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.

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

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.

The Atlanta Braves have big plans for 2025. Truist Park, home of the Atlanta Braves, got a technological facelift ahead of the new season, which will include the highly anticipated MLB All-Star Game this month.

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Truist Park opened in April 2017, then under the name SunTrust Park. One could argue it set a new standard in the MLB ballpark experience, with a technologically advanced stadium and The Battery Atlanta—a destination spot surrounding the park with restaurants, shops, and an outdoor viewing area for even more fans to engage with the team. So, it may be surprising that just a few years later, the Braves are already upgrading the stadium.

As Scott Waid, SVP of technology services, Atlanta Braves, pointed out, the Braves have always prided themselves on creating the best guest experience through innovation and technology. "I don't think we're ever done on that journey," Waid said. "Particularly to the LED boards. We've both increased the number of LED displays in Truist Park but also replaced and refreshed some that were put in back in 2017. Now, we were looking to expand the number of boards."

Going Yard with SNA Displays

Waid explained the process started by talking with industry experts WJHW, which has outfitted SoFi Stadium, FedexForm, Allianz Field, and other sports venues with Pro AV overhauls. It was WJHW that introduced Waid and his team to SNA Displays, which wound up being awarded the display installation, going with its signature EMPIRE Exterior line of LED display technology.

"Getting the right partner is critical to success and understanding what those key success metrics are for your organization,” Waid explained. “[SNA Displays] shares our passion for excellence, they share our passion for innovation, they share our passion for creating the best guest experience. For example, during the installation process, [SNA Displays] would be ahead of me going, ‘That just doesn't look right. We need to fix that.’

"The other piece," Waid continued, "is don't underestimate the value of strong project and program management. As I came to find out afterwards, talking with WJHW, most stadiums, when they swap out their LED boards, take 18 to 24 months. We had 11 to 12 months.”

Waid said SNA Displays blew his team away with its plan to deliver on the scope and scale of the ask, and having the entire process under its purview—especially when supply chain issues can still creep up—was a big advantage as well. According to Mitch Leathers, VP of marketing and communications, SNA Displays, the team was able to get the job done in a short timeline by Opening Day because they were ready for the pitch.

The SNA Displays team was able to complete the project in roughly 24 weeks from being awarded the project to the start of the season in April. "We began preliminary design and engineering prior to award to show our understanding of the timeline significance and general commitment to the project," Leathers explained. "Post-award, all the extensive engineering, purchasing processes, logistics, and planning began immediately and stayed on a priority track throughout the fabrication and delivery phases."

Put Me In, Coach

It's not simply a shiny, new center field videoboard. The Braves have a Master Planning Project—a plan that aims to continue to elevate the ballpark to provide new and enhanced experiences for Braves fans—that brings LED power throughout the stadium in monster displays and ribbon boards … with more to come. Waid said the plan is to have all 12 new displays installed in time for the MLB All-Star Game on July 15.

The standout display is the new 65x121-foot center field BravesVision videoboard, a 10mm pixel pitch display that has more than double the number of pixels of its predecessor. Per the SNA Displays team, it was custom engineered to provide improved operational service and maintenance access for the AV support team.

SNA Displays was able to overcome several challenges, including color matching with the original fixtures of the stadium. David Kile, senior director of solutions, SNA Displays, said a critical process in the testing and commissioning of new LED display surfaces is color correction and matching, which SNA Displays adjusted to within 0.1% of the color coordinate.

"For each of the Truist Park assets, once data and power connections were complete, on-site technicians analyzed the appearance of the newly installed EMPIRE Exterior system and performed color corrections using our V3 Pro software with custom color tables," Kile explained. "These adjustments are initially performed at the panel and pixel level at our factory and are part of a rigorous, pre-planned testing process designed by our project and operations teams. Once installed at the stadium, each display was again calibrated to match the existing displays by performing measurements using a certified colorimeter and entering that data into the V3 Pro Suite."

Obviously, getting the right pixel pitch is always important. "Pixel pitch discussions for these kinds of high-profile venues involve the proximity of the ideal viewer, but also the appearance of the boards both in person and on TV," Leathers said. "The Braves selected just the right mix of options, and it shows in both the clarity of the boards and the seamlessness of the fan experience."

There was also a 3x411-foot LED ribbon along the 400 level on the first-base side and a longer 479-foot-long ribbon on the third-base side. New displays were also added to the new Outfield Market, Blue Moon Beer Garden, and the brand-new, family friendly Children's Healthcare of Atlanta Park. In The Battery Atlanta, new displays were added to the Good Game venue, an incoming Shake Shack, and on the Truist Tower Parking Garage. If Matt Olson gets a hit, fans are going to see it whether they are inside the stadium, on the way in, or eating burgers outside.

"We've added a couple of new areas," Waid added. "The centerpiece of our brand-new Outfield Market is a big LED display that connects the guests that are in there with the game while they're enjoying themselves eating food and socializing with their friends."

Collaborating on Content

As Waid noted, it was a very active installation. Truist Park doesn't simply host 81 home baseball games (and potentially playoff games) a year. There are concerts, a visit from the Savannah Bananas, and this year's MLB All-Star Game and the extra events that come with it. So, while SNA Displays was adding new displays to completely new areas of the park, and while there were cranes and other equipment constantly on the move, there was a control room renovation as well.

"As we got deeper into it, we replaced our control room platform as well, or at least the vast majority of it," Waid said. "That was an added complexity in the coordination of all of that." Waid said SNA Displays helped transform 80-90% of the control room, one that includes Ross Video XPression graphics and a Grass Valley switcher. While the BravesVision production team refreshes its show each season, even old content (like corporate logos) that is sometimes reused had to be redone with the new LED display dimensions.

The Atlanta Braves fanbase has high expectations, and while that is primarily on the field, the move to the new stadium also heightened those expectations surrounding the field as well. And that's why the SNA Displays partnership continues to fit like a batting glove.

"The Atlanta Braves are obviously a world-class organization that knows how to deliver an enjoyable experience to their fans," Leathers said. "Our team and the Braves' front office quickly developed a good working relationship which led to a smooth workflow and efficient project overall."

"For everybody that embarks on a project like this, don't lose sight of what you're trying to accomplish and have fun along the way," Waid concluded. "The payoff is tremendous. Don't lose sight of that because there's always budgets, there's always deadlines, there's always milestones, there's always technology problems. But at the end of the day, I think it's a game changer for us."

The Carolina Theatre, located in Charlotte, recently underwent an eight-year restoration project to reopen the historic venue. Quince Imaging—known for its immersive productions that bring fans into the action, like we covered with the Anaheim Ducks—took this restoration to a whole new level, that we believe has never been seen before.

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The theater originally closed in 1978, but in 2012 Foundation For The Carolinas began its push to reopen the historic site, and by March 2025, it was finally ready to open its doors.

Those doors opened to what Quince Imaging calls, "the world's first blended remote-head projection mapping installation... featuring a one-of-a-kind projection mapping system that sets a new industry standard." That projection mapping system doesn't appear to be in the background on LED screens, but brings the entire theater to life—stage, walls, and all.

The projection mapping system—which includes projectors from Christie—contains six lasers that projects images and content across the audience's sightline. “This system merges proscenium mapping technology comparable with the legacy system at Radio City Music Hall and the interactive real-time rendering seen in modern Location Based Entertainment (LBE),” said Eric Gazzillo, VP, Quince Imaging on the company's website. “The result is a system that can immerse the audience in visual imagery while adding the real-time interactivity for participatory shows and events.”

Additionally, a new JBL sound system was added, as well as Digital Projection and Q-SYS solutions along with NETGEAR switches were all involved in bringing the site back to life. We'll continue to bring more details as we find them out, but for now, enjoy the video above.

Riedel Communications has partnered with U.K.-based endurance GT team Garage 59 to deliver a fully integrated communications solution that is already playing a key role in the team’s phenomenal start to the 2025 racing season. Leveraging Riedel’s Bolero wireless intercom system in combination with the RiFace radio interface for seamless race control, Garage 59 has gained a new level of clarity, reliability, and scalability in its trackside operations, where it provides crucial support across the team’s GT World Challenge Europe and International GT Open campaigns.

[Start Your Engines... And Watch This DVIGear Racing Simulator]

Formed ahead of the new season, this partnership has helped the team to hit the ground running. Garage 59 is fielding three cars in 2025 and has already delivered a string of strong results across both race series, reaffirming the team’s status as a serious contender in the world of GT racing.

"This partnership with Garage 59 is an exciting step forward as we expand our motorsports presence in the U.K..," said Nacho Lee, program manager global events, Riedel Communications. "It's also a powerful example of the close cooperation between Riedel's Product and Managed Technology divisions. By working together, we’re delivering a fully integrated solution that meets the high demands of endurance racing."

Originally introduced to Bolero through Riedel’s Product Division, Garage 59 transitioned to a more comprehensive system with Riedel’s Managed Technology Division (MT) providing radio infrastructure and dry hire services for major events such as the 24-hour races at Nürburgring and Spa. The team also benefits from MT-exclusive helmet kits and a custom-built Riedel rack integrating Bolero, StageLink, and RiFace units—boosting in-race coordination and overall efficiency.

"We needed a communications solution that matched the pace and precision of our team, and Riedel delivered on all fronts," said Andrew Kirkaldy, team principal, Garage 59. "The clarity, reliability, and adaptability of the system have become a real competitive advantage for us this season."

Riedel Communications will continue to support Garage 59 throughout the 2025 season, with plans for further initiatives to spotlight the team’s progress and the communications technologies enabling it. "Garage 59 is a premium team with a dynamic setup and strong ambitions," added Lee. "We’re proud that our technology—and the dedication of our MT technicians—is helping them unlock their full potential on track, and we’re already looking forward to deepening our cooperation in the future."

Disguise, which helps drive visuals for Broadway and West End hits including Redwood, Stranger Things: The First Shadow and Disney’s Frozen, is now powering the LED backdrop and stage projections for Disney’s Hercules, the new West End musical.

[SCN Insider: The Cameras Used on Disney's Upcoming Christmas Special]

“Hercules is a fun film to adapt to the stage as it’s all based on ancient Greek mythology”, explained video designer George C. Reeve, who had previously collaborated with Disney Theatrical Groups on their production of Tarzan in Germany.

“That meant we needed to convincingly create a theatrical and mythological world for our characters to exist within," he continued. "Ultimately, after many ideas and concept artworks, we decided to create this world by using mosaics. This style of art was used heavily by the ancient Greeks to reflect and depict stories of the gods and other heroic figures many years ago. We created a workflow that meant we could quickly and efficiently create a piece of mosaic content and deliver it to the stage in real time. This allowed us the flexibility to bring the mosaics to life and have them effortlessly shapeshift on stage, transporting the audience to locations like Mount Olympus, the Underworld, and Earth within seconds.”

To achieve this, Reeve collaborated with a team that included video system designer Mogzi, associate video designer Kevin Buysse, and animator Gustaf Lindström. Together, they used Disguise’s Designer software, six OmniCal cameras, and five Disguise EX 3+ media servers to create and display the show’s visuals. The audience is then able to see these visuals on a 928-tile ROE LED backdrop, floor projections, and projections on an intricate set of rotating pillars in the foreground. Together, these LED and projected visuals extended the physical set, inviting audiences into Mount Olympus and the mystical worlds of the show.

Bringing a Classic to the Stage

Reeve spent the next three months working on the Hercules visuals, collaborating with the show’s animators to create the base content for the show. “A big challenge we faced was how to create the world of mosaics, being able to manipulate them and create them quickly in tech, whilst delivering the final looks which were desired,” Reeve says. “Using a workflow in Unreal Engine and Substance, we were able to create assets made from the mosaics, light them in the 3D world, and then pass these assets back through the After Effects pipeline and render for Disguise playback.”

Next came the production period, where the final look was composited directly in Designer. Designer’s new Colored Layers feature was used to help the team easily differentiate between 24 different composite layers involved in the show visuals, enabling them to easily identify what would be projected and what would be displayed on the LED screen.

Once all the show visuals were ready, they were then exported to five EX 3+ media servers set up in a director/actor/understudy configuration, which would allow the understudy to completely take over from the director or actor in case of failure. The servers then connected directly to a Lightware MX2 Matrix, and then onward to Brompton Tessera for processing and Lightware OPTJ fibre kits for video transmission. Finally, the output was sent to two Panasonic PT-RQ35K projectors, four Epson PQ2220b projectors and the ROE BP3 LED stage for the backdrop.

As a result, the audience is able to seamlessly travel from the Underworld to the Earth above with ease, following Hercules's journey with a true sense of magical possibility.

Get your July SCN issue by clicking here.

July means its time for MLB's "Midsummer Classic." The Atlanta Braves are playing host to the 2025 MLB All-Star Game, and their massive (both in size and number) displays will be showcased. Wayne Cavadi went inside Truist Park to find out more.

Also inside:

1. Executive Q&A's with 3Productions and Cobalt Digital.
2. A look at some challenges with cybersecurity and potential solutions.
3. The Pro AV behind mission-critical environments.
4. AES70.
5. Plus expert insights, new products, and this month's Pro AV newsmakers.

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Sacramento Production Services, a provider of professional event production and rental services in Northern California for more than 35 years, has adopted RF Venue’s CP Stage compact, circularly-polarized antennas as a cornerstone of its recent wireless systems deployment at Sutter Health Park, home of the Sacramento River Cats and the temporary home of MLB's Athletics, as well as in support of wireless microphone and IEM systems it implements and rents.

[Baseballs and Video Boards]

For the Sutter Health Park installation, Sacramento Production Services deployed three CP Stage antennas—two paired with Shure ULXD handheld wireless systems and one with a Sennheiser G4 IEM system used by the A’s to support national anthem singers. The CP Stage’s outstanding IP weather resistance rating “was a must,” said Keith Wackford, sales and production manager at Sacramento Production Services. “The pattern, gain, and IP rating made CP Stage the logical choice for both wireless microphones and IEM systems at the park. We’re seeing performance beyond 400 feet on these antennas, the results have been a win for everyone involved.” RF Venue’s patented Diversity Fin antennas, allowing true diversity from co-mounted, cross-polarized LPDA (vertically oriented) and dipole (horizontally oriented) elements, were connected to the brand’s 4 ZONE active antenna combiner “to allow even more freedom for the MCs to roam from concourse to field.”

The unique compact size of the mic stand-mountable CP Stage antenna—its ruggedized housing is just 10x12x1 inches—has also proven invaluable in touring and rental applications. “Helicoidal antennas are big and bulky—they don’t pack well and often require extra road cases,” Wackford noted. “Being able to fit multiple CP Stage antennas and all cabling into a single 3RU drawer is awesome. That’s a huge win for efficiency and flexibility in the field.”

Sacramento Production Services recently added a good number of the new Shure WMAS digital IEM systems to its rental stock. “We knew as soon as we saw the new CP Stage antenna that we’d be adding it to our Shure Axient PSM system design,” said Wackford. “Axient PSM can be configured as a very complex IEM system that supports multiple antenna deployments, and the CP Stage antenna provides us with a compact, high-performance option that fits beautifully into our workflow.”

The antenna’s broad, circularly-polarized directional pattern has delivered consistent results for early adopters like Sacramento Production Services across varied environments. “The best an antenna can perform is to not be noticed at all—and that’s exactly how the CP Stage performed with the Shure Axient Digital PSM IEM system and Shure wireless mics at a recent show at the SAFE Credit Union Performing Arts Center,” Wackford shared. “We had eight handheld mics and eight IEMs working flawlessly right next to the downtown convention center. No dropouts, no problems—just a happy team and happy performers.”

The CP Stage’s hypercardiod polar pattern uniquely has a rear transmission lobe that monitor engineers have found valuable for their QC bodypack receivers. “It’s a drag to be behind the antennas and have to listen to dropouts while mixing monitors,” said Wackford. “It becomes very fatiguing. The benefit of the rear lobe was noticeable during the monitor system pre-build at the Arts Center show,” he added. “Zero dropouts for all IEM users including our monitor engineer.”

Picture a two-story, 100,000-square-foot Neiman Marcus luxury department store. Now, envision that same location transformed into a pickleball venue. As the pickleball craze continues to sweep the United States, that’s exactly what happened.

[The Integration Guide to Video Walls 2025]

Milford, MA-based Invictus Technology Solutions was tasked with building a high-end sports complex—centered around pickleball—but with a distinctive edge over ordinary courts. The result, Bosse Pickledom, is a 21-court venue spread across two floors, complete with restaurants, premium amenities, and a digital experience powered by a Digital Projection video wall.

The 244-inch diagonal Radiance Performance Series 1.2mm COB, (Chip-On-Board) LED video wall from Digital Projection occupies a custom, high-end theater. Designed, integrated, and commissioned by Invictus, the video wall featured in the “Invictus Sports Theater” creates the ultimate sports-viewing venue.

The theater, which seats 43 guests at tables, functions as an upscale private viewing room where patrons can reserve seats during special events like March Madness or NFL Sundays. Complementing the visuals is a Dolby Atmos audio system featuring Sonance Reference Series in-wall and in-ceiling speakers and Origin Acoustics audio amplifiers. On command from a specially programmed remote from Universal Remote Control, an AV Pro Edge MXNet video matrix feeds content from a centralized rack of AV equipment to the video wall and all other displays in the Bosse Pickledom.

From the very beginning of the Bosse Pickledom project, the Digital Projection Radiance LED video wall was envisioned as the crown jewel of a $2 million AV strategy—and marked Invictus’ maiden voyage into the world of LED video wall integration. “Certainly, our team could have managed the installation ourselves,” Bettencourt said, “but for a project of this scale and visibility, Digital Projection’s white glove service was the smarter path. Their expert technicians completed the installation in just a few days, allowing our team to concentrate on the many other layers of the project, including distributed audio for 21 pickleball courts, extensive Wi-Fi coverage, and a comprehensive surveillance and access control system.”

Guided by the client’s vision, Digital Projection technicians collaborated closely with the Invictus team to seamlessly integrate the massive video wall within the architectural constraints of the theater. A projector-based solution was quickly ruled out due to high ambient light levels, limited ceiling height, and the client’s specific aesthetic and performance preferences.

After carefully assessing the space, the team settled on an 18x10-foot, 244-inch diagonal video wall, comprised of roughly 81 panels and 650 individual 6x6.5-inch LED modules delivered direct from Digital Projection to the jobsite in pre-labeled road cases. Each module was clearly numbered and mapped to its exact placement on a custom metal framing structure. While the Digital Projection tech team configured the massive display, Invictus created a cavity into which the video wall would be recessed to create a flush, seamless appearance.

“It was a nice surprise to learn that Digital Projection would supply spare LED modules to use later if we ever need them,” remarks Bettencourt. “As is Digital Projection’s standard practice, these were pulled from the same manufacturing bin and batch as the originals to ensure color consistency during any future replacements.” Even the theater’s AV system offers flexibility: while it’s optimized for one massive picture, a multi-view card allows the wall to split into four separate feeds, raising the ever-present question of which audio feed to prioritize—a challenge Invictus is happy to tackle as the venue continues to evolve.

The theater wasn't the only upgrade. With 50,000 square feet on each level, the Bosse Pickledom is massive. The upper floor features several restaurants, including a full-scale sports bar/lounge. Strategically installed by Invictus throughout these and other spaces are 39 wall-mounted LG OLED TVs ranging from 65 to 83 inches, with 11 dedicated to the sports lounge alone. One of these TVs isn’t a TV at all—but a custom-designed Digital Projection dvLED video wall that delivers an immersive, cinematic experience unlike anything else in Natick, MA.

“Everyone has seen video from a projector, but few have experienced the stunning brightness, unbelievable color, contrast and pin-sharp clarity of images on something that looks like a TV, just on a much grander, more impressive scale. Digital Projection’s approach of powering the wall via Common Cathode technology makes the installation all the more impressive as it generates far less heat than other manufacturer designs,” said Invictus president Derek Bettencourt. “Eye-catching and visible from the second-floor entrance, it draws people in—and for a groundbreaking new business like Bosse, that kind of impact is invaluable.”

The entire Bosse Pickledom is a masterclass in integrated AV design. From Sonance PRO Series pendant speakers that fill the courts with energetic background music, to a high-performance Ubiquiti Wi-Fi network, intelligent door controls for secure access, and more than 150 strategically placed surveillance cameras, every square foot has been meticulously planned. Whether it's members enjoying spa-inspired locker rooms or casual players popping in for a quick match, the facility delivers a seamless, high-end experience from start to finish. With the push of a single button, staff can trigger pre-programmed AV and lighting scenes—like “Game Day” or the crowd-favorite “Glow-in-the-Dark Pickleball” on Friday nights, where black lights, pulse-pounding music, and live DJ sets transform the courts into an electrifying nightclub-style arena.

Certainly, the video wall was a serious investment—but one that immediately paid off in visual impact, customer engagement, and long-term flexibility. In a venue built on redefining what a pickleball facility can be, the Digital Projection LED video wall serves as both a conversation piece and a centerpiece—bright, bold, and brilliantly executed. With the success of the Bosse Pickledom, plans are already underway for expansion, including new facilities in Boston and Buffalo, the latter of which will feature a 60-foot-wide video wall—a testament to the client’s belief in large-format LED displays and in Digital Projection and Invictus Technology Solution’s ability to deliver them.

First opened in 1917, Chicago’s Riviera Theatre has transformed from a French Renaissance Revival-style movie palace to a cornerstone of Chicago’s live music scene. While the $5.50 ticket price from its 1975 debut Supertramp concert is long gone, the experience continues to improve, most recently with the installation of an L-Acoustics L Series loudspeaker system.

[Tasty Pro AV Options Are Enhancing the Dining Out Experience]

In recent years, the 2,500 capacity venue has undertaken a major restoration effort to bring the century-old theater back to its original splendor. As part of the renovation, it became clear that the sound system needed an upgrade. Jam turned to Minnesota-based Allied Productions, who in 2017 installed an L-Acoustics system at the Palace Theatre (St. Paul, MN) and had recently installed the world’s first L Series system at Minneapolis’ iconic First Avenue, earning rave reviews from both artists and fans.

“Having experienced Allied Productions’ exceptional work and the impressive performance of the L-Acoustics system during its installation at the Palace Theatre in St. Paul, I became a strong admirer of both,” says Jerry Mickelson, CEO, president, and co-founder of Jam Productions. “So when it came time to upgrade the sound at the Riv, bringing them in was an easy decision.”

Today, the Riv’s sound system is comprised of two L-Acoustics L2 enclosures flown over a single L2D per side as mains, sonically anchored by 11 KS28 subs spread out under the downstage edge of the deck. Four A10 Focus enclosures line the stage lip supplying front-fill, while four A15i Wide and five A10i Wide ceiling-mounted under the balcony serve as distributed delay fills. Seven 16-channel LA7.16 amplified controllers drive the main arrays and distributed delays, six four-channel LA12X power the subs and front-fills, and the entire system runs on a redundant Milan-AVB network managed by two P1 processors.

Onstage, a dozen L-Acoustics X15 HiQ wedges plus two KS21 subs are available to offer monitoring, as is a side-fill system featuring two arrays of two KS21, one A15 Focus, and one A15 Wide flown behind the L Series on each side of the stage.

Allied Productions also supplied the venue with two DiGiCo Quantum2²⁵ Pulse consoles: one at stage left joined by a pair of SD-Racks, and the other out at front of house, paired with an XTA M36 console switch to accommodate artists carrying their own control surfaces.

As structural integrity and architectural renovations had been completed before sound system upgrade began, preserving these features was paramount. Tyler Thomas, who led Allied Productions’ engineering team, explains how this led to rigging challenges: “Deep into the project, the rigging plan was simplified to a single point hang per side, since the entire system was fabricated and installed before the PA renovation.” Their Soundvision model easily accommodated the redesign with minimal impact – just a .01 degree difference. L-Acoustics proved ideal for the project due to the lightweight design of L Series and its versatile rigging options. Thomas notes, “Each L Series enclosure comes in under a half-ton. A comparable system would have been at least 500 pounds heavier. And the L2-BAR’s versatile rigging options allowed us to work within the building’s existing constraints rather than requiring structural modifications. We simply needed to tie the speakers to a permanent pipe to ensure proper alignment while respecting the completed architectural restoration.”

The Riv’s first show to feature the new L Series was a Dweezil Zappa concert, held just three days after calibration. “The sound quality is remarkable throughout the entire venue, even reaching the furthest balcony seats,” said Thomas. “The L Series cardioid drivers also significantly reduce noise bleed onstage.”

Thomas noted that the technical performance exceeded expectations from the start. ”Our Soundvision design predictions were spot-on, with less than one decibel of frequency response variation from front to back of the venue. We achieved 98% of our high-volume sound distribution targets and 99.8% of our overall volume change targets from front to back—performance metrics that other speaker systems would struggle to match.

“The elegant L2/L2D design helps the equipment visually disappear, keeping the focus on the performers. Both the Riviera Theatre team and Jam Productions are extremely satisfied with the coverage and sound.”

Home to the NBA's Miami Heat in the heart of Downtown Miami’s Entertainment District, Kaseya Center also hosts over 80 non-basketball events annually, from concerts to national conferences. Situated on Biscayne Bay’s waterfront between the city skyline and South Beach, Kaseya Center needed sound to match its vibrant location. This season, as the Heat takes the court, they’ve got it—thanks to a new L-Acoustics K2 sound system installed by Solotech Systems Integration before the current NBA season began.

[The Next Big Thing—What’s on the Horizon for Pro AV?]

“The selection of L-Acoustics as our preferred sound reinforcement partner was guided by two primary principles,” said Blake Engman, senior engineer and director of broadcast services for the Miami Heat. “First, the pursuit of exceptional audio intelligibility—ensuring that every fan and patron can clearly hear and enjoy all forms of content delivered in our arena. Second, the challenge of integrating a high-performance audio system within an extremely tight payload footprint. With no margin to add weight, L-Acoustics rose to the occasion, transforming seemingly insurmountable constraints into tailored solutions that meet our demanding specifications.”

The Heat Group, the organization that brought an NBA franchise to Miami, with its latest audio upgrade, sought to deliver the sound and bass that perfectly represents Miami’s dynamic culture.

“K2, with the L-Acoustics sonic signature, set the level and performance in the facility,” observed Mark Wilson, director of sales, Miami for Solotech. “The A15i Focus and Wide speakers have that same sonic signature, filling the upper levels smoothly, consistently, and well-aligned with the K2. Every seat at the arena now always gets the same incredibly musical sound experience and impact. It’s taking the venue to an entirely new level of fan experience.”

Installed over the summer of 2024, the new system comprises eight arrays of 10 K2 each, flown around the central display over the court, with four of the arrays (NE, NW, SE, SW) each backed by a hang of four KS28 subs time-aligned with the main PA system. A total of 20 16-channel LA7.16i amplified controllers housed in equipment racks drive all the K2, while four LA12X power the subs. Ground stacks of four more KS28 subs per side are positioned at each end of the court for additional LFE punch. Thirty-two delay arrays comprised of various combinations of a total of 75 A15i Focus and Wide enclosures provide coverage to the upper bowl seats. These are also efficiently powered by eight more LA7.16i.

“The HEAT spearheaded the sound system selection process, working closely with venue management,” explained Wilson. “While the venue wanted to enhance its rental appeal, it was ultimately the team that drove the decision, prioritizing fan engagement above all. They were determined to install a truly high-performance system for basketball and evaluated several competing options before choosing the L-Acoustics K2. This choice perfectly balances Miami’s vibrant music culture with critical venue requirements like speech intelligibility.” Wilson concludes with confidence: “It would be difficult to imagine a better sounding system in that space.”

For both the live games and online engagement, the need to keep the sound meeting fan expectations is more important than ever. “The Heat delivers signature audio content before, during, and after games, while NBA-mandated courtside microphones capture the on-court action that viewers have come to expect,” said Wilson. "This system sounds so amazing that you can really hear the differences in the content. The NBA is focused on creating better guest experiences league-wide, and systems like L-Acoustics give teams the opportunity to enhance that content. Great sound, great team—it’s a win-win situation.”

The Demon Deacons are enhancing the game-day experience for the women's volleyball team fans. Daktronics is designing and installing a slew of LED solutions, including a new LED video display, ribbon display, and three scorers tables, inside Varsity Arena in Winston-Salem, NC, for Wake Forest's upcoming 2025 season.

[Pro AV Technology Is Powering the new NASCAR Remote Race Control Room]

“I am incredibly humbled and thrilled about the new video board and significant facility enhancements in Varsity Arena for our student-athletes and passionate fan base,” said Wake Forest head volleyball coach, Jeff Hulsmeyer. “Having been here only a short time, I can see firsthand the commitment to state-of-the-art facilities and creating the best fan experience in North Carolina. The new video board will transform our game-day experience, allowing us to showcase the players and excitement of Wake Forest volleyball like never before.”

The video display will be centered on the baseline brick wall closest to the home bench. It will measure approximately 15x28 feet and feature a 3.9mm pixel spacing to deliver crisp, clear imagery to fans in every seat. Per Daktronics it is one of the largest volleyball-specific displays, featuring more than 2.6 million pixels to deliver high-definition imagery and graphics.

“We’re proud to be helping our long-time partners at Wake Forest with these great enhancements at Varsity Arena,” said Corey Williams, Daktronics sales representative. “The new main video display will be among the largest in a volleyball-only venue and the addition of the tables and ribbon will add to an already great game-day experience for Demon Deacon fans.”

The display features variable content zoning allowing it to show one large image or to be divided into multiple zones of content, including live video, instant replays, up-to-the-minute statistics, and game information, graphics, and animations, and sponsorship messages.

The Jack Breslin Student Events Center, a multi-purpose arena at Michigan State University in East Lansing, has been a hub of activity since its opening in 1989. The arena underwent a renovation last year that elevated its AV capabilities to new heights, made possible by designer and MSU technology consultant Anthony James Partners and the collaboration between SNA Displays and LynTec.

SNA Displays achieved two significant milestones at the Breslin Center. The renovation featured the company's first seamless center-hung videoboard. Four slightly convex 4mm BOLD Interior LED screens were joined to create a continuous 360-degree viewing experience. Unwrapped, the display is 14 feet high and 104 feet wide. SNA Displays also introduced a seamless ribbon display, a 4-foot-high, 728-foot-long, 10mm LED installation that wraps around the entire arena bowl.

Behind the displays lies the essential yet often overlooked role of power control. LynTec provided the power management infrastructure required to support the project’s ambitious technological advancements. The Breslin Center project presented an added layer of complexity due to the scale of the displays and the requirement for compatibility with V3Pro, SNA Displays’ proprietary control software.

To address these challenges, LynTec delivered a customized solution. A LynTec LCP 342 main breaker panel provided centralized power control for the system, while a specially-built LCS 342 panel was installed directly within the center-hung to enable localized control.

In all, the center-hung is powered with 16 three-phase 20-amp and eight three-phase 30-amp circuits, while the ribbon is supported through 12 208V single-phase circuits. The solution also includes a manual switch panel, giving on-site technicians the ability to control specific zones, if needed.

[CES 2025: How AI Is Going to Change Sports]

Typically, ribbons of this pixel pitch and this resolution have to use a lot more power and need a ton more circuits," said David Kile, senior director of solutions at SNA Displays. "Working with LynTec on multiple projects, we’ve learned how to make it as efficient as possible. The fact that it is over 700 feet with incredible resolution and pixel pitch only running on 12 circuits is an incredible feat.”

An additional secondary LCS 342 three-phase panel and multiple XPC rack-mounted controllers were deployed to establish communication between LynTec’s power control software and V3Pro, which allows operators to control power remotely from a single interface, eliminating the need to switch between multiple platforms. The integration also extends to Ross DashBoard monitoring software, further enhancing operational flexibility for broadcast applications.

We’ve built a strong relationship with LynTec over the years, beginning with Lucas Oil Stadium, and it’s only grown stronger with each project,” Kile added. “Their panels are reliable and intuitive, and their team has worked closely with us to ensure our software solutions integrate seamlessly. For operators, this means they can power displays on and off without jumping between multiple systems."

The NBA's Los Angeles Clippers have strived to make the Inuit Dome a must-see, game-day experience. From its massive LED halo to its immersive audio, visitors always get a show. Now, Grass Valley is providing native 2110 IP 4K switcher solutions for Intuit Dome, the new home of the LA Clippers. This installation was facilitated through long-standing Grass Valley partner BeckTV..

[Bringing the Magic of Immersive Experiences to Life]

Intuit Dome, located in Inglewood, CA, opened for the 2024-25 season as a premier destination for basketball and live entertainment. Designed to be what they called 'the most technologically advanced arena in the United States,' the venue required a no-compromise IP production infrastructure to support Clippers basketball, concerts, and other live events.

To meet these demands, Grass Valley supplied three fully native 2110 IP switcher systems, all paired with Kayenne control panels. These systems will serve as the heart of production across three different control rooms, ensuring seamless operations for dozens of operators working on a variety of high-profile events.

To support the ambition for Intuit Dome to be the most advanced venue in the country, integration partner Beck TV recommended Grass Valley’s solutions as the only true native 2110 IP 4K full raster switchers on the market, with the ability to provide the required flexibility, reliability, and scalability of the facility’s production operations.

Additionally, the collaboration with BeckTV, a top-tier partner of Grass Valley, ensured a seamless integration process.

“This deployment, in collaboration with our trusted partners BeckTV, further solidifies Grass Valley’s leadership in large venue builds and elite sports productions,” said Alex Keighley, SVP of sales for North America at Grass Valley. “As more venues transition to fully IP-based workflows, Grass Valley continues to set the standard for innovation and performance in live event production.”

Bartow County School System, located in the rural foothills of Georgia’s Appalachian Mountains, recently opened a 7,000-square-foot Esports Arena on the campus of Cass High School. It was designed with seating for 500, specialized esports furniture, high-powered gaming PCs, professional arena lighting, and audiovisual features that include a 220-inch LED video wall and 56,000 watts of sound. Not only will students be competing in Georgia High School Association and PlayVS sanctioned events from this arena, but they will get hands-on experience in game development, play-by-play sports announcing, theatrical lighting, and sound design. Extron AV signal switching, distribution, control, and audio technology help to make the Esports Arena a dazzling experience for players and audiences alike.

[AV Technology Manager’s Guide to Esports 2025]

“The Extron team went above and beyond to ensure the success of the project," said Dalton Jones,
director of esports at Georgia-based education solutions company PowerUpEDU, which had overall responsibility for pulling the education technology elements of the project together. "Extron’s extensive experience outfitting esports venues with effective AV systems smoothed the way for our project. NAV Pro AV over IP is working well in the Bartow County esports arena, providing reliable AV distribution and switching."

The arena's NAV Pro AV over IP network distributes 4K video over 1 Gbps Ethernet with visually lossless quality and near zero latency, so audiences experience the gaming action right along with the players. High-end gaming PCs and tracking PTZ cameras feed AV content into the network via NAV E 121 compact encoders. NAV SD 101 scaling decoders send the gaming action from the AV over IP network to multiple displays, including the giant videowall above the stage, and to an Extron streaming media processor that streams to Bartow's esports channel on YouTube. The arena's powerful audio system includes a DMP 128 Plus audio DSP processor to condition the audio and apply acoustic echo cancellation. TouchLink Pro touchpanels with intuitive custom graphical user interfaces control the AV system through an IPCP Pro xi control processor working with a NAVigator System Manager.