Project News

K-array Helps Tie the Knot at Kent Wedding Venue

UK – A K-array Kayman and Vyper speaker system has been installed at Chapel House Estate, a prestigious family-owned wedding and events venue located less than a mile from the east Kent coast and yet easily accessible from London. Surrounded by a centuries-old 35-acre estate, the sympathetically converted 700-year-old chapel provides a timeless appeal for couples wishing to tie the knot.

Having purchased the property a couple of years ago, the new owners set about reinventing the space, adding a new purpose-built barn housing the main banqueting reception which is now the focus of entertainment enhanced by the installation of a powerful and visually discreet K-array line array speaker system.

“Our client came to us with a brief for a smart sound system that would fulfil the varied workload of speech, music playback and ceremonies in a well-established modern wedding venue environment, and also blend in discreetly with the bright décor of the room: they didn’t want ugly 12” black boxes hanging off the wall or technology that would become obsolete overnight,” said RASE Productions project manager Adam Ellis.

“We quoted a few options including a top of the line offer and a budget alternative, and after K-array’s UK distributor 2B Heard helped us to demonstrate some appropriate products they just fell in love with the design of them immediately and in fact the other quotes were not even considered. They totally bought into the K-array story, especially liking that the products are installed in luxury yachts and upmarket private residences.”

RASE Productions designed a speaker system consisting of two wall-mounted Kayman-KY102 line arrays in white over two Thunder-KMT218P dual 18” subwoofers in white in a left/right configuration in the corners of the short wall facing the bar. A pair of Vyper-KV52 line arrays finished in white are placed halfway down the room on a short delay, flush mounted to the walls on custom brackets manufactured by 2B Heard. “Dave Wooster calculated the precise inclination angles needed to optimise room coverage and manufactured the slim wall mounts that sit flush to the wall, using their bespoke in-house 3D printing facility.”

The intention was for the speaker system to be visually discreet and flexible enough in terms of connectivity to integrate easily with audio systems in other parts the venue, which are all run off an Allen & Heath AHM processor so that everything can talk to each other. Audio can easily be distributed from one building to another: for instance, source material from the ceremony room can play back through the K-array system in the banquet room. A patch panel allows microphones or additional audio sources such as a DJ console or even a band mix to be easily connected.

“Our client was initially sceptical that just four speakers would effectively fill the large banquet room by themselves,” said Ellis, “but to be honest, with the 218s under it, the system has more than enough power. It’s not working hard which is exactly what you want for longevity; it’s nowhere near its limits the majority of the time and it sounds great.”

The space itself is acoustically difficult because there are plasterboard ceilings, floor to ceiling glass windows and a stone floor, and all that is very reverberant. However, the speaker system is optimised for when there are around 120 people filling the room during the celebrations which really helps to break up reflections.

Staff access to the sound system is conveniently simplistic. There are IP1 panels distributed throughout the buildings which enable input switching and volume adjustment, while iPad control gives access to further parameters such as muting and individual zoning.

Commissioning was straightforward as you’d expect from K-array, according to Ellis: “The top end was pretty much there while the subs – which are in the corners and therefore there’s some coupling with the floor and walls – needed a little EQ trimming. The system is surprisingly dynamic considering the small size of the drivers and there’s a lot of low mid in there which is impressive for the size of box. It’s a pleasant sound, something I could quite happily listen to without a hint of fatigue.

“K-array would certainly be our go-to product for wedding venues such as this,” he said. “A delay speaker that’s practically flush mounted to the wall is a real advantage and as they are so small that works beautifully because unless you’re looking for them you would hardly know they’re there.

“Our client wanted a system that would deliver the energy and dynamics that people would appreciate dancing in front of, but not look imposing or ugly. And the subs put out some meaningful low end; he said he wanted a big thumpy system so we made sure we delivered on that aspect.”

The response from the venue and customers alike has been overwhelmingly positive. “From the system perspective, there’s been nothing but praise,” concluded Ellis. “No complaints and nothing they want to change, which is great. No news is good news and this project is no exception. As for the future, we are discussing some possible system additions that we hope to implement. Chapel House is very pro-active in marketing the venue to attract new business and they are increasingly catering to corporate customers for company away days, presentations, awards ceremonies and launches.”

Chapel House director Darren Ellis is liking the feedback from guests: “The speakers sound and look great, and the white finish blends in well so that you don’t really notice them. The response from clients and bands who’ve plugged in to the system has been exceptional and some of our regular corporate customers have commented favourably on the sound quality.”

2nd October 2026

Evolve Install Specifies Martin Audio for Chelsea’s Exclusive The Rex Rooms at 151

UK – The Rex Rooms at 151 on King’s Road marks the return of a legendary nightlife destination in London’s Chelsea. Set on the site of the famous 151 club – celebrated as an exclusive celebrity haunt throughout the 1990s and 2000s – the reimagined venue is the creation of designer and nightlife innovator Marc Jacques Burton.

To complement the venue’s refined avant-garde aesthetic with uncompromising audio performance, specialist integrator Evolve Install designed and installed a premium Martin Audio distributed system.

The venue is split into two distinct spaces: a vibrant main lounge and, concealed behind a secret door, The King’s 1942 Room private venue. Martin Audio’s CDD (Coaxial Differential Dispersion) Series loudspeakers were specified throughout to provide an upmarket, discrete sound solution that delivers exceptional coverage.

“The CDD enclosures are compact yet remarkably powerful,” explains Elliot Patterson of Evolve Install. “It’s a club environment where guests on the perimeter of the lounge often want the same energy and impact as those on the dance floor. With the loudspeakers properly time-aligned, the CDD series delivers consistent audio quality, punch and clarity across the entire space.”

In the main lounge, the primary dance floor area is served by four Martin Audio CDD8 loudspeakers, supplemented by a pair of Martin Audio SX210 subwoofers to provide tight, powerful low-frequency extension. The DJ booth is equipped with CDD6 models as monitors, while the perimeter seating is covered by a combination of CDD5 compact loudspeakers and ADORN A55 models.

Behind its secret entrance, The King’s 1942 Room features a dedicated system comprising six CDD6s paired with an SX210 subwoofer, with additional CDD5 models providing seamless coverage for the perimeter seating.

The venue operates across two separate audio zones, allowing independent DJ programming in each room.

“The combination of Martin Audio loudspeakers delivers a beautifully balanced, warm audio quality throughout both spaces; it’s high impact, but never intrusive,” Patterson notes. “With careful tuning and speaker placement, The Rex Rooms at 151 has a sound system that caters effortlessly to every guest, every night and Martin Audio was the perfect solution for this project.” 

photos: Ryan Dinham

1st October 2026

A full Vari-Lite renovation unlocks the creative potential of North Central Texas College Performing Arts Center

USA  – A 20-year-old performing arts centre in Gainesville, Texas has been transformed with a comprehensive Vari-Lite theatrical lighting renovation, unlocking new creative possibilities for students, faculty and the wider community at North Central Texas College.

The Performing Arts Center is a 360-seat proscenium theatre housed inside a striking monolithic dome structure which posed a unique architectural challenge that had long made lighting the space a complex undertaking. Since opening in 2005, the facility had relied on its original dimming, controls and lighting systems. As Calvin Russell, visual and performing arts facilities co-ordinator at North Central Texas College, puts it: “We quickly realised that we needed an upgrade so we could unlock this building’s true potential.”

Rick Robinson, principal of Media Design Group, was brought in to assess the facility’s long-term needs. The new system needed to serve theatre productions, music performances, lectures, community events and student showcases, all while functioning as a working classroom. As Robinson notes: “The design had to balance creative flexibility with reliability, ease of operation and long-term maintainability.” Vari-Lite and Media Design Group worked with college stakeholders to develop the full design package, reusing the existing electrics and truss system by reconfiguring the wiring and adding a new DMX512 distribution network. The solution protected the college’s investment while delivering a fully modernised result.

Infrastructure was central to the design. A RigSwitch+ 48, custom control rack and Vision.net controls form the backbone of the system, with constant power controlled via a DMX relay system feeding both static and automated fixtures.

At the heart of the system sits the Neo X5 Console. “The Neo is a much more user-friendly software that allows an easier experience to a lighting designer,” says Russell. “The Neo makes the use of moving lights so much simpler than other systems.”

The fixture package balances reliable stage coverage with creative flexibility. VL600 Acclaim PLE and ZoomSpot fixtures provide front of house and stage coverage, while Acclaim Fresnels deliver soft, even washes across the performance space. VL600 Acclaim Cyc fixtures illuminate the cyclorama and VL800 EventProfile and EventWash fixtures expand the rig’s ability to support concerts, dance and special events with saturated colour and sharp beam control. RGBL LED technology gives the team dynamic colour control at the touch of a button. The project was awarded to Associated Controls and Design (AC+D) of Dallas, Texas, who completed the installation on schedule and provided full training for theatre personnel.

“This new lighting system has given us the ability to incorporate things that we haven't tried before,” says Russell. “I am most pleased with the improvement of creativity that has been shown with productions and concerts.”

For Robinson, the project delivers on every objective: “By combining robust infrastructure, flexible controls and adaptable fixtures, the design provides North Central Texas College with an impressive theatrical lighting system that supports all events and helps prepare students for modern performance environments.”

photos: Leonord Miller

29th September 2026

Inside Carnival Sunrise: how DTC turned architectural concepts into working lighting systems

UK – When Carnival Sunrise underwent a major transformation, David Turnbull Consulting was tasked with solving a series of lighting challenges across some of the ship’s most prominent public and entertainment spaces.

Working across the Theatre, Atrium, Chef’s Table, Cabaret Bar and Piano Bar, DTC provided lighting design, system integration and commissioning, translating architectural and interior-design concepts into practical systems capable of performing reliably in the demanding cruise environment.

It is a project that provides an interesting insight into DTC’s approach to architectural lighting integration, particularly where creative design, existing infrastructure and new technology all have to work together. One of the clearest examples was found in the Theatre, where a dramatic series of illuminated rings and discs formed part of the architectural ceiling design.

“The architectural design gave us this series of rings and discs across the ceiling, and our job was to interpret that and develop a lighting solution that would actually work,” explains DTC’s David Turnbull. “The forms became progressively larger and incorporated some quite tight curves, so we needed a product that could give us the flexibility to follow the design properly.”

DTC developed a solution using flexible neon-style linear lighting, with City Theatrical technology forming an important part of the installation. Its flexibility allowed the lighting to follow the varying diameters and tighter curves of the ceiling features, while City Theatrical drivers were also incorporated into the system.

But for Turnbull, finding a product capable of physically following the design was only part of the challenge. “When you’re installing something in an architectural feature that is going to be difficult to access again afterwards, reliability becomes incredibly important,” he says. “The operations team can’t simply get into these areas and carry out a significant repair, so we wanted something established, proven and that we already had confidence in.”

DTC had previously worked with City Theatrical products on cruise projects, giving the team confidence in the technology before it was incorporated into the Carnival Sunrise installation. “We knew the products and knew them to be good, solid products,” continues Turnbull. “In this instance we needed something extremely flexible, but because of where it was being installed, we also needed confidence that it was going to last. That combination made it the right solution for us.”

The circular ceiling elements were integrated into the Theatre’s wider lighting control system, allowing them to operate as part of the overall visual treatment rather than simply functioning as static decorative features. That same integration-led approach ran throughout the project. At Chef’s Table, DTC was responsible for incorporating a chandelier-style feature developed by the interior design team into the wider lighting and control environment. “The interior design team had developed the chandelier feature, but we needed to make sure it worked within the control environment and could be integrated properly with everything else in the space,” explains Turnbull. “That is a large part of what we do: taking the design concept and making sure all of the technical elements work together.”

Across the refurbished spaces, ETC Mosaic was used as the architectural lighting control platform, with DTC bringing together new equipment, existing ship infrastructure and architectural lighting elements within cohesive control systems. The project also presented another challenge familiar to many refurbishment schemes: integrating new LED technology into systems originally designed around conventional halogen lighting. “Changing from halogen to LED isn’t as simple as replacing one light source with another,” says Turnbull. “The control and dimming systems were designed around a different technology and LED doesn’t necessarily behave in the same way. You have to look at the entire system rather than just the fixture.”

For DTC, that meant considering how the fixtures, drivers, dimming and control would all interact before determining the final solution. “If you look at any of those elements in isolation, you can end up with something that technically works but doesn’t perform in the way the client expects,” Turnbull adds. “You need to understand how everything is going to behave together and make sure that what you are specifying is appropriate for the wider system.”

All of this had to be delivered within the constrained programme of a major cruise-ship dry dock, with DTC working simultaneously across a number of substantial venues. The project therefore required more than simply selecting suitable products. Access, maintenance, integration, commissioning and long-term reliability all had to be considered alongside the immediate visual requirements of each space. For Turnbull, Carnival Sunrise remains a strong example of the role DTC plays in bridging the gap between architectural ambition and technical reality.

Turnbull concludes: “Our job is to make sure the finished result looks the way the designer intended, but that is only half of it. It also has to be controllable, maintainable and reliable once the ship is back in operation. That means looking at the whole system from the outset, understanding the creative intent, existing infrastructure and then making sure all of those technical elements work together properly.”

29th September 2026

Robert Juliat Arthur LT followspot upgrade on Budapest’s Margaret Island

Hungary – Two Robert Juliat Arthur LT 800W LED long throw followspots have recently been installed in Budapest’s iconic Margitsziget Theatre by Robert Juliat’s exclusive distributor for Hungary, Lysis-Project.

Margitsziget Theatre, Hungary’s most prestigious open-air summer theatre, is located in a unique position in the heart of Budapest, surrounded by the Danube on the beautiful Margaret Island.

Built in 1938 and standing beneath the historic Water Tower within the theatre’s grounds, Margitsziget Theatre is one of Hungary’s most prominent summer cultural venues, offering a rich programme of cultural events and attracting visitors from both Hungary and abroad. Its near 3,000-seat main stage hosts Budapest’s largest multi-disciplinary arts festival during the summer months.

Twenty-five years ago, the theatre purchased two Robert Juliat Aramis 2500W HMI followspots, which have been in use ever since and have served the theatre extremely well. Thanks to a successful funding application, however, this spring the theatre had the opportunity to replace these well-proven fixtures with worthy successors. Two state-of-the-art Robert Juliat Arthur LT followspots, featuring a modern LED light source, were commissioned in time for this year’s summer season and have already proven their capabilities in productions including Carmina Burana, Cavalleria Rusticana, Anna Karenina, Il trovatore, Wonderland and Nabucco.

Both István Sárosi, technical director, who managed the procurement and Ákos Bodor, lighting designer for most of the productions concerned, are extremely satisfied with the performance and ease of use displayed by their new Arthur LT followspots.

“I was particularly surprised by the high output of the fixtures’ 800W LED module,” states Bodor. “They are also considerably quieter than the traditional discharge lamp followspots and therefore considerably less distracting for the performers on stage and the audience who are in close proximity to the followspots in the open-air auditorium. There is also the added bonus that many of the features and ergonomics of the new Arthur LTs are familiar to the followspot operators due to Robert Juliat’s well thought out design that carries through – with a number of advancements – to the newer products.”

The Arthur LT LED followspots were supplied to the theatre by RJ’s exclusive distributor for Hungary, Lysis-Project. “Although I am new at the Margitsziget Theatre, I knew I could turn to Lysis-Project Kft. with confidence. I was not disappointed,” states István Sárosi. “The tender required quick action, and I received all the necessary information immediately. There were no issues with meeting the delivery deadline either.”

photo: © Peter Tatarek

28th September 2026

Renkus-Heinz ICONYX brings clarity to Griffith Observatory’s Leonard Nimoy Event Horizon Theater   

USA – High in the Hollywood hills, the Griffith Observatory overlooks the city of Los Angeles as an emblem of cinematic history and scientific discovery. Famed for its reputation as a world-class educational and entertainment landmark, the observatory is known for its appearances in classic films and its long-standing role in bringing astronomy closer to the public. The legendary Leonard Nimoy Event Horizon Theater is one of the building’s most impressive venues, with the 190-seat auditorium hosting public programmes, presentations and panels every day to explore the latest in science and astronomy. 

However, the existing sound system was becoming increasingly difficult to manage. All too often, events were being disrupted by unpleasant microphone feedback caused by reflections off the projection screen and panelled walls. In need of a new audio solution to address the specific requirements of the theatre, The Griffith Observatory Foundation called upon audiovisual technology specialist Solotech and consultant TheatreDNA, who recommended Renkus-Heinz as the ideal loudspeaker solution for the space.

“The Griffith Observatory is such an iconic and recognisable landmark,” says Marc Nutter, business development representative for Solotech. “The existing sound system in the Leonard Nimoy Event Horizon Theater was no longer meeting the expectations of such a prestigious venue. A modern system was required that was capable of delivering high-quality audio performance while ensuring usability for staff with limited technical training.”

“From the beginning, we recognised the need for a solution that could address the unwanted reflections and uncontrolled audio challenges, without disrupting the theatre’s strict aesthetic values,” adds Patrick So, theatre programmes manager at Griffith Observatory. “We worked closely with Solotech and TheatreDNA, who guided us through a range of potential options while assessing coverage, clarity, and visual impact.”

A digitally steerable line array was considered the most suitable option, leading to the recommendation of the Renkus-Heinz ICONYX Gen 5 loudspeaker series. “A single ICONYX IC16-RD model was installed behind the projection screen upstage of where speakers stand to present,” Nutter explains. While the Leonard Nimoy Event Horizon Theater retained a dedicated playback system for film screenings, the IC16-RD was introduced exclusively for spoken word events. “The beam steering capabilities allow for precise vertical coverage control, directing sound towards the audience while reducing energy on the reflective surfaces, ultimately helping to improve speech intelligibility and maintain consistent SPL from the front of the auditorium to the back.”

The Griffith Observatory Foundation was deeply involved throughout the entire process, from early discussions around loudspeaker options to on-site testing and final tuning. “Everyone involved with this project shared the same goal: to improve the audience experience of the theatre,” states So. “With our values aligned, decision-making was efficient and productive.” 

By positioning the loudspeaker behind the screen, audiences can focus on the presentations and speakers without distraction from the room’s technology. The wider AV system is built around a QSC network that brings audio, video and control into a streamlined interface, allowing museum staff to prepare and operate daily programmes and special events with greater ease and consistency.

Since the debut of the new audio system, the audience experience inside the Leonard Nimoy Event Horizon Theater has improved noticeably. “The upgrade from the old system was immediately clear,” So reveals. “With the IC16-RD, there’s no more feedback when presenters speak into the microphones and the entire audience can hear even the most subtle details. The immense effort that everyone has put in has led to a far more immersive and engaging experience that fully lives up to the expectations of the Griffith Observatory.” 

25th September 2026

AtlasIED Atmosphere Transforms Audio at High-Tech Manufacturer Wilting

The Netherlands – Wilting, a part of Andra Tech Group, specialises in the efficient production of high-quality, precision mechanical components and modules, targeting European OEMs operating in high-tech industries such as semiconductor, aerospace, food processing and automotive. When it opened its new facility in Veldhoven, Netherlands, in 2025, the company sought an audiovisual experience that would match its reputation for precision, innovation and technological excellence. The objective was to create a seamless, flexible and future-ready system that enhances communication and collaboration throughout the building.

Wilting staff contacted Backline early in the construction process to ensure the company’s goals for elevated AV could be met.

“Wilting’s standards are high, both for their own product as well as the requirements for the new audio system, which is why we recommended Atmosphere,” said Thijs Michiels, CEO of Backline. “With Atmosphere, AtlasIED has struck the perfect balance between innovation and usability. The DSP performance, control options and integration capabilities make it a standout solution for many scenarios.”

Backline designed and implemented a comprehensive AV solution centred around AtlasIED’s Atmosphere system. The installation features the Atmosphere AZM8 audio processor for advanced multi-zone control. The AZM8, an eight-zone digital signal processor at the heart of an Atmosphere audio control system, features a built-in message player, virtual wall controllers, learning ambient noise sensing, Tilter Filter, auto-gain, GPIO, room combine and more, making it a processing powerhouse.

Programming is simple via an on-board web interface optimised for common use cases. The control interface is device agnostic, responsive and meticulously designed for an ideal user experience without sacrificing design freedom. In addition to Ethernet, built-in Wi-Fi allows tablets and other controlling devices to connect directly to the AZM8 via rights-based access.

Three HELVIA OMNIS-100 multimedia players provide central streaming and background music distribution, integrated into the Atmosphere network. The audio is evenly distributed through different ceiling and pendant loudspeakers, ensuring balanced sound quality across the building.

In the company café, Backline installed an Atmosphere C-ZSV control panel to enable easy local control of volume and source selection, creating an ideal environment for presentations, meetings and informal gatherings. With user-friendly controls designed to prevent accidental configuration changes, staff can confidently manage the system without technical oversight.

This ease of use drives greater adoption, ensures the system delivers long-term value and even boosts employee engagement by empowering staff to take ownership of their environment. Backline also installed an Atmosphere A-XLR in the café to allow for the connection of a microphone when needed.

Together, these integrated solutions deliver a professional, reliable and future-proof AV ecosystem that supports Wilting’s commitment to innovation, quality and technological excellence.

“AtlasIED’s Atmosphere platform gave us the flexibility to design a sophisticated audio system without overcomplicating the user experience,” said Michiels. “Set up was fast and the software tools made on-site adjustments effortless. The customer is very happy with how the audio system turned out.” 

24th September 2026

A New Era at Rumble Inn: Céline Frezza on Her ASP4816-HE

France – Operating within the orbit of the legendary Jarring Effects label, Rumble Inn is a French independent recording studio with a beautiful philosophy: keeping professional-grade recording accessible to modest budgets. At the helm is Céline Frezza, a talented engineer who is quietly blazing a trail for women in audio. Recently, Céline decided it was time for a change and welcomed a brand-new ASP4816-HE into her control room.

It is easy to get stuck in a routine when you work in the same 12-square-metre space every day. The arrival of the ASP4816-HE completely shook things up for Céline, giving her studio practice a well-deserved boost. “It forced me to rethink my set-up and experiment,” she smiles. “It felt great to shake up the routine.”

Moving on from a beloved vintage desk can be daunting, but Céline has not looked back for a second. Instead of missing her old gear, she was immediately won over by the clarity of the Audient Class-A preamps. The desk shines particularly brightly when she pushes the low-end and dynamics on heavy electronic, dub and reggae tracks.

“As soon as I ran the signal through the Audient preamps I loved the change in tone, it is sharper and less coloured,” she explains. She also has a special affection for the Heritage Edition’s Vintage mix bus processing. “I simply call them my ‘magic knobs’. I don’t always use them but when I do, that is when the magic happens!” She adds that the bus compressor works perfectly and she now uses it constantly to glue her mixes together.

Beyond her own mixing work, Céline is deeply committed to empowering women and gender minorities through audio workshops. The intuitive layout of the ASP4816-HE has made it a brilliant teaching tool.

“Everyone is always very impressed by the mixing console,” she shares. “Giving participants easy access to it builds their confidence. Telling them to go ahead and try it out empowers them immediately.” She finds the straightforward layout makes it incredibly easy to explain the audio signal path, buses and aux sends. For Céline, making sound fun, quick and accessible is the best way to break down inhibitions and spark a lifelong interest in audio.

When looking for a new centrepiece for Rumble Inn, Céline had a clear list of priorities. “Since I do not need a massive track count, I prioritised the quality of the preamps over the number of channels,” she notes. The ASP4816-HE was the only console that ticked every box for her, offering the perfect balance of price, in-line connectivity and uncompromised audio quality.

Currently, the studio is buzzing with fresh talent. Céline just finished working on an album for Lwanbe, an exciting young artist releasing new music soon. In fact, Céline noted that Lwanbe even helped carry the ASP4816-HE in, ready for its installation!

The console was supplied by the ever-helpful Serge at Studio Dealers, Audient’s console distributor in France.

23rd September 2026

Brompton equips Garden Studios' expanded virtual production stage as VP specialist doubles down on driving shots

UK – Garden Studios, a London-based virtual production facility, has expanded its long-standing partnership with Brompton Technology as part of a significant investment in a new virtual production stage. Since opening the UK’s first permanently installed VP volume in 2021, the studio has continued to run its original wall on Brompton Tessera S8 LED video processors and has now added Brompton’s flagship Tessera SX40, paired with Tessera XD 10G data distribution units to power a new, larger stage purpose-built for driving and simulated travel work.

The new stage is centred on a 24m x 5m ground stacked curved LED wall from ROE and a 10m x 5m high-resolution LED ceiling from Absen, mounted on a custom rig developed with Cirrolite that allows the volume to move freely within, above or around the stage and doubling as a front wall for 360-degree shooting. The ceiling can travel up to 20 metres front-to-back and switch from a fully enclosed set-up to a rain-ready configuration in under a minute, removing the need to reposition vehicles between shots to line up reflections.

“Since opening our first volume in 2021, our LED wall has more than doubled in size and we now have one of the highest-resolution LED ceilings in Europe, enabling crisp, in-focus windscreen reflections with no visible pixelation,” says Rich Phillips, CTO at Garden Studios. “One of the key challenges we identified was the limitation of large pixel-pitch LED ceilings when used for windscreen reflections. To address this, we invested in a new high-resolution ceiling solution from Absen, allowing us to capture in-focus reflections directly in camera.”

The ceiling’s four degrees of movement and the need to drive it at 10 bit, 50Hz, called for substantial bandwidth alongside flexibility and reliability. “SX40 processors paired with XD data distribution units over TAC fibre were the obvious choice, providing the flexibility, bandwidth and reliability needed for such a dynamic system,” Phillips explains.

For Patrick Goodden, technical sales manager (UK and Ireland) at Brompton Technology, who has worked closely with Garden Studios since its first volume opened, the story is as much about longevity as it is about new hardware: “They’ve taken the S8s processors bought five years ago and are using them for the main wall in a brand-new studio, meaning they only had to invest in a new SX40 for the ceiling,” he says.

“The reason they needed an SX40 for the ceiling is because it’s on a moving track, going from horizontal to vertical. With S8s, cabling runs directly out the back of the processor, so you’d need to run a thick loom of cables to the wall. With the SX40, they can run one or two fibre cables and split out, which makes it far easier to manage a moving ceiling. On our side, they work seamlessly together; you get the exact same colour output, and the sync works the same.”

The relationship between Brompton and Garden Studios has also seen the Brompton team support their events and open days, assist with testing and contribute to the studio’s virtual production training courses.

Over the past five years, Garden Studios has delivered more than 150 productions across its virtual production stages, with many high-end television clients choosing the facility for driving scenes because of its purpose-built stage and team experience. “Driving Process is a big part of our work, and we’ve delivered HETV projects spanning all the major streamers,” says Phillips. “Most recently our work has included Twenty Twenty Six and The Capture for the BBC; Goodbye June and Man Vs Baby for Netflix and films like The Roses. These relationships continue with a broad selection of projects set to release throughout 2026 and into 2027.”

Colour accuracy and frame-rate flexibility remain central to the set-up. Garden’s HETV clients often shoot at 23.98fps, while commercial productions typically work at 25fps or 50fps, and Brompton’s patented ShutterSync feature helps eliminate artefacts across shutter angles such as 172.8 degrees. “How LED looks on camera is one of the most challenging things in virtual production, especially with the shutter speeds and frame rates film productions like to use,” Goodden says. “ShutterSync lets you input your camera’s shutter settings into the processor, so its refresh completes within the exact window when the shutter opens and closes.”

Dark Magic and Extended Bit Depth optimise the panels for low-brightness operation without visible banding, while PureTone calibration keeps colour accurate even in the dim areas typical of a VP volume. Full 3D LUT support, with a 17-cube LUT covering 4,913 colours, integrates directly with Pomfort Livegrade, allowing DITs and DPs to grade the LED wall using tools they already know. “We also make extensive use of Brompton’s API, which powers a number of custom tools that streamline on-set workflows,” says Phillips. “For example, we can switch instantly to a chroma green card at the press of a button or freeze the LED wall so cinematographers can maintain lighting set-ups while content is being reloaded.”

The investment also reflects Garden Studios’ B Corp ethos: “Our commitment to sustainability extends beyond our B Corp certification. We believe the industry must do more to reduce waste and manage its carbon footprint,” adds Phillips. “We believe that making careful purchasing decisions and maintaining equipment properly helps extend its useful lifespan, reducing the need for frequent technology refresh cycles and lowering overall environmental impact.”

Free Tessera software updates mean Garden’s original S8 processors continue to benefit from Brompton’s latest features alongside the new SX40 units.

For Brompton, the expansion is a marker of a wider trend. “When there’s VP, there’s always a demand for the high end,” Goodden concludes. “Studios like Garden, especially with their new pop-up experience, are making virtual production more approachable on a smaller scale and we’re now seeing it used not just in big Hollywood films, but in smaller-scale TV dramas, comedies and adverts too.”

photos: Jasmin Shah

22nd September 2026

When Sound Becomes Architecture at Florence’s Church of Ognissanti

Italy – The historic Church of Ognissanti has completed an audio modernisation centred on JBL Professional loudspeakers, improving speech intelligibility throughout the sanctuary while preserving the architectural character of one of Florence’s most significant churches. Delivered by Exhibo in collaboration with the project architects and system designers, the installation combines two JBL Professional Intellivox loudspeakers covering the church’s 35-metre nave with JBL Professional slim column loudspeakers positioned behind the altar to provide localised reinforcement for the presbytery.

Dating back to the 13th century, the Church of Ognissanti is one of Florence’s most historically and artistically significant places of worship. Home to renowned Renaissance frescoes, including Sandro Botticelli’s St. Augustine in His Study, commissioned by the Vespucci family in 1480, the church continues to serve as both an active parish and a destination for visitors from around the world. Its regular schedule of liturgical services, concerts and cultural events required an audio system capable of delivering clear speech without compromising the visual integrity of the protected historic building.

Like many historic churches, Ognissanti presented significant acoustic challenges. Its 35-metre nave, high vaulted ceilings and reflective masonry surfaces created long reverberation times that reduced speech intelligibility, particularly during sermons and spoken liturgy. Preservation requirements also limited the number and placement of visible loudspeakers, making traditional distributed audio systems impractical.

Exhibo conducted detailed acoustic measurements, three-dimensional modelling and beam-steering simulations before specifying a minimally invasive solution built around two JBL Professional Intellivox column loudspeakers. Installed on either side of the central nave, the loudspeakers use JBL’s proprietary Digital Directivity Synthesis (DDS) technology to direct sound toward the congregation while minimising reflections from the church’s walls and vaulted surfaces, delivering consistent speech coverage across the 35-metre nave. To complement the main system, JBL Professional COL800 column loudspeakers were installed behind the altar, providing dedicated coverage for the presbytery while maintaining the same discreet visual profile throughout the sanctuary.

“The goal was clear: improve speech intelligibility throughout the central nave without introducing invasive elements or multiplying sound diffusion points,” said Andrea Ficara, Exhibo S.p.A product specialist. “Acoustic simulations enabled us to identify the optimal positions for the JBL Intellivox loudspeakers and predict how sound would behave within the liturgical space. The final solution used just two loudspeakers to effectively cover approximately 35 metres of the central nave while maintaining minimal variation in sound pressure across the different listening areas.”

Following installation, the system underwent on-site tuning to refine beam steering and optimise performance within the church’s unique acoustic environment. The resulting installation provides natural speech reproduction for worship services while remaining visually discreet, allowing visitors to focus on the architecture and liturgy rather than the technology itself.

By combining advanced beam-steering technology with careful acoustic planning, the Church of Ognissanti now benefits from a sound system that complements rather than alters its historic architecture. Centred on just two JBL Professional Intellivox loudspeakers covering the nave, with dedicated JBL COL800 loudspeakers reinforcing the altar area, the installation demonstrates how a minimal number of carefully positioned loudspeakers can deliver consistent speech intelligibility while preserving the cultural and architectural significance of historic houses of worship.

21st September 2026

The Attention Crisis and the Evolution of Exhibitions: How Immersive Technologies are Transforming Modern Museums

Ukraine – The modern museum industry is facing one of the greatest challenges in its history: the changing cognitive habits of its audience. In the era of short-form content and continuous digital noise, the human brain has adapted to crave a quick dopamine hit every few seconds. As a result, the traditional tour format, built on the passive consumption of static information, is rapidly losing its effectiveness. Dry historical facts and text on information boards are no longer enough to independently hold the modern visitors’ attention or form a deep emotional connection with the exhibits.

Today, museum spaces are forced to evolve, shifting from a format of detached observation to one of deep immersion. Anton Tertyshnyk, creative director of Lumotion Studio, who has spent over eight years specialising in the development of interactive installations and digital content layers for entertainment parks and museums, explains the fundamental problem with the traditional approach:

“But still walk into most traditional museums and you get the same thing: you walk in, read a sign, look at something behind glass, walk out. Instead of simply explaining what happened and displaying artefacts behind glass, museums can take visitors inside the story.”

Modern multimedia technologies are the solution to the problem of fragmented attention. Thanks to large-scale projection mapping, complex animation and cinematic storytelling, exhibition curators have the opportunity to bring historical places and environments to life. Physical objects alone cannot always convey the full scale of events or the atmosphere of an era; immersive theatres effectively fill this gap. In this context, they act not simply as an emotional attraction, but as a scientifically grounded tool for focusing attention, transforming the viewer from a passive observer into an active co-participant in the story.

“At Lumotion Studio, this is exactly what we’ve been implementing over the last few years,” notes Anton. “We’ve implemented many immersive experiences, but I think immersive theatres or VR attractions are one of the most useful solutions for telling stories and creating an emotional connection with visitors.”

An important practical advantage of this approach is its architectural flexibility. Immersive experiences don’t always require huge spaces. Modern hardware and software solutions allow for the integration of a full-fledged immersive effect into existing, relatively small locations. This makes multimedia projects extremely convenient for institutions and entertainment parks with space limitations, allowing them to maximise the value of every square metre.

Does this trend mean that digital exhibitions will eventually replace physical ones? Experts agree that the future of museums lies not in replacement, but in synergy. Physical objects remain the foundation: they give visitors something real and tangible to discover. At the same time, interactive digital layers make people a part of the experience and immersive cinema creates the emotional and narrative shell that connects everything together into a single, living story. 

21st September 2026

JBL VTX A8 Chosen for Flagship Derby Venue

UK – Opened last year, Vaillant Live is a dynamic, purpose-built, 3,500 capacity destination for concerts, family events, sports and conferencing. Part of the Becketwell Regeneration scheme and owned by Derby City Council, the venue is sponsored by leading heating systems manufacturer Vaillant and operated by premier live events company ASM Global. As Derby’s new flagship state-of-the-art entertainments hub, Vaillant Live is set to bring the widest possible range of artists and performers to the city and has been equipped with cutting-edge technology to meet the demands of its varied programme.

Specialist venue consultants IPW created an innovative, flexible and scalable layout for Vaillant Live which, in addition to its main auditorium, boasts a 400 capacity second space. IPW’s Neil Woodger specified a JBL VTX A8 sound system for the main space and collaborated with Matt Watt of Live Technology (JBL’s UK distributor) on its design. Part of the wider JBL VTX series the VTX A8 is a dual 8” compact line array loudspeaker with 110° dispersion designed for mid-sized rental and installation applications or as auxiliary support for larger VTX systems.

Hull-based integrator, NuWay Audio Visual, installed the main auditorium system comprising 26 JBL VTX A8 (13 per side) with eight JBL VTX B18 subwoofers (four per side). Vaillant Live also purchased a smaller JBL SRX910 powered line array system for portable use as a pop-up PA in different spaces across the venue. Part of the JBL SRX900 Series, the SRX910 is a 10-inch two-way active line array with built-in DSP and amplification offering a plug and play experience without any compromise of consistency and optimum performance. The second system at Vaillant Live comprises eight SRX910 and a pair of SRX928 subs, enabling the venue to flexibly cater for a wide range of applications.

With Vaillant Live now up and running as the cornerstone of Derby’s ambitious plans for the future of the Arts in the city, the venue’s technical manager Callum Jones is full of praise for the JBL systems: “The VTX system in the main auditorium is performing exactly as we anticipated it would, providing great coverage for the entire auditorium. The SRX system has proved to be excellently suited for easy set-ups in the venue’s smaller spaces.”

Callum also comments on the support received from Live Technology which he describes as pivotal to the successful opening of the new venue: “Live Technology played a vital role in the implementation of the auditorium’s new system and we really couldn’t have wished for better support for our site engineers. They stepped up as and when required to make sure the system was fit and ready for our opening events, with the result that we’ve had a very positive response to the audio from both guests and visiting sound engineers.” 

18th September 2026

Renkus-Heinz Iconyx Series steers the University of Birmingham towards a new standard of audio performance    

UK – Welcoming a cohort of more than 400 students each year, the University of Birmingham’s Medical School is one of the largest in Europe. As a leading centre for medical education, AV technology is a major part of its practical learning methods. After a review of its approach to AV, some facilities were deemed in need of an upgrade, including the 450-seat Leonard Deacon Lecture Theatre. Audio quality was a particular concern, with poor speech intelligibility and limited coverage disrupting the listening experience for students and lecturers. A Renkus-Heinz beam-steering solution would prove to be the answer to delivering clearer, more consistent audio.

The Leonard Deacon Lecture Theatre features two distinct acoustic areas: a semi-circular stage at the front of the room and the tiered seating area that extends to the rear of the theatre. “The acoustics at each end of the room presented several challenges,” says Mark Bromfield, director of system solution sales for CUK, the distribution company supporting the project from early conversations through to implementation. “The stage was highly reflective, largely due to its hard wooden flooring and projection screen, while the seating area incorporated more absorptive finishes, meaning both areas presented very different conditions within the same space.”

Combining wall-mounted and ceiling loudspeakers, the existing system operated as a single line without time alignment. “Listeners could hear sound coming from multiple directions with noticeable delays between loudspeakers,” explains Bromfield. “This compromised intelligibility and contributed to listener fatigue, prompting the University of Birmingham to assess options for a new sound system. We were approached by the university’s technical team, who had seen a Renkus-Heinz demo at an industry event and wanted to explore whether its products could address the challenges in the lecture theatre.”

To determine the ideal sound solution for the Leonard Deacon Lecture Theatre, CUK conducted acoustic modelling, followed by a live demonstration of the Renkus-Heinz Iconyx system in the venue. “The university’s AV team was incredibly impressed with the precise directionality and consistency provided by the Iconyx Series, which led to the specification of four of these beam-steering arrays,” Bromfield continues.

GVAV, an AV integrator with extensive experience in education-based deployments, was tasked with installing the new system. To manage the distinct acoustic conditions of the stage and the seating area, the theatre was treated as two separate zones. “At the front of the room, two IC16 digitally steerable column arrays are wall-mounted on the left and right of the projection screen,” describes Bromfield. Architecturally discreet, they blend in with the theatre’s white walls, while delivering sound directly to the seating section. Each array features eight individually steerable beams that can be shaped around the precise measurements of the room while minimising acoustic energy in unwanted areas.

For the second half of the room, two of the more compact IC8 steerable line arrays were installed behind panels on each side, providing controlled coverage all the way to the back of the theatre. “The system’s adjustable DSP delay allowed the IC8 arrays to be accurately time-aligned with the IC16s to prevent audible delays between the loudspeakers,” Bromfield adds. “During information-packed lectures, it is critical for students to hear every word. By directing audio precisely where it’s needed, the Iconyx system now ensures every seat receives the same clear, intelligible audio.”

Once the installation was complete, the new system delivered an immediate improvement in speech intelligibility and the overall listening experience. “The system provided controlled, focused coverage from a significantly smaller number of loudspeakers compared to the previous system,” reveals Bromfield. “Delighted by the performance of the system and how it addressed previous challenges, the university’s AV department began looking at other areas of campus that would benefit from a similar upgrade.”

“The improved audio quality was a guaranteed win, but what really helped drive wider adoption was the economics,” says James Ball, AV designer and project lead for the university. “By reducing labour and infrastructure requirements, we were able to invest in better technology while stretching available budgets further, allowing us to upgrade more teaching spaces across the campus.”

During its first visit, CUK assessed 11 teaching spaces in addition to the Leonard Deacon Lecture Theatre. Achieving the required coverage with fewer loudspeakers reduced the cabling and amplifier channels that a high-quality solution typically demands. This helped initiate a more cost-effective approach to a campus-wide audio upgrade. “We assessed each room individually, selecting loudspeakers based on dimensions, acoustics and coverage requirements,” Bromfield explains. “With the breadth of the Renkus-Heinz portfolio, we could select the most appropriate solution for each room.”

The University of Birmingham’s long-term plan is to upgrade 15 lecture theatres across its campus using a range of products from Renkus-Heinz's Iconyx Gen5, UBX Series and CX Series. “The Leonard Deacon Lecture Theatre demonstrates exactly what Renkus-Heinz beam-steering technology can achieve in acoustically challenging venues,” admits Bromfield. “It allowed the university to overcome issues of clarity and coverage that had affected the experience for students and faculty, creating an improved learning environment with significantly less infrastructure and at a lower cost than competing solutions. With the broad range of solutions available for different room sizes and acoustic conditions, the same approach can now be extended across the campus.” 

17th September 2026

KV2 Audio completes the transformation of a former cinema into a striking new theatre in Slovakia

Slovakia – At the foothills of the High Tatra Mountains, the city of Poprad is known for its centuries-old buildings and thermal springs. In a city with a rich cultural heritage, award-winning architectural studio Ateliér zerozero has taken a more modern approach to the renovation of the former Kino Maj cinema building in Vel’ká, one of Poprad’s oldest quarters. Now Divadlo Poprad, this independent theatre has answered a long-standing local demand for a permanent theatre space in Poprad. Collaborating with writers, directors, set designers and musicians from Slovakia and beyond, Divadlo Poprad has its own in-house acting ensemble with a year-round programme of shows for families, adults, children and schools. To complement the venue’s bold architectural transformation and diverse performance schedule, a KV2 Audio system was chosen to deliver the new theatre with powerful sound.

When defining the audio requirements for Divadlo Poprad, the objectives were clear: exceptional speech intelligibility, accurate musical reproduction and even coverage throughout the entire venue. The theatre comprises three performance areas: the 164-seat Main Auditorium, the 76-capacity Studio and an outdoor Summer Stage with 100-seat capacity. “The theatre has a huge production programme throughout the year, as well as cultural events and club-style events hosted in the Studio,” says Eduard Fertáľ, external sound consultant at the theatre. “When it came to the sound system, we knew it needed to be able to accommodate a variety of events and performances while ensuring every seat in the house would share the same quality of experience.”

“I have had the opportunity to use KV2 Audio systems in many different applications and they have never disappointed me,” reveals Fertáľ. KV2 Audio’s portfolio of point-source systems is designed to handle wide dynamic ranges while delivering precise coverage and reliability, making them suitable for demanding theatre and live performance venues. “Ever since my first experience with KV2, I have considered it a solution that can handle virtually any environment. Perhaps the most unusual test was using their EX10 system to reinforce a live rock band in the courtyard of Kežmarok Castle. The impressive number of installations and references around the world has only reinforced my conviction.”

These proven credentials led to the Czech manufacturer being chosen to provide Divadlo Poprad with the sound system it was looking for. Slovak distributor, Audio Production s.r.o., helped identify the most suitable solution for each performance space, resulting in a tailored system combining KV2’s EX, ESR, ESD and VHD series to meet the varied acoustic and operational requirements of the theatre. “These systems are designed to deliver high-quality music playback during live performances, making them ideal for theatres of this size,” says Alex Molcanov, owner of audio production s.r.o. “We supported the system design and specification, while the physical installation was carried out by Art Lighting Production s.r.o.”

In the main auditorium, the primary system comprises two ESR215MkII three-way full-range loudspeakers positioned either side of the stage and powered by an ESR3000D amplifier. Their wide horizontal dispersion provides consistent coverage across the entire seating area, ensuring audiences experience the same clarity regardless of their position. Four VHD4.18 subwoofer enclosures, driven by a VHD3200D amplifier, extend the system’s low-frequency performance by providing the power and impact required for musical performances and theatrical effects. Their compact footprint allows them to optimise space, with all four cabinets able to be stacked together.

To complement the main system, three EX26 systems are positioned at the front of the stage, providing additional vocal reinforcement and focused coverage, particularly for concerts and larger productions. Two ultra-compact EX6 loudspeakers are used as near-field monitors in the control booth, allowing the technical team to accurately monitor the performance. Supporting the overall coverage, two ESD10 passive two-way loudspeakers are used as side fills, powered by an ESP2000D amplifier to maintain consistency.

The studio, used for club-style concerts and cultural events, features two EX12 active loudspeaker systems as the main left and right outputs, delivering balanced and accurate sound in a compact format. “An outdoor summer stage follows the same set-up, with two EX12 loudspeakers and two EX1.8 active subwoofers to add low-frequency impact for live music events,” adds Molcanov.  “The loudspeaker cabinets are portable, allowing the EX1.8s to be moved between the studio and the outdoor stage depending on where productions are taking place so they can adapt the systems for different events.”

Shared across all stages are eight compact EX10 full-range loudspeaker systems, which provide a flexible solution that can be deployed as stage monitors, fills or additional coverage as needed. “Their compact size makes them easily portable, giving the theatre the ability to scale each zone up or down to the requirements of each show,” Molcanov reveals. Throughout the theatre, eight of KV2’s JK Series DI Boxes – four JK1s, two JK2s, and two JKAs – are used by the engineers to provide clean signal management with high headroom and low output impedance, helping maintain signal quality throughout the venue.

Paired with stunning architecture and a talented troupe of actors and crew, the KV2 sound system adds the final layer to Divadlo Poprad. “The result has been remarkable,” states Fertáľ. “The sound is precise and articulate with every instrument clearly defined, vocals sitting right up at the forefront and excellent dynamics throughout the performance.”

During the theatre’s opening gala, the acclaimed Polish MozART Group, an internationally recognised performance group, was the first to use the system. “The sound engineers specifically thanked us for the sound quality and told us how pleasantly surprised they were by its clarity and performance,” Fertáľ says. “One of the most satisfying things for me is watching the people around the theatre discover, with their own ears, that there is something truly special about the way the system sounds. I would say KV2 has not simply met my expectations, it has exceeded them by a considerable margin.”

16th September 2026

Tateside leads AV integration across two sites in the iconic Granada Studios development

UK – Opened in 1956 as the UK’s first purpose-built TV centre, the Old Granada Studios is a landmark of central Manchester. Once home to Coronation Street, the studios are now at the centre of a major redevelopment featuring event spaces and hospitality venues including Manchester’s first Soho House and Mollie’s Motel & Diner. London-based system integration specialists, Tateside, led the vast AV installation across both the Soho House & Mollie’s sites.

“As part of our continued relationship with Soho House, we were pleased to be involved as technical partner for the first Soho House in the north of England,” explains Jack Cornish, technical director at Tateside. The two stand-alone projects called for Tateside to manage dozens of stakeholders, juggle timelines and remain flexible across very wide scopes of work.

The brief for Mollie’s was driven by the brand’s ambition to fuse quality hospitality with exciting and surprising customer experiences. The Manchester site encompasses guest rooms, a diner, reception, co-working areas and a purpose-built basement cocktail bar and performance space, with Studio IV at the creative heart of the integration project. “Our remit was to deliver a range of AV systems, consistent with previous Mollie’s installs and lead in shaping Studio IV into a fully-fledged live performance, broadcast and playback environment,” explains Cornish. “This included a boiler room style set-up where live performances can be streamed to TVs across the premises, including for in-room entertainment.”

Studio IV is a basement cocktail bar and club space built around a vintage-style wraparound bar and a three-metre-wide on-stage LED wall to support live performances or play pre-rendered content. Audio is delivered via a Martin Audio system built around FlexPoint FP15 loudspeakers and SXCF118 cardioid 18" subwoofers, with distributed CDD10 loudspeakers and dedicated stage monitors. Elipson XLS11 loudspeakers are integrated above the bar, while weatherised CDD loudspeakers extend coverage outdoors.

The DJ set-up comprises a Pioneer CDJ, an A9 mixer, Technics turntables, Martin Audio CDD-LIVE-8 monitors, Shure microphones and an Allen and Health digital mixing console.
Broadcast and streaming capability is central to the Studio IV concept. A multi-camera BirdDog PTZ system captures performances for live or recorded output. This feed can be distributed throughout the building via an IP video distribution system, allowing guests to watch Studio IV sessions live from other public areas and in-room TVs. A dedicated green room provides performers and production staff with live camera monitoring and return feeds.

“For Studio IV, we designed and fabricated retro video screens to form part of the distributed video-over-IP system. These sit flush within custom joinery above the bar,” explains Cornish. “Signage and live sports can be streamed on these screens.”

A stone’s throw away, Soho House’s first northern club is set across three floors, including club spaces, a lounge, a club bar and soon-to-be-completed wellness and health club zones. For Tateside, the project focused on the seventh, eighth and ninth floors, including an impressive performance space on the ninth floor with a glass stage boasting views across the Manchester skyline.

The AV system designed by Tateside was conceived as an integrated, architecture-led solution, delivering high-quality AV systems and discreet and thoughtful detailing throughout. Q-SYS Core processing provides full integrated control of audio and video elements across the premises. 

Beginning in the club reception, Tateside introduced a throughline of the concept established at Mollie’s with a further bespoke retro video wall, complete with vintage content from Granada. The seventh-floor club functions as a flexible events space, built around scalable kit that adapts to the many different types of functions hosted there. A Martin Audio sound system in a white finish supports everything from spoken-word brand presentations to parties and drinks receptions with DJs. The space incorporates projection, wireless presentation capability via AirTame devices and a professional Sennheiser SL series wireless microphone system. The mix of kit allows for easy reconfiguration between corporate events, private functions or even live performances. An Epson projector, concealed in a Future Automation projector lift, plus 124” Screenline screen provides big-impact visuals.

The eighth floor, the heart of the house, transitions into a more relaxed club lounge environment with spectacular city views and an indoor/outdoor covered terrace. Here, the system is built around a further Martin Audio background audio solution, based on CDD6B units and SX210 and SX110 subwoofers. A significant amount of Tateside’s integration efforts focused on clever concealment of technology in close co-ordination with the interior design team: loudspeakers, cabling and control infrastructure are fully integrated within custom joinery. A motorised TV lift rises directly from bespoke millwork, maintaining clean sightlines in keeping with the Soho House aesthetic. Tateside supplied a Pioneer DJ kit including CDJ3000s and A9 Mixers to support in-house DJ sessions. The indoor/outdoor boundary is subtle, with weatherised audio solutions extending into the covered terrace area.

Outside, in the sunbed-lined pool and bar area, Origin Acoustics bollard-style loudspeakers and Martin Audio CCD6 marine-grade loudspeakers provide consistent coverage outdoors whilst still respecting the visual language of the space. Tateside equipped the club’s large wellness floor with a background audio system, also consisting of a Martin Audio solution paired with Powersoft Unica amplifiers and Q-SYS processing.

Moving up to the ninth floor, members find the club’s flagship performance level. It includes a large club space and a dedicated live performance area with a full stage, wrapped on three sides by glass walls overlooking the pool. “For the performance area, we went for a top-of-the-line performance system from d&b audiotechnik, based on 44S loudspeakers clustered in a stacked left-right arrangement,” explains Cornish. “The system can operate as a traditional stage performance left/right configuration or switch to a dedicated left/right system specifically for screen playback.”

Extensive custom woodworking throughout the venue ensures that every technical element is either architecturally incorporated or completely hidden, achieving a balance between performance capability and the refined members’ club aesthetics that Soho House is known for.

“Working on two separate projects in parallel presents obvious challenges, as does co-ordination with the various other contractors working on the Granada Studios sites,” continues Cornish. “What really shone during this project was our ability to project manage effectively and work flexibility around client needs and challenging deadlines. The scale of the two projects was vast, with us also responsible for implementing the entire network infrastructure at Soho House. It was a lot to manage, but we’re proud to have played a role in this celebration of Manchester’s broadcast heritage.”

16th September 2026

FaustForum Chooses ETC Prodigy for New German Cultural Venue

Germany – A new cultural centre in Staufen im Breisgau, Germany, is using an ETC Prodigy P2 rigging system to support a diverse programme of concerts, theatre, dance, film screenings and festivals.

The €20 million FaustForum opened in April following four years of planning and construction. Described by German broadcaster SWR as an “architectural masterpiece,” the venue combines a media library with a multi-functional performance space, creating a cultural hub for the region.

With the space regularly reconfigured for different events, flexibility was a key consideration when selecting the venue’s stage technology. FaustForum chose a Prodigy P2-900 system, installed by Scheinwurf GmbH.

“We were looking for a system that could be installed relatively quickly and easily, and that led us to Prodigy from ETC,” says Simon Weiler, technical manager at FaustForum. “The complete system was installed across two visits, in a total of just four working days. That really impressed us.”

The installation comprises four motorised hoists – one auditorium hoist and three stage hoists – equipped with compression tubes, integrated cable management, six power circuits and two DMX universes. Around 50 fixtures, from conventional white light fixtures to moving lights and wash lights, can be flexibly positioned across the hoists.

The system is controlled using an ETC QuickTouch+ Mk2 control station, with a wired remote control allowing the hoists to be operated within the operator’s direct line of sight. An additional emergency stop provides further safety.

“The venue has a clear height of almost seven metres, and we regularly change the configuration of the space and use the hoists very flexibly,” says Weiler. “The ETC Prodigy system is ideal for this.”

Since opening, FaustForum has hosted two to three events each week, with the system used by both the venue’s team and visiting technicians.

“It is really intuitive and with the QuickTouch control I have complete control over all the hoists,” says Weiler. “Prodigy is flexible, the functions can be individually adapted and – because it’s so intuitive to use – visiting technicians can also work with it very easily.”

The integrated load management also simplifies day-to-day operation. “I can see the current load, the position of each hoist and save different trim heights,” Weiler explains. “That means positions don’t have to be measured again every time. It makes the daily work considerably easier.”

For Scheinwurf GmbH, Prodigy’s integrated design also helped streamline installation.

“As a comparatively small company, we place great importance on making installation times on site as efficient as possible,” says Stefan Bettinger, managing director of Scheinwurf GmbH. “That is why we appreciate ETC’s well-designed overall concept, with ColorSource Raceway, integrated cable management and pre-assembled components.”

A three-person team installed and commissioned the complete system in just four days, including inspection and approval by an independent expert.

Bettinger also highlights Prodigy’s intelligent control system, which provides users with operational information and automatically generates inspection reports.

“It provides the user with all the relevant information at any time and automatically creates a complete inspection report,” he says. “This means that all maintenance and safety-related inspections can be documented continuously. That is a real added benefit for installers, operators and inspectors alike.”

With a programme ranging from concerts and theatre to festivals and educational events, FaustForum needed a rigging system that could adapt to different productions without adding complexity to the working day.

“Prodigy is flexible and intuitive, and it gives us the control we need to use the space in different ways,” says Weiler. 

16th September 2026

EM Acoustics completes the live experience for SSL demo space

UK – Solid State Logic (SSL) has enhanced the experience for live engineers in its demo facility with EM Acoustics Reference Series loudspeakers. The British console manufacturer chose EM Acoustics to create a natural environment for engineers to experience its Live Series desks.

The demonstration area at SSL is a purpose-built facility at its Oxford HQ where engineers can get hands-on with the manufacturer’s desks in a familiar setting. Whether it is a traditional mains and nearfield set-up for recording or immersive audio for broadcast, the rooms all feature the type of sound system that feels right for the application. This stretches to the Live console room, where studio monitors have been replaced by a powerful yet portable EM Acoustics solution.

“We use this room for visiting engineers to come in and do training on the desk or prepare their show files,” explains Tom Knowles, director of product management at SSL. “You want a live engineer to come in and have a live experience. That means not using the studio monitors in this room because they’re not going to be mixing through studio monitors when they’re on a show.”

The room had been equipped with a different portable solution for the past 12 years. However, as this system approached the end of its natural life a replacement was sought, with EM Acoustics firmly at the top of the list.

The new set-up comprises a pair of R8 compact precision point source speakers with a narrow 80 by 50 rotatable waveguide, supported by an S-15 sub. “They offer more than enough level for us in this space and beyond, and they still maintain portability,” observes Ed Arnold, UK support team leader – large format consoles at SSL. “They’re representative of what you might expect to find in a near-field situation, such as working in a festival tower.”

Following listening tests and band rehearsals through the system, Arnold reports that the speakers fit his listening preferences very well. “The top end is smooth, the 1K to 2K isn’t full of an aggressive harshness that some systems can have. I also like a 15-inch sub, they’re normally punchier than 18s and that seems to be true here, so that fits well in this space.”

Power and processing for the system is via a DQ10 lightweight four-channel Class D switchmode amplifier, managed using System Engineer software. “I was able to dive into the System Engineer application and follow my nose relatively intuitively, I didn’t need to grab a user manual or reach out to the team for that, even though it was offered,” recalls Arnold. “We were able to find what we needed to for crossovers and delays fairly quickly and then build a graphical representation of the four amp channels.”

Reflecting on a project where the speakers need to highlight the qualities of the desk, sound quality was always a key consideration. “The system works very well, and that’s the whole point,” says Knowles. “SSL is known for its audio quality and one of the things we hear a lot about our Live desks is they sound great. You need a system to show that off and that's part of the collaboration with EM Acoustics.”

“We’re delighted that SSL chose our loudspeakers and electronics as the system for their live demo space,” concluded Roger Harpum, business development manager at EM Acoustics. “SSL desks have always been known for their exceptional audio quality, so to have them rely on our Reference Series loudspeakers to highlight that quality brings us great pride.” 

16th September 2026

Shadow Sound Studio Standardises Monitoring with AKG K371 Headphones

USA – As Shadow Sound Studio owner Joey Stuckey marks 30 years in the recording industry, the producer, engineer, musician and educator has completed a series of upgrades to his Macon facility, including standardising the studio’s headphone monitoring around AKG K371 professional studio headphones and adding AKG C414 microphones to his extensive microphone collection. The additions support recording, mixing and quality-control workflows while giving Stuckey and visiting artists a consistent monitoring reference throughout the studio.

Stuckey’s relationship with sound began long before he opened Shadow Sound Studio. After discovering old-time radio programmes as a teenager, he became fascinated by how dialogue, music and sound effects could create an entire world through audio alone. At 15, he began working as a sound technician at the Museum of Arts and Sciences’ planetarium in Macon, eventually recording local musicians with equipment he had assembled at home. By 19, he had established his own studio in downtown Macon, beginning a career that has since encompassed production, engineering, performance, songwriting and education. In 2026, Stuckey marked 30 years since his first session in a dedicated recording space.

As a blind artist, producer and accessibility consultant, Stuckey has also made accessibility an important part of his approach to the music industry. His relationship with sound is particularly personal; as he describes it, sound is “literally my universe,” shaping not only how he experiences music but also how he approaches recording, production and the environments he creates for other artists. Accessibility also influenced his decision to establish his own studio early in his career, creating a professional environment where the tools, workflow and space could support the way he works.

AKG products have been part of Stuckey’s work for much of that career. His early professional microphone collection included AKG C451 microphones, which became longtime go-to tools across sessions spanning heavy metal, classical, gospel and spoken word. That experience with AKG continued during a recent visit to Harman headquarters, where Stuckey auditioned several headphones using music he knew well. For studio work, his priority was a monitoring reference that would reproduce the source transparently rather than emphasise particular frequencies. The AKG K371 stood out for its ability to provide the accuracy he needed for both tracking and mix evaluation.

“The sound that we’re hearing in the headphones is much more transparent, honest and realistic, which is really important when you’re tracking,” said Joey Stuckey, Owner of Shadow Sound Studio. “With these headphones, it’s so much easier to make judgment calls. What I will say is the only pair of headphones that you will find in my studio now are the AKG K371s.”

Following the evaluation, Stuckey replaced the headphones throughout Shadow Sound Studio with AKG K371 models for tracking and monitoring. During mixing, he uses the K371 as an additional quality-control reference alongside multiple sets of studio monitors, listening for issues that may not be immediately apparent through the primary loudspeaker system. Their transparent response allows Stuckey to evaluate whether elements such as bass, midrange and high frequencies are actually present in the mix rather than being introduced or diminished by the headphones.

For tracking, that accuracy becomes particularly important for musicians and vocalists making real-time decisions about their performances. A clear monitoring reference allows performers to evaluate pitch, timing, articulation and tone while recording, while the K371’s lightweight construction and fit support sessions that can extend for several hours. Stuckey also highlighted the detachable cable, locking adapter and foldable design as practical advantages for everyday studio and travel use.

“They sound phenomenal, they are portable, they are comfortable, they are accurate,” Stuckey said. “I mean, I just don’t know what else you could possibly want from a headphone. It’s got to be the greatest headphone I’ve ever worn.”

The headphone upgrade coincided with the addition of a pair of AKG C414 microphones to Shadow Sound Studio’s microphone collection. For Stuckey, who describes microphone selection and placement as one of the central parts of his work as a producer and engineer, the C414 adds another option for capturing vocals and instruments alongside his longstanding collection of C451 microphones. Before bringing the new microphones into an extended session, he evaluated them on acoustic guitar, piano and drums.

Stuckey then put the C414 microphones through their first full session with two vocalists who wanted to perform together in the same room. Rather than prioritising isolation, he configured the session around the performers’ preference to remain close to one another, allowing the technical set-up to support the environment in which they felt most comfortable performing. The session gave Stuckey an opportunity to evaluate the C414 extensively on vocals after years of encountering the microphone in applications including piano, acoustic guitar, drum overheads and vocals.

“I knew the AKG C414 was going to be good. It’s one of the most legendary microphones in our industry,” Stuckey said. “They sound fantastic on pretty much everything. I’ve used them a lot on piano, acoustic guitar and as drum overheads, but I was not prepared for how well they suited these clients’ voices. I mean, just gob-smacked. I was so excited and so pleased. I just couldn’t believe those sounds were coming out of my console!”

The additions continue a relationship with AKG products that stretches back to some of Stuckey’s earliest professional recording equipment. With AKG K371 headphones now serving as the studio’s standard tracking and monitoring platform, C414 microphones expanding the microphone locker and C451 microphones continuing to serve across recording applications, Shadow Sound Studio enters its 30th year with a consistent set of tools supporting Stuckey’s approach to capturing and evaluating performances. 

photos: Matthew Odom

15th September 2026

Marquee AV Delivers High-Performance Sound System to Fenix, Mayfair

UK – Fenix, Mayfair, the latest venture from the Permanently Unique Group, brings creative, high-end Greek cuisine to London’s dining district. Serving elevated Cycladic and Aegean-inspired dishes designed for sharing, the venue combines exceptional food, striking interiors and an immersive atmosphere to create a truly memorable guest experience.

With a focus on ambiance and guest experience, a high-quality audio system was imperative. Having partnered with Marquee AV on several successful projects in the past, Permanently Unique Group once again turned to the team to deliver a solution that would complement the venue’s vision while providing outstanding audio performance throughout the space.

Marquee selected L-Acoustics X4is to provide coverage across most of the restaurant. Small and neat, they were positioned within the bar and left side of the restaurant, a further four across the gallery kitchen and central dining area, and ten distributed throughout the right-hand side of the restaurant. Their compact size allowed them to integrate subtly within the interior design while providing even coverage across the space. The result is exceptional sound quality, whether delivering subtle daytime background music or supporting high-energy evening DJ performances.

SB10i subwoofers were carefully positioned and concealed throughout the venue to reinforce low frequencies and provide greater impact when required. One of the project’s key challenges was identifying the optimal locations for the subwoofers while ensuring they remained visually unobtrusive. The design team worked closely with Marquee AV to achieve this balance, incorporating bespoke furniture elements to house the subwoofers discreetly. This collaborative approach ensured the original audio design was maintained without compromising the venue's carefully curated aesthetic.

The system is powered by L-Acoustics LA2Xi CE and LA4X CE amplifiers, providing the performance, flexibility and reliability needed to support the venue's varied operating requirements.

Project manager at Marquee AV commented: “When taking on this project, we knew it would be a great one, as have been our previous projects with Permanently Unique Group. It’s been fantastic to continue building our relationship with them. The designers were incredibly collaborative and flexible when it came to speaker and subwoofer placement, which allowed us to preserve the integrity of our audio design and deliver the best possible result for the client.”

The completed installation has been a huge success, receiving excellent feedback from both staff and guests. The system delivers a warm, inviting atmosphere throughout the day while offering the power and energy required for evening entertainment, enabling Fenix to transition effortlessly between dining destination and vibrant social venue.

15th September 2026

Adlib Supports Barbican’s Transition to Energy-Efficient LED Production Lighting

UK – The Barbican is investing in a major transition to energy-efficient LED production lighting and is working with Adlib to prepare and supply a comprehensive new lighting package as part of the venue’s wider refurbishment programme.

The investment represents an important step in modernising the Barbican’s Theatre venues production lighting infrastructure while supporting its long-term sustainability objectives. Replacing ageing tungsten fixtures, including Fresnels and profile luminaires, the new LED specification has been designed to meet the technical requirements of today’s touring productions, visiting production companies, conferences and live events.

Initially specified by the theatre’s in-house lighting team, the package includes a broad range of fixture types, from Fresnels and profiles to wash fixtures and shuttering moving lights. The combination provides the flexibility required to support the venue’s diverse programme while delivering significant operational efficiencies. The package has over 260 fixtures consisting of ETC Source Four LED Series 3 along with a variety of lenses, ETC ColorSource Fresnel V, ColorSource Fresnel V Max, Lonestar Prime, Martin Professional ELP Manet 8F, MAC Viper XIP, MAC Aura XIP, Mac Aura Raven XIP and GLP Wildbar 16s. All fixtures have been supplied with relevant hanging and mounting accessories.

Unlike traditional tungsten systems, the new LED fixtures offer extensive colour mixing capabilities through onboard controls, reducing the need for external colour filters and helping minimise consumable waste generated during productions. The transition will also reduce power consumption and heat output, contributing to lower operating costs and supporting the venue’s environmental ambitions over time.

Stevie Porter, technical manager (HOD lighting), theatre and dance at the Barbican Theatre comments: “The Barbican is investing in a major transition to energy-efficient LED production lighting for its Theatre and Pit Theatre and is working with Adlib to prepare and supply a comprehensive new lighting package as part of the venue’s wider refurbishment programme.”

The fixture specification draws on products from leading manufacturers ETC, Martin Professional and GLP, selected for both their technical performance and environmental credentials. All fixtures supplied are LED-based, delivering substantial energy savings compared with legacy tungsten and halogen technology.

ETC’s Lonestar Prime brings a 17,000-lumen output to a compact, IP54 framing fixture which is 20% brighter than the original Lonestar, with enhanced colour rendering via CMY and CTO mixing. The result is high, sustained brightness without sacrificing colour fidelity. With the fixtures being IP54, rather than IP65, ensures the gobos can be swapped with ease, if required along with a simpler maintenance schedule.

Additional fixtures within the package further contribute to reduced energy demand across the venue’s lighting infrastructure. Martin's first-ever static LED Fresnel, the ELP MANET 8f delivers over 13,000 lumens from its 8-inch lens, the kind of punch traditionally associated with a large tungsten Fresnel, but with modern LED efficiency; its six-colour (RGB + amber, lime and cyan) engine achieves true-to-life colour not seen in a fixture this size before. The GLP WildBar 16’s 4°-44° zoom with a motorised 200° tilt, means an amazing sharp parallel light curtain for use on a cyc for example, to a broad, even wash or effect in a single fixture, with leading colour rendering in this type of product. 

Alongside the lighting fixtures, Adlib also supplied custom flightcases to support equipment protection, handling and long-term asset management.

ETC associate regional manager Matt Cowles said: “We’re really pleased to see ETC fixtures being used on this project at the Barbican. It’s always great to work alongside partners like Adlib, whose experience and expertise play such an important role in bringing projects like this to life. Their insight in the field helps us continue to develop the right solutions for venues and their evolving needs.”

As venues across the entertainment sector continue to modernise their technical systems, LED technology has become increasingly important in balancing performance requirements with sustainability objectives. In addition to reducing energy consumption, LED fixtures offer longer operational lifespans, lower maintenance requirements and greater creative flexibility for lighting designers.

Adlib was selected to prepare and supply the lighting package, drawing on its extensive experience supporting major arts venues and longstanding relationships with leading manufacturers across the live events industry. From specification support and equipment procurement through to quality control, testing, documentation and logistics, Adlib worked closely with the theatre team to ensure equipment preparation and delivery aligned with project timelines.

Joe Sunley-Smith, Adlib said: “We’re delighted to support the Barbican as it continues to invest in the future of its production facilities. This project demonstrates how venues can enhance technical capabilities while also making meaningful progress towards their sustainability objectives.”

The Barbican is internationally recognised for its architecture and production heritage. With seating for 1,154 guests and no seat located more than 20 metres from the stage, the venue combines an intimate audience experience with the technical capabilities required by world-class productions, conferences and special events.

15th September 2026

Alcons Audio Brings Pro-Ribbon Precision to Konzerthaus Freiburg

Germany – Konzerthaus Freiburg has equipped its Rolf Böhme Saal with a new Alcons Audio sound system. With classical concert seating for around 1,744 guests, the large hall is one of the city’s key event spaces and is used for a wide range of concerts, corporate events, conferences and live productions.

For the hall, Konzerthaus Freiburg was looking for a modern line array solution that would combine the highest sound quality with excellent speech intelligibility and reliable feedback stability. Especially for corporate and conference events where headsets, lavalier microphones and other open microphones are frequently used, gain-before-feedback, precise projection and even sound distribution were decisive criteria.

Planning and installation were carried out by Rock Shop, a division of fein.media GmbH. As part of a comparative evaluation, the Alcons system was demonstrated alongside systems from three other manufacturers and assessed under real-world conditions. Speech intelligibility, musical reproduction, feedback resistance, throw and consistency of coverage were the main points of focus.

The final choice was an Alcons Audio system based around the compact LR18 double 8” Pro-Ribbon line array. The main system comprises 24 LR18/90 modules, including eight modules in the 120° installation version. The system is complemented by four VR8 8” outfills, six VR5 5” frontfills and four BF302mkII double-15” subwoofers for low-frequency extension. Amplification and processing are provided by eight Sentinel10 and three Sentinel3 amplified loudspeaker controllers. Two additional VR5 monitors and two BF121 subwoofers are available for mobile applications.

A particular challenge was the positioning of the system directly behind the front edge of the stage. In this configuration, the system must deliver high feedback stability even with demanding microphone applications, without compromising speech intelligibility, dynamics or sonic transparency.

The Konzerthaus technical team had been following Alcons Audio for some time, particularly because of its interest in the company’s Pro-Ribbon technology. “The LR18 ensures optimum working conditions and is characterised by exceptionally high speech intelligibility, as well as remarkable resistance to feedback,” says the technical team. “Compared with the other systems tested, Alcons stood out for its precision, consistency and practical usability.”

Alcons’ patented Pro-Ribbon technology combines very low distortion with high dynamic range, exceptional detail resolution and a natural, non-fatiguing sound. Together with the controlled dispersion of the LR18 system, the Rolf Böhme Saal now benefits from precise and consistent coverage, reproducing both speech and music with transparency, immediacy and balance.

Since the installation, Konzerthaus Freiburg has been very satisfied with the new system. The solution has also received positive feedback from users, event organisers and guests, particularly for its high speech intelligibility, natural reproduction and reliable performance across a wide variety of event formats.

With its new Alcons Audio system, the Rolf Böhme Saal now has a future-ready sound reinforcement solution that meets the diverse requirements of a modern concert hall: from finely detailed speech reinforcement to dynamic music reproduction, with the typical Alcons combination of precision, control and effortless performance.

11th September 2026

Robe Keeps Good Company

The Netherlands – Theater de Kampanje in the northern Netherlands city of Den Helder is a vibrant environment running a diverse and interesting programme of dramas, musicals, comedy, music concerts and touring shows across its three performance venues. Also hosting business and corporate events, the annual schedule presents around 500 shows and events a year.

Initially located in the city centre, since 2015 Kampanje has been based in the charismatic former Willemsoord naval shipyard in a vast old waterside naval hangar that has been completely repurposed for staging contemporary performance, complete with original features and plenty of industrial edge.

In a quest to transition to more sustainable LED lighting, the venue has recently invested in Robe LED products, starting with the purchase of 12 TX1 PosiProfiles and 12 LEDBeam 350 moving LED wash beams, which were delivered by Benelux distributor, Controllux.

Head of lighting Jeffrey Filmer has worked at the venue for nine years and explained that the gradual transition process had essentially started in 2015 when the theatre moved.

Before then, in 2007, the company had purchased some mobile lighting kit, including Robe 300E Spots and 300E Washes, which were used as and where needed, being rigged and operated in the different venues according to production needs.

At that stage, some theatre lighting professionals were still wary about the impact or appropriateness of LEDs in that environment, however during the decade and a half in between, LED technology has quantum leaped ahead. So, in 2024, “We sensed the time was right and wanted to begin with a set of general overstage LED lights,” explained Kampanje’s head of technical and stage manager, André Woestenburg.

They decided first to replace these old mobile lights.

The E Spots and Washes were still all working at this point, and Jeffrey and his colleagues looked at a range of options, before swapping them out for 12 TX1s and 12 LEDBeam 350s, which immediately offered more flexibility and streamlined the efficiency of their workflow.

These first TX1s and LEDBeam 350s proved to be good, solid lights, so in 2025 when Kampanje received the funding to change up the tungsten fixtures on the bridges of the Koninklijke Marine Stadshal and Rabo Zaal event spaces to LED, they again looked at options, and again chose Robe, adding another 22 TX1s and 24 LEDBeam 350s to the inventory.

The 22 TX1s replaced the bridge lights. The front bridge can be driven up and down the main space and seven cranes positioned across the building also assist with getting technical elements into place, together with motorised bars above the stage in the main event space and theatre venue.

Twelve of the new LEDBeam 350s were deployed in the grid of the 125-seater Small Hall, which is a fully flexible space.

Jeffrey, André and their team, which includes lighting technician Mark Goedhart say that having these Robe fixtures onboard is making a positive impact related to how productions can be lit.

Robe’s TE (Transferable Engine) LED engine in the TX1s appealed to the crew because it extends the potential longevity of the product and enhances the adaptability with being able to swap LED engines.

The TX1’s tight calibration – good for rigging in very confined spaces as a moving head profile or a static repositionable profile – impressed the whole crew and Jeffrey notes that they were also all reassured by Robe’s formidable overall reputation for producing stable and well-engineered products.

The new fixtures can also now be focused from the floor without needing a scissor lift for access and all the manoeuvring needed to get that into the right positions.

On top of that, the Kampanje technical crew already enjoyed an excellent relationship with Controllux, so with leading quality manufacturing and distribution combined, they were confident of excellent service, backup and support.

“We made the choice based on functionality, price, flexibility and suitability for our shows, plus the high standards of the local support we knew we could expect,” Jeffrey emphasised in conclusion.

Some of Kampanje’s incoming shows and visiting companies and artists will bring their own LDs, while others will rely on the creativity and vision of Jeffrey and the in-house team to add those special flourishes of illuminative magic. 

photos: Louise Stickland

9th September 2026

Millennium Forum Celebrates 25th Anniversary with Major Martin Audio WPS Upgrade

UK – The Millennium Forum, a major theatre and conference centre on Newmarket Street in Derry, Northern Ireland, has celebrated its 25th anniversary by investing in a Martin Audio WPS Wavefront Precision sound system, supplied and installed by Rea Sound.

Opened in 2001, the city’s first purpose-built theatre seats around 1,000 people.

“We’ve been working with them really since they opened,” begins Roger McMullan, director, Rea Sound. “We installed the original PA system and installed or upgraded other elements of the system over the years.”

After close to 20 years, the venue began considering upgrade options around two years ago, with Rea Sound involved as part of a wider discussion on the venue. “We established they were looking for a lot more headroom, clearer sound and better coverage,” explains McMullan.

Crucially, the system needed to deliver for a wide range of productions and events. “They do everything from amateur productions for local schools through to one-man comedians and up to big West End productions,” he says. “They needed a PA that would cater for all they do.”

Having installed Martin Audio Wavefront Precision line array systems in many theatres in Ireland, Rea Sound knew WPS would provide the solution for the Millenium Forum: “We knew Martin Audio has that signature sound that can cater to everything they wanted to do.”

The team facilitated visits to other theatres for the Forum’s team to hear Martin Audio kit in action before the project was put out to tender in February. Rea Sound tendered along with others and won.

Installation was timed during a short dark window in the theatre’s busy calendar. “They wanted it in as quickly as possible, but it is a very busy venue,” McMullan says. “We needed three clear days and so it went in early June. We installed the whole thing in those three days and it went very well.”

The installed system comprises 12 Martin Audio WPS line array elements flown per side, with a further two boxes ground-stacked above a pair of SX218 subs per side. The ground-stacked elements help provide coverage under the lower balcony, where Martin Audio FlexPoint FP6 loudspeakers also act as under-balcony delays.

Alongside the main PA, Rea Sound delved further into the Martin Audio portfolio to specify a comprehensive monitor and infill system. This comprised six LE200 wedges along with four CDD-LIVE 12 powered speakers, specifically selected to cater to the high outputs often required by visiting DJs.

The whole system is powered by a total of 15 Martin Audio iKON series multi-channel amplifiers.

Coverage of every seat in the house was a vital component of the design. “The theatre has two balconies: the lower balcony and ‘the gods’, along with the ground floor stalls, which go quite far back underneath the balcony where the sound desk is located,” McMullan describes. “That was very key to the audio engineers: they wanted to make sure that what they heard at the desk was what the audience heard. The system is able to do that.”

The team created a model in SketchUp before importing it into Display software. Working closely with the technical team at Martin Audio, they modelled numerous configurations to determine array heights and physical placement.

“When I heard the system in the venue for the first time I was blown away by the audio coverage. Every seat is covered,” McMullan notes. “You’re always sceptical about what the models predict, but in Martin Audio’s case it absolutely does match.”

Impressed by the system, The Millennium Forum’s technical manager, Chloe Harkin, highlights the difference it will make on both sides of the stage.

“The new Martin Audio system designed and installed by Rea Sound will completely transform the Millennium Forum experience. For our audiences, it will ensure that no matter what seat you’re in, you won’t miss a single syllable of what’s happening on stage. For artists and technical teams, our space will be more accessible and equipped to cater to all scales of production on a level we haven’t been able to deliver before. From theatre and musicals to conferences, rock concerts and community events, this new system will deliver a fully-immersive, accessible and memorable experience for production staff and audiences alike.”

The project has proved a huge success for the client and a validation of Rea Sound’s partnership with Martin Audio over many decades. “We’ve represented Martin Audio for 40-odd years, so we have a very close relationship,” concludes McMullan. “This project has been an excellent example and delivered a fantastic outcome for the client. The technical manager and sound engineers are delighted, visiting tour companies have given very positive feedback, and as a local company, Rea Sound has even heard audience members tell us how good the venue sounds.” 

8th September 2026

Waterloo Sound Unveils Portable Dolby Atmos Studio in Austin with Nu•Studio and JBL Professional

USA – Waterloo Sound, an extension of Austin’s Waterloo Records creative ecosystem, has opened a portable 9.1.4 Dolby Atmos studio featuring JBL Professional studio monitors powered by Crown amplifiers. Built within the modular Nu•Studio System, the installation surrounds engineers and artists with full-range JBL Professional 708 monitors while concealing the technology behind acoustically transparent surfaces, creating a critical listening environment designed for immersive mixing, vinyl mastering and other creative applications.

The project grew from Waterloo Sound’s plans to establish a vinyl mastering operation with partner Jon Niess, whose work spans both vinyl mastering and Dolby Atmos mixing. Niess was already using JBL Professional monitors in his own mastering and Atmos studio and was working with Nu•Studio founder and CEO Chad Franscoviak on the company’s modular studio concept. After Niess invited the Waterloo team to Bozeman, Montana, to experience the Nu•Studio prototype, Waterloo Sound decided to become the system’s first customer after being blown away by both the sound and visual experience.

The concept brings together immersive audio and visual content within a portable, modular structure engineered to provide a repeatable acoustic environment. Rather than building the technology visibly into the room, the 9.1.4 Atmos system is integrated behind acoustically transparent wall screens alongside acoustic treatment positioned around the perimeter. Ultra-short-throw projectors mounted overhead complete the visual environment, allowing visitors to be surrounded by sound and imagery without loudspeakers and other technology becoming the focus of the space.

At the centre of the studio are JBL Professional 708 studio monitors, powered by Crown amplifiers and deployed at every ear-level and overhead position in the 9.1.4 configuration. Using the same monitor throughout the system was important to Waterloo Sound because an immersive mix can move individual audio objects between the front, side, rear and overhead channels. Maintaining full-range capability and headroom at every position helps preserve the tonal character and impact of those objects as they travel through the three-dimensional sound field.

“We chose JBL 708s throughout the entire 9.1.4 system because we wanted a truly consistent, full-range monitoring environment in every direction,” said Niess. “I’ve become a big believer in having real low-end capability and headroom in every channel, including the surrounds and overheads, so an Atmos object maintains the same tonal character and impact wherever it moves in the room.”

That consistency also serves the studio’s second critical listening application: vinyl mastering. The accuracy, detail and low-frequency performance required to evaluate an immersive mix are equally important when making mastering decisions, allowing the JBL Professional 708 studio monitor system to support both workflows within the same environment.

Creating a portable immersive studio also introduced a different design philosophy from a conventional permanent control room. The Nu•Studio System is constructed according to consistent dimensions, materials and acoustic specifications, minimising acoustic variables between installations. Combining that standardised environment with JBL Professional 708 monitors and Crown amplifiers gives engineers a setup that behaves the same way every time it’s deployed rather than requiring an entirely new acoustic approach each time.

“One of the advantages of the Nu•Studio approach is that there are actually very few acoustic surprises,” says Franscoviak. “Each room is built to the same dimensions, materials and acoustic specifications, so the environment is highly consistent and predictable from one installation to the next. Pairing that with the JBL 708s and Crown amplifiers gives us a monitoring system whose performance we knew would produce exceptional results.”

Early response from engineers working in the space have reinforced Waterloo Sound’s emphasis on creating an immersive environment that remains natural rather than drawing attention to the individual loudspeakers. Mix engineers have particularly noted the room’s controlled low-frequency response and the cohesiveness of the immersive sound field.

“The feedback has been overwhelmingly positive,” reports Emily Gianopoulos, managing partner at Waterloo Sound. “Several mix engineers have told us it’s one of the best-sounding Atmos rooms they’ve ever heard; the room has a sense of calm the moment you walk in, with a very tight, responsive low end and an immersive sound field that feels very natural.”

As Nu•Studio’s first customer, Waterloo Sound brings together immersive mixing and vinyl mastering within a modular environment built around consistent monitoring in every direction. It’s a working example of what the platform is designed to deliver: a full-range acoustic environment that's portable and adaptable enough to move and reconfigure as Waterloo Sound’s needs change, without giving up any of the performance a permanent room would offer. JBL Professional 708 studio monitors and Crown amplifiers are central to that performance, giving Waterloo Sound full-range headroom at every position in the room. 

8th September 2026

Global Relay Prioritises A/V Production with NYC Headquarters Designed in Partnership with WSDG

USA – Global Relay is a leading provider of end-to-end recordkeeping solutions for the global financial sector and other highly regulated industries. A major component of the company’s business model involves producing a steady stream of media content that boils down the specific technologies of their offerings in the most user-friendly way possible. As part of this initiative, Global Relay opened its Manhattan office space, which features state-of-the-art media production studios and presentation areas designed in partnership with award-winning acoustic and AV consulting and design firm, WSDG.

Global Relay’s surveillance and archiving solutions are utilised within industries where security is of the highest priority and technology is constantly evolving. In delivering these solutions with confidence, they have developed a sophisticated approach to messaging and education in order to reassure their client base at every step. “Our audience is often compliance officers who are diligently educated, but extremely busy,” explains Global Relay chief operating officer and co-founder, Duff Reid. “Our content development division was created as a ‘value add,’ enabling us to provide information on our products and industry news to support our clients and provide them with something more easily accessible and digestible to aid in their work.

“The ability to create content that explains our products in a way that’s engaging and human has made us a more versatile and competitive company in this industry, so we’re always looking for ways to improve and advance our storytelling.”

The company’s plans to open a showcase office in New York City was an opportunity to expand its content offerings and establish a flagship location with state-of-the-art production technologies at the forefront. To accomplish this, Global Relay sought out the media systems expertise of WSDG. “A/V production is now a very large part of our day-to-day operations, so we need top quality facilities to keep pace with our production needs,” Duff explains. “Early in the planning of our New York City location, we established a requirement for extensive media production capabilities that would take us beyond what our previous locations were capable of producing.

“WSDG’s reputation as studio designers and A/V systems developers in the industry is incredibly strong, so we knew they were the team we needed to accomplish these goals.”

The Global Relay New York office is located at the top of a modern high rise building in the heart of Manhattan. Spread out over five storeys, it is a high-end modern office facility with a mixture of open-plan desks, huddle and conference rooms, and larger meeting and production spaces. WSDG were brought on as A/V designer and construction supervisors for the project, including the A/V design and implementation of Global Relay’s on-site media and broadcast production studio and auditorium as well as the complex’s distributed A/V systems. The WSDG team worked closely with project architects Switzer Group, construction company JRM and AV installers Diversified.

“Global Relay creates content at multiple levels: video programming, podcasts, streaming presentations and live events that can meld all of these elements together at once,” explains WSDG senior partner, Co-CEO Sergio Molho. “WSDG’s task was to design the A/V systems for a full-featured media production suite and control room that could accomplish all of these tasks at an extremely high level, while also taking advantage of significant amounts of automation.

This allows Global Relay’s team to meet the demands of its clients and generate consistently high-quality multimedia content without requiring an extensive production team.”

WSDG’s A/V specifications for the media production studio include advanced robotic cameras, cranes and high-end studio lighting. WSDG also conducted electroacoustic analysis and specified the A/V systems and automated video equipment for the HQ’s Auditorium and specified its signature 20 x 6ft main LED screen. The entire suite is served by an adjacent control room that can operate the cameras remotely, allowing for minimal production crew. “What sets us apart from a typical broadcast facility is the scalability of what all of this automation allows us to do,” says Global Relay NY office production leader, Coale Henderson. “We have the stations and desks for a full crew, but the real advantage is how easy it is to do as a ‘one-man-band’ situation entirely from the control room. It is also incredibly easy to broadcast live while capturing for post-production later on, as well as integrate with the live event space we have on site.”

“This enables us to have a real-time conversation between 200 people in the room and anyone tuning in via streaming, while also being able to capture and post later,” he continues. “Everything is integrated into the same process, which has allowed us to streamline what we do.”

In addition to Global Relay’s A/V production capabilities, WSDG was also responsible for the office complex’s internal communications systems. WSDG designed a comprehensive, distributed A/V system with a best-in-class communication network that includes cameras, televisions, phones and teleconferencing technology in every meeting space and huddle room.

“For a company that puts communications at the forefront of what they do, it’s equally important how this content is streamed and distributed both within the office complex and to their clients attending live events at the flagship office, or viewing remotely around the world,” Molho states. “We designed an advanced distribution audio and video system that touches every corner of the facility and ensures that the high-quality communication Global Relay conducts with its clients also happens within its internal teams in a seamless, friction-free way.”

“As a completed facility, Global Relay’s New York office is an incredible model of truly forward-looking corporate A/V, broadcast production and internal communications capabilities that will inspire facilities worldwide,” he concludes. “WSDG is very proud that our work will serve the purposes of an important industry leader as they continue their pursuit of productivity and innovation.”

photos: JRM Construction Management

4th September 2026