What to know:

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

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

[Genelec Loudspeakers Power SIX Floors of New Sports Hub]

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

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

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

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

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

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

[Cosm: Take Me Into the Ballgame]

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

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

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

Take a peek below.

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

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

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

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

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

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

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

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

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

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

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

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

Quick view:

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

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

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

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

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

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

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

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

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

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

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

Quick view:

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

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

[8.5 MILLION Pixels Power World Cup Fan Festival]

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

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

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

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

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

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

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

Quick view:

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

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

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

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

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

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

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

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

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

Quick view:

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

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

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

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

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

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

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

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

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

What to know:

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

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

[Inspiration for Creating Immersive Experiences]

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

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

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

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

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

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

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

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

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

Quick view:

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

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

[The Real Differentiators]

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

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

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

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

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

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

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

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

Details:

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

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

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

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

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

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

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

Quick summary:

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

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

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

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

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

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

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

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

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

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

Quick summary:

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

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

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

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

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

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

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

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

Details:

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

North Texas Ups Its Game with Sony Camera Technology

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

[Course Correction]

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

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

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

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

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

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

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

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

The Palace Theatre has hosted everything America has celebrated in the last 100 or so years: marquee-level entertainment, Roaring 20s gangsters, and one of the city’s and the country’s finest movie palaces of its day. After its inevitable decline in the urbanization of the 1970s, it was rescued by the city a century after its founding in 1916 and renovated as a live music destination.

[Laser-Focused Sound Coverage]

The 2,500-capacity venue, now co-managed and co-operated by hometown First Avenue Productions and Chicago-based Jam Productions, was fitted in 2017 with a new L-Acoustics K2 PA system. Now, the Palace Theatre has just capped off a nearly decade-long revival with a new pair of DiGiCo Quantum2²⁵ consoles, one each at front of house and monitors. Both were sold through and installed by local integrator and rental vendor Allied Productions & Sales.

After nursing the venue’s nearly decade-old consoles along for years, Randy Hawkins, head audio engineer/A1 at the Palace, said the arrival of the new DiGiCo desks has been “a game-changer here. I’ve been touring with a 2²⁵ with the band Atmosphere for over three years now and I love it, and it’s the perfect choice for this venue. The thinking had originally been to go with no consoles at all, since so many artists tour with their own. But more and more of them tour with DiGiCo, or are at least very familiar with the DiGiCo worksurface. So by having that here, ready for them to plug their files into, we’re really building the model for the future of touring,” at a time when costs and logistics are paramount, he believed.

Hawkins said choosing the same console for both FOH and monitors further supports that approach, with engineers able to move positions as needed without changing their worksurfaces. “The DiGiCo worksurface is instantly familiar to the majority of touring engineers out there,” he said confidently. “Very few need any tutorial on them, and most visiting engineers will just plug in their files and go.”

Like other engineers, Hawkins, who says he’ll mix the occasional opening act at the venue each week, is a fan of the Quantum’s processing. “I enjoy the Spice Rack the most, though Mustard is cool, too,” he said. “When you factor those in, you realize that this was a massive upgrade for the room’s sound, and the consoles bring huge new firepower with them. Plus, First Avenue, our sister venue, also has Quantum2²⁵ consoles, so what we’ve done is built a Quantum ecosystem between them, one that also has L-Acoustics sound systems in both — L2 at First Avenue and K2 here. Mix engineers can seamlessly move between the venues and find the same great interfaces in both. It’s a good place to be.”

Disney recently launched its latest member of its cruise ship family in the Destiny. To launch the ship, Disney did what only Disney can do—create magic that even they may have not seen as possible.

[Disney's Space Mountain Becomes Canvas for Fantastic Projection Mapping]

For this endeavor, live action, whether it be Disney characters or singers and musicians, would perform in front of the massive Destiny. Behind it, a projection mapping display would create the magical background for themes like Frozen, Pirates of the Caribbean, the Disney Villains and more.

Except the canvas for the projection mapping would be the Destiny itself. It was quite the challenge. A cruise ship is not a flat surface, and even Disney Imagineers had never attempted such a gigantic undertaking. However, as with most things Disney, it went off magically, and made a memorable experience.

Per AVIXA, it took 30 laser projectors, four media servers, 15 IR cameras, 38 IR emitters, and over a mile of cabling to track and illuminate the moving vessel. The organization posted that it is believed to be the largest projection mapping on a floating object ever achieved.

Stephanie and J.P., two senior visual effects designer for Disney live entertainment and part of the magic behind Imagineering, breaks down how the Disney Destiny became a floating canvas for creativity below.

When Dobyns-Bennett High School’s Buck Van Huss Dome reopened after a comprehensive renovation, fans and students were greeted not only by new seating, flooring, lighting, and a center-hung Daktronics video board, but also a new professional-grade sound system anchored by JBL Professional loudspeakers and Crown amplifiers.

[SCN Installation Showcase 2025]

Originally constructed in 1967 alongside the new Dobyns-Bennett High School, the Buck Van Huss Dome is the largest indoor venue in Kingsport, TN. Its defining architectural feature, the Lamella dome ceiling, spans nearly an acre of unobstructed floor space, hosting everything from high school basketball games and physical education classes to community athletic events.

As part of a roof replacement project in 2022, structural testing revealed the need for additional ceiling support. School leaders seized the opportunity to modernize the aging 50-year-old gym, investing in upgrades that included HVAC, locker rooms, scoreboards, lighting and a long-overdue sound system replacement.

“The new audio system was a necessary component to match the quality of the other renovations,” said Dr. Andy True, assistant superintendent of schools, Kingsport City Schools. “Feedback has been universally positive. The sound complements the four-sided video board perfectly and delivers clear, high-impact audio throughout the Dome.”

To design and deliver the system, the school partnered with Music Doctors, a Kingsport-based integrator with decades of experience. With support from JBL engineers from HARMAN Professional and regional rep James Willis, the team specified a solution centered on JBL PD6322/66 loudspeakers powered by Crown DCi 4|2400N amplifiers.

“The PD6322s were the right choice for their long throw and high-volume performance,” said Rob Kendrick, systems integrator, Music Doctors. “Combined with the Crown DCi amplifiers, which gave us bi-amping capability and precise tunings, we were able to achieve the coverage and clarity the Dome demanded. The amps’ versatility allowed us to get optimum performance out of the speakers.”

To cover the court and ensure players, referees and the audience on the floor had the same audio experience, JBL AWC159 all-weather loudspeakers were added as downfills. Their compact footprint and included U-brackets made for an easy installation inside the tapered base of the scoreboard structure without obstructing sightlines.

In addition to the installed system, Music Doctors supplied JBL PRX912 portable stage monitors for events requiring live sound reinforcement.

“The new system has already made a major impact,” Dr. True added. “From daily instruction to athletic events, the clarity and quality are exceptional, ensuring that every fan and student shares the same experience no matter where they sit.”

The project not only modernized a beloved community facility but also demonstrated the power of combining JBL Professional loudspeakers with Crown amplification for reliable, high-performance sound in complex architectural environments.

In an era where fan experience is paramount, good stadium audio plays a vital role in creating an immersive and unforgettable environment, amplifying crowd chants, national anthems, and goal celebrations, deepening emotional engagement. AEK Arena–Georgios Karapatakis is no different, and it turned to LEA Professional amplifiers as part of a recent retrofit.

[Premium Sound for Every Seat]

The home to AEK Larnaca FC is an 8,000-seat, Union of European Football Associations (UEFA) Category 4 stadium. Opened in 2016, its Category 4 designation required the venue to be partially reconfigured, including adding box seats and upgrading the sound system to cover the entire stadium. The venue contracted with DSP Innovative Solutions and their sister company Kalsedia to design and implement the upgrades.

“The all-in-one amplifier plus DSP capabilities made LEA a perfect choice for the stadium,” said Solonas Nikitas, CEO of DSP Innovative Solutions. “LEA’s speaker tunings made it very easy for us when we swapped out the old gear.”

DSP Innovative Solutions installed Connect Series 704D amplifiers and Connect Series 168D amplifiers, designed with LEA Cloud for remote monitoring, to power the stadium’s loudspeakers. The IoT-enabled 4-channel 704D provides 700 watts per channel, while the 8-channel 168D offers 160 watts per channel. Both models support Hi-Z (70V or 100V) and Lo-Z, selectable by channel, and feature Smart Power Bridge technology. The Connect Series also includes 96kHz DSP, which is standard in all models and offers a range of benefits that significantly enhance audio performance and system versatility. Dante-enabled models like the 704D and 168D include 96kHz-capable Dante and AES67 connectivity options, plus Dante simplifies system installation with scalable, high-resolution audio over IP (AoIP).

“Nothing quite matches the energy of a football stadium at capacity, cheering on their club,” said Nikitas. “LEA amplifiers go a long way towards feeding that enthusiasm, making every match one to remember. I highly recommend LEA amplifiers to anyone in the market.”

Located along the coast of New Jersey, DSN is a community center and beach club that recently elevated its sound experience with a full 1 SOUND audio system installed throughout the indoor and outdoor spaces. Installed by L&M Sound & Light, the new setup was designed to deliver exceptional sound quality and versatility for the wide range of activities hosted at the venue—from community events and fitness programs to kids’ camps and summer celebrations.

[SCN Installation Showcase 2025]

Outdoors, the club features Cannons placed throughout the gardens, using fully stainless steel 316 (ss316) hardware to ensure durability in the oceanfront environment. These loudspeakers are permanently installed year-round by the ocean, designed to withstand salt air and harsh weather while maintaining consistent, high-quality sound. Through 1 SOUND’s Custom Shop, the team created custom garden mounts that were functional and fit the venue’s aesthetic.

The CT28 loudspeakers were installed outside using 1 SOUND’s ss316 Wall Brackets, providing far-reaching coverage. Compact yet capable of reaching a maximum SPL of 140 dB, the CT28 delivers clarity and strength even across open spaces. The system also includes SUB310 subwoofers for fast, deep bass performance, along with C6m loudspeakers from the Cannon Series: A marine version designed for long-term use near the ocean with marine-grade cable glands and extended cabling for protection. CSUB210 subwoofers were also incorporated outdoors, offering cardioid, subcardioid, and omnidirectional modes for controlled low-end performance.

On the club’s third-floor terrace, Cannon C6i and C8 loudspeakers were used for their compact design and high-fidelity sound. The SUB12 subwoofers provide additional depth with a single 12-inch driver and a 4-inch voice coil, extending bass response while keeping distortion low. Indoors, Tower LCC44 column loudspeakers were chosen for their precise and wide dispersion pattern, which is ideal for the glass walls and vaulted ceilings that make up the space, ensuring even coverage and clear sound with minimal reflections.

Daktronics recently manufactured and installed several LED displays at the Robins Center for Spider Athletics events. Installation took place this summer and the displays are installed and operational for the fall sporting seasons, just in time for the new college basketball season.

[SCN Installation Showcase 2025]

Four video displays are installed to improve the fan experience at Robins Center. One in each corner, each display measures 15.5x33 feet and features 3.9mm pixel spacing to deliver crisp, clear imagery to fans in every seat.

Each display is capable of variable content zoning to allow for each display to show one large image or to be divided into multiple zones of content. This includes any combination of live video, instant replays, up-to-the-minute statistics and game information, graphics and animations, and sponsorship messages.

Hanging above the center of the court, a single ribbon display measures roughly 3x66 feet in circumference. Above each entrance to the seating area in the corners of the arena, a total of four long, narrow displays each measure 2.5x16.5 feet. These displays feature 3.9mm pixel spacing as they deliver additional graphics and game information, supplemental to the corner displays.

Along the sides of the court, 11 LED scorers tables are installed to deliver even more graphics and statistics to complete the engaging fan experience. Each display measures 2.5x10 feet and features 3.9mm pixel spacing. These can be aligned in any grouping or configuration to meet the needs of the university for any given event.

To celebrate the 20th Anniversary of the Holland Center for the Performing Arts, Omaha Performing Arts recently undertook a major capital upgrade to modernize the venue’s lighting system with Ayrton solutions. The venue turned to longtime local partner Theatrical Media Services (TMS) to design and integrate an Ayrton lighting solution that would honor the space’s acoustic and aesthetic sensitivities while bringing its technology into a new era.

[NYU’s John A. Paulson Center Creates Transformative Performance Spaces]

The venue’s previous lighting rig, which combined conventional ellipsoidal fixtures with early-generation LEDs, was beginning to show its age, both in color output and flexibility. Driven largely by the acoustical considerations for the Omaha Symphony, Holland Center’s primary resident, the TMS team knew the updated lighting system had to operate silently while still providing impactful visual effects.

“The symphony is very particular about lighting; it cannot create any noise, and they are very opposed to using a lot of haze in the space,” explained Michael Arch, VP of production at TMS. The venue itself further added to the challenge. “The space is beautifully warm, but it’s very bright and everything is wood toned. Previously, that meant any color on stage tended to get swallowed, and the symphony’s restrictions made it difficult to create visual movement or depth with the existing fixtures.”

Those limitations also meant the TMS team needed to find fixtures that could deliver both rich color and dynamic effects without relying on atmospheric tricks. The solution came in the form of Ayrton Zonda 9 FX fixtures, supplied through ACT Entertainment, for the center’s main stage.

“The Zondas delivered a huge increase in output and saturation,” Arch said. “Now, the lighting doesn’t compete with the warm environment, it enhances it. That was one of the main reasons we were drawn to the Zonda. It gives us a great opportunity to provide motion over the stage without affecting what’s happening during the performances, especially with the symphony. We wanted to find a way to create motion and visual impact that complements the symphony’s needs. The Zonda 9 FX gave us that perfect balance of artistry and respect for the performance. The Holland Center now has lighting that’s as inspiring as the performances on its stage.”

The large face design and advanced effects engine of the Zonda 9 FX provides the color intensity, versatility and subtle motion needed for both the orchestral performances and visiting productions. Since the Zonda fixtures are moving heads, they now provide the Holland Center with the flexibility to adapt to various stage configurations, from symphony concerts to rock or comedy shows.

“It’s a very interesting moving head to look at; we got the nines, which is the largest face size available,” Arch continued. “You can see the color changes and motion even from a distance and it’s beautiful over the orchestra. We’re talking about magnitudes better output in heavily saturated colors than what was previously in the space. Before, colors just disappeared. Now, with the Zondas, we can actually see the effects.”

A total of 18 Zonda fixtures were installed overhead, with two additional units available for use on the floor. “The plan is to pull those out for comedians and special events, to do a curtain wash or something like that,” Arch explained.

Additionally, the Holland Center’s lighting control remains on an MA Lighting grandMA3 compact XT, another system TMS sourced from ACT Entertainment. “We’ve been buying grandMAs from ACT for decades,” said Arch. “They’ve always been a great partner. Additionally, their team, and especially Aaron Hubbard, was instrumental in helping us find the right fixture for this venue. He did an excellent job presenting the full lineup of Ayrton fixtures and really deserves credit for helping make sure the Zondas ended up in the space.”

While the Zonda 9 FX system is a centerpiece of the Holland Center’s technical refresh, it is just one part of a broader renovation that also included updates to the stage flooring and backstage facilities. “The goal was to elevate the experience for both artists and audiences,” continued Arch. “Together, these improvements ensure the venue remains one of Omaha’s premier performance spaces for years to come.”

Omaha Performing Arts celebrated The Holland Center’s 20th Anniversary on October 3, with a concert featuring the Omaha Symphony and local artists, as well as a related party on October 8, that included memories and music. The celebrations recognized the legacy of the arts center and highlighted its role in the community, with further emphasis on the venue’s architecture and history.

Butler University has unveiled video experience upgrades at its historic Hinkle Fieldhouse, home to the Bulldogs’ basketball and volleyball programs. Often referred to as Indiana’s basketball cathedral, Hinkle Fieldhouse, a National Historic Landmark, opened the 2025-26 men's and women's college basketball seasons with new LED technology from SNA Displays.

[WATCH: Florida Panthers Invest in Immersive Fan Experience]

“Hinkle Fieldhouse is incredibly important to our university, to our athletic department, and frankly to our city and state as a historic landmark,” said Grant Leiendecker, VP and director of athletics at Butler University. “We have something here that money can’t buy, and we want to continue to invest in this building while preserving that historic nature. We’re really excited for our fans to get a look at these brand-new displays.”

Technology consultant Anthony James Partners (AJP) provided design, procurement, and construction administration services for the upgrades, supporting Butler in selecting SNA Displays to manufacture and install nearly 2,800 square feet of LED video display technology, including a center-hung display system, baseline LED ribbons, multiple courtside scorer’s tables, and more. SNA Displays also provided demolition and removal services for the venue’s outdated technology.

“Hinkle Fieldhouse is one of the most storied venues in college sports, and it was a privilege for our team to help carry its legacy forward through this upgrade,” said AJ Faxel, EVP of business development, Anthony James Partners. “Our focus was to modernize the technology experience in a way that complements the building’s history while setting Butler up for the next generation of fans and athletes. It was a pleasure to work alongside Butler University and SNA Displays to accomplish that goal.”

The centerpiece of the upgrade is a new LED center-hung display consisting of four curved video screens built from SNA Displays’ BOLD Interior line of LED video technology. The four sides are seamlessly connected to create a 360-degree video surface. Each side features a 3.9mm pixel pitch for increased pixel density and clarity with a total resolution of 1,088x6,784 pixels. The two longer sides measure 14x24.7 feet and the two shorter sides measure 14x18.1 feet. Other features of the centerpiece include custom static lettering along the top ring of the structure and a team-branded Bulldog logo facing downward toward the playing surface.

SNA Displays also provided a pair of 3-foot-high BOLD Interior LED ribbons that run approximately 172 feet along the second-level fascia at both ends of the Fieldhouse. Each ribbon employs a 4mm pixel pitch at a resolution of 225x13,080 pixels. Other video display upgrades include two 19-foot-long vomitory displays between the second and third levels (225x1,440) and eight new courtside mobile scorer’s tables equipped with LED screens (180x720). The vomitory and scorer table displays are made from 4 mm BOLD Interior LED video technology.

For the Efroymson Family Gym, a practice facility adjacent to the main floor, the university selected two new ASPECT HD all-in-one LED video displays. Both 2.5 mm screens are directly integrated into the venue’s new control management system. The Hinkle Fieldhouse video network processes more than 19 million pixels in total.

“Game Day just got a whole lot better,” said Barbara Barry, director of sports and live events for SNA Displays. “These video enhancements blend tradition with a forward-thinking mindset that gives both Butler fans and student-athletes an engaging, high-tech experience in their beloved home arena. We are grateful to work with Butler Athletics and Anthony James Partners, who have been excellent partners throughout the whole process.”

DCU Center Arena, located in downtown Worcester, MA, turned to Metinteractive for an upgraded sound system and rigging. The DCU Center is a 14,000-seat indoor arena with an attached convention center hosting a variety of events, including concerts, sporting events, family shows, conventions, tradeshows and meetings for more than 40 years.

[Premium Sound for Every Seat]

Metinteractive collaborated with Worcester-based Ostrow Electric Company on the installation which replaced the previous system. They completed the project on a very aggressive schedule of less than six months from the project’s start to finish. Eastern Acoustic Works (EAW) and WJHW designed the new system, which significantly enhances sound quality, coverage, and flexibility for the arena and now ensures consistent clarity throughout the upper bowl.

“We frequently navigate the intersection of production and construction schedules and know how to navigate that space,” said Metinteractive project manager Kyle Passaro. “The scale of the facility and scope of the renovation basically meant rewiring the entire building for audio, rigging and communications. We worked closely with EAW and the local IA crew; the Worcester stagehands did the prep and testing at EAW’s warehouse near the DCU Center so the logistics worked well for everyone.”

The new sound system features six clusters of EAW Adaptive Systems arrays mounted in a circle pointing from the center of the arena out to the seats. Custom fabricated rolling carts, codesigned by EAW and Metinteractive, hold the fully assembled arrays which can be dropped via chain hoist when not in use for quick, on-site storage. For example, if a tour arrives with its own speakers, it’s now simple to bring the arena’s speakers to the ground and roll them away until they’re needed for the next event. Motion Labs’ automated chain hoist rig delivers a high degree of automation.

“Each cluster holds six EAW Anna full-range speakers and three Otto subwoofers and uses the very cool technology of steerable arrays,” Passaro explained. “You model the space being used, plot in the speakers and they will fill the space on their own directing energy where it’s needed.”

The speakers, from EAW’s flagship line of Adaptive Systems, use advanced ADAPTive algorithms and digital signal processing (DSP) technology to ADAPT precise coverage from a single acoustic source to deliver clearer speech intelligibility and richer musical detail across all seating levels. The Anna Adaptive System offers all of the benefits of ADAPTive performance in a high-output, mid-sized enclosure. Combined in arrays, Otto provides users with many possibilities in low-frequency pattern control.

“The beauty of ADAPTive Systems is that you can put them in different positions and adapt them to the room, arenas and sporting venues are realizing the major benefits of this technology.” said John Mills, technical sales manager, East for EAW. “You can preconfigure presents for NHL or NBA events or let’s say you don’t sell upper seating, you can create presets that ADAPT coverage, using all system components, to essentially re-aim the arrays for that specific geometry. This allows the room to sound cleaner and fuller by only putting sound where patrons are sitting.”

In addition, the arrays “are not as big as other sound systems. Because of the number of components in a single enclosure, and that you don’t physically point drivers, we don’t need to bend the array. We do that acoustically thru DSP. This allows equal SPL output from smaller/shorter arrays.” Mills explained.

Additional loudspeakers were installed for the mezzanine and catwalk levels on the east and west sides of the bowl while amp and network distribution racks were located at the catwalk level. EAW point source speakers were mounted under the balconies for fill and to provide maximum audio intelligibility for attendees seated beneath the balconies. EAW ‘ice’ speakers were also permanently installed high in the ceiling to cover the ice hockey floor and enhance sound for anyone on the arena floor.

Front-of-house locations feature a Yamaha DM7-C console, eight Shure wireless microphone channels, a patch bay, and ALS RF distribution. Nine fiber tie-in locations in the bowl are Dante points; they provide “a major upgrade to the building, with anybody coming in having the ability to use them,” said Passaro. Two portable RIO 1608 racks serve as local tie-in boxes.

Metinteractive lead technician Rhys Dawson provided in-depth training to the IA stagehands who work on big events at the DCU Center as well as facility staff.

“It was fun working with Metinteractive again,” noted Mills, who last teamed with the company on the University of Michigan . “Metinteractive staff was highly knowledgeable and eager to understand the capabilities of our equipment. When you work with people that talented, it makes everybody on the team sharper.”

“We were proud to work with three leaders in their respective fields—EAW, Ostrow, and Metinteractive—all based right here in New England, to bring the DCU Center into the 21st century,” said John LaHair, director of marketing for the DCU Center. “We’re thrilled with the results these partners made possible. The new sound system will enhance every event that comes through our doors—giving fans a whole new level of experience in the arena.”

Samsung Electronics America launched a new pilot program with Altitude Trampoline Park to deploy display solutions powered by its Visual eXperience Transformation (VXT) content management system (CMS) across 10 locations.

[Is Anyone Using Your New Tech?]

Welcoming thousands of visitors daily, Altitude Trampoline Park seeks to replace legacy tools and static signage with a unified digital ecosystem that combines 4K UHD displays, the cloud-native VXT CMS and CieloVision AI monitoring. Together, the signage and solutions enable franchise owners to seamlessly showcase fresh branding visuals, maintain consistent communication and enhance safety in real time.

Front desks, food counters and private party rooms are outfitted with new Samsung 65-inch QBC Series 4K UHD displays, which feature dynamic, appealing visuals that keep families informed and entertained. VXT-powered content streamlines check-ins and guides guests through waivers, reducing wait times and creating a smoother start to their visit. In the concessions areas, digital menu boards replace static signage, giving customers real-time updates about promotions and new offerings. Franchise owners can now easily test ads or schedule deals for specific times of the day or for intended crowds.

Want to know more? Check out the case study in the video below.

Anthony James Partners (AJP), technology consultant to the City of Orlando, provided design, procurement, and construction administration for sweeping technology upgrades at Kia Center. The upgrades include high-impact LED display systems, a complete overhaul of the arena’s audio system, and the latest in broadcast control room technology—together redefining the in-venue experience for fans and events.

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

All three systems—display, audio, and broadcast—were delivered simultaneously, a rare undertaking that demanded close coordination with the City of Orlando, building operations, and the Orlando Magic to keep schedules aligned and the arena fully operational.

“Kia Center’s transformation is remarkable not just for its scale, but for the speed and how seamlessly these systems came together,” said Michael Rowe, CEO of Anthony James Partners. “Delivering scoreboard, broadcast, and audio upgrades simultaneously is a rare challenge, but the result is a venue that feels brand new. The Magic and the City of Orlando set the bar high, and Kia Center now stands among the most technologically advanced arenas in professional sports.”

The centerpiece of Kia Center’s transformation is a brand-new, next-generation center-hung scoreboard—designed by AJP, manufactured by Yaham, and integrated by ANC—that is 60% larger than its predecessor and delivers a 464% increase in resolution with more than 44 million pixels.

The main 4mm display is a 4,600-square-foot continuous 350-degree canvas measuring 27x176 feet in circumference. On the interior of the system is a 2.5mm continuous display that adds another 1,823 square feet of viewing for premium seat holders in the lower section, bringing the center-hung’s total to 6,461 square feet of LED.

Additionally, four corner boards (10x80 feet, 10mm pixel pitch) providing real-time stats, graphics, and sponsor content; a hoist-mounted “O-Zone” display (21x50, 4mm pixel pitch) that can be raised during games or lowered for special events.; more than 2,400 lineal feet of ribbon boards and vomitory displays delivering dynamic team branding and in-game visuals; and exterior digital upgrades, including ticket window displays, concourse signage, and a parking garage LED display were included in the enhancements.

In total, Kia Center is adding 7,156 square feet of new LED displays (over 80 million pixels), creating an immersive fan environment capable of delivering live video, replays, player stats, animations, and sponsorship messaging simultaneously across multiple content zones.

The upgraded audio system enhances Kia Center’s existing Meyer Sound infrastructure with a full Panther Series deployment. The design includes 72 line array elements and 24 subwoofers, configured into six main arrays for complete seating bowl coverage. Fulcrum Acoustic speakers and subwoofers provide targeted reinforcement for the court and upper seating levels, ensuring balanced sound across every section. Meyer Galaxy processors with exclusive SpaceMap Go technology introduce advanced spatial sound design and object-based audio, while a Yamaha DM7-EX mixing console delivers flexible, high-level control. Together, these elements set a new standard for intelligibility, precision, and distributed impact for every type of live event.

Kia Center’s new broadcast and video production facility introduces a fully redundant SMPTE 2110-compliant IP routing core by Evertz, providing the Magic with one of the most advanced control rooms in professional sports. The control room features a 4-ME IP switcher, auxiliary switcher, replay systems, clip playback, full CG, and dedicated positions for camera shading, direction, and production—delivering robust, end-to-end capability for live broadcasts and in-venue programming.

The upgraded camera package includes 22 high-definition units—hard, handheld, wireless, PTZ robotic, and POV—providing versatile, broadcast-quality coverage from every angle. Designed with scalability in mind, the infrastructure supports seamless expansion of camera channels and system enhancements without major overhauls, ensuring the arena remains future-ready.

What set this project apart was the simultaneous delivery of three complex systems while Kia Center remained fully active, hosting NBA games, concerts, and family events. To stay on schedule, crews often worked around the clock, with overlapping day and night shifts timed precisely around events. Rigging, power, network, and audio pathways had to be coordinated to the inch so that each system came online without disruption. Daily reviews and rapid on-site adjustments allowed AJP to resolve issues in real time, keeping installations aligned with event schedules.

“Executing this project meant solving new challenges every day,” said Jon Holvey, senior project manager at Anthony James Partners. “There will always be surprises in heavy construction of this nature, and between concerts, ice shows, and NBA preparations, the schedule left no room for error. A key part of our job was to keep every contractor aligned and every system moving forward—managing unexpected hurdles in the moment without allowing them to disrupt the rest of the schedule.”

The Jacobs Music Center, home of the San Diego Symphony Orchestra, reopened in fall 2024 following three years of renovations that included improvements to the hall’s acoustics, the addition of a choral terrace behind the orchestra, and the installation of brand-new sound, video, and lighting technologies. The hall, which seats just over 1,800 patrons, now features an L-Acoustics K3 LCR professional audio system with KS21 and KS28 subs, a separate Syva voice audio system, and X Series choral loft reinforcement, together with an assortment of front-fill and under-balcony speakers.

[Premium Sound for Every Seat]

Originally built as The Fox Theatre movie palace in 1929, the ornate hall has been the orchestra’s home since 1984. “The main reason for this renovation was the acoustical transformation for the orchestra on stage,” said Joel Watts, San Diego Symphony’s audio director. The orchestra is never amplified for strictly classical concerts, he stressed, unless it’s a creative stylistic choice. But the various L-Acoustics systems, separately or in various speaker combinations, are available for the busy calendar of other concerts, comedy shows, corporate and civic events, and film screenings in the hall, which offers changeable acoustics around the stage following the upgrades.

A Collaborative Design Approach

The sound system design was a collaboration between the venue, L-Acoustics applications manager André Pichette, and François “Frankie” Desjardins at Solotech, which managed the integration. Audio consultant Shawn Murphy, a longtime symphony partner, also heavily contributed to the project. “Frankie has been instrumental with the audio design and Andre and the entire L-Acoustics team have been exceptional partners throughout the entire experience,” said Watts. The team had previously collaborated on the orchestra’s outdoor home, the Rady Shell at Jacobs Park, which installed an L-Acoustics K2 system in 2021.

The Music Center’s main sound system comprises three hangs of 13 K3 enclosures in an LCR configuration. Six KS21 subs, in cardioid configuration, are flown at the apex of the proscenium arch above the center K3 array. Six KS28 subs, also in cardioid, have additionally been permanently installed beneath the front of the stage. A dozen compact 5XT coaxials spread across the stage lip provide front-fill, augmented by individual X8i speakers mounted to the walls just beyond either side of the stage for expanded front-fill. A combination of five A10i and two X8 speakers are deployed as under-balcony fills, and one 5XT per side is installed in the venue’s upper-level “Angel Way” areas.

The main performance system was designed with hang points, cabling, and power runs already implemented in preparation for the addition of two more arrays and surround speakers for an eventual upgrade to an L-ISA immersive configuration. “We’re ready for that next step and to be a leading partner in terms of technology and how we present the orchestra, or any music we do here,” Watts said. That pre-wiring means that the 5XT front-fills are driven by individual channels of an LA7.16i amplified controller, providing audience members in the front seats with stereo images. “Having that flexibility in amp channels and cable routing means those incremental improvements in resolution really make a difference for the audience.”

The Performance system incorporates the Chorus Loft system, which covers the new upstage seating area. That system is deployed in a U-shape around the sides and back of the stage, configured as six pairs of two 5XT, each with a single low-profile SB10i sub, for a total of 12 5XT and six SB10i speakers. “We’ll either have patrons sitting there or we’ll have a chorus,” Watts explained. “If we’re doing a jazz show or a Pops concert with a chorus that needs a little piano or the main vocalist, they become monitors. For rock shows or more low-end-heavy shows, we’ll put up the SB10i subs.”

A separate Voice audio system comprises six colinear Syva enclosures mounted on the hall’s front wall in three L/R pairs covering the orchestra, mezzanine, and balcony seating levels. Six ultra-compact X4i speakers are mounted below the 5XT front-fills in the stage face to support voice front-fill.

Tailored Sound Throughout the Space

“It’s a really tall room with three distinct acoustic environments: in front of the balcony on the lower level, behind the balcony on the lower level, and upstairs,” Watts commented. “They all sound different, so how do we make them translate the most similarly?” The solution lies in the PA’s dual-system design; because the configuration is essentially two systems in one, components can be mixed and matched for optimum performance. “We can use anything that’s permanently installed, like the subs under the stage, with our Voice system,” he noted.

The new sound systems are controlled using several processors, mostly driven with L-Acoustics amplified controller DSP and DirectOut PRODIGY.MP devices. There is a DiGiCo Quantum5 digital mixing console at front-of-house with an SD12 desk on stage for monitors and an SD11 for day-to-day events. The system was designed so that every live sound input goes to the recording side via DiGiCo, Grace Designs, or Merging microphone preamps, and most recording inputs go to the live sound side. The new AoIP infrastructure incorporates RAVENNA, AES, and Optocore transports and network bridging.

Flexibility was key to the overall sound system design, since the venue regularly hosts everything from symphony concerts to comedy shows. Watts and his staff have distilled different PA settings into processor snapshots that can shape the sonic character for specific events while the essential tuning remains unchanged. “We have all these various configurations that we’ve been able to mold to get the best version of what we need for each show,” he said.

“It’s a beautiful LCR system, but we can take that next step and create different atmospheres for the musicians and our audience,” Watts adds. “The music is first, but you don’t hear the music without sound. People initially think it might be too much PA for this place, but then you listen to it and realize this is exactly what it needed.”

Branch Audiovisual partnered with 1 SOUND to design an audio system that matched the depth and scale of the artwork for Glass Life—a multi-screen video installation by artist Sara Cwynar. The exhibition, which examines how images influence perception and value, immerses viewers through layered moving visuals, text, and sound.

[Disney's Space Mountain Becomes Canvas for Fantastic Projection Mapping]

The installation features a Cannon C8i, three C5is, two Tower LCC44s, and a SUB310, powered by Powersoft amplifiers. Each speaker was mounted and aimed using custom color C-Clamps for Cannons, allowing precise positioning that blended with the exhibition’s visual composition.

Branch AV built the audio and video rack, outfitted with an Allen & Heath AH-AHM-16 Processing Matrix, Powersoft Q2404 and Q4804 amplifiers, and Blackmagic Design broadcast decks and converters. The visual elements incorporated three Christie DWU880A-GS projectors and three 55-inch LG 55UH5J-H displays, creating a cohesive multi-channel presentation.

“We are absolutely over the moon with the quality and results of this installation,” said Ryan Carman, Director of Technology at Branch AV. “The combination of 1 SOUND’s Towers and Cannons created a presence that was both powerful and refined—delivering a delicate and tasteful representation of the audio within Sara Cwynar’s Glass Life. The system complemented the immersive nature of the artwork beautifully.”

The technical team from the National Gallery handled the physical installation with precision. When Branch AV returned to tune the system, minimal adjustments were needed.

“I loved the speakers so much," Cwynar said. "They are beautiful, and instead of being incidental, they became an important visual part of the exhibition. The sound is great. I would love to work with 1 SOUND again in the future.”

The collaboration between Cwynar, Branch Audiovisual, and 1 SOUND highlights how intentional audio design can enhance visual art—creating a balanced, emotionally resonant experience for the viewer.

Christie Griffyn 4K50-RGB pure laser projectors are delivering a dazzling fusion of art, technology, and natural beauty in “Revisiting Journey to the West,” a new immersive nighttime attraction at the famed Doupotang Waterfall in Guizhou province.

[WATCH: An Alien Invasion Engulfs Times Square... Thanks to This 3D Billboard]

Transforming one of the original filming locations of the classic TV series into a luminous stage, “Revisiting Journey to the West” invites audiences to rediscover familiar tales through a spectacular interplay of light and water. Powered by seven Christie Griffyn 4K50-RGB projectors installed and commissioned by Shenzhen Guangming Huachuang Technology, the large-scale outdoor production combines live performance, projection mapping, mechanical staging, and audience interactivity. Using light as its brush and the waterfall as its canvas, it reimagines the legendary 7th century pilgrimage of the Buddhist monk Xuanzang from China to India in search of sacred scriptures, immersing audiences in his epic westward journey from a striking first-person perspective.

“The Christie Griffyn 4K50-RGB projectors delivered exceptional brightness and color fidelity, perfectly realizing the director’s vision across every detail from the cascading waterfall to the cliff-face imagery,” said Di Zhang, spokesperson for Guangming Huachuang. “This landmark project showcases how technology can elevate artistic storytelling while pushing new boundaries in cultural integration, creative design, and technical excellence within China’s cultural tourism sector.”

“We’re thrilled to see the Griffyn 4K50-RGB projectors bring this visually and culturally significant production to life," Gene Wang, director of Pro AV Sales for China, Christie, added. "It highlights Christie’s technological leadership in cultural tourism and outdoor immersive entertainment, and reflects our ongoing commitment to empowering creativity through innovation.”

The installation features three Griffyn 4K50-RGB projectors blending imagery spanning 183 feet in width and 42 feet in height across the waterfall; another three illuminating a 137x32-foot water curtain; and one bringing vivid detail to a 65x41-foot cliff-face Buddha image. Christie’s advanced warping and multi-projector blending tools ensured sharp, vibrant visuals even on moving water and rugged rock surfaces.

Project execution followed a meticulously coordinated process ranging from precision surveying and 3D simulation to optimize brightness, geometry, and color accuracy, to agile deployment using modular installations across multiple sites. Custom IP65-rated enclosures ensured reliable outdoor performance, while Guangming Huachuang’s team collaborated with the creative producers to fine-tune projection effects and provide comprehensive training for long-term operational stability.

The result is a vivid demonstration of how advanced projection technology can transform natural landscapes into immersive cultural experiences. Since its debut, “Revisiting Journey to the West” has won the China Lighting Award (Second Prize) and the Aladdin Magic Lamp Award for Outstanding Lighting Project. It is also recognized as a national pilot for immersive tourism and among Ctrip’s Top 100 Asian Night Tourism Attractions for 2025.

After winning back-to-back Stanley Cup championships, it'd be easy for the Florida Panthers to rest on their laurels. Instead, the offseason was spent installing a new center-hung video scoreboard and other significant AV upgrades at Amerant Bank Arena in Sunrise, FL. The new elements, which debuted on Sept. 29 during a preseason Panthers game, have taken the fan experience to a level befitting the reigning NHL champs.

The new 4K scoreboard features four joined displays that produce a 360-degree canvas that's 31 feet high and has 27.6 million pixels. "The scoreboard itself provides us with 180% larger viewing area than the prior scoreboard," explained Mike Masino, VP of game entertainment and operations for the Florida Panthers.

But wait—there's more. Underbelly screens ensure that premium seating around the arena gets a good look at the video action. There's also a 7-foot-high LED halo screen above the scoreboard providing additional display space above the ice.

The Panthers had been using its previous video scoreboard since 2012. Masino told SCN the unit had reached the end of its lifecycle—and with limited service options available, it was time to bring in a new system that would improve the fan experience and show off the talents of the franchise's creative team. Typically, the Panthers have 30-45 crew members during a game, including producers, directors, announcers, and camera operators. "We function the same way as a broadcast truck on game day," Masino noted.

Arena audio also got some attention during the upgrade. If left alone, the center-hung JBL Professional speakers would have been too low and interfered with the new scoreboard. Masino said the system was raised and repositioned to avoid any issues, and new end zone fill speakers were added to ensure there were no coverage gaps.

The project was designed and overseen by Anthony James Partners (AJP). ANC manufactured and integrated the scoreboard and other displays across the facility using Yaham LED displays. Masino also credited the scoreboard project to a "huge public private partnership between us and Broward County." Amerant Bank Arena is owned by the county but operated by the Panthers.

Beyond the scoreboard, the Panthers also refaced the arena's 360-degree ribbon and its club-level horseshoe ribbon, installed new vomitory displays throughout the arena, and upgraded its lobby displays. According to Jon Holvey, senior project manager at AJP, the entire project, from design to deployment, took 10 months, though the installation only took about 90 days.

To control all this screen area, the control room was upgraded around a Ross Video Xpress Tessera One content management system powered by NovaStar processors. (The existing Ross Vision switcher remained.) With the renovation, the Panthers also made the move to ST 2100, because it provided the "flexibility to scale video and provide content autonomy," Masino said.

BeckTV built the systems off site to save time, then spent several weeks on site with wiring, cabling, and testing. Ross even came to the buildout to create the Panthers Dashboard, a customized user interface for the Tessera that includes a "GOAL" button, which launches coordinated celebratory graphics over all displays in the building with one button press.

"The fan experience is why we're here," Masino said. "It's everything that we pour our passion into from a creative and game presentation standpoint. We want to create an immersive fan experience. We want to make sure that we are meeting the needs of our fans from a statistical and information display standpoint, but also from a content standpoint. From our augmented sound system to our brand-new Ross Tessera video system for our video scoreboard outputs and LED displays, everything we do from an AV standpoint enhances the fan experience."

When Oklahoma State fans head to Cowgirl Stadium in Stillwater, OkK, in 2026, they will be greeted by college softball’s largest LED video display, manufactured and installed by Daktronics.

[WATCH: An Alien Invasion Engulfs Times Square... Thanks to This 3D Billboard]

“This new addition to our game-day experience speaks to the state of the OSU Softball program,” said senior associate athletic director Jesse Martin. “We have the best fans in the country and what I think is the best game-day atmosphere, and this new video board enhances that energy in a big way. It’s a testament to our continued investment in Cowgirl Softball and to the incredible support from our fans and donors. We’re proud to now feature the largest video board in the country for softball and grateful for the craftsmanship and expertise of Daktronics, who worked seamlessly with our athletics facilities team.”

College softball’s new largest video display measures nearly 28x40 feet and features a 10mm pixel spacing to deliver crisp, clear imagery to fans throughout the stadium. The display also features industry-leading environmental protection ensuring it operates as expected in the Oklahoma outdoors.

“Bringing a huge new video board to Cowgirls Softball is sure to bring an even better game-day experience,” said Perry Grave, Daktronics regional sales manager. “We’re thrilled to see this project come together and are looking forward to seeing great response and reactions from fans for years to come.”

The display is capable of variable content zoning allowing it to show one large image or multiple zones of content to meet the needs of Oklahoma State Softball as they inform and entertain their fans at every event. Content on the display can range from live video and instant replays to statistics and game information to graphics and animations; whatever mix is needed for the event at any given time. This includes the opportunity to highlight sponsors throughout events.

Thanks to the philanthropic gusto of Pride Stores founder Robert Bolduc and his Hope for Youth and Families Foundation, the Springfield, MA-based dormant CityStage has been transformed into a dynamic arts hub now known as HOPE Center for the Arts. Sonically reinforced with new L-Acoustics L-ISA Hyperreal Immersive technology featuring A Series loudspeakers, the space will host professional concerts and productions while also serving as an educational facility for middle and high school students.

[Knowledge is (Audio) Power]

“This is Bob’s [Bolduc] second act, giving back to the community,” reported Jason Raboin, managing partner at Klondike Sound, which designed and integrated the L-Acoustics system. “HOPE Center really places a premium on education, and as part of that, its team was committed to investing in the future of technology—what will be most useful for the young people being trained there as they get older. With that in mind, the venue allocated resources for an immersive audio system and chose L-ISA, which is astounding.”

During the pandemic, Klondike installed an L-Acoustics Kara II system for Springfield’s Symphony Hall, which is near HOPE Center. That success opened the door for this project. “From what I’m told, this is the first L-ISA venue install with 360-degree surrounds in New England,” said Raboin. “These kids are diving right into the deep end of cutting-edge tech.”

According to Kyle Homstead, HOPE Center’s technical director and a veteran FOH engineer, Bolduc made a $15 million investment into this 45,000-square foot arts complex that has a 500-capacity live venue as well as an 85-seat black box theater, music rehearsal rooms, dance studios, sprung floors, media labs with both audio and video editing suites, and visual arts studios. The administrative staff for the HOPE Center numbers between six and eight people, while a dozen different teaching artists come in to work with youth.

“In the youth programming, we have performing arts, visual arts, and technical arts,” explained Homstead. “There are kids in the technical arts track who are learning real-world production skills.” The middle and high schoolers can learn through classes and youth programs, and they can also intern on the professional productions that come to the center. “The whole place is essentially a learning lab for young people,” he notes, adding that the unusual architecture of the theater, which is a half-round stage with an octagonal thrust, lends itself to immersive technologies that can connect artists and audiences.

HOPE Center’s new system for its main room includes five L-Acoustics A Series Scene arrays, each comprised of two A10i Focus flown over a single A10i Wide, equally spread out over the stage between the left and right edges of the proscenium. Adjacent to the center Scene array are two side-by-side hangs of two KS21i subs, while out-fill arrays of one A10i Focus over two A10i Wide are flown between the Scene 1/2 and 4/5 arrays.

Out in the house, a total of 26 coaxial X6i are mounted as surrounds, giving the room true 360-degree immersive capabilities, and every loudspeaker in the system is efficiently powered by a combination of L-Acoustics LA7.16i and LA2Xi amplified controllers. At FOH, a Yamaha DM7 console is providing a MADI feed to the L-Acoustics L-ISA Processor II, which is controlling the space’s object-based mix.

L-ISA ultimately provides great coverage for the room and good sightlines for the 25-foot tall, 40-foot wide video screen. With stadium seating and a stage only three inches off the floor of the first row, all attendees can hear and see the robust sound and video well.

“The consistency L-ISA provides to every seat in the house, just with stereo or mono programming, was worth the investment in and of itself,” said Raboin. “I went to the potentially worst seat in the room and it sounded exactly the same as at the mix position. I think those benefits will be immediately noticeable, even if the average person doesn’t know that they’re noticing.”

The five arrays for the proscenium were hung a bit upstage due to the thrust out of the proscenium and what Raboin calls an “oddly asymmetrical” layout. While he thought there would be an issue of gain-before-feedback, the Klondike team hung several A10i as a test and “it was great,” he says. “We thought we were going to have to sacrifice the percentage of the audience that would get the L-ISA impact by having it come out over the thrust, but we didn’t. I’m not sure why, but it just works.”

A major emphasis of this facility is interdisciplinary collaboration, so a hip-hop writing class could flow into dance choreography, while a tech crew integrates lighting, visuals, and spatial audio.

“We have projection mapping across the entire stage on the stage floor, and live video that feeds into the projection as well,” says Homstead. “It’s a really sophisticated set of state-of-the-art tools that pushes boundaries because it’s all immersive.”

The students experience all of this through an afterschool program with spotlight performances where they share works in progress, everything from poetry readings to songs to dance performances. HOPE Center also brings in professional artists for daytime performances and Q&As.

Each day in the audio lab, kids create music with MIDI keyboards and microphones. There are a dozen stations running Logic, and they’re also learning to design soundscapes for the L-ISA setup and for immersive audio.

“We have a lot of Dolby Atmos content mapped to the L-ISA system,” says Homstead. “There’s a lot of content available now. It’s great for the kids to be able to design and just think about immersive audio as they’re creating. By handing kids a very technically sophisticated but still intuitive facility, it allows them to create and experience the production values that they’re consuming on their phones all day when they hop on YouTube, Instagram, and TikTok.”

Homstead stated that Klondike is “fantastic” to work with. “They were really thoughtful in their approach and meticulous about the end result,” he said. “L-Acoustics also came in and did the system calibration and training, and they were amazing. We really enjoyed working with them through the process.”

“The owner and everybody involved asked, ‘How do we make this better? How do make this the best experience for audiences and for students?’” added Raboin. “And, of course, it’s also, ‘How do we make this cost-effective?’ HOPE Center’s L-Acoustics L-ISA installation checked all of the boxes and turned out really cool.”

For resident sound designer and engineer Allan Branson, Casa Mañana Theater is a place where precision audio and heartfelt storytelling intersect. Branson’s toolkit includes DPA Microphones’ new 2061 Omnidirectional Miniature Microphones for everything from Broadway classics to youth musicals.

[The Power of Predictable Audio Performance]

Branson first joined the company in 2021, after years of designing sound for Arkansas Repertory Theatre and Pioneer Theatre Company. “We stay busy pretty much year-round,” he said regarding Casa Mañana’s schedule. “Between our Broadway season, the Theater for Youth series, cabarets and summer camps, there’s always something happening here. Our mission is to bring professional-level theater to Fort Worth. For many of the kids who come through our doors, our shows are their very first experience with live performance. It’s amazing to watch their faces when the lights go down and the music swells. That first gasp of awe is why I do this work.”

He debuted the 2061 mic during the theater’s production of “CATS,” fitting one on Broadway veteran Jackie Burns, famed for her record-breaking run as Elphaba in “Wicked.” “She’s discerning; she notices every nuance and could actually hear the difference that DPA made,” Branson explained. “When she tried the 2061, she told me it felt effortless, like her voice was coming through completely uncolored. She even said it gave her the freedom to focus entirely on the performance, instead of worrying about whether her vocals were cutting through.”

The 2061 offers DPA’s premium capsule technology, making it ideal for regional theaters like Casa Mañana. Built to resist moisture, the 2061 has IP57-rated construction, which proved itself during the theater’s youth production of “Percy Jackson and the Lightning Thief,” where a particularly energetic actor never managed to sweat it out. “I was anticipating a sweat-out on that show,” Branson admitted. “That kid was running, dancing and leaping across the stage—you name it. I double-miked him just in case, but the 2061 never flinched. We didn’t have to touch the backup; that reliability under those conditions really earned my respect for the mic.”

Casa Mañana’s seasons are as eclectic as its audiences. The Theater for Youth series stages 90-minute musicals for thousands of elementary students each week, featuring professional actors along with pre-recorded tracks to keep costs manageable. The Broadway season brings names, live bands and full-scale productions like “CATS” or the upcoming “West Side Story.” Additionally, the theater’s cabaret space offers intimate performances for 100 patrons, often spotlighting local jazz talent. Branson explains, “Those cabaret nights are special. They’re up close and personal, and you can really feel the energy in the room. It’s a different kind of magic from the big stage, but just as important to our mission.”

Branson also leans on DPA’s 4099 CORE Instrument Microphones, which he calls the “Swiss Army knife” of his toolkit, for everything from violins and congas to Yamaha recording kits in the cabaret space. “I’ll put a 4099 on the snare, high-pass it, and that’s it—the 4099 is perfect every time,” he said. “I don’t even touch the EQ because the sound is already so detailed and true to the instrument. When you’re working in a small room with a great PA, that accuracy makes a huge difference. It allows the musicians’ dynamics and subtleties to shine through without me having to shape or correct anything.”

He also keeps a pair of DPA 4091 Condenser Microphones handy, using them as dependable measurement mics for tuning the venue’s PA system and, on occasion, for creative percussion miking. “The 4091s are kind of my secret weapon,” Branson said. “I’ve even used them in a pit for percussion before when I needed an omni option that could handle a lot of sound pressure without coloring the tone. They’ve saved me more than once.”

For Branson, choosing DPA is about more than pristine sound. “With DPA, we can deliver Broadway-caliber clarity to all our audiences, even the 4,000 schoolchildren who stream through Casa Mañana each week,” he said. “For many of them, this is the moment they fall in love with theater. If their first experience of live performance is distorted or underwhelming, you might lose that spark forever. But when the sound is right, when it feels like magic, that spark catches, and maybe it changes their lives. That’s the power of what we do here.”

As Casa Mañana looks ahead to a new season, the theater continues its mission: dazzling Broadway titles, apprentice productions that give 15-to-19-year-olds a taste of professional theater and auditoriums full of children whose first encounter with live performance may shape a lifetime of appreciation. Branson sums it up: “We’re not just making shows sound good; we’re giving people in this community the kind of theater experience you’d expect on a bigger stage. For the kids, maybe we’re lighting a spark that will guide them back to the theater for years to come. That’s what keeps me coming back every day.”

First up: Was it a blast to be at the greatest ballpark in North America, the home of my favorite (and hometown) baseball team, and see myself on a massive LED videoboard in centerfield, measuring 100 feet wide by 38 feet high and covering an area of almost 3,800 square feet, and sporting a Red Sox jersey? You bet! It was the best experience.

In time for the 2025 opening day at Fenway Park, the home of the Boston Red Sox, LG installed the main LED videoboard in center field and a comprehensive display solution comprising 11 digital signage installations. These screens span a combined area of more than 9,000 square feet, including a 1,850-square-foot ribbon board display measuring 71 feet wide by 26 feet high.

With a focus on redefining the fan experience, LG established a strategic partnership with ANC, the agency managing stadium operations and advertising on behalf of Fenway Sports Group, the owner of the Boston Red Sox.

"Fenway Park represents more than a century of baseball history, and partnering with ANC and the Red Sox to bring next-generation LED technology to such an iconic venue is an incredible honor," said Tom Bingham, director of Vertical Markets at LG Electronics USA. "This collaboration reflects LG's commitment to transforming legendary sports venues into immersive entertainment destinations. With ANC's deep expertise in game-day operations and fan engagement, we're delivering a display experience that's as unforgettable as the game itself."

Bingham continued, "From the towering centerfield videoboard to the vibrant ribbon displays, this installation pushes the boundaries of what's possible in sports venue display technology. Every screen is engineered to captivate fans and amplify the unique energy of Fenway Park. We're proud to help redefine the in-venue experience at one of baseball's most celebrated ballparks."

Load the Bases

ANC's software platform, LiveSync, integrates Vixi Suite from The Famous Group to create a seamless and easy-to-use fan engagement experience while staying true to Fenway's Green Monster. Luke Fraser, assistant director for Red Sox Productions, has worked in video production at Fenway for nearly 13 years and is very protective of brand image. "The Famous Group makes it incredibly easy because we can keep our traditional graphic look and add little improvements to make the technology available to younger fans," he said. "If you're at a game at Fenway and look out, you're going to see the same Fenway Green."

The process for a fan to see themselves up on the big screen wearing a Red Sox uniform is simple. A fan scans the QR code, uploads a selfie, and the image is sent up to the production room.

Fraser noted that staff operating the Vixi Suite software platform often have little to no experience with it. "We have people in and out here every game, who have this as their first job, and The Famous Group has made the Vixi platform extremely easy to operate. LiveSync does the same thing, where all they do is click a button, and it works. It's a pretty seamless integration."

The Playbook and Strategy

Committing to the rollout of incorporating a fan engagement program takes planning, partnerships, and the ability to demonstrate an ROI.

Fan engagement starts at the entrance of the stadium. "It's from the entry point in the venues through the concessions, through sitting and taking in of the game and the event, and then through the exit point and out the door," Jireh Billings, ANC's head of Revenue and Partnerships, explained. "It's how do you create not just the revenue increase for the teams, but how do you increase the fan engagement. By complementing them together, you have a win-win scenario."

If you've been to a live event recently, you've likely experienced the excitement that The Famous Group enables. "We're in over 400 venues, and a big part of what we do is work directly with the teams and the leagues making sure that when you go to the ballpark, when you go to the venue, when you go to the arenas, you're really having a great experience," said Eric Burak, executive vice president of Production at The Famous Group.

"We are competing with the couch, and we're competing with the living room. And for us, a fan experience company, what we do is deliver a great experience."

Ryan Drobnich, producer of Proprietary Technology Operations at The Famous Group, concluded, "It's a great tech triangle. ANC provides the background of all the boards and the delivery of all the graphical elements, Vixi provides the tech behind the fan engagement, and then Luke and the Red Sox Productions bring it all together and create a beautiful in-game element that delivers happiness, smiles, and joy to fans every day."

Michigan State recently opened its 2025 college football season with a completely overhauled video experience at the 75,000-seat Spartan Stadium. SNA Displays provided 15,000 square feet of LED display technology for the improvements, including multiple videoboards at each end zone and LED ribbons throughout the stadium.

[Atlanta Braves Get a Display Overhaul for the MLB All-Star Game]

Technology consultant Anthony James Partners (AJP) provided design, procurement, and construction administration services, supporting the university throughout the process of selecting SNA Displays’ 10mm EMPIRE Exterior line of LED video display technology for the project.

“After partnering with AJP and Michigan State to upgrade the Breslin Center, we were thrilled for the opportunity to do the same for one of college football’s premier venues,” said Barbara Barry, director of sports and live events at SNA Displays. “The new video display systems at the historic Spartan Stadium create an electrifying experience for MSU fans while also providing key revenue opportunities.”

For the new fan experience at Spartan Stadium, SNA Displays retrofitted the primary videoboard behind the south end zone, twin videoboards and a monster fascia display at the stadium’s north end, and several field-level LED ribbons while also making further improvements to the athletic program’s content management and broadcast capabilities.

In addition to improved clarity with a higher resolution, the size of the south end zone board was increased by approximately 1,000 square feet. The new videoboard measures 47x132-feet wide (1,440x4,032 pixels) for a total surface area of 6,250 square feet.

Behind the north end zone, the new-and-improved Monster Ribbon Board is a 10-foot-tall, curved video screen that runs 450 feet (912x2,880), connecting two more video scoreboards at the northeast and northwest corners of the stadium. Each of the north end videoboards is 31.6x52.6 feet (960x1,600).

The overhaul also included three field-level displays: a 5.6x94,6-foot (168x2,880) LED ribbon at the south end and two 3.11x38.10 feet (120x1,184) at the north end.

In addition to fabricating new Spartans logos and LED-illuminated channel lettering for the new signs, Eastern Sign Tech provided demolition and installation services.

“Like every project, there were challenges along the way, but the upgrades were ready in time for opening day,” said Jeremy Lomax, senior project manager at AJP. “We’re very pleased with how the project turned out and are always proud to partner with MSU. SNA Displays did a great job managing the installation, and their team was consistently well-prepared and on top of the project.”

Between the digital signage enhancements at Spartans’ football and basketball venues over the last few years, the athletics program has significantly upgraded its broadcast and content management capabilities, including adding a centralized broadcast production facility. The new broadcast facility enables 1080p delivery to the Breslin Center, Spartan Stadium, and Munn Ice Arena, dramatically improving video quality and operational flexibility across all venues.

“Scalability considerations during the planning stages of the Spartans’ broadcast facility was paramount given the fact that future venue enhancements would use the same frame,” said Stew Ives, VP of products and solutions for SNA Displays. “Working with AJP and Michigan State, we were able to support legacy technology while transitioning to new systems, ensure the backend system had the capacity for future upgrades, and then ultimately fulfill that capacity with state-of-the-art technology. Our solutions architects specified a CMS that maximizes broadcast capability and makes for a very efficient I/O count.”

The modern stadium is undergoing a profound transformation. The economics of venue operation have pushed stadiums beyond their traditional role as sports arenas that come alive on game day and fall silent the rest of the year. Today's economic realities demand that stadiums function as year-round, multi-use facilities that provide sustainable returns on investment—typically funded through a combination of private investment and tax revenue deferrals.

This shift is fundamentally changing how we approach stadium audio design, moving beyond basic PA functionality to deliver concert-grade systems capable of supporting everything from major sporting events to intimate corporate gatherings and even weddings. The challenge lies in creating audio systems that can seamlessly transition between these diverse applications while ensuring every seat receives premium sound quality. This requires a sophisticated understanding of acoustic principles, advanced modeling techniques, and innovative solutions to overcome the unique challenges that outdoor stadiums present.

Multi-Use Imperative

The driving force behind modern stadium refurbishment is clear: Facilities must generate revenue from more than just sporting events to remain financially viable. Market research indicates that successful stadium operators are increasingly diversifying revenue streams, with non-sporting events now representing a significant portion of annual facility income. This shift is driving unprecedented growth in the sector, with the global sports facilities market expected to surge from $132.4 billion last year to more than $1 trillion by 2034.

Not surprisingly, this economic reality is pushing stadium operators to demand PA systems that deliver concert-grade audio with the flexibility to handle vastly different event types. The implications for audio design are significant; a system designed exclusively for football announcements will not meet the performance standards required for pop concerts, while a concert-focused system may fall short of the speech intelligibility essential for sporting events.

As venues compete with increasingly sophisticated home viewing experiences, providing premium fan experiences has become essential for drawing spectators away from their couches. This is driving the rapid expansion of fan zones, premium clubs, and hospitality areas that extend well beyond the traditional stadium bowl. These spaces require their own sophisticated audio solutions, tailored to create intimate experiences that justify premium pricing.

Premium seating areas present unique acoustic challenges. Corporate boxes and club areas often feature glass fronts, hard surfaces, and complex geometries that can create acoustic dead zones or excessive reverberation. Moreover, these spaces frequently operate independently of main bowl events, requiring flexible zoning capabilities and separate source feeds. The audio solution must maintain the premium atmosphere these areas command while ensuring seamless integration with the broader stadium system during major events.

Touring Act Advantage

Perhaps the most compelling argument for investing in concert-grade stadium audio systems lies in their ability to support major touring acts without requiring extensive temporary installations. When a stadium's permanent audio system meets professional touring standards, artists can integrate directly with the house system, dramatically reducing setup time, costs, and logistical complexity.

State Farm Stadium in Phoenix exemplifies this approach perfectly. The venue's installed K2 system has become a cornerstone for both sporting spectacles and world-class entertainment, hosting multiple Super Bowls, college football national championships, and NCAA Final Four games alongside an impressive roster of touring acts. Over recent years, artists including Taylor Swift, The Rolling Stones, Beyoncé, and U2 have all utilized the house system as their primary or supporting audio infrastructure.

This integration offers substantial benefits for both venues and artists. While touring acts still travel with their full complement of audio trucks, venues with concert-grade house systems eliminate the need to unpack and deploy this equipment, dramatically reducing load-in time, labor costs, and setup complexity. For stadiums, this capability transforms them into preferred destinations for major tours.

The key lies in installing systems that meet or exceed touring industry standards for coverage, power, and sonic quality. When permanent installations can serve as delay fills, side fills, or even primary systems for touring acts, stadiums unlock new revenue potential while offering artists the reliability and performance they demand from their audio systems.

Technical Challenges

Stadiums present a fundamental acoustic challenge: Hard surfaces like concrete, steel, and plastic seating create excessive reverberation that renders speech unintelligible. The solution isn't more power, it's precision. Modern line array systems create tightly controlled coverage patterns that direct sound exactly where needed while minimizing harmful reflections—and advanced modeling software allowing engineers to optimize performance before the first speaker is hung.

Environmental conditions are audio's invisible enemy. Wind deflects sound from intended zones, while temperature and humidity shifts alter propagation speeds, destroying timing across vast seating areas. Successful systems fight back with strategic placement, sophisticated signal processing, and real-time compensation tools that let operators adjust coverage patterns on the fly as weather evolves.

Stadium crowds also generate acoustic chaos, reaching 120 decibels that rival rock concerts during critical moments and overwhelming even the most robust PA systems. Success demands sophisticated frequency management and enormous dynamic range, with systems engineered to slice through deafening crowd energy while maintaining pristine speech intelligibility and musical clarity throughout the venue.

Community relations have become increasingly important for stadium operations, with recent legal battles highlighting growing concerns about stadium noise disturbing residential neighborhoods. Forest Hills Stadium in New York exemplifies the solution: Precision-engineered line arrays reduced off-site sound levels by 10 to 15 decibels compared to the previous system, enabling the venue to secure permits after initial denials.

Modern approaches emphasize using controlled coverage patterns to focus sound toward intended listening areas. Advanced acoustic modeling now incorporates neighborhood impact assessments, allowing designers to predict and minimize sound spillage before installation and ensuring community-friendly solutions from the outset. The result proves that exceptional audio performance and good neighborliness aren't mutually exclusive.

Sustainability has moved from optional consideration to essential requirement in modern stadium design. The green technology market is driving stadiums to implement automated facilities management, renewable energy, and waste reduction systems. This extends to audio design, where manufacturers are incorporating recycled materials and developing systems for reuse rather than replacement.

Industry leaders like L-Acoustics are pioneering circular economy models through partnerships to enable the recovery of neodymium magnets from various sources while already manufacturing products with more than 40% recycled material content. LEED certification has become critical for new construction and renovations, with sustainable acoustic solutions contributing significantly to point accumulation, making environmental responsibility a competitive advantage for forward-thinking venues.

Best Practices for Implementation

Successful stadium audio refurbishment begins with thorough site analysis and stakeholder consultation. This includes acoustic measurements of existing conditions, evaluation of structural mounting points, assessment of power and data infrastructure, and community impact studies. Early engagement with local authorities and neighborhood groups can prevent costly delays and modifications later in the project.

Many stadium refurbishments benefit from phased implementation approaches that allow continued operation during construction. Audio systems can often be installed and tested during off-seasons, minimizing disruption to scheduled events while ensuring thorough commissioning and optimization.

As stadiums continue to transform into year-round entertainment destinations, the challenge for audio professionals lies in balancing these competing demands while addressing environmental concerns and community relations. Success requires marrying technical expertise with a deep understanding of venue operations, event programming, and stakeholder needs.

As we look toward the future, the stadiums that thrive will be those that recognize audio not as an afterthought, but as a fundamental component of the overall guest experience. The future of stadium audio lies in systems that are simultaneously powerful and precise, flexible and reliable, sustainable and spectacular—truly bridging the audio gap for every seat in the house.

Vizrt has introduced Viz Arena 6, the newest version of its all-in-one live augmented reality (AR) graphics and virtual advertising sports solution.

[The Baltimore Ravens Have a New Partner in Technology]

“With this release, we’re expanding on the real purpose of AI in production technology," said Edouard Griveaud, senior product manager, Sports and AI, at Vizrt. "[We're] making the process more effective and accessible. Want better creativity and efficiency? AI-powered calibration and keying speed up the process. In sports, the action never slows, and productions need technology that can keep up."

The release was designed with AI embedded to reduce calibration headaches and radically simplify keying and masking. The new AI-driven features make it easier for operators to integrate AR graphics into live broadcasts, lowering the barrier to entry for creating stunning AR sports graphics.

With AI calibration, AR graphics and virtual ads stay perfectly locked to the field, no matter how the camera moves, and gets graphics to air 10x faster without losing any precision. The Sports Intelligent Keyer uses ambient learning to intelligently separate foreground from background, with minimal manual input required.

In live sports, action in the control room easily mirrors the action on the ground. Counting on a reliable system that eases time-consuming and complex tasks means producers can scale quality production – without scaling costs or complexity.

By lowering the barriers to AR graphics, the benefit is not just in creating and inserting striking data-driven visualization; it also helps the bottom line. With virtual ads, productions can easily add tailored, sponsor-specific advertising to any live sport event.

The Baltimore Ravens named LG Electronics USA the “Official Home Appliance and Television Partner” for the 2025 and 2026 NFL seasons. The Ravens launched a 'sweeping modernization' of the fan experience, with the installation of LG commercial displays, in collaboration with sports entertainment agency ANC, throughout M&T Bank Stadium.

[Boston Red Sox Get Monstah Display Upgrade with LG]

“As part of our ongoing effort to enhance the game-day experience at M&T Bank Stadium, we are excited for the Ravens Flock to enjoy the upgrades completed throughout the venue, including improvements to our video display boards and televisions,” said Ravens SVP and chief sales officer Kevin Rochlitz. “With LG’s advanced technology and ANC’s integration expertise, we have created an environment that brings fans closer to the action from every corner of the stadium.”

Kicking off at the Ravens’ first 2025 home game Sept. 14 against the Cleveland Browns, the LG-ANC alliance with the Ravens encompasses digital marketing and unique fan engagement promotions, including a monthly “Most Reliable Player” social series), LG OLED TV giveaways and more.

“By teaming up with the Ravens and ANC, LG is redefining the gameday experience,” said Chris Jung, president and CEO, LG Electronics North America. “Our work with leading venues across the country has shown how LG technology can transform stadiums into connected, dynamic environments. Baltimore’s passionate fanbase deserves nothing less than the best, and that’s what this partnership will deliver – from fan-favorite LG TV and appliance marketing integrations to immersive content on cutting-edge digital signage screens throughout the stadium.”

Over the next 18 months, the stadium upgrades will include 12,000 square feet of LG digital signage screens throughout the 71,000-seat stadium. The enhancements include a striking 216-foot video display at Gate A, larger than the stadium’s RavensVision board, which will serve as a new visual landmark for fans entering the stadium. Inside, fine-pitch LED signage is being installed across all field-level clubs.

Fans entering the North and South clubs will now be greeted by towering video walls that stretch across the space, creating an energy that matches the excitement on the field. An additional sweeping curved display creates another unique visual centerpiece in the South Club. And the Endzone Clubs are bringing fans even closer to the gameday experience with bold new video walls that deliver crisp, close-up views of the action.

Hospitality Village is being modernized with new digital signage, while refreshed plaza and gate displays will improve the flow of fans throughout the venue. More than 100 concourse televisions are also being replaced with larger LG screens to provide clearer, more engaging coverage of live action and replays regardless of where fans are located.

After the 2025 season, the project will continue with a 2,300-square-foot transparent mesh LED display across the façade of the northwest plaza, paired with additional high-resolution screens at plazas and gates, further strengthening the stadium’s reputation as one of the NFL’s premier game-day environments.

“This is a tremendous transformation for the stadium’s experience, and we’re proud to work with LG to make it a reality. LG and the Ravens both recognized that with best-in-class collaboration, great things can be accomplished,” said ANC president and CEO Jerry Cifarelli Jr. “We’re pleased to collaborate with LG in their new branding efforts with the Ravens, while bringing their cutting-edge technologies to the building. It’s a true win-win-win partnership for everyone involved, including the fans.”

If you’ve been paying any attention to college campuses in America, you’ll know that esports is one of the hottest trends in gaming. That's why California’s Long Beach City College (LBCC) officially opened the largest esports lab in Southern California with a ribbon-cutting ceremony in February. The lab was built between March-July 2024 and soft-opened to LBCC students during the Fall 2024 semester.

The $2.3 million LBCC E-Sports Lab is home to 47 Alienware gaming stations, with five teaching stations available to coaches or an instructor to interact with students in competitions or classroom education. The facility also features an optimized lighting system to enhance player comfort and reduce visual fatigue during long gaming sessions, a fully equipped shoutcaster production booth that supports live broadcasting of esports competitions over the internet, and an independent operational infrastructure that provides uninterrupted network and power to the lab at all times.

“We recognize the rapid growth and professionalization of the esports industry,” said Dr. Nohel Corral, LBCC’s EVP of student services. “We see that it's projected to be worth about $6 billion by 2030, and we wanted to ensure that we prepared our students for emerging career opportunities in gaming. The LBCC E-Sports Lab is precisely the kind of modern, cutting-edge learning environment that makes this possible.”

Before the LBCC E-Sports Lab was opened, LBCC’s players had been competing at a local high school since 2022. According to Jeff Connell, LBCC’s associate VP of capital planning, facilities, and operations, the college converted a seminar space and a computer lab space to make room for the esports facility. “We allocated some high value space to this project and made a huge commitment to esports," he added. "As it turns out, this commitment was a very good choice for everyone."

Members of its program also compete in the National Esports Collegiate Conference (NECC) leagues against more than 600 other two-year/four-year colleges and universities nationwide. They take part in team gaming events playing League of Legends, Valorant, Rainbow Six Siege, and Rocket League. Beyond the competitions, LBCC offers a certificate of achievement in multimedia interaction and game design.

Behind the Screens

The LBCC E-Sports Lab was conceptualized by Chris Greenwood and Mayra Aguilar, project managers for LBCC's Educational and Multimedia Technology, with help from Gabe Giangualano, LBCC's director of esports. California’s HPI Architecture, P2S Engineering, and EKC Enterprises played key roles in AV design, room layout, and AV system installation. Extron products were selected for AV switching, signal distribution, and operational control.

“Extron has worked with Long Beach City College for many years supporting all the AV in their learning spaces and classrooms across campus,” explained Kevin Diltz, Extron’s esports business development manager. “We designed the LBCC E-Sports Lab’s AV system to give their space the top competitive edge they desire, plus a facility that can host tournaments on campus, inviting other colleges and universities to come in and compete.”

The Alienware gaming stations form the heart of the playing systems, laid out on long tables within the room. “Each of those 47 computers is a video source in the AV system,” Diltz said. “There is an Extron NAV video encoder connected to each of those. Using a touchpanel in the shoutcaster booth, we're able to route video from any of those 47 PCs to any of the large 4K video displays that are around the room to let spectators watch the live gameplay.”

The five coaching station PCs and touchscreen monitors are mounted on roll-around tables at the end of each team table, so they can move around the room. They are also connected to the shoutcast booth using Extron NAV encoders, connected to Extron SMB 114 surface mount connection boxes with Ethernet connections.

As for monitors? There are seven 75-inch 4K displays on the walls around the gaming floor, two 65-inch displays in the shoutcaster booth, a 75-inch display in the reception lobby, and a 55-inch display in the hallway. To add human faces to the esports streams, there are five tracking PTZ cameras covering the players in the lab.

Each of the two Extron MGP 641 xi multi-window processors can individually display up to four source windows on a single screen in a range of layouts. They are also daisy-chained, so up to eight source windows can be seen on any display. Collectively, Extron NAV E 101, NAV E 121, and NAV E 401 D encoders receive AV content and stream through the lab's standard 1 Gbps Ethernet switches to NAV SD 101 scaling decoders. The PoE capability of the Extron components simplified the lab’s wiring and AV installation.

Clearly, there is a lot of equipment and production knowledge associated with streaming LBCC’s esports tournaments to the outside world. But that’s a good thing: “The casting and publishing of the games is a trade and a skill that students develop as part of their education,” said Connell. “They learn by working in the shoutcaster booth, where student operators can access all of the players’ screens and choose which ones to put on the large monitors and stream to the web in real-time. These are valuable, marketable skills.”

More Than 'Wow'

When it comes to hosting esports competitions, there is no doubt that the LBCC E-Sports Lab delivers the "wow" factor to the players, in-room spectators (chairs are brought in to seat them), and online viewers alike. The style and finish of the room is eye-catching and attractive, and the functionality of its AV system ensures that gameplay is smooth, lag-free, and reliable—even during power blackouts!

However, even when esports are not underway, the LBCC Esports Lab is a real boost to this community college. “We started with one class,” Dr. Corral said. “We've now created a second class, and the demand to be part of this course is strong among our students.”

At LBCC, esports is classified as a sport just like football or baseball. “Taking part in esports aids skills development. Student athletes enhance their communication, leadership, teamwork, and strategic thinking abilities when they compete as esports teams,” said Corral. “I’m grateful to Dean Randy Totorp, who originally conceptualized the idea of bringing esports to LBCC, and to Coach Gabriel Giangualano, whose leadership has been instrumental in the team’s early success."

But Corral argues the educational pathways and career preparation that esports provide are what really matter. "In today’s economy, gaming is a growing and strong industry with lots of career opportunities. Meanwhile, with four-year universities creating their esports programs as well, taking part in LBCC’s esports tournaments has led to our students being offered scholarships to four-year universities in addition to careers in technology, broadcasting, and game development," he explained. "Finally, esports creates that sense of belonging for students who may not connect through traditional athletics or student clubs on campus, fostering an inclusive environment that enables students from diverse backgrounds to participate and really excel.”

[Extra Lives for Esports?]

Clearly, Long Beach Community College is very happy with its LBCC E-Sports Lab and so is Diltz, because a happy client is a repeat client. "The project went spectacularly well," he told SCN. “LBCC is very, very pleased with the outcome of the space. They have already used it for multiple live events to great success. The whole project has been a win-win for everyone involved."

For over 40 years, the DCU Center has been a central hub for live entertainment in New England, drawing millions of fans for everything from hockey games to concert tours. But behind the scenes, one challenge was holding it back: the aging sound system couldn’t keep pace with the quality of events it hosted. With the help of Eastern Acoustic Works (EAW), that is no longer the case.

[Video Walls of Knowledge]

With up to 14,000 seats and a wide variety of events, the DCU Center needed a system that was not only powerful, but efficient. “We needed a system that matched the energy and professionalism of our diverse event schedule,” said Sandy Dunn, general manager of the DCU Center for Legends/ASM Global. Turning to Eastern Acoustic Works (EAW), the DCU Center began a journey to transform the entire audio experience for everyone who walks through the doors.

EAW partnered with venue leadership and industry collaborators to bring the vision to life. The system was designed by WJHW with installation led by Ostrow Electric Company and Metropolitan Interactive. The result is a fully customized audio solution built to address the architectural and acoustic challenges of the DCU Center. The centerpiece of the new system is EAW’s ADAPTive Series, featuring six main hangs with six Anna Loudspeakers and three Otto Subwoofers each, totaling 36 Anna and 18 Otto modules. Supplementary QX300 and MK2300 Series loudspeakers provide detailed coverage across all seating zones.

The new ADAPTive system can cover the venue’s full room seating from a sporting event standpoint, but because of its ability to adapt coverage to different scenarios, it can also change coverage to focus full system energy on only the lower or mid-level seating without the demand of addressing the array mechanically. This allows for less reverb and tighter, more intelligible sound at smaller events, all while maintaining the same signature sound for each audience scenario.

“One of the standout features of the EAW system is its ability to deliver precise, uniform coverage across a large and acoustically complex space, no matter the event,” said Rob Hornbaker, director of operations of the DCU Center for Legends/ASM Global. “While our previous system served us well for many years, today’s events come with more advanced technical demands. The new EAW system not only delivers exceptional sound quality but is also more efficient and easier to manage for our in-house operations team. This holistic approach ensures the system is built to meet the demands of today’s events while being adaptable for the future.”

Another ADAPTive feature that shines in this install is the ability for the venue to easily redeploy the existing clusters with minimal manpower. The DCU Center frequently hosts events like graduations along with family events and can now reconfigure the speaker clusters into an endzone deployment.

“Since the installation, guest feedback has been overwhelmingly positive. Artists and production teams have also noted the difference, pointing out how easy it is to achieve a clean mix in the space,” said Hornbaker.

As the DCU Center looks ahead to hosting even more top-tier events, the new EAW system positions it as a premier destination for those seeking exceptional production quality. “Fans, event organizers and production crews have all commented on the clarity and balance of the sound throughout the arena, regardless of their location in the building,” explained Dunn. “This is the result of a powerful, flexible sound system that enhances every event so the DCU Center can host the next generation of live entertainment.”

The recently constructed Fun Art Blokhus in North Jutland, Denmark, is an indoor and outdoor activity center which brings together a wide variety of activities under one umbrella. Integrator Profox was engaged to supply and install all the venue’s technical requirements, including the audio system for its main auditorium. For the concert hall, Profox supplied and installed a CODA Audio system based on the brand’s N-RAY loudspeakers.

The multifunctional site places an emphasis on smart technology and sustainability, using its numerous spaces to maximum effect, offering everything from trampolining, mini-golf, and art classes, to a busy program of concerts and exhibitions.

“We are very familiar with CODA Audio systems, which are renowned for their high audio fidelity and build," said Søren Kabbel Dalgaard of Profox. "We know from the experience of our rental department that they deliver high output from a small form factor, and their range offers the flexibility and versatility to cover a wide range of applications - perfect for the varied programme at this unique venue.”

At Fun Art Blokhus, Profox installed a total of 24 CODA Audio N-RAY with six units per side as main PA and a further 6 per side as outer hangs. N-RAY is CODA’s ultra-compact 3-way line array which places the benefits of the brand’s flagship AiRAY technology into a shallow lightweight cabinet, ideal for theatres and performing arts centres like Fun House. Eight SCV compact sensor controlled subwoofers were installed in a cardioid setup for low-end reinforcement, whilst a further four N-APS (arrayable point source) were deployed as downfill. The system is driven by CODA Audio’s LINUS DSP amplification.

“Fun Art’s owner placed great faith in our judgement from the beginning, and trusted us to choose a system which we knew would be a success," said Kabbel Dalgaard. "The install went well and the customer is really happy with their CODA Audio PA. We are now helping the customer with the staging of concerts and very much enjoy working on the system, which sounds great. Visiting engineers are also full of praise for the audio quality.”

Volunteers' fans will have a lot to root for this coming NCAA college basketball season. A new 11-display centerhung system graces Food City Center in Knoxville, TN, as Daktronics designed, manufactured, and installed a total of 24 LED displays. The new system will be in place and ready to inform and entertain fans at every event.

[Truist Park Gets a Display Overhaul in Time for the MLB All-Star Game]

“An essential part of our partnership with Food City is the chance to reinvest in the fan experience, and the upgrades to the video boards are nothing short of impressive,” said vice chancellor/director of athletics Danny White. ”We are proud to have the most dedicated fan base in all of sports, and we are unwavering in our commitment to continually elevate their experience.”

Four main video displays each measure nearly 15x24.5 feet. Four corner wedge displays fit between the main displays for a seamless experience. Each of those displays measures nearly 15x5 feet. The main displays are each capable of variable content zoning allowing each to show one large image or multiple zones of live video, instant replays, statistics, game information, graphics, animations, and sponsorship messages.

Below the main displays, a ring display measures more than 3x103 feet in circumference. This provides supplemental graphics and information to the main displays. On the underside of the centerhung, two displays are angled toward the sidelines to appeal to those people sitting closer to the court. Each underbelly display measures nearly 6x20 feet. All centerhung displays feature 5.9mm pixel spacing.

“The University of Tennessee is on the cutting edge of innovative trends in collegiate athletics, so continuing the Daktronics partnership is a natural progression of maximizing the fan experience and providing a massive home court advantage,” said Josh Francois, Daktronics regional sales manager.

Each corner of the arena features a corner board, four in total, to bring additional views of replays, stats and messaging. Each measures nearly 11x18 feet wide and features a 5.9mm pixel spacing.

Circling the seating bowl, a 360-degree ribbon display is mounted to the seating fascia. This display measures approximately 2.5 feet high by nearly 880 feet in length and features a 10mm pixel spacing. Along the sidelines, six scorers tables can be organized in any configuration to meet the needs of the university. Four displays measure roughly 2.5x10 feet while two measure 2.5x6.5 feet. All six feature 3.9mm pixel spacing. These displays deliver additional sponsorship opportunities while also delivering supplemental game information and graphics.

Outside the arena, two marquee displays welcome fans and guests. Each measures 9.5x25.5 feet and features 10mm pixel spacing. These versatile displays can be used to promote upcoming events, show live games, entice fans with classic highlights and provide many other messaging opportunities for the university.

Located in a 50,000-square-foot facility in Dania Beach, FL, MAD Arts is at the forefront of merging art and technology. As an immersive art museum and community hub, it supports visionary projects that push the boundaries of creativity. A new Dolby Atmos playback system, bolstered with KRK ROKIT G4 10-3 studio monitors, enhances the auditory experience of one of its many exhibitions, “On Being.”

Created by artist Max Cooper, in collaboration with fine artist Minjeong An and creative coding and new media artist Ksawery Kirklewski, the exhibition is a unique, real-time experience that invites visitors to express their innermost thoughts. The sound system, designed by audio engineer Erik Aldrey, adds to the overall experience. Aldrey, who specializes in mixing and mastering, took on the challenge of designing the fully immersive audio setup utilizing the museum’s existing stock of 28 ROKIT G4 10-3 monitors.

“KRK worked so well in the room and sounded incredible as a PA speaker,” he explained. “The 10-3s have a large bandwidth and sound close to the full range that Dolby wants you to have for a setup. This made the installation easier because we could depend on fewer subs to fill the room. I discovered that I could achieve the essential home theater calibration of Dolby using the 10-3s, which streamlined the installation process beautifully. The ROKITs are powerful enough to fill the art exhibit space with vibrant sound.”

The immersive experience allows visitors to connect more personally with the narrative unfolding around them. By scanning a QR code, attendees can contribute their thoughts, enriching the communal dialogue inspired by the display. “Everyone who has come to view the immersive room loves the ROKITs. They are great speakers,” Aldrey added, highlighting the positive response he received about visitors’ experiences.

MAD Arts is dedicated to making art accessible for all and believes in leveraging technology for social good. With its commitment to educational initiatives and inclusive programming, the museum continues to foster a lively community that champions creativity, innovation, and collaboration.

[Bringing the Magic of Immersive Experiences to Life]

“Getting the chance to sit and really absorb the sound of the ROKITs in the room, you start to hear the little nuances, and it makes a huge difference in the audio quality,” said Marc Aptakin, founder of MAD Arts. “The KRKs truly exceeded my expectations.”

The San Francisco nightclub, Monroe, has raised its guest experience to a state of "collective effervescence" with the recent installation of a d&b audiotechnik sound system featuring V-Series and xS-Series loudspeakers and XSLi-GSUB subwoofers.

[Innovation for Integrators]

"Collective effervescence," as explained by Monroe's owner, Payam Arvin, is "a feeling of shared energy and connection among patrons, which was our primary objective for our investment in our new d&b audiotechnik sound system."

Arvin also sought a “somatic, full-body experience” for their guests which translated into specific objectives for the new system, including significantly more speakers and subwoofers than their previous setup, with some subwoofers ingeniously integrated directly into the venue's custom furniture. Furthermore, the system needed to offer advanced zoning and volume control capabilities, allowing staff to fine-tune the audio in different areas of the venue to cater to varied needs during private events.

The seamless integration of this advanced audio technology, spearheaded through a collaborative effort between Michael Lacina of JK Sound and Don Lynch of Commercial Audio Video Solutions (CAVS), marks a new chapter for Monroe, building upon its long tradition of performance in a space that once housed the Jazz Workshop, known for legendary live recordings and performances by the likes of Thelonius Monk, Charles Mingus, Miles Davis, and John Coltrane.

The story of the Monroe sound system design began prior to the pandemic, culminating in 2024 with the final installation. Michael Lacina of JK Sound recounted his initial proposal, which aimed to replace “big, ugly, aging speakers” with a "tidy d&b system" featuring petite xS-Series 5S and 8S point source loudspeakers. "At first, aesthetics was the driving factor in the design process, as Monroe boasts a beautiful and scrupulously maintained interior." Lacina elaborated. “From the beginning, it was imperative to make it fit within the existing décor. Thus, the initial 5S/8S speaker proposal. But as Payam’s aspirations for the venue grew over time, so did his goals for the sound system. He finally said, ‘I want to have the best sound system in San Franciso for a club of this size.’ From then on, as I explained my reasoning for each component selection, if presented with two options, Payam would always pick the better choice.”

Don Lynch of CAVS joined the project later, bringing his expertise and readily available d&b inventory to help expedite the installation process amidst pandemic-related lead time issues. This collaboration between typically competing firms underscored the commitment by both to deliver the best possible solutions for their customers.

The installed d&b audiotechnik system at Monroe features a thoughtful distribution of components designed to achieve even coverage and the desired “full-body” experience. "The main dance floor is powered by V-Series V10P loudspeakers, providing the necessary coverage and headroom for the space," Lynch shared. "To cater to the raised bottle service tables and VIP platforms, the design incorporated xS-Series 10S , 10S-D and an 18S subwoofer dedicated to the VIP area, which was cleverly integrated into the existing seating. The bar areas on both the mezzanine and ground floor utilize 10S-D loudspeakers. The patio area also received dedicated coverage with two 10S loudspeakers."

One of the most elaborate aspects of the installation was the custom subwoofer tower situated in a 13-foot-wide passage between the front bar and the dance floor. “There was absolutely no good place to install an omni-sub on the main dance floor and so the passage became the only logical location," Lacina said. "However, the low frequencies from a subwoofer in that location would be very present in both sides of the club, so cardioid bass performance was needed. To keep up with the two V10 main dance floor speakers, we needed two subs to get the output we wanted. They had to be stacked to provide the widest passage for crowd flow. To maximize cardioid efficiency, they would have to be spaced one above the other.” This tower houses two XSLi-GSUB subwoofers with strategic air gaps to maximize their cardioid efficiency, effectively delivering powerful bass to both the dance floor and bar areas while minimizing spill.

Several E-Series EX15-SUB subwoofers were cleverly disguised throughout the front bar area, one as a vent, another under a drink rail, and a third flown in a dark corner. This further demonstrated the attention to both sonic performance and aesthetic integration. The system also boasts zoning control, allowing for independent adjustment of audio levels in different areas of the venue, enhancing its flexibility for various events.

The d&b audiotechnik sound system upgrade at Monroe has been met with resounding approval. “We are blown away by the sound provided by d&b audiotechnik," Arvin concluded. "I’m confident we have one of the top, if not best, installs in the Bay Area relative to our venue size. People have always come to Monroe to party, but since the d&b install the energy of our guests is different, it's been elevated to a higher level. You don't just listen to music with your ears, you also listen with your body, and with d&b audiotechnik, it's undeniable, you feel it too. It’s incredible."

Clear-Com recently implemented its EQUIP intercom system at Merlin Theme Parks, enhancing ride operations, safety, and guest satisfaction through improved team communication. Tyrell introduced Merlin to Clear-Com’s EQUIP system, a hands-free, full-duplex intercom solution designed to streamline real-time conversations between ride operators, loaders, and platform staff.

[Watch This High School Student Build Immersive Theme Park Ride]

“People would stand at a phone or a point on the ride having conversations, they weren’t checking bars or batching people into lanes," said Kiran O’Connor, continuous improvement lead at Merlin Theme Park. "That was a bottleneck we set out to solve. We needed a hands-free, full-duplex communication system without the need to press a button or pick up a phone. After evaluating several suppliers, Clear-Com’s EQUIP system hit everything we were looking for.”

The EQUIP system’s integrated battery life lasting a full operating day, with no trailing battery packs, and natural full-duplex conversation capability have revolutionized communication for the teams.

“Initially, some team members were hesitant, wondering if they should talk because suddenly everyone could hear them," said O'Connor. "But very quickly, they settled in and understood when the right time was to have those conversations. Things that previously required stopping operations to speak to a ride operator can now happen instantly over the headset."

The results speak for themselves. There has been up to an 18% increase in ride throughput by reducing delays and improving seat filling efficiency; an average improvement of 8-9% across multiple rides, one of the largest gains from recent operational changes; and significant risk mitigation for teams working at height or in complex environments through instant, hands-free communication.

Clear-Com has partnered closely with Tyrell throughout the rollout, customizing the solution for each attraction’s unique needs. “Tyrell has been instrumental in making this project a success,” said Ben Turnwell, EMEA regional sales manager. “They have been involved at every stage, from technical planning to on-site support and aftercare.”

“At each new attraction, Clear-Com visits our site, understands our operation, and makes bespoke recommendations on transceiver placement and cabling routes to optimize performance,” explained O’Connor.

A recent example is the rollout of the new Hyper coaster at Thorpe Park, where Clear-Com’s system ensured flawless communication from day one, contributing to peak throughput performance.

“Clear-Com has been great all the way through, providing excellent aftercare support. There’s always someone on the phone when we need to discuss ideas or troubleshoot. They consistently put boots on the ground to see us and understand our needs firsthand,” O’Connor added.

FITNESS2020, at its PLAE Performance Zone in McDonough, GA, is investing boldly in the belief that quality, innovation, and service are what drive long-term membership growth. To bring workouts to life, they gym has turned to LG commercial displays to power its guests through.

[John Reed Fitness Sets the Gym Audio Experience on Its Ear]

While other fitness centers shy away from premium technology or equipment, uncertain of the return, FITNESS2020 founder Jason Pelusi sees investment as essential for creating a fitness experience that keeps members engaged, inspired and loyal.

“Too many gyms are afraid to invest in the best,” Pelusi said. “They’re not sure they’ll see the return, so they settle for basic equipment, cheap screens and minimal staff training. But at FITNESS2020, we’re proving that when you go all in—on technology, on programs, on staff development and on modern design—you don’t just attract more members, you build a stronger community.”

And he’s already seeing the results. Since launching the brand’s first PLAE Performance Zone, the company has experienced a measurable surge in premium membership upgrades and new member acquisition, proving that investing in a next-generation fitness experience pays off.

The new 8,000-square-foot PLAE Performance Zone, a members-only space, is designed around the commitment of the “best version of themselves in fitness” to its performance and quality. From the advanced strength and conditioning tools from PLAE, to immersive commercial display technology from LG Electronics, the Performance Zone reflects a fitness philosophy rooted in long-term value rather than short-term savings.

The Performance Zone features first-rate, PLAE solutions throughout, including ACHIEVE 18MM Rubber Flooring, ATTACK Turf, a full complement of cable machines, free weights, storage systems and the robust ICONx Strength Racks Ecosystem. These are not standard-issue gym fixtures; they’re premium-grade tools selected to elevate serious training.

At the heart of the Performance Zone’s immersive energy are two massive LG videowalls that broadcast dynamic PLAE training programs in stunning clarity. Three LG multi-touch digital displays allow members to interact directly with personalized content, tracking progress and customizing workouts on the fly.

The response has been overwhelmingly positive, according to Pelusi, who says that about 31 percent of current McDonough members have upgraded to premium memberships for access to the Performance Zone since February. Among new members, 27 percent select the premium tier before ever setting foot in the club, influenced by the dynamic imagery and promise of the Performance Zone in marketing materials.

“At FITNESS2020, we see the future of fitness in creating environments that energize people – not just physically, but emotionally,” said Pelusi. “Technology plays a huge role in that. The LG videowalls bring real energy into the space. It’s not just flash, it’s function. They connect members to a training rhythm, they guide their programs and they add a level of excitement that static equipment alone can’t create.”

Pelusi has no intention of stopping at McDonough. A PLAE Performance Zone is in development at the Eagles Landing location, with additional Performance Zones planned for new FITNESS2020 branches currently under construction in Atlanta’s East Lake neighborhood and in the city of Acworth. The model is already being woven into the future of the brand.

“This isn’t just about building another room in the gym,” he said. “The PLAE Performance Zone is reshaping what people expect from a fitness center. It’s elevating routines, creating communities and giving members a reason to stay, and share their experience with others.”

Associated Controls + Design recently completed the installation of a new video wall system at the East Texas A&M Field House. The installation transformed the basketball arena for an enhanced game-day experience.

[Check Out the Largest LED Wall in the Middle East]

East Texas A&M went with a dynamic visual setup. The project scope included four 7x4 video walls suspended at each corner of the basketball court, providing immersive visuals from every angle and two 25x1 ticker boards spanning the length of the court sidelines above the bleachers, delivering real-time updates and engaging content.

Associated Controls + Design was responsible for the engineering, fabrication, and installation of these displays, ensuring they met both aesthetic and structural requirements. The final setup features sleek, modern video walls seamlessly integrated into the space, complementing the vibrant blue and gold court adorned with the university’s lion mascot and “East Texas A&M” branding.

Associated Controls + Design's partner, Clark Reder’s structural analysis revealed significant constraints: The building’s framework could not support the full weight of the video walls if lifted using hoists, and the frame design required precise weight specifications to prevent overloading. This challenge necessitated an innovative installation strategy.

To address these limitations, Associated Controls + Design designed a lightweight frame to meet the building’s weight restrictions, ensuring the safety of the structure. Additionally, they lifted each video wall in quarter sections, assembling the remainder in the air—a process requiring precision and care.

The project was completed on time, within specifications. East Texas A&M praised the installation, saying, “This setup transforms the entire space into a dynamic, engaging environment, making every event unforgettable.”

Powersoft amplifier platforms, including multiple models from the company’s mission-critical Ottocanali series, are powering the new public address and voice alarm (PA/VA) system at Elland Road stadium in Leeds, England.

[All-Star Installations—The SCN July Issue Is a Home Run]

Complemented by Unica and Mezzo-series amplifiers, also from Powersoft’s extensive fixed-install range, the Ottocanalis provide the amplification backbone for a safety-first, EN 54-certified PA/VA system delivered by U.K.-based system integrator ImPerium Integration.

Opened in 1897 and originally home to a semi-professional rugby league team, Elland Road hosts three-time English football champions Leeds United FC since the club’s formation in 1919. Like many heritage stadiums in England, Elland Road’s lay-out betrays its humble roots, with different parts of the venue having been updated separately in the 128 years since its construction—the result being that its 37,792 seats are split unevenly between four stands, complicating the job of delivering a PA/VA system capable of providing even and consistent coverage across the entire stadium.

According to Alan Inkster, managing director of ImPerium Integration, Leeds United required a sound system that could ensure maximum intelligibility on match day while also providing the power and punch needed for concerts and live entertainment events. It also needed to be compliant with EN 54, the European standards for voice alarm and fire detection systems.

To supply the amplification backbone for this demanding brief, Inkster and the ImPerium team turned to Powersoft’s Ottocanali range, specifying a total of 24 Ottacanali amplifier platforms (comprising Ottonacali 4K, Ottocanali 8K and Ottocanali 12K) to deliver 4,000, 8,000 and 12,000 watts of audio power respectively through eight channels to fans in the stands. The Ottocanalis are complemented by two Unica 4K8 amplifiers, from Powersoft’s newest fixed-install amplifier series, in the Pavilion banqueting hall, as well as an ultra-compact Mezzo 604 amplifier in the East Stand banqueting area. All Powersoft amplifier platforms are EN 54 certified for use in PA/VA systems.

The Ottocanali series is designed for mission-critical, multi-zone installations, with support for a wide range of system control, alarms, GPI/O and monitoring functions. The DSP models installed in Leeds also include on-board digital signal processing, offering enhanced flexibility while adhering the rigorous safety standards required by the club, with zoning provided by MediaMatrix servers.

At Elland Road, the Ottocanali amplifiers power 18 Martin Audio TORUS T1230 arrays in the North Stand, 18 in the South Stand, 24 in the West Stand, 30 in the East Stand, and an additional 12 in the corners of the stadium. A further 10 Martin Audio CDD12 loudspeakers are fitted at the rear of the West Stand for additional coverage, with Martin Audio SXCF118 subwoofers complementing the T1230s throughout. Ceiling loudspeakers throughout all stands are EN 54-compliant Bosch EN54 models, with an additional 50 RCF ceiling loudspeakers in the South Stand concourses and other areas.

According to Inkster, both he and the client are satisfied with the amplifiers’ performance at Elland Road, where the new PA/VA system is already a hit with club and fans alike. “Leeds United wanted a system that not only complied with modern safety legislation, but also matched the club’s ambition to offer fans the best possible audio experience,” he concluded. “Powersoft’s Ottocanali amplifier platform gave us the ideal foundation for consistent coverage and superb audio quality throughout Elland Road.”

Riedel Communications has launched its RefSuite, a powerful new managed technology solution tailored to professional sports workflows. RefSuite combines hardware, software, cloud services, and 24/7 remote operations into one seamless ecosystem designed to transform refereeing, coaching, and broadcast operations across live sports environments.

[Brave New Vision]

Developed in close partnership with referees and industry stakeholders—and built on Riedel’s trusted engineering expertise—RefSuite brings together five tightly integrated modules: RefCam, RefBox, RefComms, CoachComms, and RefCloud. From head-mounted referee cameras and FIFA Quality-certified Video Assistant Referee (VAR) systems to Bolero S-based wireless comms and cloud-based media management, RefSuite enables unprecedented coordination, performance, and decision-making while delivering unseen/immersive broadcast perspectives.

“RefSuite is the culmination of years of field experience, product innovation, and direct collaboration with the world’s leading sports organizations,” said Lutz Rathmann, CEO managed technology, Riedel Communications. “With each module already proven in high-profile deployments worldwide, RefSuite represents a decisive move away from fragmented solutions—delivering a cohesive, future-ready platform that empowers officiating, coaching, and broadcast teams alike.”

RefSuite’s modular design ensures maximum scalability and flexibility; whether deployed at elite-level tournaments, national leagues, or training grounds, RefSuite adapts to each client’s requirements and scale. RefCam delivers stabilized, broadcast-grade referee POV video, while the RefBox VAR review system offers intuitive, synchronous control of all video sources for instant analysis, playback, and clip export. RefComms and CoachComms provide encrypted, low-latency referee and team communication, complemented by the RefCloud media cloud as a central hub for secure media storage, review, and collaboration.

The ecosystem can be extended with Riedel’s Easy5G Private 5G network solution, offering high-speed, secure data transmission for full-pitch RefCam video streaming or remote RefBox review workflows. Combined with (optional) centralized monitoring and support via Riedel’s Remote Operations Center (ROC), this Managed Technology offering delivers turnkey deployment and operational peace of mind. With RefSuite, sports organizations gain a consistent, high-performance foundation for every matchday scenario—delivered and maintained by one trusted partner.

“RefSuite represents our vision of seamless delivery—a unified technology and service model designed to meet the demanding needs of international federations, leagues, broadcasters, and production partners,” said Marc Schneider, executive director global events, Riedel Communications. “This is just the beginning: RefSuite is the first step in a new generation of integrated ecosystems that will unlock new capabilities for remote production, performance analysis, and immersive fan experiences—shaping the future of motorsport, maritime, and live production environments alike.”

Stadium Taranaki—Plymouth, New Zealand's home to rugby—has undergone a major redevelopment project to futureproof its facilities. Part of that was the installation of Auri by Listen Technologies and Ampetronic, powered by Auracast. A regional venue dedicated to sports and entertainment, now enables inclusion and accessibility for all visitors.

[Listen Technoloigs, Ampetronic Among SCN Installation Product Awards Winners]

With upgraded West and East stands, improved seismic resilience, and scalable facilities, the redevelopment wasn’t just structural—it was also about experience. A key priority for the stadium and its community stakeholders was to ensure that fans with hearing loss could enjoy the same immersive experience as everyone else.

The original plan involved deploying a traditional hearing loop system, which has long been a reliable solution for direct audio access. However, as the East Stand was added to the scope and the complexity of the infrastructure increased, the practicality of installing a loop system became a challenge. With multiple zones, large spaces and a need for flexible coverage, the team sought a future-focused alternative that could deliver equal access—without introducing technical or architectural constraints.

New Zealand integration firm, Provision Technologies, partnered with Jands—a distributor of audio, video, lighting, and broadcasting technologies throughout Australia and New Zealand—to evaluate and model various assistive listening options for the East Stand, causeway, and event space. As the project evolved, so did the available technology. Jands introduced the client to Auri which is built around Auracast broadcasting.

Auri allowed the venue to deliver the same direct audio experience as a hearing loop—without the complexity of under-floor cabling or amplifier arrays. Instead, it uses Bluetooth Low Energy to broadcast clear, low-latency audio to users’ own Auracast-enabled hearing aids, earbuds, smartphones or dedicated receivers.

The final system installed at Stadium Taranaki comprises four Dante-enabled Auri transmitters—two covering the East Stand with more than 12,000 square feet (1,200 square meters) of coverage, one serving the causeway, and another dedicated to the event space. In addition, 32 Auri receivers were supplied for the venue to offer on demand to visitors who require them. This project represents one of the first Auracast stadium installations in Australasia and marks a significant milestone in the deployment of accessible technology in public venues.

Unlike traditional assistive listening systems, which often rely on proprietary equipment and are confined to specific locations, Auracast is designed to work with all Auracast-compatible devices , expanding access to those who use hearing aids, earbuds, smartphones, or AirPods.

Delivering this groundbreaking assistive listening solution was a true team effort, grounded in shared values around inclusion, innovation, and excellence in execution.

“Provision excelled at meeting the client's needs and ensuring that they made an informed decision regarding the system to be used,” said Justin Marechal, account development manager at Jands NZ. “By collaborating closely, we presented all available options and delivered a system that enables everyone to share in the excitement of live events—without limitations. It was a privilege to be on site with Provision during commissioning and testing with the IQP, and to witness this successful and inclusive outcome.”

“This project was a perfect blend of innovation and collaboration,” added Dylan Torr, AV sales consultant at Provision Technologies. “By prioritizing accessibility from the start, we didn’t just upgrade a stadium—we redefined what it means to create an inclusive experience for every fan.”

Christie is behind yet another immersive experience. The new “Xpark meets NAKED–Ocean of Light: Immersive Ocean” exhibition at Xpark Aquarium in Taipei is being powered by Christie projectors. Created by Japan-based creative company NAKED, the exhibition officially opened to the public on June 28 as part of the aquarium’s fifth anniversary celebrations.

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The attraction seamlessly fuses real marine life with digital art from the “NAKED OCEAN” series to create an immersive, multi-sensory journey. Combining oceanic projections, interactive displays, and rich visual storytelling, the exhibition reimagines the ocean as a living canvas—where nature, creativity, and technology come together to inspire awe and reflection.

Christie’s longstanding partner, Dacoms Technology, was responsible for the projection design and systems integration for this large-scale attraction. The setup features 15 Christie 1DLP laser projectors, including Inspire Series DWU960ST-iS fitted with short throw zoom lenses, GS Series DWU880-GS projectors, and six Pandoras Box Servers for real-time video playback and content processing.

“Christie’s projection and content management solutions are once again the top choice for this project, not just because of their visual performance, but also for their dependability in challenging environments,” said Terence Lee, EVP, Dacoms Technology. “Xpark has used Christie solutions since its opening in 2020 and has always been impressed with their consistency. For this immersive showcase, Christie’s powerful, flexible solutions provided the confidence we needed to deliver a stunning and memorable experience.”

The projectors are used to project lifelike visuals across expansive curved walls and floors, immersing visitors in dynamic marine environments that pulse with light, sound, and motion. With this latest installation, Christie adds to a growing legacy at Xpark, which previously deployed over 60 Christie projectors—including GS Series and Captiva Series models—and 20 Pandoras Box Servers, Compact Players, and Widget Designer when the aquarium first opened.

“We’re thrilled to see our technologies once again at the heart of such a forward-thinking exhibition,” said Jason Yeo, senior sales manager, Southeast Asia and Taiwan, Christie. “The collaboration between Xpark and NAKED pushes the boundaries of digital storytelling and environmental awareness. With Christie laser projection and content management solutions, guests are fully transported into a mesmerizing underwater realm that is both visually spectacular and deeply meaningful.”

“Ocean of Light: Immersive Ocean” is the first major collaboration between Xpark and NAKED, following the success of their initial partnership in January 2025 with the limited-time attraction “Xpark—Sea of Light Jellyfish—by NAKED”. This second phase marks a significant expansion, with nearly 70% of the indoor zones renewed with digital installations designed for maximum engagement and impact.

“Designed as immersive edutainment, this exhibition is more than just a visual feast,” Lee added. “It invites guests of all ages to explore the ocean’s diversity, ecosystems, and conservation challenges through all five senses. By combining real-world exhibits with digital art, ‘Ocean of Light: Immersive Ocean’ redefines what an aquarium experience can be.”

Completed in 1926, Providence Park is the oldest facility configured as a soccer-specific stadium for use by an MLS team. Two professional soccer teams, the Portland Timbers of MLS and Portland Thorns FC of NWSL, use the facility as their home pitch, and both clubs rank among the top ten in attendance among professional soccer teams (men's or women's) in the United States and Canada. Now, the audio pitch is enhanced with Dante.

[An [Atlanta] Brave New Vision]

The facility has undergone several recent renovations to expand its seating capacity to over 25,000, with associated infrastructure and AV upgrades. As expected with any MLS stadium, cameras abound around the stadium to catch the never-ending action from several simultaneous angles. The AV feeds are broadcast to multiple top-tier streaming services for the fans who cannot watch the match live.

But there’s much more to the AV experience at Providence Park than just the cameras. And all the sounds of the fan experience couldn’t happen without Dante.

The independent audio feeds are sent to Yamaha QL5 and QL1 mixing consoles for broadcast preparation. QL series consoles offer all-in-one mixing, processing, and routing capability for live sound, corporate speech events, installations, and more. A Shure AD4D wireless receiver paired with Shure Axient microphones transmits pristine audio via Dante from fieldside for transmission over the stadium’s public address system driven by BSS Soundweb London DSPs. AVIO adapters dot the landscape to help integrate analog signals from external vendors and partners onto the Dante network.

Providence Park has also invested significantly in accessibility for its fans and guests via an assisted listening program from Listen Technologies. Dante makes it easy to route different radio, Spanish language, or television broadcast feeds to assisted listening devices so that fans can have the full experience of watching a soccer game at the stadium.

Dante Controller software is a key element of the Dante platform, acting as a one-stop shop for managing AV routing—with separate, independently routable streams for audio and video. Users don’t have to worry about re-establishing routes when a device is moved or power cycled—saving time, worry, and setup costs.

In the future, Providence Park plans to implement Dante Domain Manager to expand its management capabilities, improve redundancy, increase security and segmentation of duties, and provide additional services. But for now, take a peek for yourself at how it all came together.