AVNation TV

Category: Loudspeakers

  • L-Acoustics L1 and CS1 Debut in the Americas on Bruno Mars’ The Romantic Tour

    L-Acoustics L1 and CS1 Debut in the Americas on Bruno Mars’ The Romantic Tour

    Bruno Mars’ The Romantic Tour ranks among the largest stadium runs of the year. Launched April 10 in Las Vegas, it began as a 39-date stadium tour, and demand has since pushed the count to 90 nights across North America, Europe, and Japan, with the trek set to conclude January 28, 2027 in Tokyo. Along the way, The Romantic Tour set the record for the highest first-day ticket sales ever for promoter Live Nation in North America, filling stadiums with tens of thousands of fans a night. Every one of those nights runs on the L-Acoustics L1 system, in its first tour deployment in the Americas.

    Clair Global Brings L-Acoustics L1 to the Americas Ahead of Launch
    L1 is the flagship of the L-Acoustics L Series and the most advanced expression to date of the company’s patented Progressive Ultra-Dense Line Source (PULS) technology, engineered to deliver the power, bandwidth and pattern control that stadium productions demand.

    Responsibility for putting that pre-launch system in the air night after night fell to Clair Global, the sound company behind the tour and an L-Acoustics L1 pilot partner. L-Acoustics unveiled L1, L1D, and CS1 in May at its Keynote 2026 event at the Hollywood Bowl, yet the system had already been touring with Bruno Mars since April. Clair Global is one of a small group of partners entrusted with the system before its commercial release, a decision that reflects deep confidence on both sides.

    A stadium tour of this scale demands enormous output and even coverage. The L1 enclosures are large, but relative to the large-format systems they stand in for, a shorter L1 hang delivers comparable performance with fewer boxes and less weight flown overhead. The integrated cardioid design of L1 and CS1 keeps low-frequency energy on the audience and off the stage, giving Bruno Mars a cleaner space to perform in.

    “It’s the first large-format cardioid system design from L-Acoustics, both the subwoofer and top box fully natively cardioid, and it’s been helping massively clean up stadium sound, which is always challenging,” says The Romantic Tour systems engineer Wayne Hall. “It just makes it sound more like a smaller, intimate venue, like a theater or a small arena, really, which has been quite amazing, considering the places we’re playing. It’s quite an accomplishment.”

    CS1 Extends Low-Frequency Control from the Front Row to the Far Field
    For FOH engineer Sean “Sully” Sullivan, mixing the show night after night for stadium-sized audiences, the difference is immediate. “This system makes a stadium sound a lot smaller than it is,” he says. “Controlling the low end with a full cardioid PA pretty much eliminates the usual stuff rolling around these giant spaces. Once you add the finest mids and highs I’ve ever heard, the room just disappears.”

    The gains hold up where stadium sound is hardest to control. “I found the new CS1 to be extremely impressive in the far field, which is traditionally where you’d lose low frequency at the top of the stadiums,” Hall explains. “And we’re getting a seamless transition from the ground subs to the flown subs. As a result, we’re able to bring that ‘ground-floor experience’ up there that people are paying a premium for downstairs, so it feels like you’re giving even more back with this new product.”

    That control marks an evolution in how the team deploys low end. “We’d been using KS28 in a cardioid configuration,” says Sullivan, “but having a box like CS1 that you don’t have to decide or configure just makes it easier and simpler. And this entire system has horsepower for days. Nothing comes close to the capabilities of L1 and CS1.”

    L1 and Autofilter Deliver One Consistent Sound Across the Bowl
    Coverage consistency is central to how the L1 system performs in a stadium. Working within L-Acoustics Soundvision, the new-generation Autofilter algorithm shapes the low-frequency behavior of each L1 array, holding tonal balance steady from the front rows to the rear bowl.

    “The boxes are quite large, but the way they’re designed and built means you can walk the room and hear a consistent effect,” Hall describes. “You just hear the whole array as one single source, so you no longer get interactions between different boxes. It’s a smoother coverage front-to-back and you don’t really notice any tonal shift or change, along with the use of L-Acoustics’ Autofilter, which they’ve considerably improved to use with this new product. Overall, it’s just a much, much better sonic experience in terms of sound quality and SPL.”

    L1, L1D, and CS1: A System Built for Every Seat in the House
    For The Romantic Tour, the main arrays comprise five L-Acoustics L1 over one L1D per side, backed by 10 CS1 flown subs per side. Matching side-fill arrays of five L1 over one L1D per side are joined by 270°-fill hangs of 12 K2 per side. Ground subs comprise 30 KS28 across the stage face in 10 cardioid-mode groups of three. Front-fills are 10 A10, each topping a sub cluster for spatialized front-fill, with four A15 serving as ground-level near out-fills: the inner two vertically oriented, the outer two horizontally oriented. Delays are four arrays of 12 K2 each, addressing the rear-bowl seats. LA7.16 amplified controllers drive the L1, L1D, CS1, and K2 arrays, while LA12X drive the ground subs, front-fills and near out-fills.

    For engineers who joined the production on short notice, the system proved quick to master. “I’d never seen this PA until we hit Vegas for the first show, yet I managed to work it out in pretty minimal time,” says Hall. “That’s a pretty good ‘kudos’ to them as a manufacturer, because if, without any training, you can make it work, that’s pretty good-going.” Sullivan finds the same familiarity: “L1 is very K1-like as far as capabilities and sonics; it has the familiar sound, and the workflow is very similar to what we were used to with K1 and K2 in the past.”

    Source Intelligence Keeps Bruno’s Voice Clear Above the Band
    On this tour, Sullivan is also working with Source Intelligence, the L-Acoustics real-time vocal enhancement platform introduced alongside L1 and CS1. Running on the L-ISA Processor II, it uses machine learning to separate the lead vocal from crowd noise, instrument bleed, PA spill, and room reflections, leaving a clean vocal for the engineer to work with.

    “Bruno’s usually pretty far from the microphone, typically about six to eight inches away, and then there’s times where he’s two feet from the microphone, which can be a real challenge with loud side-fills and a big band,” Sullivan says. “Source Intelligence is really helping deal with keeping it clean and allowing me to do his compression as I like, as well as effects and dynamics. If the snare drum’s loud and bleeding into the vocal, it’s kind of hard to lay into it, but Source Intelligence takes care of that. In fact, you can’t even tell there’s any noise up there at all. Source Intelligence is so good at cleaning the junk out and leaving the vocal untouched. It’s all Bruno. And that’s what everyone came to hear.”

    The Romantic Tour’s European dates began June 18 in Paris and continue through July 28 in London. The next North American leg runs from August 21 in East Rutherford, New Jersey through October 21 in Vancouver, with additional shows in September and October across multiple cities. Special guest Anderson.Paak also performs as DJ Pee.Wee at every concert on the global tour.

  • Mount Faber Peak Ballroom Pairs Panoramic Views with Flexible Event Technology

    Mount Faber Peak Ballroom Pairs Panoramic Views with Flexible Event Technology

    Mount Faber Leisure Group has transformed the Mount Faber Peak Ballroom into a flexible, technology-driven event venue with a new Martin Professional Lighting and JBL Professional audio system specified and designed AVL Acoustic Systems Pte Ltd (AVLAS) and supplied by Electronics & Engineering Pte Ltd. This upgrade enables one of Singapore’s most recognizable event destinations to support a broader range of premium events while preserving the venue’s panoramic views and architectural character.

    Located atop Mount Faber, one of Singapore’s highest hills, Mount Faber Peak is a landmark destination overlooking the city skyline, Sentosa Island and the harbor. The ballroom has become a sought-after venue for weddings, gala dinners, corporate functions and private events, where floor-to-ceiling windows and elevated views serve as the backdrop for celebrations. As client expectations evolved, Mount Faber Leisure Group sought to modernize the space with integrated lighting and audio systems capable of transforming the ballroom’s atmosphere to suit different event formats without compromising its clean architectural aesthetic.

    “Our vision was to create a ballroom that could transform as quickly as the events we host. Where light, sound and space move together to create emotion,” said Marc Brandon Hor, Project Consultant, AVLAS.

    The existing ballroom relied on fixed lighting and aging truss-mounted fixtures that limited creative flexibility and resulted in a similar visual presentation for every event. Because the renovation took place within a completed venue operating on a busy event schedule, the installation team also needed to work around concealed infrastructure, ceiling load restrictions and a compressed two-week installation window.

    “Transforming a completed ballroom meant navigating hidden infrastructure, load restrictions and tight schedules,” Marc said. “We needed technology that disappeared into the design yet delivered a truly flexible experience for every event.”

    To achieve that goal, AVLAS specified eight Martin Professional ERA 150 Wash fixtures and eight Martin Professional ELP PAR fixtures for their high output, color flexibility, and discreet design. Finished in white to blend into the ballroom’s ceiling, the fixtures provide programmable lighting capable of transitioning

    from subtle ambient illumination for wedding receptions to vibrant looks for product launches, entertainment and gala events while remaining visually unobtrusive when not in use.

    The audio system was designed around 18 JBL Professional Control 47C/T ceiling loudspeakers and six JBL Professional Control 19CST ceiling subwoofers, delivering even coverage throughout the ballroom while preserving the venue’s clean interior design. The integrated system supports speeches, background music, live entertainment and multimedia presentations with smooth, even sound quality across the entire space.

    With only two weeks allocated for the retrofit, close coordination between AVLAS, Electronics & Engineering and HARMAN Professional proved critical to completing the project on schedule. HARMAN Professional Solutions’ ability to provide rapid delivery and responsive technical support played a decisive role in the project’s success.

    “HARMAN’s dedication to speed and quality support transforms them from a supplier into a true project partner,” Marc said. “Their responsiveness helped us overcome every logistical and technical challenge within the tight time frame.”

    “Today’s hospitality venues need technology that enhances the guest experience while remaining flexible enough to support many different event types,” said Nick Screen, VP & GM, HARMAN Professional Solutions, APAC. “The integration of Martin Professional lighting and JBL Professional audio at Mount Faber Peak Ballroom gives the venue the ability to create distinctive environments for every event while maintaining the elegance and character that have made it one of Singapore’s premier event destinations.”

    The completed installation gives Mount Faber Peak Ballroom the flexibility to transition seamlessly between weddings, corporate functions, gala dinners and private celebrations, allowing lighting and audio to become part of the guest experience rather than simply supporting it. By combining Martin Professional lighting with JBL Professional audio, AVLAS has created an integrated solution that complements one of Singapore’s most iconic event venues while positioning it to meet the evolving expectations of premium hospitality and event clients.

  • L-Acoustics K3i Brings Full-Range Sound to FSU’s Ruby Diamond Concert Hall, Without Getting in the Way

    L-Acoustics K3i Brings Full-Range Sound to FSU’s Ruby Diamond Concert Hall, Without Getting in the Way

    Ruby Diamond Concert Hall has been the beating heart of Florida State University’s College of Music since 1911. Acting as Tallahassee’s primary performing arts venue, it seats over 1,100 and hosts everything from full opera, touring artists, and ballet productions to graduation ceremonies, academic lectures, and classical concerts. That breadth of programming is precisely what made its sound reinforcement challenge so complex: the PA had to be powerful enough to serve amplified productions yet compact enough to retract completely out of sight into the stage’s acoustical shell when acoustic performances required an unobstructed stage and acoustic sound. As FSU prepared for its 2025-26 school year, a new L-Acoustics K3i system was installed to solve both problems at once.

    “The theater is used for a lot of different types of productions,” explains Ruby Diamond’s Head Audio Specialist Mike Shapiro. “We needed a top-tier, rider friendly system that would deliver powerful, impactful performances for our amplified shows, but that same system also had to have the ability to be raised through our reflective acoustic shell, out of the way, for acapella, classical acoustic, and other non-amplified shows. The L-Acoustics K3i checked every box.”

    The installation was carried out by Clark, an Atlanta-based integrator and L-Acoustics Certified Provider for installations (CPi), working from a system design modeled in L-Acoustics Soundvision software.

    A Modern PA for a Hall with History
    Ruby Diamond seats 1,172 and expands further when the orchestra pit is not in use. The venue’s retractable speaker system dates to a $38 million renovation in 2010, when motorized hoists were installed to lift the PA up through openings in the acoustical shell above the stage. It is a practical and elegant solution—when the speakers are needed, they descend into position; when they are not, they disappear entirely, leaving the stage and its acoustic environment untouched.

    The physical installation was itself a feat of engineering. The existing hoist motors—the mechanisms that raise and lower the speakers through the shell openings—had to be removed, serviced, and reoriented to accommodate the new system. The openings in the shell are narrow, leaving almost no margin for error. “Our tolerances for getting the K3i to go up into the shell were tight,” says Brian Morrison, Business Development at Clark. “Our team did extensive analysis and measurement beforehand. In the end, we were able to position the PA for uniform coverage across the entire listening space and still get it to fit through the openings. The adjustability of the L-Acoustics boxes was critical to making that work.”

    The retractable design also gives lighting designers freedom they previously lacked. For operas, ballets, and classical performances on Ruby Diamond’s wide proscenium stage, lighting rigs need to cover the space from multiple angles—angles that a fixed PA system would obstruct. With the K3i raised and out of sight, that constraint disappears.

    Soundvision Provides a Comprehensive Design
    The new system features left and right main hangs of ten L-Acoustics K3i per side, with a center-fill hang of one A10 Wide over one A10 Focus. Three KS28 subs are stacked on the stage below each K3i array, with six coaxial X8 spread out across the stage lip for front-fill. On stage, ten X15 HiQ wedges provide monitoring. LA7.16i amplified controllers drive the entire house rig, aside from the subs, which are LA12X-powered. Additional LA12X drive the X15 stage wedges. The system also features a Direct Out Prodigy MP for Milan-AVB distribution, paired with six LS10 AVB switches.

    One of the K3i’s most important attributes at Ruby Diamond is its full-range capability. Because the shell openings are too narrow to accommodate flown subwoofers, the system had to deliver meaningful low-end extension from the main hangs alone—and it does. For many productions, the bass from the K3i mains is sufficient on its own, with no subwoofers required at all. When concerts demand more impact, six KS28 subs, three per side, can be rolled out on L-Acoustics chariots for a ground-stacked LF solution.

    A System That Looks as Good as it Sounds
    Aesthetics are important in a classic hall like this, and the venue’s gorgeously muralled side walls meant that acoustic panels or other treatments were not possible. In order to avoid reflections, the system design leans into L-Acoustics Panflex technology, using the 90-degree asymmetric presets to direct energy away from the walls and from overwhelming suites and mezzanine boxes along the side walls, while the top two enclosures are in 70-degree dispersion configuration for far-field coverage.

    Another unique aspect of the FSU project is the use of multiple mix positions, using a Milan-AVB network to let the venue’s AVID S6L console work from either the booth position or mid-house location. “We’ve got network connections and the L-Acoustics LS10 AVB switches there, so the FOH engineer can just roll the console out, plug into the network, and it’s as if they were still in the same spot and nothing really changes,” says Morrison. “If you’re doing a graduation, they just stay in the booth in the back; for music, they use the mid-house position.”

    For Shapiro, the result speaks for itself. “The system delivers exceptional coverage and outstanding sound quality throughout the venue,” he says. “The consistency from seat to seat is remarkable, ensuring every audience member hears the performance as it was intended, regardless of where they’re seated. That’s exactly the experience we were hoping to create.”

  • Luxury Bali ocean front venue deploys Crest by the waves

    Luxury Bali ocean front venue deploys Crest by the waves

    Morabito Art Villa in Bali has built its reputation on delivering unforgettable experiences. By deploying a complete Crest Audio solution, the luxury beachfront destination has elevated every performance, every event and every guest interaction with premium sound designed for one of the world’s most demanding hospitality environments

    Nestled on Bali’s spectacular southwest coastline, Morabito Art Villa has earned an international reputation as one of the island’s most distinctive luxury hospitality and entertainment destinations. Blending boutique accommodation, fine dining, exclusive private events and vibrant nightlife, the oceanfront venue attracts guests from across the world seeking an experience that is every bit as memorable as its setting.

    Whether hosting internationally renowned DJs, live performers, private celebrations or sophisticated sunset gatherings, every event revolves around atmosphere. Music plays a central role in shaping that experience, creating the energy that seamlessly carries guests from relaxed afternoons into vibrant evenings.

    As the venue continued to evolve, management recognised the need for an audio system capable of delivering exceptional performance across its diverse indoor and outdoor spaces, while standing up to the demanding environmental conditions of a beachfront location.

    Creating a world-class sound experience at Morabito Art Villa required far more than simply increasing volume.

    The venue needed concert-quality performance for headline entertainment while maintaining the warmth, detail and musicality expected within a premium hospitality environment. Audio also needed to transition effortlessly between lounge sessions, private functions, live performances and high-energy DJ sets, all while providing consistent coverage across multiple entertainment zones.

    Adding to the challenge was the venue’s location just metres from the Indian Ocean. Salt air, humidity and changing weather conditions create an unforgiving environment for professional AV systems, demanding equipment capable of delivering reliable performance night after night.

    To meet these requirements, Morabito Art Villa deployed a complete professional audio solution centred around Crest Audio technologies.

    The installation combines Crest Audio Versarray Pro line array systems with powerful CA 218 subwoofers to produce impressive low-frequency impact alongside smooth, detailed full-range reproduction. Additional Crest Audio CPL+ loudspeakers and Peavey SP4 loudspeakers provide flexible coverage throughout the venue, allowing the system to adapt effortlessly to everything from intimate lounge sessions to large-scale entertainment events.

    Crest Audio Pro-LITE amplifiers and PCX digital loudspeaker management processors complete the installation, providing advanced DSP processing, crossover management, equalisation, time alignment and system protection. Together, the technologies create a fully optimised system that delivers consistent tonal balance, exceptional clarity and reliable performance throughout every part of the venue.

    For Akshay Vaidya, Director Asia Pacific at Peavey Commercial Audio, the project demonstrates Crest Audio’s ability to deliver premium sound in one of the industry’s most challenging environments.

    “Morabito is an exceptional venue, located in an exceptional setting right by the ocean,” he said. “We’re thrilled to see Crest Audio systems powering such an iconic destination and delivering a premium audio experience for guests in a demanding outdoor environment just metres from the ocean. The ribbon tweeters really shine through, providing exceptional clarity and power that perfectly complements the venue’s atmosphere.”

    Since the installation, Morabito Art Villa has further strengthened the immersive atmosphere that has become synonymous with its brand.

    Guests now enjoy powerful, crystal-clear audio that enhances every performance while preserving the sophisticated ambience expected of a luxury beachfront destination. Consistent coverage throughout the property ensures music remains engaging without becoming intrusive, allowing visitors to move effortlessly between dining, socialising and dancing while experiencing the same premium sound quality wherever they are.

    According to the Villa’s General Manager, Tony Moutran, the difference has been immediate. “Since upgrading to Crest Audio, the vibe and atmosphere have significantly improved,” he said. “The sound is crystal clear, and we’ve received many compliments from guests about the performance of the system. We’re very happy with our choice.”

  • No Compromise: L-Acoustics Syva Delivers Concert-grade Sound to North London Home

    No Compromise: L-Acoustics Syva Delivers Concert-grade Sound to North London Home

    For a North London homeowner, it started with a Burna Boy concert. Struck by the sound, he looked into the system behind it, found L-Acoustics, and arrived at a question he couldn’t let go. Could that same experience — physical, immersive, emotionally present — exist in a private home? The answer, he decided, would require two very different rooms, and two completely opposite approaches to the same goal.

    An Unambiguous Brief

    “By the time he arrived at the L-Acoustics showroom in Highgate, the client had a clear sense of what he wanted,” says Nick Fichte, Global Business Development Lead, Hospitality, Home & Yacht at L-Acoustics. “He was interested in recreating the physical and emotional impact of live sound, rather than simply replicating it.”

    The client came with specific tracks he wanted to hear, ideas about speaker placement, and a vision for how he wanted each space to feel. He also returned to Highgate a second time to refine his choices as the project moved closer to completion.

    Designing for Invisibility and Impact

    The two spaces required distinct design approaches. Working with the wider project team, Hill House Interiors helped shape how the audio systems were integrated into each room. In the cinema room, the client didn’t want the speakers to be visible at all. Hill House Interiors developed the design approach that allowed the speakers to be concealed entirely behind fabric walls, with acoustic treatment and build work handled by specialist contractor Desmond & Sons, leaving no visible trace of the technology behind the experience. The result is a seamlessly integrated, immersive listening environment where the full power of the system is experienced rather than seen.

    “Bringing the design and audio teams together early allowed the acoustic brief to inform the room from the outset, from wall build-ups and material choices through to the ceiling design,” explain Helen Bygraves and Jenny Weiss, Co-Founders and Directors of Hill House Interiors. “Working with L‑Acoustics meant we could achieve a high level of performance while keeping the technology discreet, so the cinema still reads as an intimate, resolved interior rather than a purely technical space.”

    The games room was the opposite brief entirely. Here, the client wanted the speakers visible — a deliberate design statement rather than a hidden system. The acoustic challenge was considerable: floor-to-ceiling glass, hard floors, a bar surface running the length of the room, and glazed doors opening onto a swimming pool left almost nothing to absorb reflections.

    “To flawlessly match the Syva speakers, we RAL color-matched them to the joinery, and designed them to read as a deliberate design statement within the room,” says Fichte. “Given the complexity of the acoustic environment, we also brought in one of our L-Acoustics application engineers to calibrate the system. Their expertise was essential to achieving the performance the space required.”

    Syva and X Series Deliver

    The cinema room is built around three X8i handling left, center and right channels, supported by 10 X4i covering surround and height channels, and two Syva sub for low frequency extension. System drive is handled by an LA7.16i amplified controller.

    In the games room, a pair of Syva with Syva Sub forms the main system, complemented by four X4r installed in the ceiling, powered by an LA4X amplified controller.

    Sound Worth Coming Home To

    The project’s ultimate aim, to bring the quality of live sound into a private home, was realized in the finished installation. With the system calibrated and the client fully acquainted with its capabilities, the response has been overwhelmingly positive.

    “What made this project special was the journey the client had already been on before he walked through our door,” Fichte adds. “He knew what he wanted because he’d heard it in a live context and refused to accept that the same emotional experience wasn’t possible at home. He was the sort of client who pushes you to deliver something truly exceptional — and these two rooms do exactly that.”

  • SoundTube Now Shipping U.S.-Made TAA- and BAA-Compliant In-Ceiling Speakers to Meet Growing Demand for Compliant AV Projects

    SoundTube Now Shipping U.S.-Made TAA- and BAA-Compliant In-Ceiling Speakers to Meet Growing Demand for Compliant AV Projects

    SoundTube Entertainment is now shipping its U.S.-made CM62-BGM-II-US and IPD-CM62-BGM-II-US in-ceiling speakers, giving AV integrators and consultants new TAA- and BAA-compliant options for projects that require domestic sourcing. Designed for government, education, military, corporate, and other regulated environments, the speakers help meet procurement requirements while maintaining reliable audio performance and simple installation.

    Built at SoundTube’s Kansas manufacturing facility, the new speakers are based on the company’s proven CM62 platform, with the IPD model adding Dante-enabled networked audio, power, monitoring, and control over a single Ethernet connection. The launch also expands SoundTube’s Made in America initiative, backed by free design services that help consultants and integrators simplify compliant AV system planning.

    SoundTube Entertainment®, a leading innovator in commercial and residential loudspeaker solutions, announces that its U.S.-made CM62-BGM-II-US and IPD-CM62-BGM-II-US in-ceiling loudspeakers are now shipping, providing consultants and integrators with readily available TAA- and BAA-compliant audio solutions for projects requiring domestic sourcing.

    As procurement requirements increasingly favor American-made products for federal, military, education, corporate, and other regulated environments, SoundTube’s latest loudspeakers enable AV professionals to meet compliance requirements without compromising audio performance, installation efficiency, or networked audio capabilities.

    Manufactured in SoundTube’s Lenexa, Kansas facility as part of the company’s Made in America initiative, the new 6.5-inch coaxial ceiling speakers are built on SoundTube’s proven CM62 platform. The CM62-BGM-II-US is a passive background music loudspeaker, while the IPD-CM62-BGM-II-US incorporates SoundTube’s award-winning Dante-enabled IPD® technology, delivering networked audio, power, monitoring, and control over a single Ethernet connection.

    “Over the past year, we’ve seen a noticeable increase in projects where TAA and BAA compliance are specified from the outset,” said Peter Melvin, VP at SoundTube. “Consultants and integrators are looking for American-made solutions that don’t require tradeoffs in sound quality, network capabilities, or installation simplicity. With these products readily available, we’re giving our partners the confidence to specify compliant solutions that perform as well as the projects demand.”

    The availability of the CM62-BGM-II-US and IPD-CM62-BGM-II-US represents another milestone in SoundTube’s ongoing Made in America initiative, which continues to expand the company’s portfolio of domestically manufactured loudspeaker solutions for commercial AV applications. The initiative reflects SoundTube’s long-term commitment to strengthening domestic manufacturing while helping customers navigate evolving procurement requirements and supply chain considerations.

    To help consultants and integrators streamline project design, SoundTube’s Design Services team provides complimentary product selection assistance, loudspeaker layout recommendations, coverage modeling, and complete system design support for projects of any size, including those requiring TAA- and BAA-compliant solutions. Customers can contact the Design Services team at designs@soundtube.com for expert assistance.

  • Lorde’s Ultrasound Tour Brings Intimate Presence to Massive Arenas with L-Acoustics L-ISA

    Lorde’s Ultrasound Tour Brings Intimate Presence to Massive Arenas with L-Acoustics L-ISA

    In 2018, Lorde made history by becoming the first artist to take out a full arena deployment of L-Acoustics L-ISA, utilizing K2 arrays, on her acclaimed Melodrama tour. Following her Solar Power tour four years later, the New Zealand-based artist has more recently returned to arenas with the Ultrasound World Tour—supporting her fourth studio album, Virgin—with a fresh complement of L-Acoustics L Series loudspeakers supplied by Clair Global, which also deployed an L-ISA Hyperreal Sound system on the campaign’s North American dates.

    FOH engineer Philip J Harvey, an L-Acoustics Artisan of Sound, has worked with Lorde on all of her tours since the beginning in 2014. “With Virgin, the sonics are more of a hard-driving electronic vision; very dynamic, but still retain an intimacy and vulnerability. This approach was incorporated into Ultrasound. Much of the material from her past albums was reimagined and revamped to fit this tour’s aesthetic. With L-ISA, we wanted this driving force to wash over the audience like a spacious tidal wave at high points and then collapse down into soft, more mono, raw vocal moments. This dynamic contrast really makes a powerful impact on the audience.”

    That dynamic interplay between scale and intimacy is made possible in part by the compact form factor of L Series itself. The shorter hangs of L Series, with each L2 or L2D element covering the same contour as four conventional K2 elements in a form factor 46% smaller and 40% lighter, meant the rigging above the stage stayed visually clean, leaving the full impact of that striking set design unmarred, and giving every audience member an unobstructed view of the artist and the performance.

    The Ultrasound World Tour has taken Lorde to sold-out arenas across North America, Europe, the UK, New Zealand, Australia, and Mexico. Crucially, the L-ISA Hyperreal Sound deployment on the North American leg proved that scale and intimacy need not be in conflict; even in the biggest rooms, every audience member could feel Lorde’s presence as though she were performing for them alone. She returns to close out her final festival dates later in August and September into October.

    Lorde’s North American L-ISA Deployment
    For the world tour’s North American leg, Clair Global’s standard arena deployment featured an L-Acoustics Scene system comprising five arrays of three L2 over one L2D, paired with two identical L Series out-fill arrays, plus left and right hangs of 12 Kara II for 220°-fill. Sixteen KS28 subs flown in two central hangs of eight delivered the show’s low-end reinforcement, complemented by four KS21 mounted into the stage face as front-fill subs.

    A dozen L-Acoustics A10 Wide enclosures spread out across the front of the stage lip supplied spatial front-fill. Two more A10 were placed in front of the stage thrust, while one A10 Focus and one A10 Wide atop two KS21 to the far left and right of the stage provided ground out-fill coverage. At NYC’s Madison Square Garden show, the main system was supplemented by three L2 flown in an LCR arrangement over the rear section of the main floor to compensate for the venue’s large central video display.

    For power, 24 L-Acoustics LA7.16 amplified controllers drove the L Series enclosures, while 18 LA12X handled everything else. Two L-ISA Processor II units, one used as a redundant backup, facilitated the tour’s object-based mix, with processing and control achieved via two P1 processors, feeding the system over Milan-AVB, and LA Network Manager.

    According to Chris Demonbreun, who served as the North American leg’s systems engineer, the initial Soundvision model started with a general design from Josh Lloyd at Britannia Row Productions, a Clair Global brand. “I made a few modifications to make the system fit within the other elements of the show and relied heavily on Soundvision’s Autosolvers,” Demonbreun shares. “They’re really handy tools when deploying L Series, and L-Acoustics has done a strong job with the algorithms they use, especially with the Autofilters. Every venue requires minor tweaks to the system, but we were able to deploy a consistent sounding system every night, and the Soundvision predictions did a great job of matching the real-world results. Philip is, of course, a skilled mix engineer and it was great being able to deliver his mix to every single person that bought a ticket for the show, no matter where their seat was.”

    A Fully Spatialized Mix From Front to Back
    For those audience members up front, the tour’s use of spatialized front-fills ensured that they also enjoyed a panoramic audio experience. “The coverage on the floor in the spatialized zone that L-ISA provides was exceptional,” says Harvey, who has also worked with Keane, My Bloody Valentine, Mumford & Sons, and The White Stripes, among many others over his 30-years-plus career. “Chris made the daily critical listening arena trek to make sure everywhere in the house sounded consistent, and the spatialized front-fills really drew the audience in the front rows into the immersive experience.”

    Demonbreun agrees: “With all of the great tools L-Acoustics provides, L-ISA performs very well in arena settings, and I could make sure that Ella’s performance got delivered to everyone in the audience: 75 percent were in the L-ISA immersive zone, while the rest were hearing fill systems,” he says. “The spatialization from the front-fills is a really cool thing. The L-ISA Processor took all the information from the main Scene and, using L-ISA’s Sound Spaces feature, rendered a tailored immersive environment specifically for the front-fill zone, delivering a well-defined, spatially-coherent experience to those closest to the stage, and it worked really well. One other advantage we had was no stage volume to interfere with the front-fills.”

    A Successful Maiden Voyage with L-Acoustics L Series
    Although Harvey was intimately familiar with L-ISA, Lorde’s Ultrasound World Tour marks his first opportunity to tour with L-Acoustics L Series loudspeakers. “I am so impressed with the clarity and detail of L2 and L2D,” he says. “To me, they sound like giant studio monitors, and their directionality really cleans up much of the sound that used to roll around behind the speakers in the low to low-mid frequencies in previous systems. L-ISA is incredibly powerful for the ability to take advantage of hyper-dynamics between a mono, soft, intimate setting in one moment, then crescendoing into a massive wide-panned, loud explosion in the next—and L Series delivered this perfectly with precision and clarity.”

    From a systems engineering and deployment perspective, L2 and L2D are equally popular with Demonbreun. “I previously used an L Series system for delay hangs on Lana Del Rey’s 2025 UK stadium tour and they’re such impressive boxes. They travel really well and are very quick to deploy and then strike at the end of the night. We utilized the L-Acoustics Clamp 1000 for deploying the main Scene system from truss. The Clamp 1000 is a game-changer—it’s a panning rigging system rated to 1,000 kg that allows you to rotate the entire flown array from the ground, which dramatically reduces the number of motors needed and cuts load-in time. It also means you can fine-tune the azimuth angle of each hang at ground level rather than working at height, which is critical for L-ISA, where consistent array orientation from venue to venue is essential to the immersive image.”

    L-ISA: Connecting Artists and Audiences
    “We employed the Follow-Me tracking system with Ella’s vocal to really take advantage of L-ISA’s immersive panorama,” Harvey says. “As she walked around the stage, her voice in the speakers followed her physical presence.”

    Harvey notes that he particularly appreciates the inherent nature of the L-ISA system being able to translate the mix as intended across the entire floor and into the arena seats, “versus a left-right system, which only offers the full mix to audience members situated directly down the middle ribbon of the arena floor,” he says. “My other standout aspect of L-ISA is the center-hung, end-fire KS28 sub configuration, which was flown above the center L2 array. The low end was clear, clean, and pronounced in a way that’s rare in a large system. The fact that all the sub frequencies were emanating from the same single vertical point means there was no comb filtering from multiple low-end sources in different positions in the room where their interactions end up not aligning in phase.”

    From initially setting the bar high on Lorde’s Melodrama tour by incorporating L-ISA, the addition of L2 on the Ultrasound tour has further refined the audience’s experience—and there has been no shortage of compliments on the mix and sound quality from everyone in Lorde’s camp from the top down. “On social media, the reviews from audience members have all been very positive,” Harvey adds. “By and large, it seems they know something is different in the sound design of our show. It definitely reinforces the choices we’ve all made to go with L-Acoustics L Series and L-ISA.”

  • BSS Soundweb OMNI 600, 300 and 200 Series to Debut at InfoComm 2026

    BSS Soundweb OMNI 600, 300 and 200 Series to Debut at InfoComm 2026

    HARMAN Professional Solutions is expanding the BSS Soundweb OMNI platform with the launch of the new OMNI 600, 300, and 200 Series AV-over-IP solutions at InfoComm 2026. The new product families introduce video, audio, and USB distribution capabilities over IP, creating a more comprehensive and scalable AV ecosystem. Managed through the AVX Suite software platform, the solutions are designed to simplify deployment, monitoring, and management while supporting a wide range of professional AV applications.

    The OMNI 600 Series delivers ultra-low-latency 4K60 AV-over-IP performance for mission-critical environments, while the OMNI 300 Series provides bandwidth-efficient video streaming and collaboration features for enterprise and hybrid spaces. The OMNI 200 Series focuses on USB extension and routing over IP for conferencing and collaboration applications. Together, the three series offer interoperable, standards-based AV solutions with Dante integration, centralized management, and enterprise-grade security, enabling organizations to build flexible systems that can grow with future needs.

    HARMAN Professional Solutions, the global leader in audio, video, control, and lighting systems, announced today that it will debut the BSS Soundweb OMNI 600, 300, and 200 Series AV-over-IP platforms at InfoComm 2026 (Booth #C8124), taking place June 17–19 in Las Vegas. These new additions mark the introduction of video capabilities within the BSS Soundweb OMNI platform and significantly expand the ecosystem with three new families of networked AV solutions.

    OMNI Networked AV extends the OMNI platform into video, audio, and USB distribution over IP, representing the next phase in the evolution of the OMNI ecosystem. By combining purpose-built, high-performance hardware with a unified software environment, these products enable flexible system architectures while delivering consistent performance, simplified deployment, and scalable system design.

    The OMNI Networked AV portfolio consists of three product ranges—the OMNI 600, 300, and 200 Series—each engineered to address specific application requirements, from high-performance, low-latency video to bandwidth-efficient streaming and network-routable USB connectivity. All products are configured, managed, and monitored through HARMAN’s AVX Suite software platform, enabling systems to be designed and operated as one cohesive environment.

    The OMNI 600 Series delivers high-performance AV-over-IP for performance-critical environments, supporting 4K60 4:4:4 video, audio, control, and USB 2.0 over Gigabit Ethernet. Featuring Motion Wavelet Compression, the series preserves pristine image quality for fast-motion video and highly detailed visual content with ultra-low end-to-end latency. Virtual Network USB 2.0 Hub technology enables a single USB host to connect to devices at up to four remote OMNI 600 or 200 endpoints. Native support for Dante AV-A and Dante audio, along with seamless switching, video wall processing, an open control API, and enterprise-grade security, enables flexible system design, professional-quality AV presentations, and deep third-party integration. OMNI 600 is ideally suited for mission-critical applications in higher education, government, enterprise, and large-venue environments.

    The OMNI 300 Series is optimized for bandwidth-efficient AV distribution over shared LANs or WANs without compromising performance. Using H.264 or H.265 compression, OMNI 300 streams high-quality 4K60 4:4:4 video while simultaneously generating a secondary 1080p H.264 or H.265 video stream for third-party platforms and services. USB-C connectivity on both the encoder and decoder supports USB video and audio for recording and collaboration workflows, with conversion between Dante audio and USB AV (UAC and UVC). With support for Dante AV-H interoperability, enterprise security features, and centralized management through AVX Suite, OMNI 300 is well suited for meeting spaces, hospitality venues, casinos, retail environments, and hybrid classrooms.

    The OMNI 200 Series focuses on professional-grade USB 2.0 routing and extension over IP for collaboration-centric environments. Built around Virtual Network USB 2.0 Hub technology, OMNI 200 allows a host PC to communicate with USB devices at up to four remote endpoints over standard Gigabit Ethernet, supporting data rates up to 480 Mbps. The series also provides two-channel Dante audio input and output at the USB host endpoint, enabling seamless USB audio conversion (UAC) for conferencing and collaboration workflows. OMNI 200 supports PoE+ powering, integrates with OMNI 600 systems, and includes enterprise network security features, making it ideal for conferencing rooms, collaboration spaces, and flexible AV environments where reliable USB connectivity is paramount.

    Together, the OMNI 600, 300, and 200 Series form a cohesive networked AV solution within the broader OMNI platform. By combining purpose-built hardware, a unified software environment through AVX Suite, and support for standards-based technologies such as Dante, OMNI enables interoperable, scalable systems that are easier to design, deploy, and manage. This approach provides a clear path to support current application needs while allowing systems to evolve over time within a single, consistent platform.

  • Theory Professional Previews ‘Rock Concert-in-a-Box’ Full-Range Sound Reinforcement Loudspeaker at InfoComm 2026

    Theory Professional Previews ‘Rock Concert-in-a-Box’ Full-Range Sound Reinforcement Loudspeaker at InfoComm 2026

    Theory Professional has unveiled the SR-221.3, a new full-range sound reinforcement loudspeaker at InfoComm 2026. Designed as a compact yet extremely powerful solution, the speaker combines dual 21-inch low-frequency drivers, four 10-inch midrange drivers, and an innovative horn-loaded compression driver to deliver high-output, high-fidelity sound. With a frequency range of 27Hz–20kHz, up to 140dB SPL output, and wide 170° x 60° coverage, the company describes it as a “rock concert-in-a-box” capable of filling medium-sized venues with ease.

    The SR-221.3 reflects Theory Professional’s focus on combining premium audio performance with a space-saving design. Built in the U.S. and scheduled for availability in Q4 2026, the loudspeaker will be demonstrated at InfoComm 2026, where Theory aims to showcase an alternative to large and costly line-array systems for professional sound reinforcement applications.

    Following its successful expansion into the sound reinforcement market in 2025, premium audio brand, Theory Professional, is once again shaking things up at InfoComm 2026 with the preview of a very unique full-range loudspeaker that boasts innovation the professional audio industry has not seen before.

    The extreme output SR-221.3 is the latest addition to Theory’s popular SR Series sound reinforcement loudspeakers and manifold subwoofers. Within its modest enclosure, the SR-221.3 features integral dual 21-inch, 3,600W low frequency drivers, four 10-inch carbon fiber high-output midrange drivers, and a 5-inch-wide band ring radiator compression driver mounted on an extremely innovative axi-periodic horn. With a bandwidth of 27Hz – 20kHz, -3dB, ~140dB SPL, and ultra-wide 170° x 60° coverage, the SR-221.3 is playfully referred to as a ‘rock concert-in-a-box’ because a single loudspeaker can easily fill medium-sized venues with high-output and high-fidelity sound.

    Unlike most sound reinforcement speakers, and in line with the brand’s promise, Theory is raising the performance bar, not only in terms of accuracy of the reproduced sound, but also in sheer output capability. Surprisingly compact, the powerful, high-fidelity SR models won’t impede on aesthetics – they can be installed discretely, and in tighter locations. Along with the other seven models in Theory’s popular SR Series line of sound reinforcement loudspeakers and manifold subwoofers, the SR-221.3 is built-to-order in the U.S. and unites lively dynamics, high maximum output level, and refined acoustic performance.

    By combining the signature Theory ‘high-output, high-fidelity’ philosophy with a form factor and acoustic design never before seen in the professional space, Theory is proving that sophisticated design and uncompromising power can—and should—coexist. The full-range SR-221.3 will be available in Q4 2026 and will be demonstrated amongst Theory’s other highly regarded audio products in Audio Demo Room N212 at InfoComm 2026. Demonstrations will run every even hour Tuesday – Friday (10am, 12pm, 2pm, and 4pm) in which Theory will show attendees they do not need large, complex, and expensive line arrays for their premium sound reinforcement applications.

    Schedule a demonstration or stop by booth N6205 to see and hear the future of portable and installed sound.

  • Sennheiser Launches TeamConnect Ceiling M Plus

    Sennheiser Launches TeamConnect Ceiling M Plus

    Sennheiser has introduced the new TeamConnect Ceiling M Plus (TCC M Plus), a ceiling microphone designed to make deployment and management easier while delivering clear, natural speech in meeting rooms, classrooms, and other collaboration spaces. Debuting at InfoComm 2026, the solution builds on the existing TeamConnect Ceiling portfolio with enhanced features such as dynamic beamforming, improved exclusion zones, and flexible installation options to ensure reliable audio performance in medium and large spaces.

    A key highlight of TCC M Plus is the introduction of PartnerLink, a new integration capability that allows direct configuration within supported AV platforms. Launching first with Q-SYS, PartnerLink simplifies setup and control while maintaining Sennheiser’s open ecosystem approach. The microphone also integrates with Sennheiser DeviceHub for cloud-based monitoring, configuration, and management, helping AV and IT teams streamline operations and scale deployments across multiple rooms and locations.

    Sennheiser, the first choice for advanced audio technology that makes collaboration and learning easier, today announced the launch of the TeamConnect Ceiling M ​ Plus (TCC M Plus), a new ceiling microphone designed to deliver simplicity of use and clarity of sound, combining streamlined deployment with consistently clear, natural speech for every participant in the room.

    Building on the success of the TeamConnect Ceiling portfolio, TCC M Plus, which will be showcased at InfoComm 2026, combines trusted Sennheiser audio performance with a new generation of features designed to reduce deployment effort, simplify system configuration, and support scalable AV environments.

    Introducing PartnerLink – A new capability that enables direct configuration within supported platform workflows

    One of the key new capabilities included with TCC M Plus is PartnerLink, Sennheiser’s integration feature designed to simplify how microphones are configured within leading AV platforms. The first implementation, co-developed through close engineering collaboration between Sennheiser and Q-SYS™, enables the TCC M Plus to be directly configured within Q-SYS Designer Software. This allows for streamlined integration of audio and control alongside Q-SYS native components.

    “Our collaboration with Sennheiser is focused on making it easier for customers and integrators to bring high-quality audio into Q-SYS,” said Gary Evans, Director, Alliances, QSC®. “With the Q-SYS Extension for Sennheiser PartnerLink, we’re streamlining deployment and making it simpler to incorporate Sennheiser audio and key elements of device control and automation while preserving the well-known flexibility of the Q-SYS Full Stack AV Platform.”

    PartnerLink is launching initially for Q-SYS environments and will expand to additional platforms over time. TCC M Plus continues to support Sennheiser’s open ecosystem approach, delivering reliable and validated integration options across a broad partner ecosystem.

    Flexible Integration Across Diverse AV Environments

    Beyond PartnerLink, TCC M Plus continues Sennheiser’s established approach to interoperability, supporting multiple integration methods to suit different system designs and customer requirements.

    Integrators can deploy Sennheiser microphones using trusted methods such as Dante and verified integrations, ensuring consistent workflows across a wide range of room types and platform environments. This flexibility allows organisations to standardise on Sennheiser audio while choosing the platforms and architectures that best meet their needs.

    Designed For Modern Collaboration Spaces

    As hybrid work and learning environments continue to evolve, AV systems are becoming more connected and more complex. TCC M Plus is designed to address this shift by combining high-quality audio performance with simplified setup, commissioning, and management.

    With features such as dynamic beamforming and enhanced exclusion zones, the solution delivers clear, natural speech that adapts to changing room layouts and participant positions, ensuring every voice is heard without distraction. The enhanced exclusion zones simplify zone configuration, which significantly improves desired audio pickup in complex rooms and camera tracking reliability.

    At the same time, TCC M Plus reduces the effort required to design, deploy, and manage systems, supporting a more consistent and predictable experience for integrators, AV/IT teams, and end users alike. Flexible installation options and a coverage area suited to medium and large spaces make it ideal for meeting rooms, classrooms, and divisible environments. TCC M Plus also supports scalable deployments through single-cable connectivity options and centralised management, helping organisations standardise solutions across multiple rooms and locations.

    Centralised Management with DeviceHub

    Alongside its integration capabilities, TCC M Plus integrates with Sennheiser’s DeviceHub, a cloud-based platform designed to simplify device management at scale. This integration allows for direct access to the TCC M Plus for configuration and monitoring, without the need to install tools.

    DeviceHub provides centralised visibility across rooms, buildings, and regions with remote monitoring, configuration, and diagnostics and role-based access for secure collaboration between AV and IT teams. This enables organisations to manage growing AV deployments more efficiently, reducing operational overhead while maintaining system performance.

    Supporting Scalable, Future-Ready AV Environments

    TCC M Plus has been designed to meet the needs of integrators, AV/IT managers, and organisations deploying collaboration solutions at scale. By combining simplified setup and commissioning, with flexible, reliable integration options and centralised, cloud-based management, TCC M Plus ensures organisations can deliver consistent, high-quality audio experiences while reducing the effort required to deploy and manage them at scale.