Yamaha introduced its new RUio16FLX-D. The flexible 16-channel rack I/O solution was designed to provide adaptable connectivity for commercial installation, business audio, and live sound applications. Featuring Phoenix connectors, the RUio16FLX-D allows each pair of channels to be configured as analog inputs, analog outputs, or AES/EBU outputs, giving integrators and system designers the flexibility to configure I/O according to the needs of each application.

[All About the Overlap]

“Commercial audio systems often require a combination of different I/O types, and those requirements can change depending on the application,” said Amy Kelly, product marketing manager, pro audio, Yamaha. “The RUio16FLX-D gives integrators the flexibility to configure the I/O they need in a single device, while Dante connectivity makes it easy to integrate into a broader networked audio system. It’s a practical solution for expanding systems without adding unnecessary complexity.”

The RUio16FLX-D is especially useful in commercial installations and business audio environments, where system designers may need to connect microphones, amplifiers, and other audio equipment across a networked system. For existing systems utilizing the new Yamaha DME5 and DME3 Digital Signal Processors, the RUio16FLX-D provides an additional option for expanding system connectivity when additional analog I/O is required.

Additional highlights include 16 flexible channels in a compact rack I/O solution; selectable Analog In, Analog Out, or AES/EBU Out for each two-channel pair; Dante network connectivity; Phoenix connectors suited to commercial installation environments; and channel configuration selectable from the onboard LCD display.

Quick view:

• LG Electronics USA is launching the LG MAGNIT Gen 2 Micro LED LMPD display.
• The LMPD display pairs LG Micro LED technology with NovaStar’s COEX 5G Solution to support commercial installations.
• Features include precision module alignment, wide viewing angles, multi-layer grayscale calibration, advanced Micro LED construction, HDR support, and uniform color expression.

LG Electronics USA has introduced the LG MAGNIT Gen 2 Micro LED LMPD display designed for high-end, large-scale visual experiences and commercial installations. The LMPD display combines LG Micro LED technology with NovaStar’s COEX 5G Solution to support high-resolution, large-scale installations with advanced image processing and system management. The new model gives integrators a flexible Micro LED platform for commercial usage, such as corporate spaces and other large-format environments where image quality and system reliability are essential.

[Friday Night Lights, Camera, Action!]

“The LG MAGNIT Gen 2 Micro LED display was built for projects where image precision, control and deployment flexibility have to work together,” said Michael Kosla, B2B SVP at LG Electronics USA. “By combining LG Micro LED display technology with NovaStar’s processing platform, the LMPD display gives integrators a more confident way to configure, monitor and manage Micro LED systems for sophisticated projects and commercial applications with complex operational demands.”

At the center of the LMPD display is NovaStar’s COEX 5G Solution, which supports screen configuration, system operation and ongoing management through a design-centric interface. NovaStar’s Vision Management Platform (VMP) software brings real-time monitoring and diagnostics, advanced color processing and flexible system management into a single platform, helping integrators configure and operate Micro LED installations more efficiently.

The LMPD display’s high-bandwidth architecture is designed to reduce cabling requirements while supporting more efficient system configuration. With SFP+, signal transmission between the display and the controller can extend up to 6.2 miles using a fiber-optic link, compared with the approximately 328-foot distance previously supported. This added range gives integrators more flexibility when designing systems for large-scale environments, including auditoriums, control rooms and other complex installations.

Additional features include precision module alignment, wide viewing angles, multi-layer grayscale calibration, advanced Micro LED construction, HDR support, and uniform color expression.

Extron has introduced its new DXP 42 HD 8K, a compact 4x2 HDMI matrix switcher designed for Pro AV environments that require high-performance video distribution. Supporting resolutions up to 8K/60 and ultra-wide 5K at data rates up to 40.1 Gbps, this advanced switcher is ideal for applications such as Microsoft Teams Front Row systems.

The DXP 42 HD 8K is fully HDCP 2.3-compliant and features Extron-exclusive technologies including EDID Minder Plus, which manages advanced display features, and SpeedSwitch for fast input switching, ensuring reliable routing of high data rate HDMI signals to multiple displays.

“This matrix switcher sets a new standard for professional AV environments, delivering uncompromising video quality and advanced switching capabilities for applications demanding the highest performance,” said Casey Hall, chief marketing officer for Extron. “With support for 8K, plus innovative technologies like EDID Minder Plus, it ensures reliable distribution in any high-end installation.”

The DXP 42 HD 8K is equipped with multiple integration-friendly features like HDMI audio de-embedding and automatic input cable equalization. To reliably display and distribute 8K, 5K and 21:9 aspect ratio content, EDID Minder Plus technology provides enhanced 512-byte EDID emulation for supporting additional memory blocks needed to convey advanced display capabilities via EDID and DisplayID structures. Color bit depth is automatically adjusted based on the display EDID, which prevents color compatibility conflicts between the source and the display.

MultiDyne Video & Fiber Optic Systems is bringing native SMPTE ST 2110 connectivity to MultiDyne’s fiber camera platform, providing a direct path for integrating digital cinema cameras into modern IP production environments. Introducing the SilverBack-IP, the newest member of its SilverBack Seriesof fiber camera adapters, which help content producers bring the cinematic quality of digital cinema cameras into live multi-camera production.

[A Centralized Approach]

“SilverBack-IP represents the natural evolution of our fiber camera adapter platform as the industry moves from SDI toward ST 2110,” said Jesse Foster, director of strategic accounts and products, MultiDyne. “Our customers want to continue using the cinema cameras and production workflows they know, but they increasingly need those cameras to live natively within an IP infrastructure. SilverBack-IP essentially becomes a camera-centric ST 2110 edge device, giving the camera and operator everything they need while bringing video, audio and data directly on and off of the network.”

The lightweight, vendor-agnostic adapters convert digital cinema cameras for SMPTE studio-camera workflows and have been deployed across live sports, concerts, television productions, houses of worship, and other professional production environments. Purpose-built for the industry’s transition from SDI, SilverBack-IP retains the series’s mobility, camera flexibility, and familiar operational benefits while moving the transport layer to IP. The new design enables production teams to connect their preferred cinema cameras directly to SMPTE ST 2110 networks while maintaining the camera-centric workflows that have made SilverBack a fixture in live cinematic production.

SilverBack-IP features dual 25GbE network interfaces and supports SMPTE ST 2022-7 hitless protection across the two fibers within SMPTE hybrid cable, providing redundant network paths for demanding live production environments. Two 12G-SDI and two 3G-SDI connections accommodate a broad range of HD and UHD workflows, with video, audio, intercom, and data encapsulated and de-encapsulated as standardized IP streams.

The IP architecture removes many of the point-to-point limitations associated with traditional camera chains. Rather than requiring signals such as intercom, timing and video to be discretely connected and distributed through dedicated hardware, SilverBack-IP makes those signals available within the ST 2110 network infrastructure. Integrated intercom, for example, can operate as an ST 2110-30 audio essence flow, allowing production teams to source and associate intercom audio through the network instead of a dedicated point-to-point connection.

SilverBack-IP also introduces a studio camera-style physical design that puts controls, menu access and system status directly in front of the camera operator. Full-size professional connectors complement the operator-centric interface, marking a departure from the traditional ENG-style cameraback configuration of earlier SilverBack systems. The result is a familiar studio-camera experience while retaining the flexibility of adapting a digital cinema camera for live production.

“IP changes the equation because connectivity is no longer bound to a dedicated camera chain,” added Frank Jachetta, CEO, MultiDyne. “Signals become network resources that can be associated and distributed wherever they are needed. SilverBack-IP gives broadcasters that flexibility at the camera edge without asking operators to give up the workflows and ergonomics they already understand.”

Quick view:

• WAVETOOL 4 is designed to support audio teams throughout the entire production lifecycle, from setup and mic checks through live performance and post-event review.
• Enhancements include Global Instant Replay, support for 192 channels, a fully scalable interface, and more.
• The software also expands access to WAVETOOL through subscription licensing managed via ShureCloud.

Shure has unveiled WAVETOOL 4, the latest evolution of its professional audio monitoring and listening software. Designed for theater, live sound, broadcast, and houses of worship, WAVETOOL 4 enables teams to monitor, replay, and verify live audio across their entire system in real time. By combining direct listening, instant replay, and team collaboration, WAVETOOL 4 gives engineers greater confidence to troubleshoot issues faster and keep productions running smoothly.

[Shure Welcomes a New Sales Channel Leader]

WAVETOOL 4 builds on the platform’s listening-first foundation with new capabilities that expand visibility across complex productions. New features include full-system Global Instant Replay with up to 30 minutes of history, expanded channel capacity, a customizable user interface, and enhanced collaboration tools that give teams the context to investigate unexpected events, coordinate responses, and maintain awareness throughout every production.

“WAVETOOL has changed how we monitor productions, quite fundamentally," said Dominic Bilkey, head of sound and video for the National Theatre in London. "The ability to roam freely backstage, working the wigs, makeup, and costume teams, with the chat function going into that as well. It’s that set of tools that enables the team to accurately do their job."

Unlike traditional monitoring tools that rely solely on looking at the meters, WAVETOOL 4 allows engineers to listen directly to live audio channels while maintaining visibility across wired and wireless sources. The platform brings audio, replay, alerts, and communication into a single shared environment, turning monitoring into a common reference point for the entire production team.

Located at the World Trade Center site in Lower Manhattan where the towers once stood, the National September 11 Memorial & Museum (9/11 Memorial Museum) forms the centerpiece of the 9/11 Memorial. As the 25th anniversary of the terrorist attacks neared, the museum underwent a massive upgrade, primarily focused on strengthening the backend infrastructure, improving system reliability, and creating a more stable technology platform.

The museum lies below the plaza, with the entrance pavilion and atrium providing the transition from the city to the historic site below. Above this area is the auditorium with nearby ramps leading visitors down approximately 70 feet to the original foundation level of the World Trade Center complex. From there, visitors enter exhibition galleries where the South and North Towers once stood.

Within the South Tower footprint is the Memorial Exhibition, a space dedicated to remembering the nearly 3,000 people killed in the attacks of Sept. 11, 2001, and Feb. 26, 1993. The North Tower footprint contains the Museum's Historical Exhibition, which presents the events of 9/11, organized into three primary sections that explore the chronological timeline of the horrific events of the day, events leading up to the attacks, and the heroic rescue and recovery efforts.

According to Fernando Mora, VP of AV and multimedia for the 9/11 Memorial Museum, the original AV infrastructure was designed around traditional point-to-point architecture, using HDBaseT as the primary media transport technology. “When the museum was designed in the early 2010s, this was the correct approach at that time,” he told SCN. “It continued to serve us well for many years.”

The need to replace HDBaseT did not drive the upgrade; rather, it was the realization that AVoIP offered capabilities beyond basic video transport. “Ultimately, its distributed nature allowed us to build a master control room which became the orchestration layer for our entire venue,” he explained. “From this central location we can manage and monitor all aspects of our exhibitions systems, live production, digital signage, and UC meeting platforms utilizing live CCTV cameras, custom Q-SYS dashboard UCIs, and Symphony monitoring software.”

When Mora and his team began to consider an upgrade to the core AV infostructure in 2019, many of the AVoIP standards were still similar to each other, so there was no need to quickly jump to an upgrade. The strategy, he explained, became deliberate, to “wait for the technology and the market to mature, while watching to see which platforms emerged as the dominant players. HDBaseT was still performing very well for us, so the question became: What’s the rush?”

Another factor that influenced the upgrade was existing technology. The museum was already largely a Crestron house, which, as Mora explained, made the evolution toward Crestron NVX a logical path. “All our technicians are either programmers or DMC-E-NVX,” he said. “It allowed us to move into AV over IP while building upon technology, programming expertise, and support for this new infrastructure.”

After the 20th anniversary, Mora and his team—lead technician and in-house programmer Kelman Torres, technician Jermaine Morgan, and auditorium production technician Jose Rosa—embarked on the five-year overhaul of the museum’s infrastructure, all while the museum remained open and operational. Wheels started rolling in 2023 with the modernization of the museum's DSP infrastructure.

“We migrated from a CobraNet-based Layer 2 audio architecture to a Layer 3, IP-based Q-SYS processing platform,” Mora explained. “During the planning and development phase, I decided to expand the scope of the project to include modernization of our control system, incorporating Q-SYS Control as part of the overall deployment.”

The extensive upgrade also included a focus on AV transport to AVoIP in the exhibition areas, auditorium, digital signage, and four classrooms. For the auditorium, Mora said they created a complete end-to-end 4K production workflow. They replaced the existing Crestron DM system with an NVX AVoIP infrastructure, and installed a Christie 4K laser projector, Panasonic 4K production cameras, Vizrt TriCaster TC2 Elite switcher with 4K monitoring, and DiGiCo audio console. To support the new AVoIP environment, Mora’s team deployed a NETGEAR M4300 switch and engaged NETGEAR Professional Services to assist with its configuration.

According to Mora, AVI-SPL’s Symphony was selected for monitoring the museum’s infrastructure because the museum wanted to move beyond traditional monitoring toward a platform that gives meaningful, actionable information about the health of the museum’s AV systems and the context in which they are operating.

“For example, when the museum is open, every projector should be powered on, every media server should be in its appropriate run state, and the systems supporting our exhibitions should be operating as expected,” Mora explained. “When the museum is closed, the opposite may be true. Many of our CPU-based exhibits are intentionally shut down overnight, so an effective monitoring platform needs to understand that an offline device at 2 a.m. may be perfectly normal, while that same condition at 10 a.m. could require immediate attention.”

As 2026 began, the upgrade engulfed the museum’s collaboration and education spaces. “We upgraded all four classrooms to support Microsoft Teams Rooms using the Q-SYS UC platform, while our six corporate conference rooms were upgraded with Neat Bar Pro systems,” Mora added. “Most recently, we began replacing our legacy exhibit media players with Hive Media’s Osmia 4K players, further modernizing the content delivery side of the infrastructure.”

For the 25th anniversary, a new exhibit, In Their Honor, will debut. While that has what Mora calls a modest AV footprint, a live national primetime broadcast from Memorial Plaza featuring the Tribute in Light installation will showcase how the new infrastructure supports an event with a worldwide audience.

“On a personal level, Tribute in Light has always been my favorite part of the commemoration,” Mora said. “Seeing those two beams rise above the New York City skyline is an incredibly powerful way to close the day.”

What began in late 2023 has evolved into a roughly three-year, phased modernization of the museum’s AV ecosystem. “Rather than approaching it as a single replacement project, we deliberately addressed the infrastructure in layers—audio processing and control first, followed by AV over IP transport, collaboration spaces, and finally media playback,” Mora concluded. “That approach allowed us to modernize a large, operational facility while continuing to support the museum’s daily visitor experience and programming throughout the transition.”

Quick view:

• The single-cable BYOD extension solution is designed to help businesses deploy and scale video meeting room installations more efficiently and consistently across meeting rooms of all sizes.
• Built on HDBaseT technology, Jabra Reach extends this connection up to 328 feet (100m), supporting consistent installations across rooms of different sizes.
• Jabra is also expanding the Jabra PanaCast portfolio through firmware updates.

Jabra unveiled its newest Bring Your Own Device (BYOD) solution. Introducing the Jabra Reach, a single-cable BYOD extension solution designed to help businesses deploy and scale video meeting room installations more efficiently and consistently across meeting rooms of all sizes.

[Review: Jabra Answers the Call for Hybrid Work]

As organizations expand BYOD video collaboration across more meeting spaces to support hybrid work, delivering the same user experience from room to room becomes increasingly difficult. Different cables, adapters, and room configurations can create inconsistent installations, increase the risk of connection issues and add to the management burden for AV and IT teams.

Jabra Reach addresses these challenges by replacing fragmented, multi-cable setups with a single connection for video, audio, USB, and optional power. Users simply connect a laptop via USB-C to access the room’s display, camera, microphones, and speakers.

Built on HDBaseT technology, Jabra Reach extends this connection up to 328 feet (100m), supporting consistent installations across rooms of different sizes. This helps installation teams create faster, cleaner installations with fewer potential failure points and makes deployments easier to replicate at scale.

"Walking into a room and connecting your own laptop should be the simplest thing in the world, but too often it isn’t," said Holger Reisinger, SVP, Jabra video business unit. "You have the wrong cable, the wrong connector, a dropped signal or a table full of adapters. Jabra Reach solves that at the infrastructure level. Users get one cable to connect, and it works with any video bar or room system and doesn't change how the existing setup functions. It makes that connection reliable and repeatable across every room."

Flexible mounting options enable clutter-free, discreet installations at the table and behind the display, while concealed ports and secured cables create a tamperproof setup. Optional USB-C power delivery of up to 100W can also keep a laptop charged through the same connection.

Jabra Reach can be managed through Jabra Plus Management, providing centralized visibility and control that helps IT teams configure, monitor and support meeting rooms from a central platform. Designed to work across all Jabra video room solutions, Jabra Reach helps organizations maximize their existing meeting room investments.

New Capabilities across the Jabra PanaCast Portfolio

Alongside Jabra Reach, Jabra is expanding the Jabra PanaCast portfolio through firmware updates. The firmware updates add functionality to existing Jabra video solutions, supporting greater visibility, customization and large-scale device management.

NOW AVAILABLE! AV Technology Manager’s Guide to Display Technologies

25 Thought Leaders share insights on topics such as how to grow and immerse audiences, collaborate across campuses via the cloud, use AI to drive targeted messaging and gather data, create an ecosystem to improve workflows, increase sustainability, and reduce total cost of ownership.

AV/IT Team: Meet the creative team behind the Museum of Art + Light, where more than 100 laser projectors bring creativity to life with nearly 37,000 square feet of eye-popping color and exquisite detail.

11 Case Studies On Display: Honolulu Prep Comes to Life in LED | Processing Performance You Can Bank On | Medical Labs Upgrade to Interactive Displays | Beauty in Collaboration at Microsoft HQ | Engineering Boston’s Widest Curved LED Canvas | Signage Transforms Shopping Experience | Two Video Walls, One Unified Brand | Monitoring 8,000 Satellites, 24/7 | A Warm, Video Wall Welcome in Wyoming | Digital Storytelling Bolsters Faith and Community | Immersive Fan Experiences on Full Display

26 Display Technologies That Matter: Video processors, fine-pixel-pitch LED video walls, COB LED display, integrated SoC displays, AV production suites, 4K video wall appliance, flip-chip, wire-bond-free COB LEDs, AV-over-IP distribution, dvLED universal wall mounts, laser projectors, 21:9 displays, outdoor LCDs, ADA-compliant applications, interactive displays, digital signage solutions, mobile all-in-one displays, e-paper, and much more!

Read More!

Eastern Acoustic Works (EAW) launched the NT119S and NT219S subwoofers. There two new active subwoofers were engineered to deliver enhanced low-frequency output, extension and deployment flexibility for modern production environments.

Designed as ideal low-frequency partners to the NT206L and NT208L line arrays, the new Newport Series subs bring next-generation power, displacement, and control to both flown and ground-stacked configurations.

[Cruising with Pro AV on My Summer Vacation]

The NT119S is powered by 4000W of onboard amplification and a newly developed 19-inch high-excursion driver, it delivers 25% more displacement than traditional 18-inch designs. The result is a 136dB Max SPL and low-frequency extension down to 25 Hz—performance typically associated with 21-inch systems, but in a more agile, array-ready footprint.

The NT219S features dual 19-inch high‑excursion drivers and 8000W of onboard power to deliver 142dB Max SPL with extension to 25 Hz. Engineered for maximum VLF energy and headroom, the NT219S provides the acoustic weight required to anchor high‑stakes touring, festival and arena‑level productions.

EAW Releases v1.1 of Online Array Assistant Platform

Representing a significant update to EAW’s Online Array Assistant, OAA v1.1 enhances system design accuracy and usability. V1.1 now supports throw distances of up to 300 feet and incorporates the NT206L high frequency boost button. V1.1 also reports total array weight and bottom of array height. A subwoofer array guide is included to aid in the fast and reliable setup of common subwoofer arrays such as cardioid and end-fire. Together, these enhancements give users more powerful and precise prediction tools for streamlined Newport deployment workflows.

Founded in 2021, Sides, an expanding restaurant brand founded by YouTube collective the Sidemen, is using NowSignage to help maintain a consistent brand experience across its growing estate and manage its digital signage estate through one centralized platform. From menu launches and limited time offers to promotional campaigns, screens help bring the personality of the brand to life.

[The Art of Digital Signage]

The platform enables Sides to roll out campaigns across all sites in under 15 minutes, while maintaining 100% menu consistency across the business. NowSignage has also helped the team save up to one hour per day when uploading and updating content, giving them more time to focus on wider marketing activity.

As Sides continues to grow, having the right processes in place has helped support the rollout of new sites. Working alongside AV partner Microman, screens are installed and configured ahead of opening, ensuring each new venue is ready to deliver the Sides experience from day one. This approach has been particularly valuable during recent launches in Glasgow and Liverpool.

Hear what they have to say in the video below.

Planar has launched its new Chameleon Series and Mosaic Series, expanding the possibilities for creative LED display design beyond conventional square and rectangle video walls and providing new ways to integrate LED into architectural and experiential environments.

[Cosm: Take Me Into the Ballgame]

“LED displays are increasingly becoming an integral part how spaces are designed and experienced,” said Robert Detwiler, senior director of product management at Planar. “Planar Chameleon Series and Mosaic Series give our customers and partners new creative tools to move beyond conventional display formats and bring distinctive visual concepts to life in virtually any indoor space.”

The Planar Chameleon Series is a family of ultra-slim, double-sided LED displays measuring under 2-inches (45mm) deep, featuring independent or synchronized dual-sided content, transforming a single display into two unique audience experiences. Rounded corner option and high brightness models provide additional flexibility to meet a variety of design preferences and lighting environments. Available in 1.2, 1.5, 1.9, 2.6, and 3.9mm pixel pitches, Chameleon supports a range of viewing distances. High brightness models deliver up to 3,000 nits to accommodate environments with high ambient light, further expanding installation possibilities. Flexible hanging and free-standing installation options to engage audiences in multiple directions and integrate into a wide range of indoor environments. Built on a versatile 500×500mm cabinet, Chameleon can be configured into display sizes tailored to the space and application.

Planar Mosaic Series is a family of indoor architectural LED displays designed for ultimate creative flexibility. Multiple LED display cabinet sizes, including 500x250, 500x500, 750x250 and 1000x250mm provide flexible building blocks for creating custom shapes, sizes and layouts, including designs that incorporate negative space. Available in 1.2 through 3.9mm pixel pitches, Mosaic supports a range of viewing distances and up to 3,000 nits to accommodate high ambient light. Regardless of vertical or horizontal cabinet orientation, Mosaic displays maintain consistent visual performance across the video wall. Front serviceability provides convenient access for maintenance, complemented by a power-efficient design.

Extron has unveiled its new USB Extender xi Series. The series was designed to extend and switch USB signals from peripheral devices to a host computer up to 1,980 feet (600m) through a Gigabit Ethernet network or up to 330 feet (100m) point-to-point over one CATx cable. The USB Extender xi Series is an ideal solution for extending and switching USB signals in applications that demand reliable, long-distance USB connectivity.

[Inspiration for Creating Immersive Experiences]

It supports High-Speed (USB 2) and earlier devices. The transmitter can be powered by the host computer or included power supply and provides USB peripheral emulation to enable trouble-free booting of a host computer that is not connected to a keyboard or mouse. The receiver features a built-in, active four‑port hub with up to 500 mA of power per port. The matrix controller allows simple setup and control for a distributed USB matrix switching system over an Ethernet network.

"As organizations seek more flexible ways to deploy USB devices in courtrooms, conference and meeting spaces, classrooms, and lecture halls, the USB Extender xi Series delivers streamlined USB extension and switching capabilities," said Casey Hall, chief marketing officer for Extron. "With long-distance USB transport, centralized control, and support for distributed USB matrix switching, the USB Extender xi Series simplifies USB connectivity for demanding Pro AV applications."

The USB Extender xi Series supports a wide range of USB peripherals, including interactive whiteboards, keyboards, mice, mass storage devices, webcams, headsets, and speakers, while USB Extender xi HID models help secure installations by restricting connectivity to authorized device types. Available in multiple form factors for flexible integration, the series can be combined with the USB Matrix Controller xi to create scalable distributed USB switching systems with up to 64 transmitters and receivers while offering centralized management and control.

With Broadcast AV booming, AJA Video Systems has unveiled FS8. The new video and audio processor bridges SDI and IP infrastructures in broadcast, production, and Pro AV.

[5 Lessons Learned at NAB Show 2026]

Building on AJA’s FS frame sync line, FS8 reliably powers up to eight channels of HD or four channels of UltraHD image processing, including frame sync, up/down/cross conversion, and IP gateway functionality. The 1RU solution features an intuitive, node-based web UI and wide-ranging connectivity, including 12G-SDI, ST 2110, Dante, and MADI, offering modernized tools that streamline productions.

“With IP video adoption growing across industries, having flexible video and audio support is more essential than ever for media companies balancing legacy infrastructure with the buildout of next-gen workflows," said AJA president Nick Rashby. "We designed FS8 as a powerhouse for delivering consistent, frame-synced HDR and SDR pictures from mixed sources. FS8 is our first frame sync to support ST 2110, but it does so much more. It’s a Swiss-army knife solution for common production headaches, from navigating mismatched framerates, rasters, and color spaces, to mono audio routing and management, and more.”

Among FS8’s features are its modern connectivity and high-density processing, which provide more flexibility. Up to 16 12G-SDI inputs and eight HD or four UHD ST 2110-20 inputs feed eight HD or four UHD video processors, reducing the need for additionalequipment for space, power, and weight savings. Support for embedded SDI, ST 2110-30, Dante, and MADI audio creates an impressive 459x448 mono audio matrix, providing cost-effective audio grooming, from routing and conversion to level adjustment, delay, and sample rate conversion.

Configurable video and audio delay enables delay of up to 60 frames in HD, 30 in UltraHD, and up to 2.5 seconds of audio. Ultra-low latency is also possible, with less than half of a video frame of latency for the most demanding live applications. UltraHD region of interest scaling; color correction, proc amp, and 3D LUT processing; precise SDR/HDR color management through an optional Colorfront license; and a deep ST 2110 troubleshooting toolset, are also integrated. Support for a publicly available RESTful API described by OpenAPI enables the creation of custom-built control interfaces and the use of third-party integrations currently in development from Cyanview, Pomfort, and Skaarhoj.

All these features are accessible through FS8’s 1RU frame and browser-based web UI. The web UI’s interactive, node-based processing pipeline, video preview, audio meters, system and component-level preset recall, status monitoring, and more, all simplify FS8 setup and control. FS8’s front-panel color LCD supports moving video and audio meters and enhances confidence monitoring with additional insight into the status of inputs, outputs, and video processors.

In keeping up with one of Pro AV's latest trends, Epson has unveiled its first all-in-one dvLED displays. The LE-C1 Series displays are now available. Powered by chip-on-board (COB) technology, the new series provides an expansive viewing experience with exceptionally bright, high-contrast images, even in high ambient light environments. All-in-one dvLED displays deliver a complete, ready-to-deploy solution that simplifies installation, setup and day-to-day operation.

[Integrators … Mount Up!]

“The response to Epson’s first dvLED solutions has been incredibly positive, with customers especially drawn to the image quality enabled by COB technology, as well as the edge-to-edge display design and ease of integration,” said Ramzi Shakra, senior product manager, Epson America. “Organizations are looking for display solutions that are easy to deploy, simple to manage, and backed by a trusted technology partner. Epson delivers all of that through a complete display ecosystem designed to meet a wide range of application, performance and budget needs.”

Epson’s new LE-C1 Series includes the LE-C1135 135-inch and the LE-C1162 162-inch Full HD 1080p models, plus the LE-C14K135 135-inch 4K model for ultra-fine detail and comfortable close-range viewing. Designed to provide the benefits of an all-in-one dvLED display while streamlining installation and operation, the LE-C1 Series features an operating system-free design that helps reduce maintenance requirements and potential security vulnerabilities, offering a dependable, low-maintenance “set-it-and-forget-it” content delivery solution.

Powered by advanced COB technology, the LE-C1 Series offers enhanced image clarity and surface protection, as well as lower energy use compared to conventional SMD dvLED displays. Factory-calibrated LED modules, preassembled cabinet columns, and a preconfigured controller simplify installation and help ensure a seamless, uniform image right out of the box. The COB technology coupled with a common cathode design also reduces power consumption and heat output, maintains a cool display surface and allows the 135-inch display to operate from a single 120 V 15A power source.

Flexible connectivity options, including dual HDMI ports, optical S/PDIF, 3.5 mm audio, Bluetooth remote, and LAN control, make it easy to integrate into a wide range of Pro AV environments.

Atlona, a brand of Hall Research, has added five encoders and decoders to its OmniStream AV over IP platform. Recently unveiled, the five additions include the OmniStream Encoder, OmniStream+ Encoder with USB, OmniStream Decodr, OmniStream+ Decoder with USB, and OmniStream Encoder Wall Plate.

[The Next Chapter of Pro AV: Leadership, Legacy, and Mentorship]

The expansion brings USB support directly into the OmniStream+ encoder and decoder chassis, a feature that previously required a separate companion device. The update gives integrators more ways to move 4K/60 4:4:4 video, audio and, on OmniStream+ models, USB signals over standard Gigabit Ethernet, without adding hardware to the rack or the wall.

“Our dealers have been asking for built-in USB on OmniStream for a while, and rather than adding another box to the system, we built it into the encoder and decoder itself,” said Ken Eagle, CEO, Hall Research. “Updates like this come directly from the people installing our products every day, and that connection is what we want OmniStream to keep delivering.”

Integrators who needed USB extension alongside OmniStream+ video previously paired the encoder or decoder with a separate USB companion unit. The new OmniStream+ Encoder with USB and OmniStream+ Decoder with USB combine video, audio and USB into a single endpoint, reducing the number of devices needed at each connection point for conference rooms, classrooms, huddle spaces and other USB-dependent AV over IP installations.

The OmniStream Encoder Wall Plate brings the same encoding performance to a two-gang, in-wall form factor, letting integrators mount a source connection directly into a wall or furniture rather than routing back to a rack-mounted encoder.

All five products are designed to work alongside OmniStream devices already in the field, giving current dealers and integrators a way to add USB support or wall plate flexibility to existing systems without replacing infrastructure that is already installed.

MultiDyne Video & Fiber Optic Systems is set to unveil tthe MDoG-8800. This solution extends its openGear portfolio with a high-density fiber transport solution for 12G-SDI and 4K/8K workflows.

[Are We Building Tomorrow’s Workplace Through Yesterday’s Process?]

“The MDoG-8800 is a classic MultiDyne fiber transport solution redesigned for the bandwidth, density and operational flexibility that modern facilities require,” said Jesse Foster, director of strategic accounts and products, MultiDyne. “Moving from 3G to 12G gives customers a direct single-link path for 4K, while the eight-channel architecture and integrated routing crosspoint let them build the exact transport configuration they need. The choice of fiber-per-signal or integrated CWDM also ensures that the module fits equally well in new facilities and established fiber environments.”

The MDoG-8800 brings MultiDyne’s point-to-point fiber transport expertise to an open-architecture platform that broadcasters and AV professionals can configure around their preferred mix of technologies. The module evolves MultiDyne’s quad-channel 3G openGear fiber transport offering to 12G-SDI, enabling single-link 4K signal transport while increasing channel density and simplifying system design. Embedded audio and ancillary data pass transparently with the SDI signal.

Each MDoG-8800 supports eight channels and incorporates a 12G routing crosspoint that allows users to direct any input to one, several or all available outputs. This flexible internal routing supports a broad range of unidirectional and bidirectional configurations, including four-channel transmit and four-channel receive operation, while helping users adapt the same module to changing signal-distribution requirements.

There are two primary optical configurations offered for the MDoG-8800. A fiber-per-signal version provides eight discrete optical connections for facilities with abundant fiber capacity and workflows that favor straightforward point-to-point connectivity. An integrated CWDM version multiplexes eight signals onto one fiber and can be cascaded with a second module to transport 16 signals over a single fiber. This combination gives customers the freedom to prioritize simplicity, fiber efficiency or system density according to the application.

ViewSonic is not going to like me for saying this, but its new VG1457 14-inch dual-screen portable monitor is not for everyone. However, for those of you who can truly use it, I’m betting it’ll become invaluable in short order.

Flexibility is the main appeal for the VG1457. You've got two screens that can be used to make one big display or two identical versions of your current display or even show content from two sources at once. There's even built-in Auto Pivot, so the orientation adjusts to how you've positioned the unit.

The VG1457 ships with two USB-C cables, a power supply, and a nifty sleeve that provides a little extra protection during transport. You can also cut out a portion of the packaging and create a small case for the cables and power supply.

Each 16:10 LED panel features 1,920x1,200 pixels, so they are basically Full HD but taller (WUXGA, technically speaking). In other words, they don't hold a candle to the ViewSonic VG3456C 34-inch curved ultra-wide monitor on my desk. Then again, my desktop monitor isn't going with me to sales meetings (or anywhere else). But I don't want to undersell these panels—they are bright with an anti-glare surface, 8-bit color, and 800:1 contrast ratio—and should deliver at least 15,000 hours of use.

You've got three USB-C ports on the adjustable integrated kickstand (please, don't kick it). The top port (C1) is dedicated to the top display (when the unit is completely unfolded), while the middle port (C2) provides access to both displays and audio output. C2 is the default main input signal when both ports are in use and the one I mostly used during testing. The bottom port (C3) is strictly for monitor power. Bonus feature: Plug in the included power adapter into either C1 or C2 and it can charge a device plugged into the other port.

Also on the kickstand is a four-button stack, a tactile control panel for navigating a handful of small, on-screen menus. I probably should have read the directions, but I just went right into it.

Turns out it’s a very intuitive way to customize your panels. The top two buttons are up and down, while the bottom two buttons are OK and back. From here, you can change inputs, adjust the volume and image brightness, and modify how sources are displayed. Download ViewSonic's vDisplay Manager software for even easier on-screen display adjustments.

The bottom button also doubles as the power button, and there's a small power indicator light next to it. While it's best to plug in the VG1457, it can also work off your laptop’s battery. That said, it chewed up battery power very quickly, so I’d argue against relying on external battery power unless you have the world’s shortest presentation.

We finish our tour of the kickstand with two 2-watt speakers, positioned above the ports and the buttons. They sound exactly how you think low-power speakers on a monitor kickstand would sound—think entry-level speakerphone, not high fidelity. Sadly, there is no EQ or other adjustments for the speakers, only volume.

If you're like me and work with a wider desktop monitor, going back to a smaller laptop screen can be … an adjustment. The VG1457 provides a bigger canvas (comparable to a 19-inch monitor) than most laptops when you set it to Full Screen mode, albeit with about a 1-inch bezel in the middle. You can set horizontally, as usual, or vertically for more of a portrait approach to your computer workspace. If you have a compact laptop, this monitor is a godsend. Just be sure your ports are positioned upward when you use the kickstand to avoid cable kinks.

There are three other display modes. Mirror, as you'd expect, mirrors your laptop display, while Extend gives a wide view across all three. There's also Dual Source, which allows you to dedicate each panel to a separate device—not a universal need, but could be very handy in some scenarios.

Mirror mode is where the VG1457 really shines. Not every presentation happens in a conference room, and not every room has easy access to a projector or even a large-screen TV. But you can fold the VG1457 so it resembles an A-frame, which activates what ViewSonic calls Share Mode. That means meeting participants on both sides of the table can see your presentation clearly, while you navigate from your laptop at the head of the table.

Available for about $350, ViewSonic is clearly targeting "road warriors" with the VG1457, be they sales associates, consultants, or other frequent travellers. The well-built unit weighs less than 3 pounds but folds up neatly for easy transport, and punches above its weight for flexible presentations and oversized screen real estate. Again, I understand the VG1457 does not address a universal Pro AV need—but if you have the need, it’s definitely going to be a want.

Sonos has introduced a new multichannel streaming amplifier engineered to bring high-level flexibility and scalability to professional integrators. Built specifically to handle large, open-concept floor plans, the new Amp Multi solution expands the Sonos experience into high-density systems without adding friction for installers.

[The Real Differentiators]

Designed to address evolving space layouts, Amp Multi features eight amplified outputs delivering 125 watts each at 8 ohms. Integrators can assign any output to any of up to four independent zones, with the capacity to drive up to 24 Sonos Architectural speakers per unit or scale up by combining multiple units.

At the hardware level, the device utilizes a GaN power architecture paired with Class-D post-filter feedback (PFFB). This combination ensures high dynamic accuracy while maximizing thermal efficiency, enabling fanless, silent operation that maintains long-term stability without dust buildup or thermal stress.

Amp Multi offers workflow efficiency for professionals at every stage of a project. Physical installation is streamlined by a flat-back design, recessed connectors, and a 1.5U chassis paired with a dedicated 2U Rack Mount requiring just eight screws. The mounting system automatically creates spacing for passive ventilation, eliminating the need for separate vent panels and maintaining clean cable routing. For setup, each unit emits a unique audible chirp triggered via the Sonos app, allowing technicians to identify hardware in equipment racks instantly without manual PIN entry.

For system calibration, Sonos introduces ProTune, a manual sound optimization tool. ProTune grants granular acoustic control over each output using a 10-band parametric EQ, gain adjustments, stereo width control, and delay offset to solve challenging room geometry. Additionally, the integrated Optimize Sonos Speakers feature applies targeted DSP profiles specifically calibrated for Sonos Architectural hardware.

By merging custom integration workflows with the approachable control of the Sonos app, Amp Multi allows integrators to build robust, scalable systems that adapt to changing project needs while delivering clean, reliable multi-room audio.

Absen has unveiled its new LR V3 Series. This transparent LED display solution is engineered for the demands of touring, festivals, and large-scale live events. Designed to move efficiently from one production to the next, LR V3 combines creative versatility, lightweight construction and streamlined deployment to give rental companies, production teams and designers greater flexibility from load-in through showtime.

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

“Today’s touring professionals need technology that gives them more creative options without adding unnecessary complexity to the production,” said Emily Chan, president Absen. “With LR V3, our focus is on giving crews and designers a platform that can adapt to the stage, move efficiently from show to show and deliver the performance audiences expect.”

At the center of LR V3’s creative capabilities are adaptive louvers that allow the display to transition from transparent to solid stage visuals with a single touch. Combined with curved configurations, mixed-panel connections, and 90-degree L-shaped applications, LR V3 gives production designers greater freedom to integrate LED into the overall stage environment and create structures beyond conventional flat displays.

Touring equipment needs to perform night after night while keeping crew requirements, transportation and changing production configurations in mind. LR V3 is available in three lightweight cabinet sizes: 39.37×19.69×3.15 inches, 19.69×39.37×3.15 inches, and 39.37×39.37×3.78 inches (1000 × 1000 × 96 mm). The lightweight design, combined with a pre-lock system, supports one-person handling and installation to help crews move more efficiently during setup.

LR V3 is also designed for outdoor production environments, with water-resistant modules, power boxes, and cables providing additional protection for demanding live event applications. LR V3 gives production teams multiple ways to build beyond a traditional flat LED wall. Dual horizontal curve locks support angle adjustments from -7.5 degrees to +10 degrees, giving designers the ability to create curved display configurations while maintaining secure cabinet connections.

A 45-degree dual-edge design on both sides of the cabinet also enables 90-degree L-shaped displays, opening additional possibilities for dimensional stage structures and scenic integration. For touring and festival productions, efficiency extends beyond the build itself. LR V3 incorporates retractable positioning pins for efficient on-site maintenance, along with quick maintenance access for modules and power boxes.

Together, LR V3’s lightweight construction, installation features, maintenance access, and transportation systems are designed to reduce handling demands and help rental and staging teams keep equipment moving efficiently from one production to the next.

Green Hippo’s new Estuary Series is a next-generation media control platform engineered for the scale, speed, and creative ambition of today's most demanding live productions.

Built on the proven CALICO video processing architecture from sister brand tvONE and refined for the unforgiving realities of showtime, Estuary delivers ultra-smooth, multi-layered switching across massive LED canvases — with one-frame end-to-end latency, 10-bit/HDR processing, and up to 256 layers of real-time visual control. This is the infrastructure that disappears into the performance and lets the art breathe.

Designed for concerts, touring, broadcast, immersive environments, and large-scale installations, Estuary gives operators command over expansive visual systems without the sprawl. The platform supports four canvases up to 64,000 × 64,000 pixels, seamless transitions, and a fully open control ecosystem, including DMX/sACN, HippoNet, Companion, and REST API. Whether it's anchoring a lighting workflow or running as the central media hub of a full production, Estuary unifies the entire visual stack under one roof.

"Estuary is the missing link," says Bob Bonniol, Chief Innovation Officer at ACT Entertainment. "It marries the power and flexibility of a world-class pixel canvas controller with the control workflow that lighting designers already know and love — the grandMA3 console. For the first time, the lighting operations and the media operations can live in the same language. That changes everything."

The Estuary Series launches with three purpose-built models. The MC1 is a compact 1RU controller sized for studios, corporate environments, and simulation spaces, deceptively powerful yet elegantly contained. The MC2 is a touring-grade 2RU system with modular I/O, engineered for concerts, keynotes, and immersive installations that live on the road. And at the summit, the MC4 is Green Hippo's arena-scale flagship: up to 256 layers, sub-frame latency, and the raw horsepower to drive the world's largest productions without breaking a sweat. All three models support high-bandwidth HDMI and SDI modules, advanced IP workflows, and the complete Estuary feature set.

Green Hippo’s Kasai media server is a compact powerhouse, specifically engineered for the demands of smaller events and professional tours. Housed in a robust 2U, tour-ready chassis, the Kasai balances extreme portability with the high-end performance expected of the Hippotizer range. Its hardware is designed to withstand the rigors of the road while delivering unparalleled power in a custom, durable case.

Technically, the Kasai excels with support for two 4K outputs or high-performance generative events. It features two swappable output modules—supporting HDMI 2.0, DP 1.4, and 12G SDI—allowing for maximum flexibility in various production environments. With 4TB of internal media storage and an optional capture card slot for additional inputs, the Kasai ensures creative professionals have the resources needed for seamless execution. By combining swappable hardware with massive storage and professional-grade outputs, the Kasai stands as an essential tool for flexible, reliable media management on any scale.

Create custom web-based controls for Hippotizer Media Servers through the new REST interface. Trigger Timelines and Presets, upload and manage media, and see the status of your Hippotizer Media Servers all from a simple web page or RESTful control system. Simplify the control and management of Hippotizer systems in your next installation.

The Hyco MX is Green Hippo’s flagship media server, engineered for the most demanding high-performance video workflows. Designed to unleash creative potential, it integrates seamlessly with the powerful Hippotizer platform.

Key features include the new REST API for custom web-based control, and support for NotchLC, an agnostic 10-bit codec ensuring enhanced color accuracy from creation to display. With HippoNet, users can synchronize multiple units, managing complex, large-scale systems effortlessly via a single ZooKeeper. The server also offers flexible output management, allowing intuitive configuration for projector blends and sub-mixes.

Operational efficiency is bolstered by the Show Manager for easy event switching and "Show Lock" protection, alongside a removable U.3 media slot for rapid storage access. Integrated media management automatically handles format transcoding, while PixelMapper extends video capabilities to lighting fixtures. The Hyco MX combines purpose-built hardware with an intuitive interface, providing a robust solution for professional, real-time video production.

Details:

• The NC30 acts as both an NDI encoder and decoder in a single device.
• It simplifies Bring Your Own Device workflows.
• Designed to fit directly into existing AVer ecosystems, the compact unit lets organizations easily expand AV over IP across meeting rooms and classrooms while maintaining centralized control and leveraging current hardware investments.

AVer Information released the NC30, a flexible NDI encoder and decoder designed to simplify AV over IP deployments. The NC30 connects cameras, displays and room systems across the network, supporting more efficient deployment of meeting, learning, and collaboration environments.

[NDI Partners with KTC to Bring Native IP Video to Commercial Displays]

“As organizations continue to adopt AV-over-IP and hybrid collaboration technologies, they need solutions that are flexible, easy to deploy and simple to manage,” said Katie Sullivan, senior product manager for AVer Information. “The NC30 helps bridge traditional AV systems with network-based workflows while making it easier for users to access professional AV resources from meeting and learning spaces.”

Supporting both encoding and decoding within a single device, the NC30 enables seamless conversion between HDMI, USB-C, and NDI video sources. Built to complement AVer's existing ecosystem, the NC30 allows organizations to maintain a consistent platform across cameras, peripherals and AV-over-IP infrastructure, simplifying deployment and management through a single ecosystem.

The NC30 enhances Bring Your Own Device (BYOD) workflows by enabling users to access room cameras and AV resources directly from personal laptops. With support for 4K60 video, USB-C connectivity, NDI HX, HDMI pass-through, and flexible audio routing, users can quickly connect to room technology without requiring additional hardware or complex configuration.

Designed for meeting rooms, classrooms, training spaces, and hybrid collaboration environments, the NC30 helps bridge traditional AV systems with network-based workflows. The NC30's compact form factor and broad compatibility support AV over IP deployments while helping organizations leverage existing AVer technology investments.

Sharp Imaging and Information Company of America (SIICA) has released a new Sharp Displays control plug-in, which enables direct control and monitoring from within the Q-SYS Full Stack AV Platform. The plug-in has received the Q-SYS Verified badge and is now available in Q-SYS Library.

[Cybersecurity: Lock It Down]

"Q-SYS is a widely adopted platform in enterprise and education environments, and this Q-SYS Verified plugin reflects our commitment to meeting customers where they are," said Mark Quiroz, SVP and general manager of Sharp's Professional Display Division. "By integrating Sharp displays directly into the Q-SYS Ecosystem, we're helping integrators deliver consistent, high-quality AV experiences with greater efficiency and confidence."

Developed in collaboration with Q-SYS and supported by Control Concepts, the Q-SYS Verified Plug-in allows integrators to manage key display functions, including power, input selection, audio, brightness, diagnostics, and status monitoring directly from the Q-SYS Full Stack AV Platform. It supports all current Sharp large-format displays, Sharp All-in-One dvLED models, and legacy NEC large-format displays. There is also flexibility to access other display functions using Sharp's expansive control set. This is part of a shift toward simpler integration for partners, making it easier to specify Sharp in projects where Q-SYS is the designated platform.

Alfatron Electronics has unveiled its new 3GSDI-HD SDI to HDMI Converter. This compact and reliable converter enables seamless conversion to HDMI for easy connection to monitors, displays, and projectors without signal loss or latency—making it an ideal solution for use in professional broadcast, AV, and video production applications.

[The Next Chapter of Pro AV]

“The new 3GSDI-HD is a versatile unit that facilitates a variety of signal conversions commonly encountered in today’s application environments, and with its small footprint, the unit can easily be placed just about anywhere," said Tiaan Hoogstad, marketing director at Alfatron Electronics.

Designed to support high-speed signal transmission up to 2.970 Gbit/s, the ALF-3GSDI-HD ensures clear video performance for 720p, 1080i, and 1080p image resolutions. Built to support SMPTE 425M, 424M, 292M, and 259M-C standards, this versatile converter integrates seamlessly into professional SDI workflows.

With its compact form factor, the 3GSDI-HD is an ideal choice for broadcast racks, live events, control rooms, AV integration, and portable production systems. Further, the unit’s integrated SDI loop output also enables users to easily extend or distribute SDI signals to additional displays or equipment.

Extron has introduced the DSC 12G‑HD A and DSC HD‑12G A.These high‑performance 4K/60 scalers are engineered to streamline SDI and HDMI workflows in professional AV, broadcast, and production environments. Designed to support SDI‑to‑HDMI or HDMI‑to‑SDI conversion powered by Extron’s Vector 4K scaling technology, the DSC 12G‑HD A converts 12G‑SDI, 6G‑SDI, 3G‑SDI, and HD‑SDI signals into high‑quality HDMI output, while the DSC HD‑12G A converts HDMI signals into a 12G‑SDI, 6G‑SDI, 3G‑SDI, and HD‑SDI formats.

[Integrators … Mount Up!]

“The DSC 12G-HD A and DSC HD-12G A scalers expand system design options for integrating broadcast-type equipment within professional AV environments,” said Casey Hall, chief marketing officer for Extron. “With our Vector 4K scaling technology and carefully designed audio features, these products deliver the performance, versatility, and advanced functionality required to support many different applications.”

Both video scalers feature audio embedding and de‑embedding, seamless transitions for upstream switching, aspect‑ratio control, and the ability to display logo images. Front‑panel controls, intuitive on‑screen menus, Ethernet and USB configuration, EDID management tools, internal test patterns, and compact 1-inch half‑rack enclosures make them easy to integrate into any system design.

Chief, a brand of Legrand | AV, has released its new TiLED Universal Trim Kits. The new Trim Kits complement the TiLED dvLED mounting ecosystem, giving integrators a fast, repeatable way to deliver a clean, architectural perimeter finish on video wall installations without the cost, lead time, or unpredictability of custom millwork or field-cut alternatives.

[Chief Display Mounts Help Crestron Modernize Its Training Rooms]

“When dvLED video walls are deployed into design-forward spaces, the finishing details are critical,” said David Albright, senior product manager, video wall solutions and services for Chief. “Integrators shouldn’t have to choose between a polished result and a predictable timeline. TiLED Universal Trim Kits give them both.”

As dvLED moves into more design-forward commercial environments, the quality of the perimeter finish has become just as important as the quality of the display itself. Integrators have long faced a gap at project close-out: custom millwork adds cost and lead time, field-cut trim introduces jobsite risks, and manufacturer-specific edge covers lock them into narrow compatibility. TiLED Universal Trim Kits close that gap with an off-the-shelf modular system that installs after the panels are up with no cutting or fabrication required.

TiLED Universal Trim Kits are a modular finishing system comprised of side and top/bottom panels, seam covers, and corner components that work together to elegantly enclose exposed cabinet edges and conceal cabling around dvLED video walls. Because the trim installs as a final step after the display is installed, integrators can finalize the structural installation on their own timeline and add the finishing Trim Kit without redesigning scope or adding days to the schedule. Trim is available as individual components or as pre-configured kits sized for common 27-inch configurations (4x4, 5x5, 6x6, 8x4 and 8x8). Vented top and bottom trim profiles promote passive cooling airflow, protecting display performance and longevity after enclosure.

TiLED Universal Trim Kits are compatible with TiLED Universal mounts, legacy TiLED mounts, and TiLED Off-the-Wall mounting systems (adapter required), as well as other third party and OEM mounts with video wall depth of 3-5.25 inches (76.2-133.35mm). This broad compatibility means integrators working across different project types and mount generations can specify a single trim solution with confidence, reducing the learning curve and jobsite variables across large multi-site rollouts.

TiLED Universal Trim Kits are purpose-built for environments where dvLED installations have high visibility including corporate lobbies, higher education campuses, control rooms, retail stores, hospitality spaces, and government facilities. In each of these settings, a dvLED wall is expected to look finished and intentional whether the display is powered on or off. TiLED Universal Trim Kits deliver that result.

Snapshot:

• Captures 4K Ultra HD at 60 fps with a 1-inch, 50MP CMOS sensor, 20x optical zoom, phase-detect autofocus and optical image stabilization.
• Supports professional workflows with 12G-SDI, timecode, genlock, FreeD camera tracking, SFP+ fiber connectivity and professional XLR audio.
• Ships with Horizon Web for intuitive camera control, image adjustment, intelligent presets, tracking and automation.

Introducing the PTZOptics Rise 4K. This new flagship broadcast PTZ camera brings technology once reserved for high-budget studios within reach of more broadcasters, producers, and production teams by combining cinematic 4K imaging, professional broadcast connectivity and intelligent video technology in a robotic camera designed for sports, broadcast, live events, enterprise studios, universities, houses of worship, and independent productions.

[A Turning Point for AI]

It gives teams a practical way to add high-quality camera angles, expand multicamera coverage and create more polished content without placing an operator at every camera position. “Rise brings together engineering expertise and continuous innovation with a deep understanding of real-world production workflows shaped by years of user input and feedback.," said Matthew Davis, chief technology officer at PTZOptics. "Our goal is to put the imaging quality, precision and advanced capabilities once limited to major broadcast networks and high-budget television studios within reach of more broadcasters, production teams and professional creators.”

At the heart of Rise is a 1-inch, 50MP CMOS sensor that captures 4K Ultra HD video at up to 60 fps. A 20x optical zoom and approximately 71-degree horizontal field of view provide the flexibility to move from wide establishing shots to detailed close-ups. Phase-detect autofocus keeps subjects sharp, while optical image stabilization and smooth brushless motors support stable images and precise, natural camera movement. A built-in three-stage ND filter provides greater exposure control across changing lighting conditions.

Rise provides the connectivity and synchronization required for professional multicamera production. Timecode and genlock keep cameras precisely synchronized, while FreeD support enables integration with virtual production and augmented reality systems.

Video outputs include 12G-SDI for 4K60, 3G-SDI, HDMI and USB 3.0. Network options include NDI HX, RTMP, RTSP, SRT and 12G-compatible SFP+ fiber connectivity. Professional XLR inputs with 48V phantom power, onboard TF card recording and front and rear tally lights complete the production package.

Rise ships with Horizon Web as its standard camera interface, bringing responsive camera movement, image and color adjustment, intelligent presets, tracking, auto-framing and automation into an intuitive browser-based workspace accessible from any device on the same network.

“Production teams are being asked to create more content, cover more events and capture more angles with limited resources,” said Claudia Barbiero, director of global marketing at PTZOptics. “Rise gives them an attainable path to higher-end production, combining broadcast-quality imaging with intelligent tools that help smaller teams accomplish more.”

What to know:

• Absen’s next-generation LED display platform delivers enhanced image quality, greater creative flexibility and improved panel consistency for live events, touring, and broadcast.
• The PL Plus V2X Series delivers significant improvements in visual performance, including brightness up to 1,200 nits.
• Designed with rental companies, production team, and system integrators in mind.

Absen has unveiled the PL Plus V2X Series, the latest evolution of its Polaris Series for indoor rental and staging applications. Built for rental companies, production team, and system integrators, the PL Plus V2X Series is engineered to meet the demands of live entertainment, corporate events, touring productions and broadcast environments.

[No Drawing Required]

The new PL Plus V2X Series delivers enhanced visual performance, expanded creative flexibility, and improved panel-to-panel consistency for today's live events, touring, corporate productions, and broadcast environments.

“The PL Series has become one of the most trusted LED platforms in rental and staging because it consistently delivers the performance and reliability our customers need,” said Emily Chan, president of Absen. “With the PL Plus V2X Series, we've enhanced many aspects of the platform, including image quality and color accuracy, giving production teams even greater confidence to deliver exceptional visual experiences for live events, touring, corporate productions and broadcast applications.”

The PL Plus V2X Series delivers significant improvements in visual performance, including brightness up to 1,200 nits, a 95% DCI-P3 wide color gamut and a 7,680 Hz refresh rate that provides smooth on-camera performance while reducing flicker, even at low brightness levels. Together, the enhancements of the PL Plus V2X Series produce vibrant, lifelike imagery for both live audiences and broadcast applications.

Designed to support a wide range of creative display configurations, the PL Plus V2X Series includes flat, curved, L-shaped and flexible panel options that enable event professionals to build custom stages, immersive environments and architectural LED installations. Through same-batch LEDs and color-matched mask controls during manufacturing, Absen further improves panel-to-panel uniformity, helping deliver seamless visual performance across large LED canvases. 

MultiDyne Video & Fiber Optic Systems is set to unveil its next-generation VersaFrame VF-9100 fiber transport platform on a global scale. The platform, first introduced at NAB Show 2026, brings a modernized infrastructure solution to broadcasters, production companies, systems integrators, and AV professionals. Building on its globally deployed VersaFrame platform, the VF-9100 delivers greater operational flexibility, expanded modularity, and native integration capabilities that simplify today's increasingly complex hybrid SDI/IP workflows.

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

"The VF-9100 is much more than an incremental update," said Jesse Foster, director of strategic accounts and products, MultiDyne. "We've modernized the platform to better support the way broadcasters and production professionals build facilities today, adding RESTful API integration while expanding the platform with new modular cards for audio, serial data and timing applications. Customers gain a more flexible infrastructure that is easier to deploy, manage and scale as their workflows evolve."

The VF-9100 introduces a redesigned hardware architecture, expanded processing capacity and native RESTful API support for seamless integration with modern network management and facility control systems. Engineers can now automate monitoring, configuration and diagnostics through a unified interface, making the platform an ideal fit for software-defined production environments and IP-based media infrastructures.

The platform also introduces an expanding family of modular I/O cards, including new modules for audio, serial data and combined genlock/timecode synchronization. Unlike previous multiplexed architectures, the VF-9100's flexible per-fiber connectivity allows engineers to configure individual signal paths without requiring multiplexing, simplifying installation while providing greater deployment flexibility across broadcast, production and professional AV environments.

Additional hardware enhancements include improved card guides for easier servicing, higher-capacity internal power supplies for future module expansion, and enhanced rack-mount options that simplify deployment in mobile production trucks, flypacks and fixed facilities. Like its predecessor, the VF-9100 continues to support high-density signal transport, carrying up to 18 signals over a single fiber—or 36 signals in dual fiber configurations—while maintaining compatibility across SDI and IP workflows.

Executive Summary

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

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

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

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

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

Building a Robust Gear Pack

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

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

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

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

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

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

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

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

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

Building a Seven-meter Cube Beneath Mo’orea

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

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

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

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

Monitoring at Depth with the Sennheiser HD 300 PRO

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

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

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

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

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

Sennheiser MKH 8020 Bridges Two Worlds

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

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

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

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

Other Worldly

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

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

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

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

Details:

• PPDS introduced the the new 16:9 Philips Unite LED 3000 Series.
• It is available in four pixel pitch options: 0.9, 1.2, 1.5, and 1.8mm, providing flexibility in different environments.
• The hardware features an IP54 ingress protection rating on the front to resist dust and water, with an IP31 rating on the back.

PPDS launched the Philips Unite LED 3000 Series. This new 16:9 dvLED range lineup was engineered to bring high-performance LED technology to a broader spectrum of businesses, eliminating the trade-off between cost, reliability, and visual quality.

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

“At PPDS, we believe premium visual experiences should be accessible to all,” said Jeroen Brants, global product director for LED displays at PPDS. “The Philips Unite LED 3000 Series has been designed from the ground up to deliver exceptional performance, flexibility, and value.”

Designed for versatile deployment, the 3000 Series is available in four pixel pitch options: 0.9, 1.2, 1.5, and 1.8mm, ensuring optimal solutions for varying viewing distances and application needs. The 0.9, 1.2, and 1.5mm models deliver a brightness of 600 nits and a 3840 Hz refresh rate. For more demanding environments, the 1.8mm model offers enhanced performance with 1000 nits brightness and 7680 Hz refresh rates, ensuring flicker-free, seamless visuals across indoor environments—from corporate boardrooms and education settings to dynamic retail and transportation hubs.

The series leverages advanced common cathode technology, which is central to the displays' energy efficiency, structural stability, and color accuracy. With a 96% color gamut, the 3000 Series is optimized for precision, ensuring vibrant colors and deep blacks. Beyond visual fidelity, the common cathode approach significantly reduces power consumption. When paired with adaptive brightness capabilities that respond to ambient light, the displays offer a lower total cost of ownership and extended operational lifetimes compared to traditional common anode models.

Reliability remains a key pillar of the new line. The hardware features an IP54 ingress protection rating on the front to resist dust and water, with an IP31 rating on the back. Maintenance is streamlined for end users via a smooth, easy-to-clean surface. Modules can be quickly removed using a supplied T-hex tool, allowing for efficient servicing of internal components, including power supplies and hub boards.

What to know:

• The Platinum P0.7 combines next-generation Chip-on-Board (COB) MicroLED technology, true 10-bit HDR, ultra-high refresh rates, advanced video processing, and specification-matched system design to deliver extraordinary large-format image performance.
• Designed for both luxury residential and commercial installations.
• The Platinum P0.7 is an immersive, large-format viewing experience.

DreamWall is set to debut its U.S.-based MicroLED video wall brand when it showcases the Elite Series Platinum P0.7 at CEDIA 2026 this September. Engineered for luxury residential and commercial AV applications, the Platinum P0.7 combines next-generation Chip-on-Board (COB) MicroLED technology, true 10-bit HDR, ultra-high refresh rates, advanced video processing, and specification-matched system design to deliver extraordinary large-format image performance.

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

The Elite Series Platinum P0.7 is DreamWall’s most advanced display to date, delivering enhanced clarity, color, contrast, and detail in dedicated theater environments. However, its high brightness and low-reflective screen surface make it equally compelling in the home as it is in media spaces and other brightly lit environments, maintaining vivid, uncompromised image quality even in challenging ambient light.

At the heart of the Platinum P0.7 is an advanced imaging architecture featuring next-generation processing electronics and precision-engineered modular cabinets with dual high-performance data receiving and processing technology. Combined with its ultra-high refresh rate and true 10-bit HDR performance, the system delivers exceptionally smooth, detailed, and lifelike imagery across an expansive viewing surface.

Yorkville Sound has launched the EL24S powered subwoofer. The newest addition to Yorkville’s Elite series, the EL24S has the distinction of being the first 24-inch powered subwoofer for live sound reinforcement. This new product continues the reinvention of the Elite series, which introduced the EL12M monitor, EL15P speaker, and EL18S and EL21S subwoofers earlier this year.

[AI at the Edge]

“The 24-inch driver offers significantly greater cone area and displacement capability than traditional large-format speakers,” explained Darren Butt, PA product specialist at Yorkville Sound. “It combines exceptional power handling and sound pressure levels with low distortion, and because the larger diaphragm requires less excursion to achieve the desired output, the lower mechanical stress improves long-term reliability. Most importantly, it provides a unique depth and fullness of bass that we believe sets a new standard for professional sound applications”

The EL24S offers 5000 watts of peak power (2500 program), a neodymium driver with a 6.5-inch voice coil, onboard limiting, full-range inputs, full-range and high-passed outputs, and powerCON TRUE1 compatible power connectors.

Details:

• Odyssey combines sound, workflow, and tactile experience of a analogue console with complete Instant Recall.
• Every Odyssey channel combines SSL’s analogue tools.
• Powered by ActiveAnalogue technology, every parameter benefits from ultra-high-resolution digital control operating transparently behind the scenes.

Solid State Logic (SSL) recently unveiled Odyssey, a large-format recording and mixing console powered by SSL’s ActiveAnalogue technology. Odyssey combines sound, workflow, and tactile experience of a analogue console with complete Instant Recall, expanding SSL’s Future Analogue platform and joining the recently released Oracle console.

[An AI Future]

Odyssey removes one of the last remaining barriers in analogue production: slow, disruptive, and potentially inaccurate recall. Engineers can instantly restore, compare, revise, and switch between complete console states, transforming how tracking, overdubbing, mixing, stem creation, immersive production, and client revisions are handled.

“With Odyssey, we’ve taken the revolutionary analogue Instant Recall philosophy first introduced with Oracle and expanded it into a no-limits modular console platform with full channel processing and Large and Small Fader,” said Niall Feldman, director of special projects. “Odyssey gives engineers everything they love about analogue sound and workflow of a familiar in-line console, while removing the compromises that have historically slowed large-scale productions. It’s a console designed to move at the speed of creativity.”

Powered by ActiveAnalogue technology, every parameter benefits from ultra-high-resolution digital control operating transparently behind the scenes. This patented technology preserves the sonic advantages of SuperAnalogue signal flow while avoiding the noise, distortion, and power consumption associated with older digitally controlled analogue systems, including those that rely on noisy circuitry or low-resolution digital potentiometers. With ActiveAnalogue, engineers experience the immediacy and responsiveness of a traditional analogue SSL console while gaining the ability to instantly recall precise settings across large-scale productions. Entirely analogue in sound and feel, Odyssey enables studios to work at the pace of the music, the artist, and the moment, without sacrificing the scale, depth, or musicality that define SSL.

Every Odyssey channel combines SSL’s analogue tools, including PureDrive microphone preamplifiers with DRIVE control, fully analogue dynamics, switchable E and G Series EQ, assignable high pass and low pass filters, insert points, and motorized dual-fader control. Odyssey delivers the sonic quality expected from a flagship SSL console. From pristine, reference-grade accuracy to warm, driven character, it provides a broad analogue palette while enabling complete console recall without compromising workflow or creativity.

Details:

• Violet Audio US introduced the DX16B 16-channel passive audio splitter and the io44 four-channel XLR-to-Ethercon adapter.
• Together, they provide a scalable analog infrastructure that moves four balanced audio channels over a single shielded Cat5e or Cat6 cable while preserving signal quality.
• The system integrates easily into existing workflows while providing a simple, dependable alternative to traditional analog snake systems.

What to know about the DX16B 16-channel passive audio splitter and the io44 four-channel XLR-to-Ethercon adapter.

Violet Audio US unveiled its DX16B 16-channel passive audio splitter and the io44 four-channel XLR-to-Ethercon adapter, a flexible analog transport and distribution system that enables engineers to move balanced microphone and line-level audio over inexpensive shielded Cat5e or Cat6 cable while reducing installation costs, cable bulk, and setup time.

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

Designed for live sound, broadcast, installed AV, and recording applications, the DX16B and io44 transport professional analog audio without power supplies, digital conversion or active signal processing. Built around Violet Audio's Pure Path passive architecture, the system preserves the original microphone signal while simplifying routing between consoles, recording systems and broadcast feeds.

The DX16B accepts microphone inputs and simultaneously distributes them through front and rear-panel XLR connectors, dual DB25 connectors and four Ethercon ports. The io44 connects four balanced audio channels over a single Cat5e/Cat6 cable via either female or male XLR jacks.

Operating bidirectionally and requiring no external power, the io44 provides an economical way to transport professional analog audio through conduit, walls and across large venues using readily available structured cabling.

The DX16B simultaneously distributes microphone signals to front-of-house, monitor, broadcast, and recording systems through XLR, Ethercon and DB25 connections. Its passive design maintains signal integrity while replacing bulky analog snakes and eliminating the expense and complexity of powered distribution systems.

Together, the DX16B and io44 provide a scalable analog infrastructure that moves four balanced audio channels over a single shielded Cat5e or Cat6 cable while preserving signal quality. By replacing bulky analog multicore snakes with standard Ethernet cabling, the system reduces installation costs, minimizes stage clutter, and speeds deployment for both temporary productions and permanent installations.

Product details:

• The new V Series Five Studio Monitors is the latest evolution of the company’s flagship professional reference monitor line, combining KRK’s accuracy and translation with new wireless control capabilities and advanced acoustic tuning tools designed for today’s production environments.
• Engineered for professional recording, mixing, and immersive audio applications, the V Series Five lineup introduces KRK Mesh technology, enabling wireless control of the monitors via the KRK Control App.
• The series is available in three models.

Introducing the V Series Five Studio Monitors

KRK launched its new V Series Five Studio Monitors, the latest evolution of the company’s flagship professional reference monitor line. Building on more than four decades of innovation, this fifth-generation V Series combines KRK’s accuracy and translation with new wireless control capabilities and advanced acoustic tuning tools designed for today’s production environments.

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

“The V Series has long been KRK’s flagship studio monitor, trusted by engineers and producers around the world for its precision and reliability,” said Andrew Ladner, KRK marketing manager. “V Series Five builds on that legacy, delivering the sonic accuracy for which V Series is known, while evolving to meet the demands of today’s modern workflows. The latest generation represents a significant leap forward in both performance and functionality.”

Engineered for professional recording, mixing, and immersive audio applications, the V Series Five lineup introduces KRK Mesh technology, enabling wireless control of the monitors via the KRK Control App. This gives professionals the ability to wirelessly manage monitor settings directly from a mobile device, including adjusting system settings, comparing EQ profiles, managing levels, and optimizing performance after installation without physically accessing the speaker. Whether configured as a stereo pair or as part of a larger Dolby Atmos system, the monitors can be controlled individually or grouped together.

The series features custom-designed transducers, including woven Kevlar woofers housed in cast aluminum frames and optimized for low distortion and linear low-frequency performance. Additionally, a specially engineered one-inch silk dome tweeter provides detailed high-frequency reproduction, while an integrated waveguide enhances off-axis consistency and imaging.

At the core of the system is a premium electronics platform that incorporates ESS converters, Analog Devices DSPs, and Pascal Class D amplifier modules. Each monitor delivers 280 watts of power to the low-frequency driver and 175 watts to the high-frequency driver, which ensures exceptional headroom, dynamic response, and faithful reproduction across a wide range of production scenarios.

The V Series Five also provides extensive room-optimization capabilities. Users can access 49 preset Boundary EQ combinations and seven fully parametric PRO EQ filters to tailor performance to virtually any acoustic environment. Three user presets can be stored and instantly recalled, which makes it easy to compare tuning profiles or adapt to different production needs.

The series is available in three models. The compact V4 features a four-inch woofer and frequency response extending from 48 Hz to 40 kHz, with a maximum of 113 dB SPL. The V6 incorporates a 6.5-inch woofer, extends low-frequency performance to 40 Hz, and delivers up to 118 dB SPL. The largest model, the V8, has an eight-inch woofer, frequency response down to 32 Hz, and peak output of 121 dB SPL, making it ideal for demanding mixing and mastering environments.

Additional professional features include an optimized front-ported bass-reflex enclosure design, NEUTRIK combo XLR/TRS connectivity, support for both analog and AES3 digital inputs, user control over standby mode, ground lift, input sensitivity, and an illuminated logo indicating that the device is powered on. Each monitor also has a removable protective grille and integrated mounting points for installation applications.

Details:

• KTC becomes a preferred NDI technology provider for display solutions, with early access to NDI's toolkit for embedding professional-grade IP video directly into hardware.
• The companies will integrate NDI-enabled IP video capabilities into KTC's commercial display, digital signage, and interactive panel product lines.
• "Working closely with the NDI team gives our R&D organization direct visibility into their technology roadmap as we build the next generation of KTC display products."

NDI and KTC Partnership: What to Know

NDI and Shenzhen KTC Technology ("KTC") now have a strategic partnership that will bring NDI technology to a wide range of new display products. Under the agreement, KTC becomes a preferred NDI technology provider for display solutions, with early access to the NDI Advanced SDK ("ASDK")—NDI's toolkit for embedding professional-grade IP video directly into hardware—accelerating development of next-generation, network-native commercial displays.

"NDI-native displays have proven themselves across demanding production environments where teams already rely on manufacturers to see NDI content as it's being created, and KTC is showing what that same capability can do for signage, corporate and education audiences," said Miguel Coutinho, head of NDI. "KTC is one of the largest display manufacturers in the world, and this collaboration is about making it easier for NDI-native displays to reach a much broader market, particularly across Pro AV, where demand for NDI-enabled displays is growing significantly. Giving KTC's engineering teams early access to our SDK and roadmap means IP video connectivity can be designed into their products from the ground up, rather than added on afterward."

Together the companies will integrate NDI-enabled IP video capabilities into KTC's commercial display, digital signage, and interactive panel product lines, making it easier for customers to deploy network-based video workflows without the cost and complexity of traditional point-to-point AV infrastructure.

"NDI has become the standard that our customers expect for network-based video, and this partnership lets us bring that capability into our display portfolio faster and more consistently," said Robert Chen, general manager of commercial display BU, Shenzhen KTC Technology. "Working closely with the NDI team gives our R&D organization direct visibility into their technology roadmap as we build the next generation of KTC display products."

What to know about NanoBanner:

• 72-inch diagonal portrait LED display has been engineered as a plug-and-play digital signage solution.
• Roll out: NanoBanner is mobile, designed to deliver digital content to applications that have traditionally relied on static pull-up banners.
• NanoBanner supports a range of deployment scenarios with up to five displays can be positioned side by side.

Nanolumens Unveils NanoBanner for Mobile Digital Signage Deployments

Introducing NanoBanner from Nanolumens. This 72-inch diagonal portrait LED display has been engineered as a plug-and-play digital signage solution. Intended for retail stores, corporate lobbies, trade shows, exhibitions, and other high-traffic environments, NanoBanner combines a familiar portrait form factor with integrated mobility, wireless content management and durable construction.

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

"Organizations are looking for signage that is easier to update, more engaging for their audience and adaptable across multiple environments," said Kurt DeYoung, chief revenue officer for Nanolumens. "NanoBanner provides the familiar footprint of a traditional pull-up banner while offering users the flexibility to display motion graphics and update messaging remotely, while being able to reposition the display as needs change. NanoBanner allows organizations to extend digital signage into spaces where installing a permanent display may not be practical."

NanoBanner is a mobile LED display designed to deliver digital content to applications that have traditionally relied on static pull-up banners. Featuring a built-in rolling base, NanoBanner plugs into a standard electrical outlet and supports content delivery through Wi-Fi, local area network, and USB, allowing organizations to update messaging without replacing printed materials. NanoBanner's slim 1.5-inch profile enables placement in entrances, corridors and other space-constrained environments where traditional banner stands are commonly used.

Designed for public-facing environments, NanoBanner features standard Glue-On-Board (GOB) protection to improve durability in high-traffic locations. Available in 1.5mm and 1.9mm pixel pitch options, NanoBanner delivers up to 800 nits of brightness for clear visibility across a range of indoor lighting conditions. The NanoBanner's front-service access further simplifies maintenance while reducing service requirements.

Beyond standalone digital signage, NanoBanner supports a range of deployment scenarios. Up to five displays can be positioned side by side to create a seamless mobile LED canvas measuring up to 138 inches diagonally for presentations, event backdrops and larger visual displays. The removable trim helps create a continuous image across multiple units while maintaining the flexibility to separate and relocate displays as needed. In addition to the included rolling base, NanoBanner also supports wall-mounted and suspended installations using separately available mounting solutions.

NanoBanner also supports centralized content management, allowing organizations to remotely schedule content, monitor display status and manage multiple units across different locations. NanoBanner enables both real-time synchronized playback and offline playback, making it suitable for retail promotions, wayfinding, corporate communications and temporary event installations.

Introducing Extron's new DTP3 T 321 4K/60 USB-C DTP3 Transmitter. Designed to simplify long-distance USB-C extension, the new DTP3 T 321 sends video, audio, data, power, and bidirectional RS-232 signals up to 330 feet (100 meters) over a single shielded CAT 6A cable.

[SCN Top AV Consultants 2026]

The transmitter features a USB-C input, local HDMI output, and two USB device ports. It supports video resolutions up to 4K/60 with 4:4:4 color sampling, EDID Minder, and HDCP 2.3. All supported video resolutions are delivered without compression for maximum image quality and minimal latency. Supporting local USB connections with 10 Gbps data rates and providing remote power for DTP3 receivers, the new transmitter facilitates integration in demanding professional environments.

“The DTP3 T 321 makes it easier than ever to connect and power USB-C devices in professional AV environments,” said Casey Hall, chief marketing officer for Extron. “By combining long-distance signal extension, device charging, and USB connectivity, it streamlines integration while maintaining exceptional performance.”

The DTP3 T 321 enables the reliable, long-distance transmission of USB-C DisplayPort alt-mode video supporting Deep Color, 3D, and embedded HD lossless audio formats. The USB-C input supports the three functions of video/audio, USB data, and device charging over a single cable. This all-in-one connection eliminates the need for laptops to have a separate power or USB data connection and streamlines the user experience with a single cable. The DTP3 T 321 provides 60 watts of standard device charging power, and up to 100 watts with the addition of the UPI 100 power inserter.

I reviewed the first OpenMeet UC early last year. I liked the overhead headset, particularly the sound for a bone conduction model, but I joked it wasn’t a good choice for exercise. Why? While it was certainly lightweight and flexible, it wasn’t particularly secure—even Shokz officials admitted that to me at InfoComm 2026. Basically, a quick shift or a hearty sneeze could shift them out of place.

So, one of the big upgrades for the new OpenMeet 2 UC model is … stability. Gone are the replaceable pressure relief cushions near your temples (I didn’t think they did much, anyway). Instead, the “GlideFit” headband now includes two flexible, plastic extensions that gently grip your head slightly above your ears. Much better. You can still knock the headset out of position if you’re a serious headbanger and set your mind to it; for those of us who work in an office and don’t try to intentionally sprain ligaments, there should be no problem keeping it in place.

Built around a free-form titanium frame, with memory foam covered in synthetic leather for the portion that sits atop your head, the new model is still very lightweight and flexible. I'm not going to say you'll forget it's on, but it's not heavy and can be easily adjusted. The headset frame is angled near your ears, so it doesn’t interfere with glasses.

Out of the Box

The OpenMeet2 UC ships with a sturdy carrying case that has dedicated areas for the headset as well as the included USB-C charging cable and dongle. You have to sort of twist the headset like a pretzel to get it to fit, but it'll be well protected once it's in there. I tested the USB-C dongle, but you can also select a USB-A dongle or skip the dongle altogether to save a few bucks.

Shokz says the headset supports up to 12 hours of talk or 16 hours of listen time. I received my evaluation unit on a Tuesday, charged it to maybe 90%, and used it off and on for the rest of work week without issue, so battery life isn't a concern. Plus, a five-minute quick charge will give you two hours of talk time. Bluetooth range was fine as well.

Controls are pretty simple. The mute button at the end of the mic boom doubles as an access point for your voice assistant when you’re not on a call, while a button on the other end of the boom answers, ends, and rejects calls. You can also flip the boom up to mute.

And then there’s multifunction button at the top of the right earpiece. (No, you can’t swing the mic for use on the left side.) It’s your power and Bluetooth pairing button, but you can also pause your music and move forward/backward on your playlist with the proper number of clicks. You can even spin the thing to adjust your volume, though up is counterclockwise, which feels like the exact opposite of what it should be.

Audio performance is very, very good on the OpenMeet2 UC. It features Shokz DualPitch technology for less vibration—and I will tell you the vibration sensation, which can be a distraction for some bone conduction product users, is basically gone. I cranked up several songs and finally, barely got the driving guitar of "California" from Big & Rich to create a minor vibration. That's a big win, Shokz.

EQ and Other Options

I downloaded the Shokz app—a firmware update was available, what are the odds—and while it’s certainly not essential for using the headset, it does provide battery status and several personalization options. For example, you can swap out the voice prompt for a tone (or select none) as well as change the prompt volume and language. The default time for auto power off is four hours, but you can make that stretch of time longer or shorter, depending on your work style.

You also have a choice of three built-in audio settings—Standard, Voice, and Bass Boost—as well as a customizable EQ. Ella Langley’s “Choosin’ Texas” sounded most balanced in the Standard setting; Vocal was just fine, but Bass Boost sounded like she was singing from the bottom of a well. Standard also gave me much better results for Billy Joel’s “Zanzibar,” which sounded a bit muddy in Vocal mode and garbled in Bass Boost mode. Your ears may disagree, but the takeaway here is that the OpenMeet2 UC gives you plenty of personalization options through the app, so you can make the most of your music and phone calls.

Speaking of phone calls, I tried the OpenMeet2 UC on a few with no complaints. Audio was very clear on my end, and I was told I sounded clear as well. No problems with videoconferences on my end, though I was told by some folks that I sounded clear but “tinny” during our conversations. An LED on the right earpiece turns red when you’re on a call and illuminates in other colors to indicate charging status and more.

I'm still not going to recommend this as an exercise headset—if that's what you're shopping for, you'll be much happier with Shokz's OpenRun Pro 2. Of course, the OpenMeet2 UC is designed for the office, not the gym, and it gets high marks in that area. If you want an overhead headset that provides environmental awareness, the OpenMeet2 UC will give you lightweight, stable comfort and excellent audio reproduction.

Details:

• BT 100 AT D Bluetooth Dante Audio Interface wall panel integrates Bluetooth devices into a Dante-enabled audio system. 
• It also supports stereo audio playback from a range of Bluetooth-enabled devices.
• It can be powered through PoE, allowing a single network cable connection from a central equipment rack for bidirectional audio, control, and power.

Introducing a New Extron Wall Plate

Extron introduced the new BT 100 AT D Bluetooth Dante Audio Interface for integrating Bluetooth devices into a Dante-enabled audio system. This easy-to-use wall panel allows a Bluetooth-enabled cell phone to be used as the communication device in a conferencing system. It also supports stereo audio playback from a range of Bluetooth-enabled devices.

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Flexible control for device pairing, volume, and media playback is available using the front panel buttons, RS-232, or the Dante network connection. The BT 100 AT D interfaces with any Dante‑equipped audio processor, such as an Extron DMP Plus Series AT Model, over a standard local area network. It can be powered through PoE, allowing a single network cable connection from a central equipment rack for bidirectional audio, control, and power.

"With BYOD being a popular way to connect calls into a conferencing system, the BT 100 AT D provides an easy-to-use solution for flexible meeting spaces," said Casey Hall, chief marketing officer at Extron. "By providing a bridge between the huge installed base of Bluetooth-enabled BYOD devices and the scalability of Dante, this new interface offers a convenient solution that matches the needs of today's workkplace."

With the BT 100 AT D, any Bluetooth equipped cell phone can be used for audio conferencing in the system. This can be useful when transferring from an existing cell phone call to the conference room or when it's more convenient to initiate the conference from the cell phone's contact list. The Bluetooth connection can also be used to play back program material from a cell phone or tablet on the room's speaker system.

The skinny: Theory Professional released five new amplified loudspeaker controllers, with features including:

• Proprietary Theory Loudspeaker presets
• Native Dante & AES67 Audio over IP networking
• All-channel power sharing
• Three configurable 1Gb network ports with 1x PoE
• Easy swap USB key amplifier restore
• Maritime compliance

What to Know about the New Amplified Loudspeaker Controllers

Theory Professional has introduced five new amplified loudspeaker controllers. Adding to its DLC Series loudspeaker controller line-up, the 8-channel DLC-1500.8d delivers a massive 6000W in a 2U chassis. The brand-new PLC series, comprised of two 8-channel and two 4-channel models, leverages Powersoft’s patented Class-D amplification topologies, SmartRail energy-management power supplies, Power Factor Correction, and advanced DSP architecture to bring Theory’s premium sound into complex residential, professional, large venue, and live sound applications.

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Capable of delivering 1500W into 4 or 8-ohms from any channel pair, or 800W into 2 or 4-ohms all channels driven, DLC-1500.8d packs new levels of power into minimal rack space. Equipped with upgraded high-current output Euroblock connectors that accept up to 10-gauge wire and 4-channels of Dante / AES67 audio-over-IP digital I/O, DLC-1500.8d makes setting up and deploying even complex distributed audio systems painless and bullet-proof. DLC-1500.8d can drive up to 32 Theory 16-ohm loudspeakers in Lo-Z mode, or over 300 direct in Hi-Z mode, with no internal transformer required.

DLC-1500.8d can be configured with the DLC on-board web interface accessible via wired Ethernet, or via its on-board Wi-Fi access point and includes matrix mixing, priority audio routing and ducking, parametric EQ, delay, gain, and limiter DSP objects to make system optimization easy. Full API and modules for AMX, Control4, Crestron, Crestron Home, ELAN, Josh.ai, Q-SYS, RTI, and Symetrix are available.

Combining high-quality amplification with advanced DSP capabilities, plus PoE give PLC users exceptional sound reproduction and precise control. PLC 4 and 8 channel loudspeaker controllers are compact (only 1RU) but extremely power dense. They are reliable, scalable, provide exceptional sound reproduction, and offer advanced DSP capabilities. Add in Theory’s proprietary loudspeaker presets and you get big, clean, high-fidelity, sound for large-formant and even portable applications.

The four new Theory PLC loudspeaker controller models include: PLC-4K8 with eight channels and 500W per channel; PLC-8K8 with eight channels and 1,000W per channel; PLC-9K4 with four channels and 2,250W per channel; and PLC-16K4 and channels and 4,000W per channel.

Earlier this summer, Planar introduced two new engineering breakthroughs with the launch of Planar EverPixel and Planar TruMicro LED technologies. Unleashing Planar's next evolution of display performance, both technologies are designed and manufactured with a proprietary process exclusively from Planar.

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“Planar has long been a proven technology pioneer and has an unmatched history of bringing groundbreaking technologies to market,” said Sidney Rittenberg, chief executive officer at Planar. “Today, this continues with the release of our new proprietary EverPixel and TruMicro technologies, driving the most advanced MIP development and delivering the next LED technology surpassing COB.”

Building on the MicroLED in Package (MIP) architecture and working in combination with Planar’s TruMicro, EverPixel technology eliminates the LED substrate and delivers manufacturing efficiency through fewer parts, processes and components. Exclusively from Planar, the technology doubles the number of red, green, and blue (RGB) subpixels, providing a solution with built-in redundancy that effectively eliminates the concern of pixel outages and powers everlasting LED performance.

Planar’s proprietary TruMicro LED technology introduces LED RGB subpixels that are significantly smaller. Comprising MicroLED subpixels as small as 20 micrometers (μm), and reducing height and positioning the subpixels tightly together, TruMicro improves the uniformity of mixing and delicacy of color blending, nearly eliminating color separation or color shift concerns. It also enables enormously enhanced viewing angles.

Together, these innovations ensure optimal chip performance at the packaging level by mounting substrate-free, common-cathode RGB flip chips. Through advanced mass transfer soldering directly onto the packaging substrate, Planar achieves innovative subpixel accuracy. By controlling chip offset to within 2μm, the spacing between subpixels is greatly reduced, resulting in a more seamless, high-resolution visual quality.

Together, EverPixel and TruMicro technologies fit into an extremely small package with the capability to support pixel pitches smaller than 0.4mm.

Yamaha recently unveiled the latest evolution of its DXR line. Introducing the new DXRmk3 Series Powered Loudspeakers, designed for DJs, musicians, production professionals, rental providers, and venues. The third-generation series delivers higher output, enhanced sound quality, app-based control and advanced DSP processing in a powerful, portable package.

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"Today's audio professionals need loudspeakers that deliver exceptional sound quality while simplifying setup and operation," said Andres Franco, senior product marketing specialist, Pro Audio, Yamaha. "With DXR mk3, we've combined powerful acoustic performance, flagship-inspired DSP technology and app-based control with D-Remote to help users achieve outstanding results quickly and consistently. Whether they're performing on stage, managing a live event or installing a permanent system, DXR mk3 delivers the clarity, control, and reliability professionals expect from Yamaha."

Featuring a new 2,000W Class-D amplifier, up to 134 dB SPL output, and intuitive speaker control for live events, performances, and fixed installations, the DXR mk3 delivers exceptional power and flexibility. New Bluetooth connectivity and a full-color LCD interface allow users to manage, tune, and adjust up to 10 speakers from a single mobile device, streamlining setup and operation. Users can quickly recall room-specific presets, access feedback suppression tools, and make real-time adjustments, helping musicians, DJs, and audio crews adapt seamlessly to changing venue conditions.

Additional highlights include balanced, high-performance sound with enhanced HF and LF coverage; DSP presets optimized for FOH, monitors, DJs, live music, and speech; built-in feedback suppression and tuning tools; a lightweight, durable enclosure for easy transport; and flexible use for mains, monitors, and installations.

Yorkville Sound recently unveiled its new EXM Pro6 and EXM Pro8 loudspeakers. These two new additions to the EXM Pro battery-powered loudspeaker family are designed for musicians, presenters, educators, and event professionals who require professional sound in a highly portable, battery-powered format. With up to 12 hours of battery life, integrated mixing and effects, and simple plug-and-play operation, the EXM Pro6 and EXM Pro8 make it easy to perform, present, or play music virtually anywhere—even without access to AC power.

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“The EXM Pro6 and EXM Pro8 were designed to provide mobile performers with the same professional features and flexibility found in larger systems, but in incredibly portable formats,” said Darren Butt, pro audio product specialist at Yorkville Sound. “Whether you're a solo musician, public speaker, fitness instructor, educator, or event professional, these speakers provide outstanding sound quality, integrated mixing capability, and long-term battery operation in packages that are easy to transport and quick to set up.”

The EXM Pro6 is the most compact model in the EXM Pro lineup, offering exceptional portability in a lightweight design that can go wherever the gig takes you. For users who need greater low-frequency performance while maintaining easy transport, the EXM Pro8 features an 8-inch neodymium woofer that delivers deeper bass response without sacrificing portability.

Both models feature a built-in three-channel mixer with integrated effects, Bluetooth audio streaming, wireless stereo linking, and a USB charging port for mobile devices, providing a complete all-in-one sound solution for performances, events, presentations, and playback applications.

Extron recently introduced its new NetPA Ultra FX Series. These eight and four-channel configurable output audio power amplifiers include Dante connectivity and audio DSP. Dante connectivity makes it easy to distribute audio from a centralized location to decentralized remote amplifiers throughout a facility, building, or campus using standard network hardware. Integrated audio DSP allows any NetPA Ultra FX amplifier to operate as a complete endpoint with dynamics processing and filters.

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The NetPA Ultra FX Series is software configurable to support large systems with multiple speaker types by simultaneously driving 8 ohm, 4 ohm, 70 volt, and 100 volt loads. For maximum flexibility, the total power of two adjacent channels is shared, delivering up to 800 watts per single channel, according to model and system requirements. The series also features Extron InstaWake technology, offering the ability to return to full power from standby in under 50 milliseconds to ensure no part of the audio is ever cut off.

“As soon as the XPA Ultra FX amplifiers were introduced, we started getting requests for Dante versions,” said Casey Hall, chief marketing officer for Extron. “These amplifiers provide our customers with the high-powered, networked audio solutions they need now.”

With a new design, network audio support, and audio signal processing, the NetPA Ultra FX amplifier is designed for networked, multi‑zone applications requiring mixed speaker types and power levels.

Daktronics has expanded its on‑premises digital signage portfolio with a see‑through LED window displays. With applications spanning retail stores, convenience stores, gas stations, quick‑serve restaurants, and shopping center environments, the solution is intended to replace static window clings and posters with flexible digital content that can be updated quickly to match promotions, dayparts, and seasonal campaigns.

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Designed for interior, window‑facing installation, see‑through LED window displays allow businesses to deliver bright, exterior‑facing digital messaging through storefront glass while preserving natural light, visibility and an open in‑store experience. See‑through LED window displays are available in window‑friendly portrait formats designed to fit common storefront applications. Standard sizes include 55‑inch and 70‑inch displays, allowing businesses to select the right scale for their space and messaging needs.

“For many brick-and-mortar businesses, the storefront window is one of the most underused communication spaces,” said Bill Hadsell, product manager, solutions development, at Daktronics. “See‑through LED window displays are purpose‑built for that space, helping brands influence customers before they walk in while maintaining a positive in-store experience by allowing daylight to shine through it.”

Displays can be installed as individual units or connected side by side to create a wider digital canvas across larger window areas, providing flexibility for different storefront layouts without changing the core system. Content is scheduled and managed using Venus Control Suite, Daktronics centralized digital signage software, allowing operators to update messaging across one or multiple locations without reprinting signage. This flexibility supports timely promotions, limited‑time offers and consistent brand messaging across distributed retail and restaurant networks.

Jabra expanded its Evolve3 range with three new additions designed to deliver consistent call quality across desk-based, open-office, and hybrid or flexible workstyles. The new Evolve3 65 Flex, Evolve3 65, and Evolve3 45 provide professional voice pickup, in-call ANC, and audio optimized for AI-powered collaboration tools to a broader range of users.

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“The way people work has changed dramatically, but many companies are still trying to solve every communication challenge with the same headset,” said Calum MacDougall, president at Jabra. “Desk-based callers, open-office professionals and hybrid workers all face different communication demands and design requirements. When audio performance doesn’t match how people work, it becomes harder to deliver a consistent call experience across the workforce, which impacts both conversations and AI tools increasingly built around voice.”

The new models include a compact, foldable boomless design for hybrid workers and two boom-arm versions optimized for in-office workers in noisy environments, helping organizations better match headset choice to how people actually work.

As voice becomes a more important input not just for meetings but also for AI tools such as speech-to-text, meeting summaries, and other voice-powered workflows, inconsistent voice pickup becomes both a communication issue and a productivity barrier. The expanded Evolve3 range addresses this challenge with purpose-built headset options for different workstyles, delivering more consistent audio performance across the workforce for both human collaboration and AI-powered conversations.

While each model is tailored to specific work environments, all three share the same foundation of Jabra ClearVoice technology and in-call ANC for precise voice pickup to support professional call performance and concentration. Built for business, all models offer secure Bluetooth Low Energy connectivity and centralized device management through Jabra Plus Management and Jabra Xpress, enabling easy deployment and management at scale.

Here is a closer look at each new model.

• Jabra Evolve3 65 Flex: Built for professionals moving between locations and shared workspaces who need professional audio performance in a more portable design. Features a foldable, mic arm-free design with enhanced outdoor voice pickup and Adaptive ANC for professional call quality on the move.
• Jabra Evolve3 65: Built for professionals working in busy open-office environments who need a higher level of concentration support. It provides advanced noise cancellation with Adaptive ANC and 3-mic voice pickup technology for professionals who need deep focus in shared spaces, while maintaining clear voice pickup during calls.
• Jabra Evolve3 45: The lightest on-ear headset in the Evolve3 range, built for professionals who spend most of their day at a desk either in the office or at home. It prioritizes lightweight comfort, simple usability and reliable call clarity for frequent conversations and fatigue-free wear.

Palmer Digital Group (PDG) unveiled a new PDG 22OCBSM Order Confirmation Enclosure. The standalone solution enhances digital signage menu boards by bringing digital order confirmation capabilities to quick-service restaurant (QSR) drive-thru lanes.

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Designed and manufactured entirely in-house at PDG's Illinois headquarters, the new enclosure integrates an LG 22XE1J-B high-bright outdoor display with a speaker, microphone, and camera into a compact standalone structure. The system allows customers to view their orders in real time without requiring a complete digital menu board replacement, offering QSR operators an affordable path toward modernizing existing drive-thru lanes.

Unlike traditional speaker posts that rely solely on audio communication, the PDG 22OCBSM adds an integrated visual confirmation display directly at the ordering position, eliminating the need for customers to look elsewhere to verify their orders. The enclosure also creates opportunities for restaurants to promote limited-time offers, seasonal menu items, and other messaging while customers place their orders.

The new enclosure supports LG's 22XE1J-B outdoor display, one of the few high-bright 22-inch commercial displays available for exterior applications. Lewis noted that the display size offers an ideal balance of visibility and enclosure footprint, ensuring order details remain clear and easy to read without creating an oversized structure.

"The new Order Confirmation Enclosure is another example of how we're evolving our outdoor digital menu board portfolio to solve real customer challenges," Lewis added. "Whether a restaurant is taking its first step into digital ordering or expanding an existing deployment, we've designed a solution that's durable, flexible, and easy to integrate into virtually any drive-thru environment."