Summary:

• Disney’s 2026 Upfront at the North Javits Center seamlessly integrated four distinct formats—corporate presentations, live ESPN broadcast segments, cinema trailers, and a full Olivia Rodrigo concert—while overcoming the tall, hard-surfaced room's severe reverberance issues to ensure speech intelligibility across every seat.
• To meet the demand for movie-theater audio quality and precise speech PA, production partner NMR Events deployed the first full-surround L-Acoustics L-ISA Immersive Hyperreal system at a Disney Upfront, utilizing seven Kara II Scene arrays, flown KS28 subwoofers, surround layers, and an L-ISA Processor II.
• By localizing audio sources—such as placing the ESPN broadcast audio directly over its physical desk house left and centralizing spoken vocals—L-ISA eliminated competing delay times and phase interference, directly solving the venue's acoustic challenges and establishing a benchmark for future immersive show designs.

Disney’s Upfront is not one single show. Whether it was the new CEO, ESPN coverage, cinematic trailers, or live music, the North Javits Center required movie-theater sound quality for the content and a speech PA intelligible in every seat. A full-surround L-Acoustics L-ISA Immersive Hyperreal system provided just that.

The 2026 edition, staged on May 12, opened with Anne Hathaway introducing new CEO Josh D’Amaro, ran an ESPN college football desk live from house left, played film and series trailers at cinema level, put more than 100 names on stage across entertainment, sports, streaming and film, and closed with Olivia Rodrigo playing a full musical set. A corporate presentation, a broadcast segment, a trailer reel and a concert, back to back, in the same room and on the same system.

[Flame On! Disney's Space Mountain Becomes Projection-Mapped Canvas]

Holding all of that together on one system was only half the job. The room was the other half, and the harder one. The North Javits space is wide, tall and hard-surfaced, and reverberance is the obstacle every Upfront team meets there—particularly for speech intelligibility, which a presentation of this kind lives or dies on. “We’ve done some dampening there in the past, but it’s still very difficult,” said Nick Sarlo, head of audio at NMR Events, the production company that supplied and ran the event’s audio.

NMR Events’ designed, with support from the L-Acoustics Application team, the full-surround L-Acoustics L-ISA Immersive Hyperreal system. It is the first L-ISA system deployed at a Disney Upfront. The design gave every style of content the same spatial treatment. “We were able to make people’s eyes and ears connect here,” said Bob McGlinchey, NMR Events’ lead audio design engineer.

The design started from the shape of the room. Stereo across a stage that wide means repeating left and right along the front, which flattens the image and leaves the audience with no sense of where anything is. L-Acoustics global application lead, spatial systems Oscar Sturup proposed a very wide frontal L-ISA configuration instead, so that any source could be placed where it belonged on stage.

That paid off most visibly on the ESPN segment. With the college football desk set up house left, the broadcast audio was placed house left too, and it reached the room from where the presenters were actually sitting. For the trailers, flying the subwoofers centrally beneath the center Scene hang kept the low end time-aligned to the stage, so cinematic content landed evenly across the hall rather than in pockets.

Drawn from NMR Events’ L-Acoustics inventory, the L-ISA Scene system comprised seven arrays of eight Kara II flown across the wide stage, with Extension arrays of eight Kara II to the far left and right of them. Low frequency came from two centrally flown adjacent hangs of four KS28 each in cardioid configuration, paired with three more KS28 in a line in front of center stage below.

Out-fill arrays of eight Kara II per side were flown between the Scene and Extension systems, with smaller arrays of six Kara II out in the room for far left- and right-side delay. The surround layer comprised six rear arrays of six Kara II. Eleven coaxial X8 in an arc along the lip of the main stage carried spatialized front-fill, with six more X8, three per side outboard of them, as mono front-fills. LA12X amplified controllers powered the system, with a pair of LA7.16 driving the spatialized front-fills, while an L-ISA Processor II handled the object-based mix.

An Upfront sits between genres. It is part corporate presentation, part product launch, part broadcast, part theater, and this year part concert, and the audio has to carry all of it without the room appearing to change character. Adrian D. Rivas, brought in by NMR Events as L-ISA systems engineer, set out to let the audience have the most organic immersive experience possible across the whole running order.

Part of that was fidelity to the source. Content mixed in 5.1 for cinema or broadcast was played back in the room in 5.1 rather than folded down. “With L-ISA, from an audio perspective, we were able to faithfully reproduce and present that original content to the audience in the room the way it was intended to be heard,” Rivas said.

The rest was consistency of seat. Wherever an audience member sat, the intent was a fifth-row-center experience, with every element still arriving from where it sat on stage. “The audience absolutely had an experience that sounded more natural, specifically because of how the system was designed,” Rivas said. “But there were also times that, because of the style of production we were trying to achieve, I feel we exceeded just immersive sound, and really made it an immersive moment.”

Summary:

• The "So Glad You Made It" tour featured two headlining acts—311 and Dirty Heads—requiring a modular video rig using Absen PL3.9 Pro panels supplied by Showtime Sound.
• The Absen PL3.9 Pro displays delivered vivid, saturated colors, deep blacks, and clear grayscale rendering across a wide brightness range (0.1 to 5,000 nits)
• Built for rugged touring with reinforced cabinets and protective shielding, the video wall proved exceptionally durable.

This summer, 311 and Dirty Heads co-headlined the “So Glad You Made It” tour, playing 33 stops at amphitheaters and outdoor venues across North America. As a result, the production team needed a video system that could support two distinct headlining sets and adapt to a different venue nearly every night. Absen customer and production company Showtime Sound supplied and supported Absen’s PL3.9 Pro, a 3.9mm LED display designed for their touring and live event applications.

[Massive Absen Display Brings Exterior of the NBA's Phoenix Suns Home Arena to Life]

The co-headline format shaped the tour’s video design from the start, with the lighting and video rig serving two sets, each with its own creative direction. The venue size added another variable. Stage widths changed from city to city, requiring a system that could scale down significantly without losing visual impact.

“We have two co-headliners, so we have to design a rig that works for both bands,” said Bobby Grey, lighting and production designer for 311. “The thing about 311 is they have a 36-year history. They have a massive catalog of hundreds of songs, ranging from hard-rocking rock ballads to jammy songs and everything in between. So, diversity for us is key.”

With two bands and set lists ranging from hard rock to extended jams, the display had to reproduce a wide range of looks, from dim, moody scenes to bright, saturated content, without losing detail at either end.

By combining accurate color reproduction across a wide brightness range, modular panel options and dependable performance through a full summer run, Absen’s PL3.9 Pro gave the 311 and Dirty Heads production team a display platform that scaled to each venue and kept the focus on the creative work for two headlining sets across 33 stops in North America.

Take a deeper look in the video from Absen below.

Quick view:

• The Cincinnati Open—the oldest professional tennis tournament in the US—underwent a massive campus transformation, doubling its footprint to feature 10 match courts, 21 practice courts, five new buildings, and 54 total zones to establish a world-class, year-round sports facility.
• Integrator Industrial Communication & Sound (ICS) designed and deployed a massive Dante-based network audio system under an extremely tight deadline.
• ICS utilized IoT and Dante-enabled LEA Connect Series amplifiers and LEA's SharkWare/Cloud management software, allowing space-saving rack integration, remote cloud monitoring, and flexible, high-performance audio routing across every zone on the property.

Held annually since 1899, the Cincinnati Open is the longest-running professional tennis tournament in the United States. It recently launched a massive $250 million campus transformation—which included a new LEA Professional-backed sound system—that has doubled the facility’s footprint by adding new courts, hospitality spaces, public gathering areas, indoor facilities, and year-round attractions designed to secure the tournament’s future in Cincinnati for decades to come.

[Cosm: Take Me Into the Ballgame]

The expanded campus required a fully integrated network-based audio platform spanning 10 match courts, 21 practice courts, five new buildings, multiple renovated facilities, and updated common areas. The system needed to support match court audio, site-wide paging, indoor and outdoor background music, broadcast audio distribution, Hawk-Eye officiating system integration, emergency paging, pre-recorded messaging, zoned and all-call communications, and centralized system-wide control. Beyond monitoring the system from a single location, the venue’s AV team required complete control over volume and routing for each zone across the property.

With a long history of providing ongoing AV support to the venue, venue staff contacted Industrial Communication & Sound (ICS) to design the new audio system. Compounding the challenge was the compressed timeline. The ICS integration team had about 60 days to design the changes and approximately five months to complete installation, testing, balancing, programming, and troubleshooting before the start of the tournament. To achieve all the client’s requirements, the design team collaborated to recommend a Dante-based audio ecosystem powered by LEA Professional amplifiers.

“We started using LEA amplifiers about five years ago, and we haven't looked back,” said Carl Heck, business development specialist at ICS. “We knew they’d be an ideal platform for a world-class tournament environment, given their product catalog, combined with their competitive pricing and robust long-term reliability.”

ICS installed a range of Dante-enabled LEA Connect Series amplifiers to support the diverse needs of the 54 zones within the tennis complex, including the Connect Series 84D, Connect Series 164D, Connect Series 168D, Connect Series 352D, Connect Series 354D, Connect Series 702D, Connect Series 704D, and Connect Series 1504D amplifiers.

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

LEA’s compact single-rack-space amplifier designs enabled ICS’s team to maximize available infrastructure space by integrating equipment directly into existing switch racks, eliminating the need for large, dedicated amplifier racks. The resulting infrastructure allowed virtually any audio source to be routed to any zone throughout the facility. Multiple locations were also equipped to integrate live music directly into the Dante network for localized or zoned distribution as needed.

With year-round programming and a significantly enhanced fan experience, the facility has evolved into a multi-purpose sports and entertainment destination designed to maximize long-term return on investment while reinforcing Cincinnati’s role on the global tennis stage.

“By all accounts from the attendee experience, the player experience, and media response, the Cincinnati Open is now widely considered one of the premier tennis facilities in the world,” said Heck. “That’s definitely in part thanks to LEA amplifiers. We can’t say enough good things about them.”

Quick view:

• To enhance the match-day atmosphere at the 10,600-capacity SMH Group Stadium, Chesterfield FC replaced their original 2010 audio setup with a high-performance system designed to deliver crystal-clear emergency announcements, foreground music, and tailored area paging.
• Audio integrator TG Baker designed and installed 26 all-weather JBL AWC159 loudspeakers powered via a 100V battery-backed system, providing high reliability, speech clarity, and seamless operation without needing an external UPS.
• The upgrade significantly elevates the match-day experience, with club director Ashley Kirk confirming that the new system successfully creates the vibrant, premium atmosphere expected by Spireites supporters.

The SMH Group Stadium located in Whittington Moor, Chesterfield, Derbyshire, is the home of Chesterfield Football Club. A 10,600-capacity all-seater venue, it was completed in 2010 to replace the club’s historic Saltergate ground which had been in use since 1871. The Club’s owners are committed to strong investment in the club’s infrastructure in order to provide fans with a premium match-day experience, and recently took the decision to upgrade the Stadium’s audio with a JBL sound system.

[Tackling a New HQ]

Established for more than fifty years, TG Baker has a wealth of experience in the field of public address and voice alarm systems, having completed many similar scale stadium projects across the U.K., and was engaged to design, supply, and install a new system which would meet every requirement and expectation of the modern football experience including emergency public address communications, enhanced match-day entertainment audio in the stadium bowl, flexible audio routing and control, foreground music, and paging announcements to individual areas.

To meet the Club’s requirements and provide high quality and reliable audio content to every seat in the Stadium, the TG Baker team designed and installed a JBL system, based on the IP-56 rated AWC159, all-weather compact 2-way coaxial 15-inch loudspeaker. TG Baker installed a total of 26 JBL AWC159 units, with eight each in the East and West stands and five each in the North and South stands. JBL systems are distributed in the U.K. by Live Technology.

“We’ve completed numerous highly successful stadium installations with the JBL AWC159," said Barry Paterson, managing director at TG Baker. "It has excellent clarity for speech and music, and we’ve found that using 100V loudspeakers has advantages including cable length, monitoring and reliability. In addition to this, the loudspeakers can be powered from the battery backed PAVA system amplifiers, negating the requirement for high voltage power amplifiers which would require a separate UPS.”

“It had been an issue for some time that the PA system we had wasn’t up to scratch," director Ashley Kirk added. "It was something close to my heart and something that fans had repeatedly raised. We want to create a great atmosphere in the build-up and during games, and the PA and music is a big part of that. TG Baker has done a great job of the installation and the new system has made a huge improvement to the match-day experience at the SMH Group Stadium.”

Quick view:

• Sacramento Production Services overhauled Sutter Health Park's wireless audio system to handle the increased RF congestion and demands brought on by Major League Baseball broadcasts during the Athletics' residency.
• The new system utilizes 10 Wisycom antennas—including MAT244 RF combiners, LFA wideband antennas, ADFA active directional antennas, and BFL antenna-over-fiber links—placed strategically across the outfield, home side stands, roof, and concourse to ensure complete stadium coverage.
• The fiber-based RF architecture resolved severe previous issues with signal dropouts, dense crowd congestion, concrete pillar interference, and long-distance coverage.

Sacramento Production Services has completed a major wireless audio overhaul at Sutter Health Park, current home of the Athletics (A’s) professional baseball team during its three‑year residency in Sacramento. By deploying a Wisycom antenna and fiber‑based RF distribution system, day‑to‑day operations have fundamentally changed for the stadium’s production team. The upgrade, driven by the arrival of Major League Baseball (MLB) broadcasts and the increased RF congestion that accompanies national media, replaced the park’s previous wireless setup with a fully integrated Wisycom solution designed for reliability, coverage, and remote management across the entire facility.

[Take Me Into the Ballgame]

The installation features a full suite of Wisycom RF components, including the brand’s MAT244 RF combiners, LFA wideband antennas, and ADFA active directional antennas, as well as BFL-T2 and BFL-R2 antenna‑over‑fiber links. In total, 10 Wisycom antennas now cover Sutter Health Park, including four antennas deployed in the outfield via fiber and six others positioned in three pairs across the home side stands, roof and concourse.

“This was game‑changing for us,” said Anthony Brown, project manager for Sacramento Production Services. “We have wanted tools like this for years, and suddenly the technology caught up. The fact that the antennas have telemetry, remote control capabilities, and built-in fiber links is excellent; it’s all just there, ready to go.”

Before the upgrade, the stadium’s minor‑league‑era wireless system struggled under the demands of professional-caliber broadcasts. Numerous frequency scans, dropouts and unpredictable RF behavior were the norm, especially in the concourse, a notoriously difficult RF environment due to dense crowds and concrete pillars every 24 feet.

“When the A’s came in, it very quickly became clear that the existing wireless frequencies were a pretty bad choice,” added Keith Wackford, sales and production manager at Sacramento Production Services. “Minor league games never had the RF congestion that major league broadcasts bring. Things looked fine in rehearsal, but come game time, everything changed.”

The outfield was an even bigger challenge. “They told us, ‘We want our wireless microphones to work in the outfield,’ ” Wackford noted. “That’s about 460 feet from the nearest antenna. Without fiber, it would’ve been impossible.”

One of the most impactful features has been Wisycom’s remote antenna control and filtering. “With the Wisycom antennas, we were able to narrow the bandwidth and lower the noise floor,” adds Brown. “That made the system bulletproof.”

For Brian Webber, who led deployment and configuration, the networking capabilities were a revelation. “The system is rock-solid all the way around the park. The coolest part is the networking. It blew my mind how easy it is to remotely manage all the antennas.”

The result is a wireless system that simply works. “We went from wireless being a problem every other day to it not being an issue at all,” concluded Brown. “Producers and talent can move freely throughout the park, do interviews anywhere and focus on the production instead of the RF.”

Summary:

• Built as the new home of the Salt Lake Bees in South Jordan, Utah, The Ballpark at America First Square features a complete, integrated AV ecosystem by OneRevel engineered to seamlessly support concerts, movies, and community events alongside Triple-A baseball.
• To deliver consistent sound across suites, concourses, and outdoor gathering spaces without bulk, OneRevel utilized Powersoft's UNICA amplifier platform, providing high power density in compact rack spaces, native Dante networking, and integrated DSP optimization for Fulcrum Acoustics speakers.
• The audio infrastructure allows centralized monitoring via Powersoft's Armonía software and offers ongoing flexibility to refine sound coverage and comply with local ordinances as surrounding commercial and residential developments grow around the venue.

The Ballpark at America First Square is the new home of the Salt Lake Bees, the Triple-A affiliate of the Los Angeles Angels. Opened in 2025 in South Jordan, UT, the venue was designed to support Minor League Baseball alongside concerts, community events and other year-round programming. OneRevel selected Powersoft’s UNICA to support the venue's distributed system architecture across a wide range of event types designed for flexibility as much as performance.

[Friday Night Lights, Camera, Action!]

"What made this project unique was that we weren't just designing for baseball," said Shay Taylor, chief operations officer for OneRevel. "The vision from the beginning was to create a venue that could host concerts, movies in the park, and community events alongside baseball. That meant every technology decision had to support a much broader range of experiences."

The Ballpark at America First Square was one of OneRevel's first baseball venues where it provided the complete technology solution. Delivering audio, LED displays, and digital signage under a single integration strategy allowed the team to coordinate system design across every aspect of the guest experience.

The audio design presented its own set of challenges. Unlike many ballparks where sound reinforcement primarily focuses on the seating bowl, the new venue required consistent coverage throughout suites, concourses, concession areas and outdoor gathering spaces. Because the facility was designed to host year-round programming beyond baseball, the system also needed to support live performances, movies and public events without requiring significant reconfiguration.

The venue's long-term operating environment added another layer of complexity. As residential and commercial development continues around the stadium, the system must accommodate changing acoustical conditions while complying with local sound ordinances and neighborhood considerations.

Meeting those requirements required an amplification platform capable of delivering high output while remaining flexible enough to support a distributed system architecture. Powersoft's UNICA amplifier platform served as the foundation of the audio system, citing its combination of power density, network integration, and compatibility with Fulcrum Acoustics loudspeakers.

"The entire project was built around the UNICA platform," said Taylor. "The power-to-size ratio was a major factor because much of the stadium is served from centralized equipment racks. We needed a platform that delivered significant output while minimizing rack space."

While portions of the stadium are supported from centralized equipment rooms, distributed rack locations throughout the facility required seamless networking and reliable control. Powersoft's Dante integration and onboard processing allowed OneRevel to maintain system performance while simplifying management across multiple equipment locations.

"Reliability was another major consideration," Taylor said. "If power is interrupted, we don't lose our control or DSP settings. Having that level of stability is extremely important for a venue that's expected to operate continuously."

Beyond the hardware itself, Powersoft's Armonía software simplified system management across more than 20 amplifiers deployed throughout the venue. "When you're managing a system of this size, having everything visible in one platform makes a tremendous difference," explained Taylor. "Instead of moving between multiple applications, we can monitor and manage the entire system from a single interface."

Since opening in 2025, The Ballpark at America First Square has expanded beyond a baseball venue, hosting community celebrations, themed events and other public programming alongside the Salt Lake Bees' season. According to OneRevel, the flexibility designed into the audiovisual system has allowed the venue to support that broader mission without compromising performance.

"The feedback has been incredible," noted Taylor. "People walk into the venue expecting a Triple-A ballpark and leave feeling like they've experienced a Major League facility. That's exactly what the client wanted to achieve."

Summary:

• The Box at Trilith LIVE installed a d&b audiotechnik Soundscape 180-degree spatial audio system powered by SL-Series, A-Series arrays, and the DS100 Signal Engine, using En-Scene object positioning and En-Space room emulation to maintain exceptional speech intelligibility, high clarity, and natural spatial perception without overwhelming the intimate room.
• The 2,200-seat, three-tiered venue wraps the audience up to 180 degrees around a thrust stage.
• Visiting sound engineers can supply standard Left/Right console mixes without needing specialized training in spatial audio.

Trilith LIVE, a premier entertainment complex within the visionary Town at Trilith in Fayetteville, GA, has completed a landmark acoustics and audiovisual installation at its crown-jewel venue, The Box. With architectural Acoustics and Audio-Video systems designed by Threshold Acoustics and AV integrated by 3G Productions, the multi-purpose theater features a comprehensive d&b audiotechnik Soundscape 180-degree system. Combining SL-Series line array loudspeakers and subwoofers, A-Series augmented arrays, and the DS100 Signal Engine running both En-Scene and En-Space software, the system delivers an incredibly pristine, intimate auditory experience that effortlessly adapts from high-energy rock shows to spoken word conferences and weekly worship services.

[MORE IMMERSION IN ATLANTA: Cosm: Take Me Into the Ballgame]

The Box was inspired by Austin's legendary Moody Theater. The intimate, three-tier 2,200-seat venue features a stage thrust wrapping audience members 180 degrees, ensuring no seat is further than 75 feet away. To serve its diverse programming and primary Sunday tenant, Passion City Church, Trilith Live required a highly versatile, rider-friendly sound solution.

"We wanted to ensure that no matter where you sit, your experience is at the highest level," said Matt McClain, general manager and executive director of Trilith LIVE. "d&b audiotechnik stood out as the right provider. They are highly respected, and having this caliber of gear immediately puts touring engineers at ease."

Threshold's scope spanned the room itself and the systems within it to shape the theater's acoustics alongside the audio, video, and control infrastructure. To achieve complete coverage without overpowering the intimate room, the team specified a d&b Soundscape system. En-Scene object-based positioning aligns what the eyes see with what the ears hear, while En-Space room emulation adds natural sounding acoustics.

"The request for clarity and intimacy stretched from concerts to worship," said Maddie Daily, principal consultant at Threshold Acoustics. "Soundscape offers robust coverage regardless of SPL and we optimized the space using room mics fed through En-Space so congregants and audience members can hear each other singing along, fostering a community-oriented energy.“ Because Soundscape systems are producing audio from multiple loudspeakers simultaneously using both level and delay, the perception of loudness is very high while the measured SPL is lower than a traditional system.

Daily also noted that the system's exceptional broadband directivity control also helps mitigate reflections in the untreated theater, resulting in improved musical clarity and speech intelligibility for the listening audience.

The venue's physical versatility added further complexity. The Box features multiple mechanical stage lifts that transition from a proscenium stage to various thrust layouts allowing the venue to transition into a variety of configurations. Because these shifts alter the performance boundaries, front fills are built directly into the lifts. To address this, Threshold developed 15 distinct ArrayCalc files to map out coverage, allowing the staff to instantly reconfigure the PA profile via presets in d&b R1 Remote control software. The same flexibility guided the venue's video and control design, so a single room can serve a touring concert, a film screening, a corporate general session, or a Sunday service without reconfiguration becoming a production in itself.

"The nice thing about Soundscape is that visiting engineers don't need a crash course in spatial mixing," explained Jerrod Cring, director of integration at 3G Productions. "They can easily feed a standard left-right mix on the front end, and the DS100 processor handles the Soundscape distribution seamlessly so acts immediately get perfect, even coverage. The ultimate compliment is when a major touring act rolls up with five trucks of gear, and all of their P.A. equipment stays on the trucks. That’s one of the benefits of choosing d&b audiotechnik.”

Quick view:

• The new production system includes a 17-camera Grass Valley LDX 135 camera environment incorporating hard, handheld, wireless and robotic PTZ configurations.
• Also included is Ross Ultrix Acuity 80x80 four-ME IP production switching; Evertz DreamCatcher 18x6 SMPTE ST 2110 replay with three operator positions; six-channel clip playback; three Ross XPression graphics stations; a new front-of-house audio console and rebuilt audio booth; 35 new broadcast junction box locations; and expanded truck-dock and TOC connectivity.
• The broadcast modernization follows the recently completed LED and venue technology program at Amerant Bank Arena, also designed and managed by AJP.

Anthony James Partners (AJP) and the Florida Panthers have completed a comprehensive modernization of the broadcast production facility at Amerant Bank Arena, transforming the arena’s existing production environment into a fully IP-based system designed to support Panthers games and the venue’s year-round sports and entertainment schedule. The new facility went live for its first game on Sunday, September 20, marking the first live event produced using the Panthers’ new SMPTE ST 2110 production system.

[HuskerVision Streamlines Sports Production Across Campus with Its Move to ST 2110]

Designed by AJP and implemented by broadcast integrator BeckTV, the project represents the next phase of a multi-year technology program at Amerant Bank Arena. The new production environment transitions the venue from its previous 3G infrastructure to a full SMPTE ST 2110 1080p workflow, providing significantly greater flexibility across production, replay, content creation and signal distribution while establishing a scalable foundation for future expansion.

The project went well beyond replacing production equipment. The existing production facilities were completely demolished and rebuilt, with AJP redesigning the layout of the production spaces to improve workflow between production, engineering, replay, graphics and audio personnel while supporting the operational requirements of the new broadcast environment.

“When we set out to modernize our LED and broadcast infrastructure, we went through a rigorous process to identify the right partner,” said Mike Masino of the Florida Panthers. “With AJP, we immediately felt they had our best interests in mind and were willing to work with us to turn our vision into what we could accomplish technologically. Throughout both the LED and control room projects, we worked hand in hand with their team. We truly owned the vision, while AJP guided us through the process and helped us determine the best way to achieve it. They’ve been a true thought partner from the beginning.”

At the center of the system is a new Ross Ultrix Acuity 80x80 four-ME IP production switcher, supported by an Evertz DreamCatcher 18x6 SMPTE ST 2110 replay system with three replay operator positions, six-channel clip playback and three Ross XPression graphics stations. New logging, director, producer and multipurpose workstations were incorporated throughout the facility, along with a new front-of-house audio console and rebuilt audio booth.

The Panthers’ camera system has also been substantially expanded. The new 17-camera environment includes Grass Valley LDX 135 hard cameras, handheld and wireless cameras, along with robotic PTZ systems using Grass Valley LDX 135 Compact cameras with MultiDyne technology. The combination provides production teams with greater flexibility to capture live action, fan reactions and content throughout the arena.

Beyond the control room, AJP designed a major expansion of the arena’s broadcast connectivity infrastructure. Thirty-five new junction box locations were installed throughout the venue, replacing legacy cabling with new single-mode fiber, SMPTE fiber and audio connectivity. New truck-dock panels and six new truck-dock racks further integrate mobile production units with the arena’s broadcast infrastructure and Technical Operations Center.

Together, the improvements create an integrated production ecosystem extending from cameras and field locations throughout the arena to the production control room, Technical Operations Center and visiting broadcast trucks.

The broadcast modernization follows the recently completed LED and venue technology program at Amerant Bank Arena, also designed and managed by AJP. That work included the arena’s new 4K HDR-capable center-hung display, LED halo, ribbon boards and additional displays throughout the venue, together with associated hoist and rigging systems and reconfiguration of the bowl audio system.

With the completion of the new production facility, the Panthers now have a broadcast platform designed to take full advantage of those venue-wide systems while supporting the organization’s continued development of live game presentation and content production.

American Cruise Lines has built its reputation on delivering a personalized and immersive travel experience across the waterways and coastal destinations of the United States. Designed to accommodate between 90 and 180 passengers, the company’s ships emphasize comfort, space and individualized service. The cruise line recently selected marine technology integrator ControlAV to design and deploy a modern onboard video distribution platform backed by Visionary Solutions.

[Cruising with Pro AV on My Summer Vacation]

Working with American Cruise Lines, ControlAV partnered with Visionary to deploy an IPTV platform across multiple vessels, centralizing television services and onboard video distribution while simplifying system management. The IPTV system consolidates several onboard services into a single interface accessible via stateroom televisions. Guests can access live television channels, video-on-demand movies, safety programming and cruise-specific content while also viewing real-time information about the vessel and itinerary.

One of the most visible features for passengers is the bow camera channel, which provides a live forward-facing view from the ship. Guests can also view lounge programming through a dedicated lounge camera feed if they prefer to watch entertainment or presentations from their cabins. The system also integrates navigational information directly into the television network. A GPS chart-plotter feed is encoded and distributed via the IPTV platform so guests can view the ship’s current route and location.

Beyond live video feeds, the IPTV platform allows the cruise line to manage a wide range of onboard content, including safety materials and itinerary information. The traditional safety videos, which are required by company policy and reviewed by the U.S. Coast Guard, are available on demand through the television interface. “Safety is always our number one priority, so it’s important for guests to be able to access safety information easily,” Bullock said. “Through the IPTV system, guests can watch the safety video on demand whenever they want.”

The centralized architecture also simplifies content updates and channel management. American Cruise Lines can quickly add new television channels or movies without requiring major infrastructure changes. “The advantage of an IPTV system is not only the quality of the stream but also the improved latency and faster delivery to endpoints,” McGee said. “For example, we are now able to integrate new sports channels or television channels in a matter of hours. Previously, we would have had to completely redesign the system to accomplish something similar.”

Visionary’s IPTV platform enables American Cruise Lines to expand its onboard programming offerings. Through integrations with content providers such as Swank, American Cruise Lines can offer premium first-release Hollywood films as video-on-demand titles for guests, and live sports programming, including NFL games. In addition to entertainment programming, the platform supports onboard activity schedules, promotional content highlighting future cruise itineraries and other informational channels designed to enhance guest engagement. The centralized platform provides the ability to collect operational insights and data analytics related to system usage, helping American Cruise Lines better understand how guests interact with onboard content and services.

Find out more by watching the video case study below.

Virginia Tech unveiled a new video board in the end zone of Lane Stadium from Daktronics. The installation brings improved views of live video, replays, stats and more for Hokie fans to enjoy on game day in Blacksburg, VA.

[Massive Display Brings Exterior of the NBA's Phoenix Suns Home Arena to Life]

“Delivering a best-in-class game-day experience is a priority for Virginia Tech Athletics, and that means continuing to invest in the ways we engage and connect with Hokie Nation,” said Virginia Tech VP and director of athletics Brian White. “Our partnership with Daktronics helps us elevate an already special environment at Lane Stadium through technology that brings our fans closer to the action and enhances the sights, sounds and traditions that make game days in Blacksburg unlike anywhere else."

The new video display measures 44.5x96 feet and features 10mm pixel spacing to deliver clear image quality to fans throughout the stadium. The display also includes variable content zoning, allowing Virginia Tech to present one large image or multiple content zones to support game presentation, sponsorship messaging and fan engagement during every moment of the action.

The upgrade also deployed a custom Daktronics audio system, which is integrated into the video and scoring system at Lane Stadium. It is engineered to deliver full-range sound reproduction and high-quality audio throughout the venue while providing a consistent fan experience at every seat. The project also included upgrades to the stadium’s audio infrastructure, delivering unified control and monitoring capabilities to help venue operators efficiently manage and maintain connected sound systems.

“While today’s video displays get bigger and brighter, so does the sound system,” said John Olsen, Daktronics audio sales representative. “New high-output speakers now flank the display with an additional subwoofer array, specifically designed for Daktronics, with new amplifiers powering the system. This new stadium system and all other upgrades provide a unified control and monitoring system that will help manage, maintain and troubleshoot every connected sound system in the venue. When it’s go time, this system is ready to rock the house."

The project at Lane Stadium builds on previous technology enhancements at Virginia Tech. Daktronics previously installed LED ribbon boards and field-level displays at the stadium and integrated those displays into the overall experience for each game. In 2025, Daktronics also installed six new LED displays at Cassell Coliseum to support Hokie Athletics and other special events on campus.

College football fans witness a new game-day experience at Washington State's Gesa Field, when the Cougars opened their home slate with a 48-7 thrashing of Duquesne. A new video board and audio system from Daktronics was unveiled to deliver all the expected crisp, clear visuals fans expect at every game.

[Friday Night Lights, Camera, Action!]

The new end zone video display measures 42x101 feet and features a 10mm pixel spacing This includes any combination of live video, instant replays, up-to-the-minute statistics and game information, graphics and animations, and sponsorship messages.

“Washington State University has been a great partner throughout this project focused on enhancing the atmosphere at Gesa Field,” said Brady Jacobsen, Daktronics regional sales representative. “By combining new video and audio technology, we were able to deliver solutions that will help elevate the fan experience, engage audiences and support memorable game-day moments for years to come.”

Complementing the display, the new audio system sits atop the east end zone video display as a point-source system and is redesigned to provide more detailed in-bowl sound within the current size and shape of the stadium. It provides full-range intelligible sound, detailed music reproduction, clear sponsor messages and in-stadium presentations, and feedback-free calls and announcements to every seat.

“Today, with the Athletics building in the west end zone, an upgraded system design was needed to fully accommodate for the press box, loge seating, clubs and suites,” said John Olsen, Daktronics audio sales representative. “Gesa Field has been a repeat customer for Daktronics sound systems over the last 20 years. From an original Sportsound 2000 system in the west end zone to the newly designed sound system in the east end zone, we’re proud to support the audio needs of the university.

To support content management and production, Washington State also received the Daktronics Show Control system, which combines display control software, video processing, data integration and playback hardware into a single production solution. The system enables operators to update content quickly and manage a wide range of game-day elements from a user-friendly platform.

Overview:

• Sundodger Studios is a new next-generation broadcast, production, and content facility at University of Washington.
• At its center are four SMPTE ST 2110-based control rooms capable of supporting simultaneous live productions, along with a 1,000-square-foot video and photography studio and a 2,300-square-foot multipurpose event space.
• The IP-based architecture was designed to provide Washington Athletics with the flexibility to share resources across the facility, support multiple independent productions and adapt as broadcast workflows continue to evolve.

The University of Washington recently stepped into its future of Broadcast AV with the help of Anthony James Partners. AJP designed and developed Sundodger Studios, a new innovative broadcast, production, and content facility that expands Washington Athletics’ live production capabilities following the University’s move to the Big Ten Conference.

[Cornhuskers Coverage Conversion]

The purpose-built facility provides a permanent production home for an operation responsible for approximately 100 live broadcasts and 120 live videoboard shows annually. Sundodger Studios features four next-generation control rooms, a 1,000-square-foot video and photography studio, a 2,300-square-foot multipurpose event space, and dedicated technical, equipment, storage, meeting and office areas.

AJP’s involvement began in early 2024 with a feasibility study evaluating potential locations, infrastructure requirements, system concepts and preliminary budgets for the new production center. Following site selection, AJP continued through the full design and procurement of the broadcast technology systems and provided technical coordination throughout implementation. CTI served as the broadcast systems integrator responsible for installation and integration of the production systems.

“This was an opportunity to build the production environment around where collegiate broadcasting is going, rather than simply where it is today,” said Mike Martin, chief technology officer at Anthony James Partners. “Washington needed the ability to support multiple independent productions, share resources across the facility and adapt as production workflows continue to evolve. The infrastructure was designed around that long-term flexibility.”

At the center of Sundodger Studios are four SMPTE ST 2110-based control rooms capable of supporting simultaneous live productions, including two rooms with fully equipped audio control rooms. The production environment incorporates six Evertz DreamCatcher replay positions, two playback and two logging positions, two Grass Valley K-Frame SXP production switchers, and 10 Grass Valley cameras with high-frame-rate and wireless capabilities.

The facility’s 1,000-square-foot video and photography studio extends Washington’s capabilities beyond live event production, providing a flexible environment for original programming, interviews, photography, and other content. Seven maneuverable LED columns can operate independently or combine to create a 10-foot by 27-foot display, complemented by a Pro Cyc Cyclorama wall for video and photography.

An adjacent 2,300-square-foot multipurpose event space provides additional flexibility for live programming, meetings, educational activities, partner experiences, and other events, supported by a 6.6-foot by 11.5-foot LED display.

Advanced IP-Based Broadcast Infastructure

Sundodger Studios is a fully IP-based production environment built around SMPTE ST 2110, allowing video, audio, and data resources to be shared across the facility while providing the flexibility to support multiple independent productions.

The technical infrastructure incorporates Evertz NATX distribution with Magnum-OS orchestration, centralized replay and playback resources, Grass Valley production systems and professional broadcast communications, monitoring, audio and storage infrastructure.

AJP evaluated both traditional baseband and ST 2110 architectures during design, considering not only initial capital costs but also the infrastructure, operating, and future upgrade requirements associated with each approach. AJP’s analysis projected approximately $2.6 million in savings over 10 years with the ST 2110 architecture compared with the alternative system approach.

Building the Next Generation of Sports Production

Sundodger Studios was designed not only to support Washington Athletics’ expanding production operation, but also to create opportunities for students and the broader University community.

Beginning this academic year, Washington’s new Live Sports Television Production class will provide students with for-credit, hands-on experience inside the same professional production environment used to produce Big Ten Network events and other live programming.

The facility is also designed to support external productions, industry collaborations, corporate events and other partnerships, expanding its potential role beyond Washington Athletics and creating new opportunities between the University and Seattle’s sports, technology and media communities.

Quick view:

• Rocco’s Tacos requires a hybrid restaurant-bar system that ramps up from comfortable daytime background music to high-output, bass-heavy sound during late-night hours.
• Sound Insight used SoundTube pendant speakers and subwoofers to deliver full-range output and broad coverage without compromising the dining experience.
• The two Rocco’s Tacos installations demonstrate the value of establishing a proven audio strategy and then adapting it to the individual environment.

Audio performance is particularly important for Rocco's Tacos, which transitions from energetic music during lunch and dinner to a system that can “pump and thump” during happy hour and late evenings. Sound Insight began working with Rocco’s Tacos at its Huntington Station, NY, location, and ultimately led to a SoundTube system becoming the blueprint for a second restaurant in Burlington, MA.

[Tackling a New HQ]

When Rocco’s Tacos leased its Huntington Station space, the former restaurant’s loudspeakers were already installed. Sound Insight, led by president Fred Kaplan, was brought in to complete the AV system and quickly discovered that the existing audio installation needed attention: The pendant loudspeakers were mounted at improper heights and spacing for the room, the existing system did not provide adequate coverage, and several subwoofers had failed.

Rather than discarding equipment that could still perform, Sound Insight worked with SoundTube technical support and engineering to evaluate the existing system, reposition and optimize the loudspeakers, replace or supplement equipment where necessary, and build a system capable of delivering the experience the new restaurant required.

The performance requirements at Rocco’s Tacos is what Kaplan described as a hybrid between a restaurant and a bar, making loudspeaker coverage, output and subwoofer performance particularly important. During lunch and dinner, the system needs to provide music throughout the restaurant at levels noticeably above conventional background audio while maintaining a comfortable dining environment. As the restaurant transitions into happy hour and late evening, the audio system becomes a much more prominent part of the experience, requiring substantially greater output and low-frequency impact.

That combination of requirements made SoundTube’s pendant loudspeakers and distributed subwoofers well suited to the application. The system could deliver broad, consistent coverage during dining periods while providing the headroom and low-frequency performance needed as the atmosphere became more energetic in the evening hours.

Unlike the New York restaurant, where Sound Insight began with an existing installation, the Burlington location provided an opportunity to design the audio system essentially from the ground up. The architecture also presented different conditions. Ceiling heights varied significantly from those in New York, and the restaurant included distinctive architectural elements such as a suspended bamboo drop ceiling and an open solarium with a solid wood ceiling.

Sound Insight turned to SoundTube’s design team to model the space before installation. Sound and heat mapping helped establish loudspeaker quantities, locations, mounting heights and predicted coverage. While some speaker positions ultimately required minor field adjustments to accommodate architectural elements, the fundamental loudspeaker count and system design remained consistent with the predictive model.

“Our goal is to remove uncertainty from system design,” said Sarah Chauvin, CTS, director of sales engineering and training for SoundTube. “Using SoundTube’s predictive modeling tools, we can show integrators exactly how a system is expected to perform before the first speaker is installed. For projects like Rocco’s Tacos, that means confident design decisions, even coverage throughout the space, and a smoother commissioning process that delivers the performance we designed from the very beginning.”

Sound Insight found a way to incorporate SoundTube's RS600i Series pendant loudspeakers into the suspended bamboo ceiling while maintaining the appearance of a built-in system. The pendant form factor provided the mounting flexibility necessary to suspend the loudspeakers from the structural deck above while positioning them at the heights established through the system design.

The Burlington installation included 26 SoundTube RS600i Series pendant loudspeakers supported by 10 RS1001i-II-T subwoofers. Ten CM82-BGM-II loudspeakers and two CM1001d-T subwoofers provided additional coverage in other areas of the restaurant.

The approach was adapted from the successful New York system, which uses larger RS800 iSeries pendant loudspeakers complemented by RS1001i-II-T subwoofers.

Rather than forcing identical loudspeaker placement into two very different buildings, Sound Insight maintained the overall system philosophy while adapting speaker selection, mounting heights, placement and tuning to the acoustical and architectural conditions of each restaurant.

Behind the loudspeakers, a Control4 platform provides management of multiple audio zones and sources throughout the restaurant. The zoning architecture gives Rocco’s Tacos the flexibility to manage audio throughout different areas of the restaurant while supporting the changing atmosphere over the course of the day.

Installation itself presented no significant integration challenges. The greater emphasis was on optimizing the system once the loudspeakers were installed.

The two Rocco’s Tacos installations demonstrate the value of establishing a proven audio strategy and then adapting it to the individual environment. In Huntington Station, troubleshooting the existing installation revealed the importance of proper pendant height, spacing and low-frequency reinforcement. In Burlington, predictive mapping allowed those lessons to inform the system before installation began. Final equalization and DSP adjustments then optimized performance for the finished space.

"In both locations, the most important thing was the end result and the client’s total satisfaction,” Kaplan concluded. “Would I specify the same SoundTube solution again? One thousand percent, without hesitation.”

Quick view:

• The Phoenix Suns and Mercury now have what is reported as the largest exterior LED display at an NBA/WNBA arena.
• An Absen transparent mesh LED display spans more than 226 feet.
• Video is included to show how massive this display is.

You don't have to do much to heat things up in Phoenix. But the NBA's Phoenix Suns and WNBA's Phoenix Mercury have done just that with an LED spectacular spanning the entire plaza entrance on the exterior of their home arena, the Mortgage Matchup Center.

[Friday Night Lights, Camera, Action!]

"The Suns and Mercury wanted the fan experience to begin before anyone walked through the doors," said Travis Tuttle, channel manager, Absen. "Installing Absen’s JD-H transparent LED across 140 arena windows makes the building itself part of that experience. Together with two new exterior LED displays replacing static vinyl signs, the installation allows the arena’s exterior to reflect what’s happening inside, whether it’s a Suns game, a Mercury game or a concert. That flexibility creates new opportunities to connect with fans and advertisers across the arena’s entire event calendar."

Per AVIXA, this is the largest exterior transparent LED display installed at an NBA/WNBA arena. The Absen transparent mesh LED display spans 226.4x41 feet and covers 9,256 square feet with more more than 17 million pixels at a 60 fps refresh rate.

“We want everyone who visits Mortgage Matchup Center to have a memorable experience, and that starts the moment they arrive,” Mat Ishbia, owner of both the Suns and Mercury, told NBA.com. “We’re creating a place where fans can come together for the biggest moments in sports and entertainment, and our new LED display gives us a powerful new platform to celebrate the Suns and Mercury, connect with our community and engage with our fans.”

Designed by One Revel, the massive display outside the venue will play host to watch parties for the biggest games and potentially concerts and other live events with highlights, clips, and stats being pumped into the display for visitors on the outside.

Take a look below.

Gies Memorial Stadium, home to the University of Illinois Fighting Illini college football team, got a massive technology upgrade from Anthony James Partners (AJP) encompassing LED displays, audio, broadcast and high-density Wi-Fi. The stadium-wide technology upgrades were showcased at the Thursday night college football home opener, as Illinois hosted UAB,.

[Friday Night Lights, Camera, Action!]

The centerpiece is a new South End Zone video board, which AJP boasts is the largest and highest-resolution primary scoreboard in college sports based on physical footprint and absolute pixel count. While the display provides the most visible transformation, AJP’s work extended throughout Gies Memorial Stadium, integrating the display, audio, broadcast, and connectivity systems into a comprehensive technology program designed to serve Illinois Athletics well beyond the current upgrade.

“Projects of this scale are never about a single system,” said Michael Rowe, chief executive officer of Anthony James Partners. “The goal is to look at the venue as a whole and design an integrated technology system that goes well beyond the video display—from the broadcast systems that drive it to the sound, Wi-Fi and infrastructure that support the fans and the overall experience. It’s about putting the right pieces in place today while creating a foundation for what that experience can evolve into over the next decade. The University established an ambitious goal for Gies Memorial Stadium, and we’re proud to have helped bring that vision to life.”

The new South End Zone display measures approximately 69x250 feet, providing more than 17,300 square feet of active display area. Featuring a 10mm pixel pitch and approximately 16.1 million pixels, the display provides nearly 195% greater resolution than the previous video board.

The installation is the centerpiece of a larger LED program, which was awarded to Daktronics, encompassing 16 displays and more than 26,700 square feet of LED technology throughout Gies Memorial Stadium. The project includes the South End Zone video board, ribbon displays, auxiliary displays, and additional LED elements designed to provide a cohesive visual experience throughout the venue.

AJP designed the supporting structure for the new South End Zone video board and managed the structural engineering process, with LBYD Engineers providing structural engineering services.

AJP designed a ground-up replacement of the stadium’s sound reinforcement system to deliver improved speech intelligibility, powerful full-range sound and consistent coverage throughout Gies Memorial Stadium. Integrated with the new South End Zone video board, the audio system, installed by C.V. Lloyd Audio Visual, creates a unified game presentation platform designed to serve every seat in the venue.

At the center of the system is a large-scale point-source array featuring Fulcrum Acoustic AHS digitally steerable loudspeaker technology. The system allows sound energy to be precisely shaped and directed throughout the seating bowl while minimizing unwanted reflections and acoustic interference. A distributed loudspeaker network supplements the main system in under-deck and acoustically shadowed seating areas, with the systems precisely time-aligned to provide natural, consistent and intelligible sound throughout the stadium.

The modernization extends beyond the seating bowl, with new audio systems serving concourses, support areas, and the stadium grounds, as well as portable field systems for pregame activities, ceremonies and special events. A dedicated HVAC-conditioned technical room within the video board structure protects amplification, processing and other critical electronics from temperature extremes, humidity and weather exposure, improving reliability and protecting the University’s long-term technology investment.

AJP’s broadcast modernization work was completed in phases over two years and included both the University’s production control environment and broadcast infrastructure throughout Gies Memorial Stadium. TAB-M Solutions served as the control room integrator, while C.V. Lloyd Audio Visual served as the broadcast cabling integrator.

The first phase included a complete redesign and rebuild of the existing production control room, transitioning the system from legacy 3G baseband technology to a SMPTE ST 2110 IP-based architecture and upgrading production from 1080i to 1080p. The new infrastructure also establishes a pathway to 4K production when Illinois Athletics is ready to make that transition.

At Gies Memorial Stadium, Phase One included the first stage of new broadcast cabling throughout the football stadium. Phase Two expanded that infrastructure for the 2026–27 season and included rebuilding the television broadcast interface panels at the truck dock to modernize connectivity between the stadium and television production trucks.

Together, the control room and stadium infrastructure upgrades provide Illinois Athletics with a modern production environment while establishing the infrastructure required to support expanded video capabilities and future production needs. The ST 2110 architecture allows the production team to transition to 4K when operationally appropriate without requiring another fundamental rebuild of the underlying production infrastructure.

AJP’s high-density Wi-Fi program included a greenfield deployment across approximately 90 percent of Gies Memorial Stadium and surrounding spaces, along with upgrades to existing premium and back-of-house coverage. The new seating bowl solution includes approximately 900 under-seat access points housed in environmental enclosures to provide high-density wireless coverage throughout the venue.

MSB Consulting Engineers was awarded the engineering, installation and maintenance of the high-density Wi-Fi solution.

What to know:

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

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

[Genelec Loudspeakers Power SIX Floors of New Sports Hub]

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

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

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

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

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

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

[Cosm: Take Me Into the Ballgame]

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

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

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

Take a peek below.

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

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

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

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

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

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

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

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

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

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

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

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

Quick view:

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

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

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

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

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

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

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

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

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

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

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

Quick view:

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

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

[8.5 MILLION Pixels Power World Cup Fan Festival]

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

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

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

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

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

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

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

Quick view:

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

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

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

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

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

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

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

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

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

Quick view:

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

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

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

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

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

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

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

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

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

What to know:

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

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

[Inspiration for Creating Immersive Experiences]

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

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

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

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

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

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

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

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

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

Quick view:

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

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

[The Real Differentiators]

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

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

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

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

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

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

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

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

Details:

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

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

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

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

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

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

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

Quick summary:

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

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

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

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

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

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

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

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

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

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

Quick summary:

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

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

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

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

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

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

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

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

Details:

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

North Texas Ups Its Game with Sony Camera Technology

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

[Course Correction]

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

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

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

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

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

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

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

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

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

[Laser-Focused Sound Coverage]

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

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

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

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

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

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

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

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

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

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

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

[SCN Installation Showcase 2025]

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

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

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

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

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

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

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

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

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

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

[Premium Sound for Every Seat]

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

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

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

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

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

[SCN Installation Showcase 2025]

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

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

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

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

[SCN Installation Showcase 2025]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[WATCH: Florida Panthers Invest in Immersive Fan Experience]

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

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

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

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

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

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

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

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

[Premium Sound for Every Seat]

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

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

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

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

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

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

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

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

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

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

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

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

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

[Is Anyone Using Your New Tech?]

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

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

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

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

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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.

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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.

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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.