for a PAR 64, so that worked really well,” said Richter. “I was nervous at first because we only managed to get 60 Atomic Bolds for the tour and I wasn’t sure if that was going to be enough light on stage, but it worked out. The output from these lights is ridiculous. When I was finally able to get the whole system up to do a proper focus on everything, it was exactly what I was looking for.”

Along with the Atomic Bolds, the rig also included Martin Atomic 3000 LED strobes and MAC Viper Profiles for additional effects and visual flair. The former enhances the classic Atomic 3000 design with powerful LED technology for maximum brightness and color washes at minimal power, while the latter offers exceptional brightness and output up to 26000 Lumens. Ricther also added that the Viper Profile’s dual five-slot rotating gobo wheels added a variety of effects to the stage that complement the Halestorm’s high-octane, no-nonsense rock sound.

“I've been carrying the Atomic 3000 LED pretty much since they came out,” explained Richter. “I really think that the original Atomic 3000 was the best traditional strobe you could get. So when the LED version came out and I saw that it cuts your power consumption by more than half, and the output was more than double, I had to have them. Martin really improved upon a fixture that was already rock solid. I’m a big fan of the Viper as well. I like using a lot of gobos and textures within my designs, like dark color saturations with crisp edge gobos cutting through to add texture to the stage, or a super wide blowout to get that down-the-barrel look. The Viper is a rock-solid fixture that can handle all of that.”

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The resulting rig offered a seamless blend of classic aesthetics and modern technology, giving Richter and the lighting crew the flexibility for on-the-fly programming and vivid effects while also maintaining the look of a 1980s hard rock show. Richter noted how the Atomic Bolds particularly delivered subtle but impactful effects throughout Halestorm’s set, perfectly toeing the line between vintage and modern visuals that heightened the band’s performing and onstage chemistry.

“I have this really subtle cue that I don't think anybody notices but me,” explained Richter. “It's in their new single, ‘The Steeple.’ There's this one verse where Lzzy [Hale, co-founder of the band] sings, ‘a choir singing in my head today,’ and the backing vocals come in as this very churchy choir, so I have the main cell cut through the aura effect on some of the Bolds, which brings in this really nice, heavenly white beam just for a moment. I think it looks so cool because the dimmer curve on it is just so smooth and not at all glitchy. It really just comes in and out almost like a sun beam fading in through a stained-glass window—it looks really, really cool.”

Twenty One Pilots is now out on The Icy Tour, its second North American trek supporting the album Scaled and Icy, which nabbed the Top Rock Album prize at the 2022 Billboard Music Awards. Clair Global has been serving as the artists’ touring sound reinforcement provider since January and is carrying an L-Acoustics K2 system for the current arena run.

“I’ve worked on a number of K2 systems in the past and have really enjoyed their tonality,” said Kenny Sellars, who has been with the band since 2016, first as a systems engineer, then taking over FOH duties in January of 2019. “Twenty One Pilots’ show is significantly more dynamic than a typical pop-arena act. The band uses a plethora of instruments, and the show varies from moments of EDM-like bass and heavy rock to quieter ukulele and piano-led pieces. We needed a system that offered us high fidelity from the quietest to the loudest moments night after night. The sound of K2 combined with KS28 works really well for this show.”

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Clair Global systems engineer Christian Peterson agrees with K Series being the right choice. “I joined the tour just as they started the European festival dates in May,” he said. “During that time, I got to hear the show on a wide variety of systems and really enjoyed working on the K1 and K2 rigs we encountered. Kenny and I discussed a system for North America, and the initial designs we drew in Soundvision looked like they’d be ideal, and they have been."

The Icy Tour’s loudspeaker system features left and right main arrays of 18 K2 with 14 additional K2 per side as out-fills, plus 15 Kara II on the 270-degree hangs. Low-frequency reinforcement is supplied by six KS28 hung per side, paired with 14 more ground subs, grouped in seven stacks of two with both a rear and front-facing enclosure in cardioid mode for directionality control. Furthermore, six Kara provide front-fill while four A10 offer utility-fill where needed.

“A big contributor to the coverage success we’ve been able to achieve on this tour has been K2’s Panflex feature, which gives us a lot of versatility,” Peterson shared. “I’m able to widen or narrow the coverage of the main and side hangs to perfectly suit the audience areas, which has assisted us greatly in some difficult venues.”

He added that the quality of the predictions in Soundvision, thanks mainly to the software’s Autosolver tools, ensures a quick process each morning for system design. “Once I’ve confirmed the venue dimensions with our tour’s rig plot, Autosplay and Autofilter give me confidence in the system’s deployment, which is then verified during the optimization process and my walk of the venue. We’ve also adopted the P1 processor, which enables us to utilize useful M1 measurement functions, including Autoclimate for temperature and humidity compensation.”

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With the PA efficiently deployed and calibrated by Peterson each day, Sellars is able to properly dig into his share of L-Acoustics software tools as well each night. “I’ve worked on all of the major systems available, and while each is capable of producing a fantastic representation of the mix, how quickly and confidently I can access these tools and enable decisions is what sets L-Acoustics apart,” Sellars noted. “The features available in LA Network Manager, such as Zoom Factor in Array Morphing, have given me the ability to make faster changes for what I’m after in the arrays.”

As Sellars mentioned, the combination of the K2 mains and KS28 subs has delivered a satisfyingly full-range experience for the fans each night. “We’ve heard some great comments from audiences and colleagues on the sound, particularly on the extensiveness of the low end in certain moments of the show,” concluded Peterson. “Tracks like ‘heavydirtysoul’ and ‘Lane Boy’ have moments of beautifully deep and forward sub, which are amazing to feel, and this system never fails to produce smiles from the entire crowd.”

Blackmagic Design is hitting the road. The Billie Eilish: Happier Than Ever, The World Tour has implemented a multicamera live production workflow using URSA Broadcast G2 cameras.

Video production specialist Vis a Vis, led by Stuart Merser, has embarked on a yearlong tour spanning 43 dates that included a live performance at Coachella Valley Music and Arts Festival. In addition to the on-stage visuals, Vis A Vis also streamed the singer songwriter's headline set to the festival's YouTube channels.

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While venues differ each night, the core production setup remains the same essentially and includes six Blackmagic URSA Broadcast G2 cameras with SMPTE fiber chains. Several smaller camera systems complement this, including a Blackmagic Micro Studio Camera 4K with a detached fiber back solution rigged on a Polecam system.

"All of the cameras around the stage are on railcam systems from Blackcam," explained Merser. "Storytelling is vital, and so by extension, is the need for consistency. Those positions are all remotely operated from dedicated stations featuring SmartView 4K and SmartScope Duo 4K preview monitors, allowing the operators to view their TX (transmission) and returns."

The main production desk is built on the ATEM Constellation 8K live production switcher with an ATEM 2 M/E Advanced Panel for hardware control. Signal management relies on a Smart Videohub 12G 40x40 router with multiple HyperDeck Studio HD Mini recorders. The engineering rack also features a Teranex AV standards converter for up, down and cross conversions.

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As part of the tour video package, Merser specified the use of 5mm LED panels from PRG. "I didn't want this to be projected," he explained. "We've got 16x9 side screens on either side of the stage, with portrait screens on stage and a central LED wall, which means we can feed live IMAG to every surface."

When it came to planning for Coachella, much of the tour's video elements were adapted to the festival stage. According to Merser, "That included incorporating disguise xR and Notch Blocks to create stunning and dynamic backdrops for Billie to perform against."

Vis A Vis also had to cater to special guest appearances and a live stream on YouTube. As a result, two additional URSA Broadcast G2 cameras and a dedicated production desk for the stream were incorporated.

"Having to cater for wide shots in the live stream, I had a second desk put next to me running an ATEM Production Studio 4K so I could throw in wides on the stream cut," explained Merser.

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Many artists, including Billie, go straight to their Instagram after the show finishes explained Merser. “And more often than not, if I get any feedback, it's from a clip they've watched on social media," he concluded. "With fans filming the screens and sharing that content to social media, it is vital more than ever that what we produce is the best possible quality, regardless of how or where fans will consume it."

As with many live performance venues around the world, back at the height of the pandemic the outdoor Koka Booth Amphitheatre in Cary, NC, decided to use its downtime to upgrade its sound system. And, when longtime North Carolina audio provider CareySound AVL was invited to demo a sound system there, they seized the opportunity hear their Electro-Voice X-Line Advance system paired with their new Dynacord amplifiers in a space beyond the confines of its Greensboro shop.

“When we got demo units of the new Dynacord amplifiers in the shop, I was immediately impressed by the way they transform anything we throw at them,” said John Carey, president of CareySound AVL. “Our X-Line Advance system suddenly felt so alive, I knew right away there was no turning back. The Koka Booth Amphitheatre demo gave us a real-world chance to experience that—and share that sound quality with our prospective clients.”

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The venue’s legacy system used a left-center-right (LCR) speaker approach, augmented with outfield delays. After studying the venue, which hosts the North Carolina Symphony concert series annually, CareySound decided to present a left-right X-Line Advance line-array system with cardioid subs.

“We realized this was going to be more of a shootout, with several other manufacturers there as well,” explained Ken Carey, CareySound founder and chairman. “Since most major tours bring in their own systems, our approach was to optimize the new house system for the symphony. That meant full-range, even coverage, all while keeping energy off the stage—especially sub energy. As a result, our demo sounded different. The other rigs all had this overwhelming low-end, which tends to hide a lot of details. By comparison, the EV-Dynacord system sounded great, very accurate and clear.”

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After winning the contract, CareySound consulted with Electro-Voice application engineers to finalize the system design, utilizing EV’s new installation-grade, fully weatherized version of X-Line Advance arrays and subs. Twin five-element X1i-212 arrays employ three 90-degree boxes above two 120-degree models for primary coverage. The original center hang position now houses three EV X12i-128 dual-18-inch subwoofers in a cardioid configuration, hung in a custom rig created by CareySound. All feature fiberglass enclosures and protected electronics.

In addition, each of the three main hangs houses one EVF-1122D/94 down-fill speaker. Across the stage lip, six EVC-1082/96 speakers provide front fill, and six low-profile Electro-Voice MFX-12MC handle stage monitor duties. Away from the stage, the crescent-shaped concessions building at the back of the audience area is served by 12 EVC-1082-96 speakers.

All the loudspeakers are driven by Dynacord IPX series amplifiers, with supervision via SONICUE Sound System Software and Dante audio networking over CAT6 and fiber lines. Performance is optimized via the EV factory loudspeaker settings in SONICUE. The combination of six Dynacord IPX10:4 amps—along with one each of IPX20:4 and IPX10:8—delivers 90,000 total watts, powering every speaker using just eight amps, versus 25 in the venue’s legacy system. Along with their exceptional energy efficiency, all IPX models offer fully integrated 96 kHz DSP for superior sound quality.

“The audio transparency, DSP and power of these amps is remarkable,” said Carey. “It’s to the point where I now suggest Dynacord IPX for every install we do. And I love that they seamlessly integrate with SONICUE for system design and control. It’s the cherry on top of an already impressive package.”

[AV Network's top stories, product news, and expert insights] 

The Town of Cary recently hosted the North Carolina Symphony Orchestra at Koka Booth Amphitheatre for their first Summerfest date of 2022. “NCS was extremely happy with the quality of sound the system provided,” said Sean Loepp, production coordinator with the Town of Cary Parks, Recreation, and Cultural Resources Department. “I have to say it was a pleasure to mix on the system."

The focus of the mountain biking world was once again on the Snowshoe Mountain Resort as it played host to the Mercedes-Benz UCI Mountain Bike World Cup event, July 29-31. While a massive fiber network took care of most of that, there were several critical areas that required coverage where the fiber could not reach. Those were addressed with wireless audio systems using antenna solutions from RF Venue.  

Encompassing downhill, cross country, and short track racing, this internationally viewed series of races, broadcast over Apple+ and Red Bull streaming networks, among other outlets, takes place in Snowshoe, West Virginia, in the Allegheny Mountains. But getting the audio for this sprawling event, which includes announcers threading the racecourses and music stages at the start and finish lines, everywhere it needs to go is a Herculean task. 

"We had a number of zones we had to cover over the six square miles of mountain bike courses, and we mostly used the resort’s existing bundles of fiber to deploy our own isolated Dante network,” explained Austin Addair, production manager at Midway Production Services, which provided the audio and video systems deployed over the side of the mountain that included the music stages and announcer areas. 

The PA system was designed with carefully positioned delay speakers to provide audio synched with the various large-screen video walls that allowed onlookers in most places to view and hear the action from other parts of the mountain as though they were right there. But there were areas where the fiber just wasn’t the right solution. One of those was for the announcers at the starting line for the cross-country race, where running a cable would have been restrictive. Instead, Midway Production Services deployed an RF Venue Diversity Fin Antenna with a Shure ULX-D wireless microphone system. 

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“This was a pretty traditional setup, of a wireless microphone transmitter to a receiver, but the distances and movement had to be considered,” said Addair. “The announcer would be roaming the area, so we had to make sure we maintained constant connectivity. RF Venue’s D-Fin antenna made sure we did.”

A number of JBL delay speakers were deployed upwards from the stage, using the fiber network to distribute a mix of local and mountain-wide audio. A problematic area was at the finish line of the downhill race, where the audio from the Stageline SL100 mobile music and announcements stage had to reach back up the hill to a particularly remote delay speaker on the other side of the racecourse. Using a cabled solution would have required having cables crisscross the track several times. Instead, they used a combination of a Sennheiser ew 300 IEM G3 in-ear monitor transmitter and a high-gain RF Venue CP Beam helical antenna transmitting from the PA system at the stage to a Diversity Fin antenna connected to a Sennheiser ew 300 IEM G3 receiver that fed the delay speaker.

“We were able to reach as far as over 500 feet using this arrangement,” said Addair, noting that this trick has been a lifesaver in other challenging wireless situations. “It’s something we’ve used before and the CP Beam antenna reliably gets us well past 500 feet this way.”  

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The Mercedes-Benz UCI Mountain Bike World Cup event is unique in a number of ways, not least of all for wireless operations. While the event takes place within the exclusion zone of the Greenbank radio astronomy observatory—putting it in one of the least-dense RF environments on earth—the races take place as thousands of spectators, racers, and others roam the area, creating their own RF challenges. “The bandwidth here is great, but you never know how the crowds and other things at the event can affect that,” said Addair. “That’s why we use the RF Venue gear. It’s as good as it gets and we know that if we use it and follow best practices, nothing is going to go wrong.”  

The Montréal International Jazz Festival roared back to life in 2022, reinforcing its distinction as the largest jazz festival in the world. With 350 concerts scheduled over 10 days—two-thirds of them free—the festival once again drew audiences numbering in the hundreds of thousands to downtown Montréal, where AVL supplier Solotech had equipped eight indoor and outdoor stages—including the Scène TD main stage—with Meyer Sound reinforcement systems. 

Launched in 1980, the Montréal International Jazz Festival is the premier event of its kind in North America, and with the strong resurgence in 2022, the festival can reassert its claim to the title of “world’s largest jazz festival” as previously awarded by the Guinness Book of World Records. With annual attendance of over 2 million, the festival is not only the largest jazz festival but one of the largest music festivals in the world.

Having the right sound system for its triumphant return was imperative and Meyer Sound delivered to rave press reviews, in particular for the closing act, The Roots, at Scène TD.

“The Roots demonstrated why they continue to be known as one of the best live acts on the planet,” wrote the Montréal Gazette, also noting that “the tens upon tens of thousands that swarmed an absurdly packed Place des Festivals…were in for a heckuva show.” Canadian Beats concurred, noting “The Roots delivered a true masterclass in hip-hop, funk, soul, and jazz, a cluster of genres perfect to close the festival.”

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The resounding success of audio at this year’s Montréal International Jazz Festival can be credited to the work of Festival technical coordinator Dan Meier and his team from L’Equipe Spectra. Meyer Sound and Solotech worked closely with Meier and his team to develop and deploy the sonic experiences at the festival.

The enthusiastic response came as no surprise to director of R&D and technological solutions David Brazeau, who was responsible for overall supervision of AVL systems on behalf of Solotech. “We’ve heard only great reviews on the performances from people who were there and from the media. There was no particular mention of the sound, but then the whole idea is to make the reinforcement transparent, so it’s not noticed. When the sound is perfect you don’t hear anything about it!”

The Scène TD stage system comprised main front arrays of nine per side LEO linear line array loudspeakers, with focused low end from end-fire arrays of six per side 1100-LFC low-frequency control elements. Front fills were MICA line array loudspeakers, with MSL-4 loudspeakers as out fills. First delay was two arrays of six MICA loudspeakers augmented by six 900-LFC elements in cardioid configuration, with pairs of CAL 64 and CAL 32 beam-steering column array loudspeakers supplying highly directional sound for the second and third delays. The VIP section was covered by four M1D line array loudspeakers.

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Other acts energizing the overflow crowds at Scène TD included Lee Fields, Bran Van 3000, and Clay & Friends.

Meyer Sound systems also supplied reinforcement at several indoor venues hosting well-known performers. A MINA line array system was deployed at Maisonneuve Theatre for, among others, Al Di Meola, Manhattan Transfer, and Pat Metheny. At Montréal Symphony House, Meyer Sound JM-1P, UPA-1P, and UPQ‑1P loudspeakers supported Gregory Porter, Ludovico Einaudi, and Ravi Coltrane, while at Monument-National Tommy Emmanuel, Christian McBride, Dee Dee Bridgewater, and Bill Charlap were heard through UPQ-1P, UPA-1P, and veteran UPA-1C loudspeakers coupled with 700-HP subwoofers.

Other outdoor stages equipped with Meyer Sound systems were Rio Tinto, Club Montréal, Stage Loto-Quebec, and Pub La Traversée Molson Export.

Solotech has been an integral part of the Montréal International Jazz Festival for as far back as Brazeau can remember. “I’ve been with Solotech for 25 years and we were supplying systems back then,” he said. “We are much more than a rental house, but really a full partner, one part of a team that for many years has included our key trusted suppliers, including Meyer Sound.

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“Meyer Sound always has been a go-to partner for the festival,” Brazeau continued. “Whenever we have an issue of any kind, they jump right on it and give us full support. David Vincent of Meyer Sound tech support here in Canada helps us out every year, collaborating with our team on system designs.”

This year, Vincent and the Solotech team made full use of Meyer Sound’s MAPP 3D™ prediction software, which proved an essential tool in shaping coverage to fit the venues without excessive bleed into adjacent part of the city center. “They worked hard to focus the energy down on the crowds, and they have been very successful in doing that thanks to MAPP 3D and our deep inventory of Meyer Sound loudspeakers,” noted Brazeau.

To provide the esteemed Nederlands Blazers Ensemble: Nieuwjaarsconcert 2022 with lighting that captivated audiences watching live and on the small screen, lighting design company Light-H-Art utilized Martin MAC Ultra Performance LED fixtures.

The Nederlands Blazers Ensemble Nieuwjaarsconcert—performed on-stage before an audience and broadcasted by NPO 2 on New Year’s Day—is a pivotal event in the Dutch cultural calendar, ringing in the New Year for countless viewers. The 2022 edition marked the concert’s 50th iteration, which paid tribute to legendary singers Nina Simone and Maria Callas. To create immersive and riveting visuals suitable for such a milestone, veteran lighting designer Henk-Jan van Beek and the Light-H-Art team selected the Martin MAC Ultra Performance as the lighting fixture of choice.

“I had already seen and played with the MAC Ultra Performance, and so I knew it was something I wanted to have,” said van Beek. “It’s since become my de-facto workhorse––it’s easy to set up, zooming into an iris effect is fast and elegant. Because it’s so bright, the fixture is amazing at painting walls and making the subtle background illuminations that are vital in a stage performance.”

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Designed to suit even the most ambitious productions, the MAC Ultra Performance features Martin’s 1150W, 6000K proprietary LED light engine, which is capable of emitting up to 46,500 lumens in projection over its 50,000-plus-hour lifespan. Additionally, the fixture’s comprehensive collection of effects, filters, and color blends allows for everything from stark white beams and saturated color washes to flickering strobes and captivating prisms. Suited for broadcasts as well as live shows, the MAC Ultra Performance was ideal for creating the grand and stunning visuals fit for Nieuwjaarsconcert.

“We were impressed with how few fixtures we had to use to get the effects we needed,” added van Beek. “I used a night sky gobo and was absolutely stunned. It literally looked like the walls were painted. Everyone who worked on the production was impressed by the brightness, as well as the fast and precise zoom—it was exactly what we needed.”

[AV Network's top stories, product news, and expert insights] 

Thanks to MAC Ultra Performance’s careful engineering and potent specifications, as well as the hard work and expertise of Light-H-Art, the fixture’s Dutch TV debut was a resounding success and will play a role in future broadcasts and stage events. Light-H-Art plans to make the fixture a cornerstone of its lighting repertoire and is excited to deliver stunning visual experiences as the industry rebounds from the COVID-19 pandemic.

“The rest of the year looks incredibly busy,” said van Beek. “Life is returning to normal, and summer is finally here. I can’t wait to see what happens next.”

During the first two weeks of July, legions of music lovers again descended on the shores of Lake Geneva for the Montreux Jazz Festival, which returned this summer as an iconic musical event with a packed schedule of concerts, club DJ sets, films, and workshops. Meyer Sound also returned to Montreux at full force for its 36th year as a strategic partner and official sound provider, supporting the festival with nearly 300 loudspeakers deployed across 12 venues, indoors and out, large and small.

Most of the festival’s headliner concerts are presented in the 4,000-seat Auditorium Stravinski, and this year the venue also had the distinction of hosting the first indoor concerts to be reinforced by Meyer Sound’s new system, the PANTHER large-format linear line array loudspeaker. PANTHER quickly earned praise for its inherent sonics as well as the way it paired with the impeccable acoustics of the hall.

“It was pure joy to mix on PANTHER,” said the festival sound coordinator Martin Reich of audioconsulting ag, who also served as FOH engineer for Westerman and Gregory Porter. “The system is extremely precise, consistent and coherent, especially in the upper midrange. It is also exceptionally linear, which is the best thing for me. It behaves exactly the same whether you are mixing loud or at a low level.”

[Feeling Festive: Meyer Sound PANTHER Makes its North American Festival Debut]

“What an amazing system,” exclaimed Bob Coke, who mixed Jeff Beck with special guest Johnny Depp. “With PANTHER, it’s like mixing on near-field monitors in the studio. I could hear everything on them, including all the corrective EQ saved on the console channels from my last gig. Kudos to Martin and José [Gaudin] for their extremely coherent install—front to back, top to bottom, and left to right, the venue sounded the same everywhere.”

Festival production manager Marco Güntensperger appreciated the upgrade even before the system was fired up. “What impressed me most at first sight were the ‘festival friendly’ cabinet dimensions. In a setting like the Auditorium Stravinski, this is key, and PANTHER is a great example of how to maximize main PA units these days.”

For Reich, the reduced weight of PANTHER, when compared to prior systems, paid immediate dividends. “The weight reduction on the main arrays allowed us to increase the number of subs flown behind them, which helped us have even better control over the low frequencies,” he noted.

[Meyer Sound's New PANTHER Loudspeaker Makes Global Debut]

The two main front arrays at Auditorium Stravinksi each comprised 12 PANTHER loudspeakers, with eight of the “L” long-throw horn cabinets over four of the “W” wide-dispersion versions. Also deployed were 14 1100-LFC low-frequency control elements, six 900-LFC elements, four ULTRA-X40 and four ULTRA‑X20 compact loudspeakers, and eight LINA very compact linear line array loudspeakers.

Artists also featured at Auditorium Stravinski included A-ha, Nick Cave and the Bad Seeds, Bjork (with Sinfonetta de Lausanne), Diana Ross, Dutronc and Dutronc, Van Morrison, and Herbie Hancock.

Montreux Jazz Lab, the other paid-ticket venue, presented a diverse range of innovative and imaginative new artists, including Stormzy, Loyle Carner, Phoebe Bridgers, Girl in Red, and Mitski. The reinforcement system here was anchored by 20 LEOPARD compact linear line array loudspeakers.

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The remaining 10 Meyer Sound systems were deployed at a variety of indoor and outdoor stages, clubs, and specialized event sites. The system configurations encompassed a total of 25 different Meyer Sound models, both current product and still in-demand legacy loudspeakers. The main stages offered artist foldback systems based around a total of 40 MJF series stage monitors, with the “MJF” designation reflecting Montreux Jazz Festival’s past consulting role in the loudspeaker’s development.

Most of the free venues presented live music or DJ sets using appropriately scaled line array or point source reinforcement systems, though other sites involved unique applications that highlight Meyer Sound’s cutting-edge audio technologies.

[AV Network's top stories, product news, and expert insights]

La Bibliothèque (The Library), for example, housed a special vinyl playback room equipped with Meyer Sound’s Bluehorn System studio monitors. Using advanced digital processing and proprietary algorithms, Bluehorn System is uniquely capable of flat, full bandwidth reproduction at high playback levels with absolute phase accuracy.

Le Cinema, which hosted screenings of past festival concerts as well as cinema tributes to David Bowie, Nick Cave, and festival founder Claude Nobs, employed an 11-loudspeaker system configured with ULTRA-X40 and ULTRA-X20 loudspeakers and 900-LFC low-frequency control elements. Meyer Sound’s Spacemap Go spatial sound design and mixing tool was implemented on a GALAXY 816 Network Platform for any needed dynamic spatial or immersive effects.

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Principal audio supplier for the festival was Skynight SA, based near Geneva, with on-site project managers Goran Pajic and Yvan Baronne working under the overall direction of Nicolas Walser. Eddy Broquet of Meyer Sound’s Swiss distributor, Tonspur, coordinated distribution and technical support. Meyer Sound’s José Gaudin served as company liaison with the festival, and doubled as FOH mixer at Montreux Jazz Lab.

“Once again I would like to thank Meyer Sound for their many years of support,” said Reich, “because that support makes Montreux one of the best-sounding festivals in the world.”

“We are all looking forward to working with Meyer Sound on the 2023 edition,” added Güntensperger.

A mecca for jam band devotees, the Peach Music Festival at Montage Mountain in Scranton, PA, is known for presenting a diverse, multi-genre array of artists most known for their free-flowing improvisation and danceable rhythms. Launched in 2012 by Live Nation and the Allman Brothers Band, the Peach Music Festival has been an annual event drawing enthusiastic music fans to the Montage Mountain Resorts. Headliners for 2022 included Billy Strings, Joe Russo’s Almost Dead, Trey Anastasio Band, and The Black Crowes, with more than 70 bands total on the bill. From an audio standpoint, the 2022 Peach Music Festival was notable as the North American major festival debut of Meyer Sound’s new PANTHER large-format linear line array loudspeaker. 

This year’s Peach Music Festival was also the first for Coatesville, PA-based DBS Audio Systems as the principal audio provider. Company president Dave Brotman was elated with the PANTHER system’s performance at the Pavilion at Montage Mountain for the main Peach Stage.

“Amphitheaters with tent roofs can generate a vast amount of reflections,” noted Brotman, who served as system engineer at the main stage. “FOH engineers come in here expecting to be fighting the room acoustics all night. But the PANTHER boxes with the new ‘L’ horn can focus the coverage pattern with knife-edge precision. At 120 feet from the stage, vocals were sharp and articulate. Most engineers were thrilled with what they heard, saying it was the best experience they’ve ever had in a tent like this.”

[Meyer Sound's New PANTHER Loudspeaker Makes Global Debut]

“I couldn’t have been more excited going into the Peach Music Festival knowing I was going to be one of the first sound engineers in the states to get my ears on the new PANTHER rig,” commented Andy Lytle, FOH engineer for Billy Strings. “Dave from DBS could not have tuned the PA better and I was completely blown away by the experience. The clarity that the PANTHER provides while paired with the 1100-LFC met my expectations and I was very pleased. I can’t wait to use PANTHER again.”

“I was absolutely delighted to mix on the PANTHER system,” concurred Erich Miller, FOH engineer for Pigeons Playing Ping Pong. “That pavilion can definitely be a bit of a bear to mix in, but I felt as much in control as I could have hoped for. It was smooth and responsive, a truly quality sound system. What more could I ask for?”

Sam Bardani, who mixes for the Connecticut-based rising rock band Goose, recalled his “great experience” with the new PANTHER system. “When you come into a set without any kind of sound check, and with a quick change-over, having a PA you can trust makes all the difference. I was ecstatic with the results right off the bat. These boxes pack a serious punch without compromising top-end clarity. PANTHER made the set a breeze.”

[Playing in the Band: Meyer Sound's PANTHER Powers Dead & Company's U.S. Tour]

Nathan Gilberg, after mixing an acoustic set for Duane Betts, said he was “blown away by the control and clarity. In reverberant situations like amphitheaters and arenas, this rig really shines.”

The two main hangs at the Peach Stage each comprised 12 PANTHER line array loudspeakers, with eight “L” horn long-throw cabinets over four “W” horn wide coverage versions. A horizontal 6x2 ground array of 1100-LFC low-frequency control elements pumped out deep bass, six MINA line array loudspeakers supplied front fill, a single ULTRA-X40 compact loudspeaker per side served as corner fill, and six GALAXY 816 Network Platforms handled system drive and optimization. The foldback system included 15 MJF-210 stage monitors, twin drum monitors each comprising one ULTRA-X42 compact loudspeaker over one 900-LFC low-frequency control element, and MSL-4 loudspeakers as flown side fills.

“The way that PANTHER integrates seamlessly with all the other Meyer Sound speakers really helps where we are coming from as a rental company,” said DBS Audio vice president Mike Shoulson. “When you add to that the reduced size and weight, which saves on trucking and labor, it means we can bring more to the equation regardless of the event type.”

“To me, a one box solution that can scale from a theater up to a stadium is a no brainer for a rental company,” added Brotman. “Just keep adding PANTHER and scale up to meet the application. We expect to be adding more to our inventory very soon.”

[Check Out the AV that Rocks Between the Dawn and the Dark of Night]

At the Peach Music Festival’s smaller Mushroom Stage, reinforcement was supplied by a complete Meyer Sound system based around a total of 24 Meyer Sound LEOPARD compact line array loudspeakers with bass augmented by six 1100-LFC elements. “LEOPARD is one of the easiest rigs to mix on that I have ever used,” observed the stage’s resident engineer, Ted Fletman. “Whatever you put into it is exactly what you get out of it. You can’t hide behind it, but you hear exactly what is going on, something I enjoy.”

Welcome to Roadrunner, New England’s largest general admission venue. Originally conceived as a Boston Celtics training facility before the team decided to move across the street, The Bowery Presents (TBP) and AEG saw the available 50,000-square-foot space as the ideal location for a 3,500-capacity live music venue that would put a premium on both the artist and audience experiences. To fully realize the sonic end of that mission, the venerable concert promoters once again tapped NYC-based integrator See Factor to supply the room with an L-Acoustics K2 loudspeaker system.

Roadrunner is the third Boston-area venue owned and managed by TBP, which also operates Harvard Square’s 525-capacity Sinclair and books the 1,200-capacity Royale in the city’s Theater District. Offering unobstructed views from every spot in the house, the new $20 million Roadrunner uniquely features a scalable stage and room design. At its largest, the stage spans 60 feet to accommodate full arena-sized touring productions, but its footprint can also be reduced. Therefore, a house PA was designed to travel upstage/downstage on trolleys to three different positions to deliver more intimate experiences for smaller-capacity crowds.

“When we finally got in the building and began incorporating all of the production elements, we decided to make a few changes from the original design based on our desire to keep all of our production elements mobile for multiple room setups and artists’ needs,” said Roadrunner technical director of Audio Morgan “Mo” Russell, who serves alongside Roadrunner Production Manager Eric Jenson and A2 Reid Calkin as the primary audio crew for TBP’s new venue. “All of those considerations led us to deploy main hangs of 12 K2 enclosures per side with six flown KS21 subs in cardioid right behind them for true full-range left and right, and these are all flown on custom-beam trolleys that can travel up to 16 feet out into the house when we shrink the venue based on production needs.”

[L-Acoustics Immersive Audio Technology Takes Crowds to the Third Dimension]

Roadrunner also has eight A15 Wide enclosures hung as under-balcony fills and two A15 Wide as over-balcony fills that “follow left and right accordingly to maintain stunning stereo imaging throughout the venue,” Russell noted. On the sub feed, the venue has 10 KS28 suspended approximately half an inch off the ground, flown from the front stage decking, allowing the club to move the entire ground sub cluster forward as a unit when it builds the stage out to decrease the room size. Furthermore, eight Kara IIi on the downstage-edge riser decks handle front-fill, and these also move forward seamlessly with the ground subs.

Onstage, the venue’s monitoring amenities include 15 available X15 wedges, plus stereo side-fills consisting of two A15i Focus and two KS28 subs per side. LA12X amplified controllers drive most of the house and monitor systems, with a few additional LA4X.

The initial loudspeaker system design was created by TBP/AEG system design engineer Lorne Grabe, working closely with NYC-based audio engineer Alex Kehr and L-Acoustics applications engineer Chris “Sully” Sullivan. “I have been working with L-Acoustics for a long time now, so it’s an easy fit for us at The Bowery Presents,” said Grabe, who also serves as the head sound engineer for Manhattan venue Terminal 5, which is home to a K2 system. “Both companies have a great relationship, and L-Acoustics has been amazing with taking care of us for Roadrunner and our NYC builds, including Brooklyn Steel, Terminal 5, and Webster Hall. Plus, when we had to modify Boston’s new design on the fly—first for sightline issues and then for flown sub weight issues—Sully at L-Acoustics was always there for us to check our work.”

Long before the PA was assembled at See Factor in Queens and brought over to the new venue in touring cases, TPB director of operations/construction Scott Raved was instrumental in designing the room and making sure that it was acoustically treated and isolated from the club’s neighbors, including the adjacent TRACK at New Balance sports complex. “I have taken point since the initial design process began to final installation of the one-of-a-kind moving production elements at Roadrunner,” he said. “With the help of a very deep bench of experts in their related fields, Roadrunner’s production is the best embodiment of Bowery’s combined experiences and expectations of any of our venues so far.

“Specific to the audio system, L-Acoustics has been such a great partner throughout this process. Lorne and Sully worked together on Roadrunner’s Soundvision files for more than two years. The design has evolved from a 3D file to a hole in the ground, then a completed venue with robust exterior sound containment, to the acoustically treated interior we have today. And L-Acoustics has been there for us all the way, including fine-tuning the new rig in the middle of the night, just a few days before the first show.”

In addition to sporting new DiGiCo Quantum225 consoles at both the front-of-house and monitor mix positions, the venue also features an L-Acoustics P1 processor at FOH paired with five LS10 switches for Milan-AVB conversion, system control, and atmospheric adjustment. The entire PA is run via AVB, which offers a significantly improved high frequency response due to better timing coherence between vertical loudspeaker circuits.

['Amplify Differently': L-Acoustics Launches Three New Products]

Russell shared that the choice to use AVB was a “no-brainer; who wouldn’t want pristine, perfectly aligned audio driving the system?” he asked. “But we also appreciate the seamless redundancy that P1 offers, so we always have AES and analog backup running but have never had any issues with the AVB dropping other than when we were pulling the cables out and watching the P1 revert to backup and saying, ‘Wow, cool, you can’t even tell it switched.’

“The P1 is an absolutely amazing tool to have in our belt,” he added. “With the integration of the M1 measurement tools, it allows me to easily set up the PA any way a guest engineer might like. While we have two main positions for the PA, every artist’s needs are different. We just had an engineer come through that was struggling to get volume out of the vocal mics on his tour, and in the morning, when he came in, we moved the PA just a couple more feet off-stage to maximize his gain-before-feedback. With the P1, that was easy; I had new timings for the room in a few minutes. Then I sat back and watched the touring SE play with Smaart for an hour before he came to the same conclusion that the M1 had recommended initially.

“I also find the Autoclimate feature outstanding and appreciate that I can fade into the recommended changes and hear what it’s actually doing. The temperature and humidity conditions at soundcheck compared to mid-sold-out show are significant, and Autoclimate helps me maintain consistency from soundcheck to end of show, and I am very grateful for it.”

While many of the headliners have been bringing in their own engineers, Russell reports that he still mixes for a fair number of the opening acts. “Mixing on this PA is amazing—it’s a beautiful rig with a room to match,” he said. “The job that Scott did in Roadrunner’s design and treatment makes this one of my very favorite rooms I’ve ever mixed in. It’s a fairly dead-sounding space with just the right amount of live feel; you really get a chance to work on your mix and hear the full tails of your effects. And there is so much headroom in this rig that I never have to push the system hard. It just comfortably and confidently delivers whatever you put into it and moves an incredible amount of air, even at low volumes, allowing us to deliver shows to our audiences with real feel and impact while still considering the safety of our guests. Basically, we can make your clothes blow in the wind of our PA all night, and you won’t leave with your ears ringing. That’s an amazing system.”

Every year since 1965, the Burning Hills Amphitheatre in Medora, ND, has hosted summer-long runs of the Medora Musical, a live revue looking back at the region’s “Wild West” era and dedicated to Theodore Roosevelt and his western experiences in the Badlands. Each performance features a band housed in a moving-track gazebo and a 12-member chorus backing the actors, all on a 100-foot-wide stage at the far end of a natural venue. What keeps the show audio clear and dropout-free for the audience and performers alike is a growing array of wireless antenna and wireless management solutions from RF Venue, including a Diversity Fin Antenna, COMBINE4 and 4 ZONE combiners, a DISTRO9 HDR wireless microphone distribution system, and most recently an RF Venue Band-Pass Filter. 

As a series of FCC spectrum auctions this century reduced the useful frequencies available to the show, Mark Brodin, audio systems and installation technician for the Theodore Roosevelt Medora Foundation (which owns the Burning Hills Amphitheatre), has changed out antennas to accommodate the altered spectral landscape. Brodin first worked the show in 1991 as audio engineer/mixer, a role he reprised in 2005. He’s been with the show since, transitioning to sound designer in 2006 and to his current role in 2014. “We’ve been consolidating usable frequencies over time while building on the same cabling infrastructure,” he said, recalling a time before wireless when actors would pick up a wired microphone at the edge of the stage, sing their song, then lay it back down and jump into their dance number. “We’ve gone from a couple of wireless channels to 40 in that time. The current show uses 30 for vocals with four backups and six for in-ear monitors using Shure PSM1000 systems.”

[RF Venue’s New Antenna Brings High Performance with an 'Invisible Footprint']

Since they added wireless audio, RF Venue has helped them maximize it. “We began with two Diversity Fin antennas, one on either side of the stage; although that left us with what we interpreted as a few multipath problems,” Brodin said. “But I realized that we could cover then entire stage with just a single D-Fin antenna, which is located on the stage-right Tower Building. Who knew there was a product that worked so well that we could use fewer of them?” A pair of COMBINE4 active IEM transmitter combiners are fed from the PSM1000 wireless transmitters co-located in a rack on the gazebo with the six-member band. “When band members come downstage for a solo, the COMBINE4s make sure they are always able to hear themselves without dropouts,” he said.

[Introducing the RF Venue 2-Channel Remote Antenna Kit: Features and Use Cases]

More recently, the show has added an RF Venue Band-Pass Filter, placed in between its 4 ZONE combiner and DISTRO9 HDR distribution system alongside wireless microphone receivers. The filter, said Brodin, helps tremendously by suppressing the spurious RF emitted by the growing number of LEDs on stage, mainly now in the lighting system but which could also become more of an issue if a proposed video wall is added to the production. “Plus, with 1,000-plus people in the seats every night, there’s also a ton of RF from everyone’s mobile devices,” he says. “They rewrite the show every year, so there are always some new aspects that affect wireless audio,” said Brodin. “Fortunately, RF Venue seems to have a solution for everything that comes our way.”

Guests that attended the NADA 2022 Show in Las Vegas were treated to large LED displays. To help make them come to life, the M2 Events Group—charged with producing the event—chose the FOR-A live production system for its ease of use, signal distribution, and large-screen image magnification capabilities.   

M2 Events Group put its new FOR-A system to work at the auto industry’s show and for high-level leadership meetings for a national insurance company. For both events M2 Events Group was the sole producer and production company, handling management, audio, video, and lighting from start to finish. 

[Lyon Video Boosts Mobile Production Capabilities with FOR-A Multiviewers]

M2 deployed FOR-A’s HVS-1200 switcher and FA-9600 signal processor to send the camera signals to screen management systems to build image magnification picture-in-pictures (IMAG PIPS) for the events’ large LED canvases. The MFR-1000 routing switcher served as the signal distribution hub, sending camera signals to multiple multi-viewers backstage for prompter, directors, and producers.

“One of the great things about FOR-A switchers is how easy they are to use, how intuitive the web GUI is, how intuitive the buttons and the menu on the physical switcher controller are,” said Ken Sorrell, national accounts manager, Music Matters Productions. “It’s easy for any director to start, with even a basic knowledge of video switchers in general, and they can at least find their way around and make a show work pretty quickly.”

The FOR-A technology’s 12G support is a big plus for M2 as they start to work with larger and larger displays. “Creating larger canvas sizes means scaling infrastructure related to media and file transfer,” explained Nauman Lalani, director of special projects, M2 Events Group. “The ability to use 12G-SDI is a plus as we move towards even larger canvas sizes, and we need to push 4K signals to all of our screen management devices. Also, being able to create presets was beneficial so we could prepare PIPS and two-shots that were ready on the click of a button. This made the execution of the show much easier.”

[Viewpoint: The Future is Repeatable, Dependable AV] 

In the end, it comes down to reliability, said Lalani. “The gear used in these large corporate environments just needs to work. We can’t be fussing around with defective gear on-site, or SDI ports that are loose, or a power supply not working. So just the reliability of the FOR-A gear is a huge win.”

The compact 3RU form factor FOR-A HVS-1200 switcher is very portable, making it the ideal choice for mobile production and events. Ten 12G-SDI inputs come as standard, plus one or two M/E switching in 4K UHD and HD mode, respectively. The MFR-1000 4K routing switcher accomplishes 4K and 8K routing with 12G-SDI compatibility across all inputs and outputs. The FA-9600 signal processor provides HDR and wide color gamut support. It offers exceptional conversion format delivery, including 12G, 4K UHD, 1080p and HD/SD-SDI.

Tucked away in the small city of Carmel-by-the-Sea on the Californian coast, Barmel is a historic bar and music venue with an ambience based on the authenticity of old-time saloons, the warmth and elegance of 1940s San Francisco, and the bohemian style of Carmel’s renowned artistic community. Recently an Alcons Audio pro-ribbon system has added an extra touch of class to Barmel’s live music evenings. 

Originally opened in the 1890s, the bar’s unique identity is maintained by the personal touches of owner Gabe Georis and his family's musical roots. With development in Carmel tightly controlled to maintain its character and environment, Barmel is the city’s only bar with a performance stage and PA, ensuring that thrice-weekly acoustic performances attract audiences from a wide area. 

[Tried-and-True Wins the AV Heart and Business] 

When Georis set out to find a new sound system, he did a lot of homework because he wanted the very best sound for a small venue which attracts a lot of people. 

“We wanted a system which sounded musical, transparent, and very pleasant to listen to, so we auditioned systems from many different manufacturers,” he said. “We chose an Alcons pro-ribbon solution for several reasons. One was that David Rahn of Alcons Audio USA brought a system to us, so we could hear it in our room. This was a big factor in feeling we were going to get a system that worked in our space. 

“But a bigger reason was the sound quality, especially the high end. The Alcons sounded more open, airy, and clear in the high frequencies without feeling harsh at all. The lower frequencies were as good as anything else we listened to.” 

[Viewpoint: The Future is Repeatable, Dependable AV] 

Barmel chose a system comprising two VR12 two-way 12-inch mid-size versatile monitors, featuring the patented RBN601 pro-ribbon driver, and two BF151 15-inch compact subwoofers, all flown from the bar’s ceiling. The VR12 is ideal for applications where high output, high quality sound reinforcement is needed, with the subwoofers delivering tight, accurate bass response. 

Georis is very happy with the Alcons pro-ribbon solution, as well as appreciating Rahn’s help with the final placement and system tuning.  As the bar’s owner he listens to it every day and reports that artists and audiences alike are very pleased with it. 

“The overall sound of the Alcons system is the best we’ve heard anywhere. The transparency, clarity and fidelity from a good audio source make the hairs on your arms stand up,” he said. “The high end is its biggest strength, nothing else we listened to sounds as open, clear and pleasant to listen to for long periods of time.” 

Registration is now open for NAB Show New York, October 17-20, 2022 (exhibits October 19-20) at the Javits Center. The event's mid-point timing six months following NAB Show in Las Vegas provides a unique opportunity for the NAB Show community to connect at a major East Coast venue. Attendees will gain strategic insight and engage with technology that is transforming broadcasting and the larger media and entertainment business.

Produced by the National Association of Broadcasters and co-located with the AES New York 2022 Convention, NAB Show New York offers hands-on learning and discovery of advanced product features, applications and workflows that promote superior audio and video experiences.

[NAB 2022 Delivers Solid Crowds and Plenty to See]

Exhibits Pass registrants receive full access to NAB Show New York and AES exhibits as well as education on the show floor, including an experiential zone featuring special theaters, demonstrations and networking activities.

Conference programs requiring separate registration include:

• Cybersecurity for Broadcasters Retreat (October 17-18)
• Post|Production Conference NYC (October 18)
• The Streaming Summit (October 18)
• TV2025: Monetizing the Future (October 19)
• *NEW — The Radio Experience at NAB Show New York (October 19-20)
• *NEW — NAB Marconi Radio Awards (October 19)

[SCN Hybrid World: Workplace Products and Expert Tips] 

"We are thrilled to be back in person in New York and look forward to delivering an exceptional experience for exhibitors and attendees," said Chris Brown, NAB executive vice president and managing director, global connections and events. "The success of NAB Show in Las Vegas reinforced the power of live events and the desire for a return to in-person trade shows. NAB Show New York is an important touch point for the industry to re-engage with the technology and thought leaders who are revolutionizing the art of storytelling and moving the business forward."

For information on registration packages and to register, click here.

Press registration will be open for qualified members of the media in late July.

InfoComm 2022 on June 4-10 (exhibits June 8-10) at the Las Vegas Convention Center will explore the Pro AV solutions that power live events in addition to the latest advancements in audio solutions. The show will feature an extensive lineup of leading solution providers across the trade show floor, a comprehensive education program, audio demo rooms, and tours of Pro AV applications around Las Vegas that highlight these vibrant Pro AV solutions.

“The live events and audio communities have produced so much innovation over the past two years,” said Annette Sandler, director of live content U.S./Canada, AVIXA. “We are excited to bring these groups together for education and insights into how productions have evolved and the new technologies making this possible.”

[Executive Q&A: Back to Business at InfoComm 22] 

On Tues., June 7, Eboni Green, CEO of Mics to Messaging and Alexander Williams, CTS, CTS-D, technology director for Mics to Messaging, will present the session “Create Remarkable Hybrid Events Using AV, Social Media, and Messaging.” Green and Williams emphasize that the foundation to creating an amazing hybrid event experience is the strategic planning of on-site experiences that will be well-received virtually and provide sufficient ROI for event investors. Their session will focus on creating events that provide opportunities for connection, brand engagement and advocacy, and support strategic goals. 

On Wed., June 8, Troy Peters, CTS, vice president of marketing and business development for Video West, will lead the session “Show Calling and Stage Management for Live Events.” He will discuss the show caller’s role in directing an audiovisual experience with numerous moving parts. From managing the onstage talent, to the technical know-how, Peters will share how to engage with the on-site engineers, show producers, stage managers, and even the audience to design and execute the perfect live event.

[InfoComm 2022 Will Uncover Solutions and Trends Enriching Learning Space] 

Also taking place on Wed., June 8, is the session “Networked Audio Protocols and Use Cases.” A panel of experts who have worked to shape these protocols will discuss their intents, strengths, and technical implementation. They’ll also discuss the future of audio protocols, including how companies and organizations can work together to support openness, interoperability, and ultimately network convergence. The panel includes Dan Ferrisi, editor-in-chief of Commercial Integrator, Paul Zielie, CTS-D, CTS-I, solutions architect for AVCoIP, Scott Sugden, product and technology outreach manager for L-Acoustics, Kathryn Taub, vertical marketing manager for corporate and higher education at Audinate, and Andrew Starks, director of product management at Macnica Americas.

The session “Selecting Assistive Listening Technology” on Thurs., June 9, will be led by Dave Bertrand, national sales manager of Western U.S for Williams AV. He will address how an AV professional’s goal is to create meaningful user experiences, yet sometimes the impact of these engaging experiences is lost on people with hearing challenges. Bertrand will discuss the ADA standards that state that it’s the responsibility of public venues to ensure that everyone can equally participate in the venue’s offering. He will share how to select the right assistive listening technology to meet ADA requirements while creating an exceptional user experience. 

[AVIXA Officially Launches AVIXA Xchange, Connecting the Global Pro AV Industry]

In addition, the Technology Innovation Stage (booth W2247) will host free presentations Wednesday through Friday, spotlighting live events, audio, and other key pro AV solutions.

InfoComm 2022 will feature 10 audio demo rooms, purpose-built showrooms where attendees can experience different audio products away from the ambient noise of the trade show floor. Attendees will immerse themselves in the audio experience with product demonstrations, enjoy live performances from special guests, learn from the experts at top audio manufacturers, and discover what's next on the audio product horizon. The audio demo rooms are open Tues., June 7 through Fri., June 10. View the full schedule.

The Live Events Forum and Reception takes place on Thurs., June 9. This event is an opportunity for live events professionals to discuss the latest happenings and changes in the live events industry and mingle with peers.

[InfoComm 2022 Tours to Explore Las Vegas' Dazzling Pro AV Sights] 

In addition, a tour of Las Vegas nightclubs led by Gerardo Gonzalez, senior director, technical services for Tao Group Hospitality, will take attendees through JEWEL, Hakkasan, and Omnia to see how each showcases their style of audiovisual guest experiences, from automation to lights, visuals, and sound. Attendees will learn firsthand from the technicians that work with some of the top artists in the world. This tour is set for Wed., June 8 from 12:30 p.m. to 4:30 p.m. Additional tours showcasing live events solutions will take place at Resorts World Las Vegas, Illuminarium Experiences, and Omega Mart.