Standards News

Martin Audio US announces two-day training programme

Martin Audio US announces two-day training programme

USA – Martin Audio US has set two training days to ensure system users and designers are properly equipped to get the best outcome from their implementations. They will learn how to achieve full optimisation, control and monitoring of performance on a variety of Martin Audio systems.

The two-day programme will take place on 13 and 14 March at Frost Productions, 6 Empire Blvd, Moonachie, NJ 07074 and the trainer will be product support engineer, Joe Lima.

Day 1 will examine in depth Martin Audio’s proprietary software platforms, Display 2, Display 3 and Vu-Net. The following day will see attendees explore the MLA Mini, in groundstack and flown configurations, before diving into networking and connectivity and concluding with an XE system overview.

Joe Lima comments: “As the demand for Martin Audio products continues to increase in the US market, training on systems like Display and Vu-Net is not just beneficial but vital. With our products gaining significant traction and recognition within the marketplace, ensuring that professionals are well-versed in the intricacies of our software is paramount.”


22nd February 2024

ISCVE launches comprehensive guide and code of practice for assistive listening systems

ISCVE launches comprehensive guide and code of practice for assistive listening systems

UK – In a world where technology is rapidly advancing, it can be overwhelming to keep up with the latest innovations in assistive listening systems for the hearing impaired. That's why ISCVE, the Institute of Sound, Communications and Visual Engineers, has taken the initiative to launch a new Assistive Listening Systems Guide and a Code of Practice. 

This comprehensive guide is aimed at users, system designers and installation companies looking to improve their knowledge and understanding of assistive listening systems. 

With the Code of Practice, ISCVE aims to set a new standard for the industry and make it easier for those with hearing impairments to access clear and intelligible sound. The Guide and Code of Practice are available for free and can now be downloaded from the ISCVE website.

Meticulously outlining the core principles of assistive listening technology, starting with an introductory section that explains the necessity and basic functioning of such systems the Guide and Code of Practice also delve into the technical aspects of assistive listening systems, discussing system types and their respective features, spanning from induction loop systems to infrared, FM, WiFi and Bluetooth systems.

They also provide a comprehensive exploration of common challenges and solutions associated with system design and installation. Key considerations for compliance with legal and regulatory standards are addressed, ensuring that users are equipped with knowledge to create accessible environments. 

The documents also offer practical advice on system maintenance and troubleshooting, ensuring longevity and optimal performance.

If you'd like to find out more visit: ISCVE Website

23rd January 2024

Production Futures Partners with Cheshire College to Break Ground on Education Partnerships

Production Futures Partners with Cheshire College to Break Ground on Education Partnerships

UK – Production Futures, the organisation founded to create opportunities for young people to learn, train, network and develop real careers in every sector of the production industries, has announced a partnership with Cheshire College – South and West. The arrangement sees the College’s programme leader for events and technical theatre, Angie Berwick (pictured), become Production Futures’ education ambassador, a role which it is hoped will lead the way to groundbreaking collaborations with a variety of education institutes across the UK.

Angie is well-placed to take on the challenge, combining as she does her programme leader role with more than twenty years’ experience of running her own events business. She will provide expert strategic advice to Production Futures on the needs of young people in education, as well as working with education providers to raise awareness of the opportunities within the production industries, helping them to develop job-ready talent when the time is right. The existential threat to courses connected with production has never been greater, so Production Futures chief executive, Hannah Eakins believes that working directly with education institutions to maintain the visibility of the industry to government, parents and young people, has never been more important.

“A better understanding of, and closer relationship with, the education sector is key to our aim of ensuring that there is a consistent pipeline of talent entering the production industry. We’ve worked informally with Cheshire College as a partner for some years, but meeting Angie in person and enjoying a lengthy discussion about improving the connections between education and opportunities in our industry, showed us that our views were very closely aligned.

“Angie has experience of linking her students with the industry, having worked closely with Robe Lighting and lighting designer Tim Routledge in this area. We realised that if we combined our passion, effort and knowledge, we could work together to create a wider collaboration between industry and education to include FE, HE and apprenticeships.”

For too long, according to Hannah, the industry has relied on a ‘right place, right time’ scenario, or drawn from a relatively limited pool of enthusiasts.

In a fast-growing sector like the production industries, she considers this wholly unsustainable: “We need to create awareness and improve knowledge of the sector amongst young people and parents as a matter of urgency. There’s no ‘one-size-fits-all’, we want young people to be able to take advantage of every pathway into what is an exciting and rewarding industry and which offers an incredible variety of roles. Whether that’s by progressing through further and higher education, via apprenticeships, or straight into full time employment, we need to open doors.

“This partnership is the beginning of a very exciting collaboration with the education sector, with Angie’s expertise and the example set by Cheshire College leading the way. We look forward to working closely together to ensure that we serve the best interests of young people and encourage more and more education institutions to join our mission.”

Cheshire College offers technical theatre courses ranging from Level 3 to Level 5 and the department provides students with the practical training and industry experience to become fully qualified, confident and skilled employees within the sector.

Throughout students’ time at the college, they have access to recording and sequencing studios and a fully equipped theatre with control desks, lighting and staging equipment.

On the new partnership, Angie Berwick says: “It is very humbling to be invited to be a part of Production Futures’ efforts to link the production industry with education institutions across the country. In my role at Cheshire College, I have seen so many students progress into the role of their dreams with the skills and confidence they learn with us.

“As education ambassador, I am looking forward to sharing my experience and advice on a national stage, growing the community and providing more opportunities for those wishing to have a successful career in production.”

Paul Browne, assistant principal of curriculum at Cheshire College, adds: “It has been fantastic to see the relationship between Production Futures and the college grow over the years. We are thankful for their support and advocacy within the industry, promoting the necessary technical training students require to gain sustainable and diverse employment within the sector.

“We have no doubt that Angie will be an asset to the team, and we look forward to seeing the positive impact this partnership creates.”

Lighting designer Tim Routledge concludes: “Angie is a huge supporter of her students, and I couldn’t have been prouder of the two students that came to work on the ESC with us who were a credit to the college and the hard work and talent that is available in the area.”

5th December 2023

The ALPD Lumiere Scheme 2024

UK - Established by the ALPD in 2015, the Lumière Scheme is an exciting professional development programme that provides pathways into the industry for emerging lighting practitioners and designers.

The ALPD will partner with Glyndebourne on this scheme for the third year running and delighted to announce that this year they can also offer a second scheme: The Production Lumière Scheme. 

A pathway scheme for emerging lighting designers, the Design Lumière Scheme gives the successful candidate valuable experience of working professionally as an assistant lighting designer for six months. For the first three months, the Lumière will be placed at Glyndebourne, assisting visiting lighting designers within the lighting and AV department.

Danny Vavrečka, the 2023 Design Lumière, wrote of his time with the team at Glyndebourne: “I’m so grateful for their support and all the combined knowledge they have generously shared with me.”

In the second stage, the Design Lumière will be matched with a number of established lighting designers and will spend a total of three months assisting them, travelling around the country. The Production Lumiere will spend four weeks at Regent’s Park Theatre and a further two weeks at Lamp & Pencil. Alongside this, each Lumière will receive a bespoke package of mentoring and support. The Design Lumière may have the opportunity to take on associate lighting designer roles toward the end of their attachments. Previous Design Lumières include Charlotte Burton, Rachel Cleary, Alex Musgrave, Jason Addison and Ed Saunders.

The Production Scheme will offer a 12-week placement at Glyndebourne, Regent’s Park Theatre and Lamp & Pencil alongside established freelance and resident production electricians and programmers. The Scheme will provide mentorship and real-world experiences over a period of four months. The Lumiere on the scheme will make contacts and gain invaluable experience to enable them to take the next steps in their careers.

Johanna Town, chair of the ALPD says: “We are delighted that we have been able to extend our Lumiere Scheme in 2024 by adding an opportunity for a Production Lumiere in 2024 in line with our commitment to support all those who work in lighting for live performance.”

Applications are welcome from anyone who has a minimum of one year’s professional experience working in the industry. The ALPD cannot accept anyone who is currently in full-time education.

The ALPD is committed to inclusivity and is actively encouraging applications from those who feel they are currently under-represented in the UK theatre industry. The association would also like to encourage applicants who may have moved away from theatre for various reasons and want to return to the industry. You do not need to be a member of the ALPD to apply for the Lumière Scheme. Applications close on 11 December for Production Lumiere and 16 December for Design Lumiere.

Further information about the positions and how to apply can be found at: 

23rd November 2023

Ten standards in public review

Ten public review action items came out of the recent October Technical Standards Program working group meetings held in Westlake, TX, where over 180 attendees across ten discreet working groups came together to move draft standards in development another step forward. All of these public reviews will end on 12 December.

ANSI E1.5-2009, Theatrical Fog Made With Aqueous Solutions of Di- And Trihydric Alcohols

This standard, last reaffirmed in 2018, is being considered again for reaffirmation. This standard describes the composition of theatrical fogs or artificial mists that are not likely to be harmful to healthy performers, technicians, or audience members of normal working age. It is limited to those fogs and mists made from a solution of water and one or more dihydric or trihydric alcohols and is intended to be applied in theatres, arenas and other places of entertainment or public assembly.

ANSI E1.29-2009, Product Safety Standard for Theatrical Fog Generators that Create Aerosols of Water, Aqueous Solutions of Glycol or Glycerin, or Aerosols of Highly Refined Alkane Mineral Oil

This standard, also last reaffirmed in 2018, is being considered for another reaffirmation. The standard is intended to help guide product safety testing laboratories in evaluating fog-making equipment for design or construction defects that might create unacceptable hazards. It is based on UL 998 - 2006, Humidifiers, with modifications. Products covered are theatrical fog generators intended for use in professional theatrical entertainment, film and video production, theme parks, and fire safety training.

ANSI E1.34 - 2009, Measuring and Specifying the Slipperiness of Floors Used in Live Performance Venues

This standard, last reaffirmed in 2019, is being considered for another reaffirmation. It describes means of measuring and specifying the slipperiness of floor surface materials used by performers in live entertainment venues. The standard is not intended to be applied to normal walking and working surfaces, but only to those floor surface materials used by actors, dancers and other similar artists when rehearsing or performing.

BSR ES1.17, Event Safety – Event Lighting & Electrical Safety

This standard provides guidance for the application, assessment and documentation of safe electrical working practices during the installation, show and dismantling of special event electrical systems and equipment. It includes consideration of the identification and assessment of specific event electrical hazards and the potential impacts of unsafe electrical working practices. It also provides guidance on minimum requirements for egress lighting systems used for special events.


BSR E1.11 describes a method of digital data transmission for control of lighting equipment and accessories, including dimmers, colour-changers, and related equipment, intended to provide interoperability at communication and mechanical levels with controllers and controlled equipment made by different manufacturers. It is an update and expansion of the protocol developed by the United States Institute for Theatre Technology, Inc. and published as "DMX512/1990, Digital Data Transmission Standards for Dimmers and Controllers." This revision has been updated to accommodate changes in technology and recommended industry practice.

BSR E1.68 Recommended Practice for Evaluating DMX512 (ANSI E1.11) Interoperability

This standard is a recommended practice for evaluating DMX512 (ANSI E1.11) interoperability, to help minimise problems in the field associated with violations of critical elements of the standard. The recommended practice will not attempt to assure 100% compliance with all requirements in the standard; it will focus on those requirements that have been proven to make interoperability unlikely or unreliable when not followed.

BSR E1.73, parts -1, -2, -3, and -4 (Uniform Device Representation)

The BSR E1.73 suite provides a framework by which manufacturers of entertainment equipment can describe controllable and visualisable devices in a digital format. The framework will enable the provision of descriptive information about devices and their state, including both parameters and physical properties, and the metadata needed to describe them. A standard method will be provided to map controllable parameters to existing control endpoints. The current draft version includes the first four parts of the suite: E1.73-1 is the Core Document; E1.73-2 contains the Core Definitions for E1.73-1; E1.73-3 contains Intensity/Color Definitions for E1.73-1; E1.73-4 contains Motion Definitions for E1.73-1.

All of these documents are available from ESTA’s TSP Public Review Documents download page, found at Return the public review form and any comments you may have before 12 December 2023.

7th November 2023

Five ESTA standards approved and published

Five ESTA standards recently were approved and published. They can be downloaded them from for FREE, or you can buy them from ANSI and IHS. Purchases from ANSI and IHS earn a small royalty for ESTA.

ANSI E1.8 - 2018 (R2023), Entertainment Technology – Loudspeaker Enclosures Intended for Overhead Suspension – Classification, Manufacture and Structural Testing, is the 2023 reaffirmation of the 2018 edition. This outlines what you should do so flown loudspeakers, such as line arrays that must support the weight of other speakers below them, don't fail, tear apart, and don't rain parts down on audiences below.

ANSI E1.21-2023, Temporary Structures Used for Technical Production of Outdoor Entertainment Events, is a revision of the 2020 edition. This document establishes a minimum level of design and performance parameters for the design, manufacturing, use and maintenance of temporary ground-supported structures used in the production of outdoor entertainment events. The purpose of this guidance is to ensure the structural reliability and safety of these structures and does not address fire safety and safe egress issues. The new edition brings E1.21 into line with current editions of the upcoming 2024 International Building Code, in an unprecedented harmonization collaboration when dealing with outdoor structures.

ANSI ES1.40-2023, Event Safety – Security, is a new standard. This standard is intended to be a companion piece to ANSI ES1.92020, Crowd Management, in that event security is an essential component of crowd management, and some of the reasonably foreseeable risks and risk mitigation strategies will overlap. It distinguishes between privately retained or volunteer security providers, and public safety officials such as police, sheriffs, constables, or firefighters who perform crowd control.

ANSI E1.46 - 2018 (R2023), Standard for the Prevention of Falls from Theatrical Stages and Raised Performance Platforms, is the 2023 reaffirmation of the 2018 edition. There's nothing new about the basic risk management principles for not falling off a stage!

ANSI E1.72-2023, Powered Floor Machinery, is a new standard. It establishes requirements for the design, manufacture, installation, inspection, operation and maintenance of powered stage floor machinery such as wagons, turntables, treadmills, slip stages, and trap covers. Machines that produce substantially vertical movement, such as lifts, are excluded from this standard.

26th September 2023

Twelve draft standards in public review

USA - Twelve public review action items came out of the recent July Technical Standards Programme working group meetings held in Westlake, TX, where over 160 attendees across ten discreet working groups came together to keep our development process moving forward. These public reviews will all run for 45 days, ending on 26 September.

Three draft standards originate in the Rigging Working Group:

BSR E1.1, Wire Rope Ladders

This standard describes the construction and use of wire rope ladders in the entertainment industry. Wire rope ladders are distinguished from other ladders by having flexible rails. They are used in applications where ladders with rigid rails are impractical to use, or where a rigid ladder would pose a greater danger to the user or other workers in the area. ANSI E1.1‐2018 is being revised to update references and technology. 

BSR E1.43, Performer Flying Systems

This standard establishes a minimum level of performance parameters for the design, manufacture, use and maintenance of performer flying systems used in the production of entertainment events. The purpose of this guidance is to achieve the adequate strength, reliability, and safety of these systems to ensure safety of the performer, other production personnel and audiences under all circumstances associated with performer flying. ANSI E1.43‐2016 is being revised to reflect changes in technology and referenced standards. 

BSR E1.50-1, Requirements for the Structural Support of Temporary LED, Video & Display Systems

This standard covers the support of temporary installations of large format modular display systems, LED, video and other self‐illuminating display structures not otherwise addressed by existing standards. The scope of this standard includes planning and site preparedness, assembly and erection, suspension and safety of components, special access requirements, use and dismantling of these systems. ANSI E1.50‐1 ‐ 2018 is being revised to reflect current technology and practices in the industry. 

One draft standard comes from the Floors Working Group:

BSR E1.76, Tension Wire Grids

This standard for wire rope tension grids will cover design and application criteria including the loading, self‐weight considerations, transitions between levels and suspension from structure. The standard will provide deflection criteria for both structural elements and the woven mesh. The standard will offer guidance on the size of openings, including trap doors and bays similar to loft‐wells. The standard will provide requirements for hand rails and consideration for other accessories such as stage lighting battens. 

Two more draft standards of a series originating in the Event Safety Working Group

BSR ES1.2, Event Planning, Management, & Major Incident

This standard describes a process for event organisers and supporting staff to create and implement event‐related plans for health and safety management. This process includes a framework, guidelines, and recommended practices that can be used to reduce risk as much as reasonably practical and to respond appropriately when an incident occurs. 

BSR ES1.5, Event Safety – Medical Preparedness

BSR ES1.5 helps identify the steps necessary to create a reasonable level of protection from medical hazards that can be created by, exacerbated by, or cause effective treatment delay as a result of, the unique challenges and circumstances presented by the special event environment. Its scope includes the assessment of specific medical hazards and also addresses the potential impact to local medical services, which may be temporarily impacted by the specific needs of the special event. 

Another hat-trick of draft standards from the Stage Machinery Working Group:

BSR E1.42, Safety Standard for Entertainment Lifts

This standard is a revision of ANSI E1.42‐2018 Entertainment Technology ‐ Design, Installation and Use of Orchestra Pit Lifts. Stage and orchestra lifts are specifically excluded from ASME A17.1 Safety Code for Elevators and Escalators. The previous version of E1.42's scope was limited to orchestra pit lifts. This revision expands its scope to include stage lifts and other similar lifts, as well as lifts used temporarily for a single production. These lifts have widely varying requirements and operating conditions. Procedures for risk assessment and risk reduction have been added to accommodate these conditions. As a result, many sections have been reorganised and renumbered. To reflect the increased scope and more closely follow ASME A17.1, the title has also been changed to Safety Standard for Entertainment Lifts. 

BSR E1.64, Stage Machinery Control Systems

This standard establishes minimum requirements for the design, manufacture, installation, commissioning, inspection, operation and maintenance of machinery control equipment in the Entertainment Industry including equipment that is used in production, touring, and temporary or permanent installation. 

BSR E1.71, Powered Curtain Machines

This standard establishes requirements for the design, manufacture, installation, inspection and maintenance of machines intended solely for the movement of curtains for performance, presentation and theatrical production. These requirements would apply to machines that provide movement of fabric in any direction, irrespective of their mounting location. This standard does not apply to the structure to which the machine is attached, or to machines such as those used for fire safety curtains or for performer flying, which are covered by other existing standards. The provisions of this standard are not intended to prohibit any design, materials, or methods of fabrication, provided that any such alternative is at least the equivalent of that described in this standard in quality, strength, and effectiveness. 

One draft standard from the Control Protocols Working Group

ANSI E1.31, Lightweight streaming protocol for transport of DMX512 using ACN

ANSI E1.31 ‐ 2018 describes a mechanism to transfer DMX512A packets over a TCP/IP network using a subset of the ACN protocol suite. It covers data format, data protocol, data addressing and network management It also outlines a synchronisation method to help ensure that multiple sinks can process this data concurrently when supervised by the same controller. It includes support for IPv6 as well as IPv4. It is being considered for reaffirmation because no revisions are necessary. 

Control Protocols 

Another draft standard from the Fog & Smoke Working Group

BSR E1.23, Design, Execution, and Maintenance of Atmospheric Effects

E1.23 offers advice on the planning, execution, and maintenance of theatrical effects using glycol, glycerin, or white mineral oil fogs or mists in theatres, arenas, motion picture studios and other places of public assembly or motion picture production. The guidance is offered to help effects designers and technicians create effects that can be executed repeatedly and reliably and so that they can avoid excessive exposure to the fog materials and other foreseeable hazards. This revision adds a requirement for a short summary of the measures being taken to assure reasonable safety and to add advice about ventilation and carbon dioxide fog-blast effects. 

Fog and Smoke 

One to withdraw from the Photometrics Working Group.

ANSI E1.48 – 2014 (R2019), A Recommended Luminous Efficiency Function for Stage and Studio Luminaire Photometry

This standard is being withdrawn because it is rarely used. 

All of these documents are available from ESTA’s TSP Public Review Documents download page, found at Return the public review form and any comments you may have before 26 September 2023.

15th August 2023

Martin Audio US announces first two-day optimisation training workshop

Martin Audio US announces first two-day optimisation training workshop

USA – Martin Audio US has announced a two-day training workshop, specifically designed to familiarise customers and partners with the art of line array optimisation. This is achieved using its proprietary DISPLAY system design and prediction software, and associated Vu-Net control and monitoring software first introduced to provide advanced and unique control of its MLA multi-cellular PA.

The event will take place at the HQ of event technology specialists, Alford Media, 296 Freeport Pkwy, Coppell, TX 75019 on 3 and 4 August, commencing 10am on each day.

Supporting both MLA, the next generation Wavefront Precision optimised line array systems and TORUS constant curvature arrays, the course is aimed at everyone involved in design or deploying these systems. Attendees are promised in-depth training in system design, optimisation software, rigging and control, as well as refreshments throughout.

According to Lee Stein, Martin Audio VP North America, the original idea had come from Alford Media themselves. “We received a request from Alford to conduct optimisation training for their own employees, but also for other potential users.

“It is our mutual goal to increase the level of knowledge in the market and the number of knowledgeable users as we often get requests from our partners for ‘certified’ engineers to support our systems, especially as we have seen very strong adoption of Wavefront Precision as a solution in both the production and installation markets.”

Added Brad Stephens, director, Strategic Projects & Consultant Relations: “Alford, like most production companies, have a long list of freelance engineers/techs that they hire to supplement crews. It is our mutual desire to get more of this freelance talent pool in the north Texas area trained on Martin Audio systems. It makes Alford’s life easier having people really understand the gear they own, and of course promotes awareness for us.”

“We’re now experiencing a huge demand for training, and this two-day package is a perfect way to get interested parties up to speed with the optimisation and control of our strongest live sound line-up,’ agreed product support engineer, Joe Lima.

In summary, Lee Stein said: “It has long been our goal to conduct training like this on a regular basis, and I see this as a first step in doing so.”

17th July 2023

Martin Audio leads the way in on-site university training

Martin Audio leads the way in on-site university training

UK – One development starting to impact our industry in a post-COVID world is the growing commitment to training at grass roots level.

Typically ahead of the curve in that regard are Martin Audio, whose complete systems, software and control have been touring selective universities this spring. The idea was the brainchild of Martin Audio product support engineer, Paul Connaughton, who proposed the move shortly after joining the company 18 months ago.

“Everyone agreed it was a good idea, especially after the pandemic where we saw a huge drop in numbers with regard to skilled workers, crew and suppliers,” he said. “It is extremely important that we not only support future users but also the courses and educators on the ground to help supplement the training and education that is provided within the wider industry.”

This will ensure educators, course providers and employers have access to all new avenues available for effective staff recruitment and that graduates enter the industry with a wide knowledge base of practical product implementation.

His clear objective in designing the course was to make training resources more accessible. “We will then offer application-specific learning to run alongside these courses, as it is important, they understand how Martin Audio systems work, and are able to deploy and use these correctly when working within the industry.”

The main product focus for Connaughton has been Wavefront Precision. “Where possible, we are working with rental partners, not only to give training but also to create those networking connections to local companies and employers; this will only benefit all parties.”

The take-up from universities has been hugely impressive. The first phase has seen the support engineer visit 12 establishments, culminating in The Royal Conservatoire of Scotland and Belmont University in Nashville. “They are travelling from the US to spend a day at HQ to complete training and a site visit as part of their pro audio manufacturer training.”

Others have included ACM Guildford, dBs Music Bristol, Leeds Beckett University, ACM Birmingham, BOA Birmingham, University of South Wales, Nottingham Trent Confetti, Liverpool Institute for Performing Arts, dBs Plymouth (where Paul was originally a lecturer), Spirit Studios Manchester, Gloucester University and Southampton Solent University. A further 15 universities are already looking to schedule dates for the next academic year.

“All universities jumped at the chance to work together as experiences like this are just so hard to find in education,” he continues. “The time that learners are able to get hands on with equipment and engage in discussions with regard to software, electronics, equipment, etc are invaluable. These really help to make this more than just a day of manufacturer training.”

The course itself also covers the practical use of DISPLAY software, focusing on optimisation and coherent design. This is followed by rigging and hardware, including cabling, workflow, electronics, power supply “and pretty much everything that comes with knowing how to set up and deploy a Martin Audio loudspeaker system.” The journey then shifts into control territory where amplifiers are connected to a computer network for control via the proprietary VU-NET control software. This is followed by time alignment to ensure the system is phase coherent, and finally a listening session combined with the use of DISPLAY to show the effect of Audience Coverage versus Hard Avoid function.

Martin Audio is now in the process of developing an accreditation system to work alongside partners to develop a training module that can be delivered by both them and the local rental supplier or integrator. Completion of the one-day university training will prepare students for the full two-day official training at Martin Audio, where they will gain further experience.

In summary, Paul Connaughton says he is delighted with the way in which this initiative has initially been received, born out by the many positive testimonials he has received. “The visits to date have been a great success, and we are already planning new sessions beginning October 2023 onwards. It is something we are looking to continue year on year, and we have also been asked by some educational providers to become a core part of their curriculum.”

Any other learning establishments wishing to participate can contact: to arrange a chat.

Martin Audio leads the way in on-site university trainingMartin Audio leads the way in on-site university training

13th June 2023

Green Hippo and Prase deliver Hippotizer video-to-surface training

Green Hippo and Prase deliver Hippotizer video-to-surface training
Green Hippo and Prase deliver Hippotizer video-to-surface training

Italy – Italian audio, video, digital signage and control solution distributor Prase Media Technologies has delivered its first Hippotizer training sessions, in collaboration with Green Hippo. The two-day course was designed to showcase some of the world-class features of the Nevis+ and Boreal+ MK2 media servers and the new Hippotizer 4.8 software.

Prase became a Green Hippo distributor for Italy in spring 2022, working with the entire range of Green Hippo’s award-winning Hippotizer media servers and in addition, tvONE products. Prase is now working to extend the influence of Green Hippo’s video playback technology, furthering Green Hippo’s global reach and enhancing customer service.

Hippotizer product specialist Leon Dickens provided training at the event, held at the Prase office located in the northern Italian town of Noventa Di Piave, alongside Prase’s Sonny Laurano and Enrico Fodde. Attendees learned how to manage, send, manipulate and sync video content on any surface. The visuals were displayed on two 40" displays and a much larger Absen 4K LED screen.

“With Hippotizer as a new product in Prase’s catalogue, they recognised that a key component for product exposure throughout Italy would be comprehensive training sessions for AV users,” says Dickens. “Prase has fantastic facilities for demonstrating the capabilities of the Hippotizer software and going forward aim to continue access to Hippotizer training. Many of Prase’s existing customers, who attended the training session, were interested to have a hands-on experience with the Hippotizer hardware available. Attendees ranged from freelance AV professionals, event technicians from a number of AV rental companies as well as some of Prase’s wider sales team.”

Dickens says that focuses of the training in Hippotizer 4.8 software highlighted the features of the Hippotizer workflow, including TimelinePlus, VideoMapper, DMX2 and PixelMapper components.

“Some attendees showed specific interest in the SHAPE alignment features which we demonstrated at the end of the session,” adds Dickens. “Finally, an overview of the new 4.8 features Show Manager, improved encoding and REST API webpage design framework. Having outreach to completely new users of Hippotizer is always a great experience, there was genuine interest shown by the whole group. Demonstrating the PixelMapper and DMX2 components is always a winner for us, it is a staple feature of Hippotizer and always well received. Our simplistic design and integration with the lighting world provides a great intermediary solution.”

Sonny Laurano, Prase's application engineer, comments: “We were thrilled to host our first Hippotizer training sessions at Prase. Hippotizer is a very flexible media server offering a wide range of features that caters for most of the pro-AV industry requirements. Simplistic UI design and interoperability makes the Hippotizer product range a great choice for live events, installation and broadcast. MultiController, DMX2 and the new REST API really open doors for end users to customise interaction with the products, while maintaining all of the technical functionality that Hippotizer is known for.

“Meeting new users, hearing their feedback and demonstrating new solutions was great fun and much knowledge was gained along with some great ideas.”

Luca Battistelli, business manager, Prase Media Technologies, says: “We’re excited to have Green Hippo’s premium media servers in our catalogue, and to be able to offer Italian professionals best-in-class technologies for creating an engaging and stunning multimedia experience. Our partnership with Green Hippo pairs with Prase's growing video proposal, mainly projectors and LED walls.”

To discover Green Hippo’s training opportunities, visit 

2nd May 2023