Standards News

Production Futures Launches Make Noise initiative using the power of audio technology to open production careers for 12–18-year-olds

Hannah Eakins, CEO of Production Futures, commented: “Make Noise is about opening doors for the future workforce of the production industries. There are thousands of rewarding careers behind the scenes in live events, but many young people simply don’t know that they exist. With the support of LIVE Trust and Audiotonix, we’re putting real kit into the hands of young people and groups, giving them a practical, creative way to explore careers in audio and production.”

Helen Culleton, COO Audiotonix adds: “The STEAM DJ Mixer project as part of the Make Noise initiative is a great example of making creative technology accessible to all, giving participants a hands-on introduction to the tools, skills and behind-the-scenes thinking that power live events and audio engineering.”

Jon Collins, CEO at LIVE Trust, adds: “We’re delighted to be funding Production Futures’ Make Noise project through LIVE Trust. There are so many roles in the live music sector that often go unnoticed. Giving young people visibility of those roles, along with the opportunity to build their skills, networks and develop their early careers, is key to building a sustainable future for our industry.”

Mayor of Greater Manchester, Andy Burnham, concludes: “Greater Manchester is home to a world-class live events and creative sector, and it’s really important that we support pathways into good jobs in these parts of our economy. Programmes like Make Noise are a great way to introduce young people to technical skills in live production and open doors to opportunities across the industry.”

For more information about the Make Noise initiative and the nationwide competition, visit: https://productionfutures.com/

20th April 2026

ABTT Launches Inaugural Silver Award for Theatre Stage Construction

UK – The Association of British Theatre Technicians (ABTT) has announced the launch of the Inaugural Silver Award for Theatre Stage Construction, a new industry-recognised qualification designed specifically for theatre stage carpenters, running for the first time this August as part of the ABTT Summer School.

 

The Silver Award for Theatre Stage Construction fills a longstanding gap in the formal training landscape for stage carpenters, providing a structured, accredited route to validate specialist skills that until now have been developed largely through experience alone.

The Silver Award is a five-day course designed to enable candidates to develop their skills in the specialist area of theatre stage carpentry. It sits within the ABTT professional development pathway as the second step after the Bronze Award, moving candidates from a broad technical foundation into advanced, discipline-specific expertise.

Like all ABTT Silver Awards, the course intertwines theory and hands-on training, so what candidates learn is directly applicable on the job.

Liz Sillett, ABTT CEO says: “Stage carpentry is a highly skilled discipline that sits at the heart of every production and for too long, there hasn't been a formal qualification that reflects that. This award is a direct response to what we’ve been hearing from the sector and we’re proud to finally give stage carpenters the recognition their craft deserves.”

The Inaugural Silver Award forms part of the ABTT Summer School 2026: a concentrated week of training running 3–7 August at Warwick Arts Centre, Coventry, bringing together Bronze and Silver Awards and specialist CPD courses under one programme.

The Summer School offers technicians at every stage of their career a structured pathway: from the Bronze Award foundation, through to Silver specialisms, with stand-alone CPD courses that feed directly into the award framework.

Book a place here

ABTT Inaugural Silver Award for Theatre Stage Construction, 3-7 August 2026 | Warwick Arts Centre, Coventry Members: £940 + VAT | Non-members: £1,070 + VAT

 

13th April 2026

WSDG joins Danish Sound Cluster webinar on acoustic design for multi-purpose sports arenas

Denmark – WSDG has announced that Dirk Noy, senior partner and co-CEO, will participate in an upcoming webinar hosted by Danish Sound Cluster exploring the principles behind successful acoustic design for modern multi-purpose sports arenas.

Titled “Acoustic Design for Multi-Purpose Sports Arenas”, the webinar will take place on 28 April 2026 from 14:00-15:15 CET and will examine how acoustics can be fully integrated into arena design to support sports, concerts and other large-scale live events. Free to attend and presented in English, the session will bring together perspectives from architecture, acoustic consultancy and electro-acoustic systems design.

Hosted and moderated by Jeppe Lindegaard, head of branding, strategy and events at Danish Sound Cluster, the webinar will also feature Klaus Toustrup, partner and owner at C.F. Møller Architects, and Dominika Obwarzanek, senior application engineer at d&b audiotechnik.

The event will explore a central idea increasingly shaping the future of arena design, which is that a venue should be treated not simply as a building, but as a canvas offering a multitude of creative expressions, possibilities and curation. Across the session, speakers will address how architectural form influences acoustic behaviour, why acoustic strategy must be embedded from the earliest design stages and how venues can be developed or transformed to support multiple uses without compromising listening quality, speech intelligibility or overall audience experience.

Representing WSDG, Noy will explain the acoustic consultant’s perspective, focusing on the practical and technical challenges involved in designing large, complex venues. His contribution will examine speech intelligibility, the balance between sports presentation and concert performance requirements, and the acoustic design process from concept through to realisation.

“With sports arenas increasingly expected to serve as flexible, multi-use destinations, it is more important than ever that acoustics are considered from the outset,” says Noy. “When sound is integrated early in the design process, venues can deliver clarity, impact and a far better experience for audiences, performers and operators alike. We are very pleased to contribute to this conversation with Danish Sound Cluster and our fellow panellists.

Danish Sound Cluster is Denmark’s national cluster organisation for the audio industry and serves as an open, neutral platform for collaboration, innovation and knowledge-sharing across audio, acoustics and hearing health. As a professional member forum, it connects companies, knowledge institutions and research environments, while supporting business development, entrepreneurship and international partnerships.

“Our ambition with Danish Sound Cluster is to build bridges across disciplines and create greater awareness of the importance of sound and acoustics in everyday life,” concludes Lindegaard. “This webinar is a strong example of that mission in action, bringing together architects, consultants and technology specialists to highlight why acoustics must be part of the conversation from the very beginning when designing modern arenas.”

The webinar forms part of Danish Sound Cluster’s broader programme of international events and knowledge-sharing initiatives, which are designed to connect professionals across sectors and borders while promoting better sound, stronger collaboration and innovation in world-class audio environments.

Registration for the webinar is free and open to all interested participants: https://danishsoundcluster.dk/acoustic-design-for-modern-sports-arenas/ 

25th March 2026

Women’s Audio Mission (WAM) Invests in Immersive Education in San Francisco with Audient ORIA

USA – Women’s Audio Mission (WAM) has announced a significant upgrade to its San Francisco Educational Lab, integrating the Audient ORIA immersive audio interface and monitor controller to expand access to Dolby Atmos training. This strategic move allows WAM to scale its world-class certification programs, serving larger cohorts of women and gender-expansive engineers in a dedicated group-learning environment.

While WAM’s main recording studio has long featured a 7.1.4 Dolby Atmos system, its physical size limited student participation. By equipping the larger Educational Lab – a vibrant loft space featuring 15 workstations – with ORIA, WAM has bridged the gap between a multi-purpose learning space and a professional-grade immersive monitoring environment.

The new set-up currently runs a 7.1 system using IK iLoud MTM speakers, with plans to complete a 7.1.4 array shortly. The integration of ORIA has proven transformative for both instructors and students, offering a seamless workflow between stereo and immersive formats.

“ORIA streamlined everything. It simplified monitor control and made it easy to move between stereo and immersive formats without disrupting the flow of a session,” says the team at Women’s Audio Mission. Founder and executive director, Terri Winston, Minji Will internship programme manager/studio engineer and Sammie Wallinga, studio manager/studio engineer all agree. “For teaching, this is huge! We can demonstrate concepts clearly, switch configurations quickly and focus on technical learning.”

The system has already become a cornerstone of WAM’s Dolby Atmos certifications, including hybrid cohorts taught by the renowned Dr. Leslie Gaston-Bird. Beyond its immersive capabilities, WAM utilises ORIA’s built-in preamps and audio interface for a wide range of audio engineering demonstrations.

“ORIA feels like a true bridge between professional immersive audio and education,” Wallinga adds. “It lowers the barrier to entry without lowering standards, which aligns perfectly with our mission.”

Following the success in San Francisco, WAM is currently raising funds to replicate this Dolby Atmos set-up at its new Los Angeles location, which served over 250 students last year. 

25th March 2026

Mix with the Masters Chooses Audient iD44 for High-Quality, Portable Masterclass Production

France – Audient has announced that Mix with the Masters, the premier professional development platform for engineers, producers and artists, has integrated the Audient iD44 audio interface into their video production workflow. The choice was driven by the need for pristine audio quality, multi-input capability and rock-solid portability to support their global masterclass delivery.

Mix with the Masters works with industry-leading figures to offer in-depth insights into the recording and mixing process. To capture their online video series – which combines spoken dialogue with stereo computer audio – Mix with the Masters required an interface with four inputs, using two Lavalier microphones for redundancy in addition to the computer playback.

The iD44, with its four Audient Class-A console mic preamps and high-performance converters, proved to be the ideal solution.

Zach Anderson from Mix with the Masters commented on the unit’s seamless integration and reliability: “The iD44 works extremely well for our use case because we shoot in multiple locations and often have different engineers running audio. Portability and ease of use were essential, without compromising audio quality.”

The desktop format of the iD44 was a major advantage over a traditional rack unit, ensuring quick set up in various production environments. “The desktop format is a big advantage, and the plug and play nature of the unit makes it very reliable. Regardless of who is handling audio on a given shoot, there are no concerns about drivers or connectivity,” says Zach.

The interface has also significantly improved the efficiency of Mix with the Masters’ production process by replacing a more complex rack-mounted set-up. “Previously, we used a rack unit with six inputs that required multiple drivers to be installed on the computer. That set-up added complexity, took up space and increased set up time. The iD44 removes those issues entirely and significantly reduces preparation time and stress before a shoot.”

For a platform dedicated to the highest standards of audio education, the iD44’s intuitive design also allows the whole team to operate the unit with confidence. “The unit is very intuitive. It is simple in the best sense of the word. We are comfortable having anyone run audio, knowing they can quickly understand and operate the interface without issues.”

The Audient iD44 continues to deliver professional, console-grade performance in a portable, robust desktop format, proving its value for demanding broadcast and content creation workflows where quality and speed are paramount. 

18th February 2026

ABTT Announces Re-Launch of the Apprenticeship Network During National Apprenticeship Week

UK - The Association of British Theatre Technicians (ABTT) has announced the re-launch of the ABTT Apprenticeship Network, taking place during National Apprenticeship Week (9–13 February). The re-launch marks a renewed commitment to supporting apprentices, employers and providers as well those interested in apprenticeships across the theatre, live events and creative industries.

The ABTT Apprenticeship Network connects current and prospective apprentices, employers, training providers and industry professionals, providing a supportive community focused on skills development, professional growth and knowledge-sharing. As part of the re-launch, the ABTT is inviting anyone with an interest in apprenticeships to sign up and register their interest, helping to shape the future direction of the network.

Ahead of the re-launch, the ABTT engaged with the Apprenticeship Network community through a survey to better understand what support members would find most valuable. Feedback from this engagement has directly informed the network’s plans. In response, the ABTT will introduce a programme of quarterly in-person networking events, supported by a range of online activities designed to aid professional development and peer connection.

As part of the re-launch of the ABTT Apprenticeship Network, the ABTT will also introduce a new ABTT Apprentice of the Year Award, celebrating the achievements and outstanding contribution of apprentices working across the theatre and live events industry. The award will recognise individuals who demonstrate exceptional commitment, skill and professionalism within their apprenticeship, highlighting the vital role apprentices play in the future of the sector.

Further details on the award, including eligibility criteria and the nomination process, will be announced later this month.

Speaking about the re-launch, ABTT CEO, Liz Sillett said: “The re-launch of the ABTT Apprenticeship Network reflects our commitment to listening to apprentices and responding to what they’ve told us they need, while also supporting and connecting those who run or are interested in running apprenticeships. By creating more opportunities to connect in person, learn online and access relevant CPD resources, we aim to build a supportive and inclusive network that helps apprentices thrive at every stage of their career.”

To strengthen engagement and communication, dedicated Instagram and LinkedIn pages will be launched or re-launched as the Network’s primary online platforms. These channels will highlight key activities, events, opportunities and resources relevant to apprentices and those supporting them.

The Network also plans to develop a core suite of CPD resources, including short, accessible videos on topics relevant to apprentices. Feedback highlighted the importance of flexible learning and the concept of on-demand e-learning will be explored to ensure young people can access information quickly and easily when they need it.

The first in-person ABTT Apprenticeship Network event will take place on the second day of the ABTT Theatre Show at Alexandra Palace which is running over the 3rd and 4th June 2026.

Attendees will be introduced to the network’s chair, vice chair and ambassadors, with opportunities to network and learn more about the network’s aims. Planned activity includes a panel seminar on dispelling myths about running apprenticeships, alongside further sessions currently in development.

Additional engagement at the ABTT Theatre Show will include an apprenticeship-led session at the Careers and Professional Development Hub, aimed at current and future apprentices and focused on supporting the next steps in their careers.

ABTT Apprenticeship Network representative Jack Davies added: “Apprenticeships are a sought-after route into our industry, but due to their nature can be isolating without traditional classmates. The network relaunch aims to fill this gap by creating a wider professional community for the sharing of knowledge, experiences and support.”

To coincide with National Apprenticeship Week, the ABTT encourages apprentices, employers, training providers and supporters of apprenticeships to sign up to the ABTT Apprenticeship Network and be part of its next chapter.

For more information and to register your interest, sign up at https://docs.google.com/forms/d/e/1FAIpQLSdhZctwffokk1CxNZllTeH26fMeiRHEXSXNb3Wbr-VxWbNcRg/viewform   

photos: Liz Seabrook, RBO

9th February 2026

ABTT and BAPAM Launch Groundbreaking Guidance on Physical Health and Well-being for Backstage Theatre Workers during Panto Season

UK – The Association of British Theatre Technicians (ABTT) and the British Association for Performing Arts Medicine (BAPAM) have unveiled a new guidance note at the ABTT annual Christmas Party on the 5th December, timed to coincide with panto season, an often intense and stressful period for backstage workers.

Guidance Note W101: Improving the Physical Health of Backstage Staff is the first dedicated guidance of its kind focusing on the physical health of backstage professionals in the theatre and live production sector.

This extensive, evidence-based resource recognises the essential link between physical and mental wellbeing and arrives at a critical moment for the industry. Building upon the initial S.T.A.G.E. C.R.E.W. infographic, introduced at the ABTT Theatre Show in June 2024, the guidance represents a long-awaited, in-depth framework designed to improve backstage workplace health and provide practical support for theatre professionals.

Backstage professionals including lighting, sound, stage, rigging, AV, costume and wardrobe departments, and automation technicians often work in demanding environments with long hours, heavy equipment and limited recovery time. With more than 70% of the workforce identifying as freelance, the sector faces unique challenges when it comes to managing health and safety.

This new Physical Wellbeing Guidance Note provides detailed, practical recommendations aimed at improving physical health outcomes and reducing the risk of occupational injury or chronic illness for backstage workers.

It also includes:

• A breakdown of the S.T.A.G.E. C.R.E.W. mnemonic – Sleep, Training & Technique, Appetite & Diet, Good Hygiene, Environment (risk assessments), Clinical Support, Rest & Recovery, Exercise & Warm-Up
• Real-life case studies exploring common physical health issues
• Managerial guidance on supporting staff health
• A self-assessment tool for individual workers to evaluate and improve their wellbeing

The guidance draws on the ABTT’s deep sector expertise and BAPAM’s four decades of clinical experience in the performing arts. It is designed to be accessible, free to download and relevant to organisations of all sizes.

The Physical Wellbeing Guidance Note will form part of the ABTT Code of Practice for the Theatre Industry in the UK, recognised by the Health and Safety Executive (HSE) as an established standard, and will be referenced in the Technical Standards for Places of Entertainment.

It will be made freely available via the ABTT website and integrated into the growing suite of Welfare Guidance Notes, further supporting theatre venues and employers in meeting their responsibilities under the Health and Safety at Work etc. Act 1974.

“As the largest provider of clinical services to the UK’s performing arts sector, we are proud to announce this milestone partnership with the ABTT. This is a major step forward in recognising and supporting the physical health of backstage professionals, an area long overlooked. A vibrant, healthy workforce is essential to the future of live performance,” stated Claire Cordeaux, CEO, British Association for Performing Arts Medicine (BAPAM).

“The ABTT and BAPAM have worked in partnership since 2018, united by a shared commitment to improving health and welfare for the technical workforce. This new guidance is both timely and essential, providing clear, practical advice to support the wellbeing of those who bring live performance to life and helping the industry embed healthy practices across all backstage roles,”   added Liz Sillett, CEO, Association of British Theatre Technicians (ABTT).

“I’m delighted to share this landmark document: the first to provide physical welfare guidance for backstage staff. My thanks to the ABTT for funding the project, to the clinicians at BAPAM for bringing it to life and to The Guildford School of Acting for supporting its development. This guidance is a vital addition to the ABTT’s technical standards and the growing series of welfare resources, helping to place health and wellbeing on equal footing with safety across our industry and I hope the sector can recognise the value of this guidance in improving health and wellbeing backstage,” said Mig Walsh, senior lecturer at Guildford School of Acting.

Guidance Note W101: Improving the Physical Health of Backstage Staff can be downloaded on the ABTT website at: https://www.abtt.org.uk/product/guidance-note-w101-improving-the-physical-health-of-backstage-staff/. 

9th December 2025

Glyndebourne to launch a new apprenticeship programme to support the next generation of technical and production talent

UK – Glyndebourne is set to launch a new apprenticeship programme designed to nurture the next generation of technical and production talent within the performing arts. The initiative aims to create a more inclusive and accessible pathway into the industry, offering individuals the opportunity to earn while they learn at one of the world’s most respected opera houses, which employs over 150 staff out of season and more than 500 during its annual Festival.

The apprenticeships present an alternative route to the traditional university education, providing paid, hands-on experience in a real working environment where the apprentices will develop skills directly from industry professionals while building valuable connections to support their future careers.

This new programme presents an opportunity for Glyndebourne to grow and develop its own skilled workforce, whilst apprentices will benefit from the organisation’s extensive expertise, knowledge and facilities. The initiative is being introduced under the leadership of Glyndebourne’s recently appointed technical and production director, Sam Garner-Gibbons who brings over a decade of experience in developing and supporting apprenticeships within the arts sector, having previously worked at the Chichester Festival Theatre.

Sam Garner-Gibbons, technical and production director at Glyndebourne says: “Our aim is to open the doors to a broader range of talented individuals who might not otherwise have a pathway into our industry. Apprenticeships allow people to learn directly from experienced professionals while contributing to real productions, which is an incredibly powerful way to build both skill and confidence. Glyndebourne has always been a place of innovation and excellence and this programme will ensure we continue to nurture and invest in the next generation of theatre makers both for us and for the wider sector.”

Apprentices will be employed on fixed-term contracts aligned with the length of their chosen course. Working alongside Glyndebourne’s experienced creative teams, they will learn on the job while also receiving structured training from an accredited provider. One day per week will be dedicated to theoretical learning, or coursework typically delivered online, with the remainder of the time spent gaining practical experience within Glyndebourne’s production environment. Each apprenticeship will culminate in a final assessment, carried out by an external assessor at Glyndebourne, ensuring every graduate meets professional industry standards.

Four apprenticeship opportunities have been identified to align with Glyndebourne’s strategic aims and recruitment needs, these include:

• Technical Theatre (Apprentice)
• Wigs, Hair, Makeup and Prosthetics Technician (Apprentice)
• Assistant Production Manager (Apprentice)
• Audio Visual Technician (Apprentice) – Applications open in 2026

The training will be delivered in partnership with Chichester College Group, a leader in apprenticeship provision across the UK. The group supports apprentices in many of the country’s leading theatres, including the Royal Shakespeare Company, Chichester Festival Theatre and Delfont Mackintosh Theatres in London’s West End. The wigs, hair and make-up apprentices will attend college-based sessions at Northbrook College, part of the Chichester College Group and located locally in West Sussex.

For Glyndebourne, this programme not only helps ensure that craft and technical skills continue to thrive for future generations, but also helps open doors for others to explore career opportunities within the arts sector.

photos: Graham Carlow / © Glyndebourne Productions Ltd.

13th November 2025

Visually Impaired Audiences to Benefit from Major Accessibility Upgrade at Edinburgh Festival

UK – Sight Scotland and Sight Loss Councils in Scotland have delivered specialist visual impairment awareness training, aiming to transform the festival experience for blind and partially sighted audiences and make one of the world’s largest arts festivals more inclusive than ever.

The training was delivered to over 250 staff at the Pleasance, one of the Edinburgh Fringe’s largest and most influential venues. Its commitment to accessibility is especially impactful given its scale; in a record-breaking 2024, the Pleasance hosted more than 279 shows across the Courtyard, Dome and EICC, issuing nearly 500,000 tickets. On its busiest day, the Courtyard alone welcomed around 30,000 visitors.

The training, led by Callum Lancashire, engagement manager for Sight Loss Councils in Scotland, focused on raising awareness and equipping staff with the skills and confidence to support visually impaired visitors. It covered effective communication techniques, practical sighted guiding and insight into the five main eye conditions and how they affect vision.

Jonny Patton, head of theatre Edinburgh for Pleasance, said: “Our message is simple, the Fringe is for everybody. We want every audience member who visits the Pleasance to feel welcomed, supported, and able to enjoy their time at the festival comfortably and confidently.

“Following on from last year’s Accessible Venues Report, it has been incredibly valuable working with Sight Scotland and Sight Loss Councils. They have been a brilliant resource for us, giving practical advice, helping us bounce around ideas and supporting us to make straightforward and effective improvements to accessibility. This year, we are piloting a range of accessible initiatives, including more audio described shows and creative approaches such as introductory audio notes that add texture and context to performances for visually impaired audiences.

“The accessibility training has been fantastic. Our team expands significantly during the festival and this has given both permanent and seasonal staff the practical tools and confidence to support audiences with visual impairments more effectively. We are also producing a dedicated venue guide for visually impaired visitors this year, which provides key information to support their journey to and through our spaces.”

Anthony Alderson, director of the Pleasance Theatre Trust, commented: “We were thrilled to partner with Sight Scotland for the first time this year to provide training for all our staff and volunteers. The training discussed different kinds of visual impairments and how to help audience members and artists who may need assistance. Pleasance strives to every year improve our accessibility and we think this partnership is an important step to making the Fringe a more accessible place for all.”

Callum Lancashire added: “Sight Loss Councils, along with Sight Scotland, are proud to partner with the Pleasance to deliver this training. It was encouraging to see so many staff participate and we hope it will enhance the experience for both Pleasance staff and visually impaired visitors during the Edinburgh Fringe. Training like this is vital for raising awareness, as small changes can make a big difference to someone’s festival experience.”

Mark Ballard, head of external affairs and campaigns at Sight Scotland, adds: “This is a significant step forward for our Accessible Venues campaign. The Pleasance welcomes tens of thousands of visitors each year during the Edinburgh Festival Fringe, making it all the more important that accessibility is prioritised. By working with such a prominent venue to raise awareness and provide practical training, we’re helping to create a more inclusive environment where everyone can fully enjoy the festival experience. We hope this sets a positive example for other venues to follow, not just in Edinburgh, but across Scotland and beyond.”

This collaboration builds on the momentum of Sight Scotland’s Accessible Venues Report, launched in 2024. Developed by blind and partially sighted members of its policy group, the report highlights key barriers faced by visually impaired audiences such as poor communication, inaccessible booking systems, a lack of audio descriptions or touch tours, untrained staff and inadequate design features like low colour contrast and unclear signage.

Sight Scotland is also working alongside Extant, VICS (Visually Impaired Creators Scotland), Edinburgh International Festival (EIF) and the Royal Lyceum Theatre to make the arts more accessible for people with visual impairment in 2025.

7th August 2025

K-array launches e-learning platform including CTS-accredited courses

Italian manufacturer of professional audio products, K-array, has announced the launch of its new online e-learning platform, enabling accessible access to high-quality training on K-array products and technologies. The courses are AVIXA certified, meaning learners can collect Certified Technology Specialist (CTS) Renewal Units, required for maintaining their continuing professional development. 

“The launch of our e-learning platform is a natural evolution of our commitment to increasing skills and knowledge within our industry,” explains Daniele Mochi, customer support director at K-array. “Aimed at systems integrators, sound designers and everyone involved in audio design and installations, our courses provide learners with an accessible toolkit to empower their work and get the very best out of K-array products in various environments.”

A full portfolio of courses will be available on the e-learning platform, covering topics from system design and installation to expert-level insights into different product types and ranges. The first courses available, K-array Certified Designer and K-array Certified Installer, provide valuable tools for equipping AV integrators and consultants with the knowledge required to design and build high-quality integrated K-array audio systems and maintain them via K-array’s suite of software solutions for monitoring and control. A KSCAPE certified integrator course is currently in development. Each course provides two AVIXA CTS Renewal Units upon completion, as well as an official K-array certificate.

Importantly, all K-array Certified courses are available free of charge via the online e-learning portal and are curated by K-array’s Daniele Mochi, who has a strong legacy of leading the brand’s popular K-Experience in-person workshops and trainings. “The e-learning platform is an extension of our K-Experience workshops and acts as both a space for deep learning of our technologies and an ongoing resource of product knowledge,” says Mochi. “Through our on-demand videos and materials, we hope to introduce many more professionals to K-array and provide them with the know-how to make the most of our innovations on their projects.”

22nd July 2025