AVNation TV

Category: Loudspeakers

  • L-Acoustics X Series Delivers Precision Sound at Minitas Beach Club

    L-Acoustics X Series Delivers Precision Sound at Minitas Beach Club

    L-Acoustics has upgraded the audio experience at Minitas Beach Club with its X Series sound system. Located within Casa de Campo Resort and Villas, the venue needed a solution that delivers clear, high-quality sound while maintaining a calm and non-intrusive atmosphere across cabanas, pool, and bar areas. The system was designed and installed by Sound Video Light (SVL) in collaboration with Wholestage, ensuring consistent performance even in challenging beachfront conditions.

    The setup includes a range of compact X Series speakers, subwoofers, and LA2Xi controllers, all connected through an AES67-based audio network for seamless multi-zone control. Each cabana offers independent volume control and Bluetooth connectivity, allowing guests to personalize their experience without sound bleed. With accurate system design using Soundvision software, the installation delivers improved claritLiveentire Casa de Campo complex is a relaxing, peaceful environment, and it was essential that no zone interfere with neighboring residences or adjacent spaces.”

    SVL partnered with Miami-based distributor Wholestage to deliver a solution that was sonically and aesthetically suited to the Beach Club. Both companies share a longstanding relationship with L-Acoustics and with each other. “The L-Acoustics footprint across Latin America has grown significantly in recent years, and that’s opened the door to more regional projects like this one,” says Wholestage CTO Jonathan Delvillar. “When a property like Casa de Campo is looking for a premium audio solution, we can now offer the full package locally—the right product, the right support, and the engineering expertise to back it up.”

    Charles Keusters, Director of Operations at Casa de Campo Resort, confirms the success of the installation: “Our relationship with SVL and Wholestage spans many years and multiple projects across Casa de Campo, and has always been grounded in trust and a shared commitment to quality. Their guidance is consistently aligned with the level of experience we strive to deliver to our guests. Their recommendation of L-Acoustics has proven to be an excellent fit—bringing a level of clarity, control, and subtlety that enhances the atmosphere at Minitas Beach Club while preserving the sense of ease and exclusivity that defines the space.”

    X Series: Designed for the Space and the Elements
    Abreu says the new Minitas sound system needed to deliver high-end audio performance while also being robustly weather-resistant. “Given the beachfront location, the speakers had to withstand humidity, salt exposure, and constant wind,” he explains. “Wind is a significant factor—it makes achieving consistent coverage at controlled SPL particularly challenging.”

    “Coverage and control were the central concerns in the cabana areas. The goal was to deliver a private, contained experience without bleeding into neighboring spaces,” Abreu continues. “You want the volume to feel right inside each cabana without causing bleed-through. That means consistent coverage and quality sound, even at low listening levels.”

    Wholestage’s Delvillar notes that several speaker brands were demoed for resort executives, but one quickly stood out. “We brought L-Acoustics equipment to Casa de Campo so they could hear it for themselves, and they fell in love with it,” he says.

    Soundvision Creates a Tailored Solution
    Each cabana has an independent wall controller so guests can adjust volume within their own space, along with a Bluetooth receiver for personal playback. “Even though the cabanas are close together, when it’s quiet in the evening you can connect your own music and it works beautifully,” Delvillar says.

    For Minitas Beach Club, Wholestage supplied an L-Acoustics X Series package comprising eight X8i, five X6i, and eight X4i coaxial loudspeakers, plus two SB10i subs, all driven by LA2Xi amplified controllers. The X8i and SB10i cover the pool deck; two X6i serve the Sun Club VIP area while three more cover the bar; and each of the four private cabanas is fitted with a pair of ultra-compact X4i. The speakers are discreetly sized, matched to the club’s color palette, and placed to blend naturally into the space. In the cabanas, Delvillar notes that processor output is capped to prevent “noise wars” between guests.

    Abreu found the accuracy of L-Acoustics 3D design software striking. “During the install, it was remarkable to see how closely the Soundvision predictions matched real-world performance,” he says.

    The system integrates with a distributed audio matrix that communicates with the LA2Xi amplifiers via AES67 and manages multiple independent zones. Minitas Beach Club is divided into eight zones (the pool, bar, five cabanas including the VIP space, and bathrooms), while the broader Casa de Campo property spans more than 20 zones in total. With a restaurant next door, the shared audio room and AES67 feeds serve the entire complex.

    X Series Delivers Control, Coverage, and Versatility
    SVL and Wholestage delivered on the nuanced brief Casa de Campo set out, and guests have noticed. “They’ve experienced clear improvements in audio quality, control, and coverage,” Delvillar says. “The club can also now host DJs with the new system, where previously they would have had to rent a PA.”

    Both partners point to the L-Acoustics relationship as a key differentiator. “We have a strong team at Wholestage, and certified engineers who know these tools well, but we’re grateful to have L-Acoustics as a resource,” says Delvillar. “They’re always close at hand, ready to review our designs and everything we do.”

    “Working with L-Acoustics is always a rewarding experience,” Abreu adds. “The support is excellent. L-Acoustics and their distributors, Wholestage in this case, are present at every stage, from design to final optimization, making sure the end result meets expectations. Our project for Minitas Beach Club is a strong example of that.”

  • L-Acoustics K2 Concert Sound System is the Nouveau Choice for The Novo

    L-Acoustics K2 Concert Sound System is the Nouveau Choice for The Novo

    The Novo, a 2,300-capacity venue in downtown Los Angeles’ L.A. LIVE entertainment complex, has completed a sound system overhaul, installing an L-Acoustics K2 rig with KS28 subs and a comprehensive network of A15i fills. Opened in 2008 and rebranded in 2016, The Novo has hosted Kendrick Lamar, Doja Cat, D’Angelo, and Tyler, The Creator, alongside corporate galas and private events. Some years the venue hosts more than 200 productions, making reliable, high-performance audio an operational necessity.

    The search for a new system began as The Novo’s aging PA was being pushed to its limits. “We were coming up on 20 years as a venue, and the original PA was still here when I first got here,” says Ramsey Fauset, The Novo’s Director of Production, who came to The Novo five years ago from the Fonda Theatre in Hollywood, another Goldenvoice venue, where RAT Sound installed an L-Acoustics K3 professional sound system. “I was impressed with the sound and with the difference the L-Acoustics rig made in our other venues, so L-Acoustics was the A-1 choice for me at The Novo.”

    Even coverage throughout the space posed a challenge to this project, as The Novo’s balcony sits unusually close to the stage. “Sitting up there is great for the visual experience, but it’s also very near the stage, so some seats sit right in the firing line of an array,” explains Fauset. He evaluated arrays from several brands before the L-Acoustics Applications team and Certified Partner integrator (CPi) RAT Sound Systems entered the picture. After several design iterations in Soundvision, he says, “Given that balcony design, we moved forward with K2.”

    The main arrays at The Novo now comprise 12 K2 per side, with eight KS28 subs flown in a cardioid configuration behind each K2 main. The design called for more than a dozen A15i for fills and delays to cover above and below the deep balcony and the center of the general admission floor area. Two A15i Wide are flown left and right over center stage with a single left and right A15 Focus firing into the front-center from the stage sides. Two A15i Wide per side act as low out-fills for the main floor. Five A15i Wide are distributed across the under-balcony ceiling while four A15i Focus per side provide over-balcony delay coverage.

    “There’s an almost scary amount of headroom now,” Fauset adds, “which is so refreshing after pushing our old system to the very brink of its abilities for so long.”

    L.A.-based Goldenvoice is the regional affiliate of AEG, booking venues across Southern California and beyond, including the Coachella and Stagecoach festivals. The Novo design calls for all subwoofers to be flown, mimicking the approach the promoter has been using at its festivals for some time. Fauset, a longtime Goldenvoice employee notes that he initially felt surprised to not see any subs on the ground. “We do lots of sub-heavy programming,” he explains. “And we’re also running the rig full-range without subs on an aux, which sometimes gets some frowny faces—until we turn on the rig, and it sounds remarkable.”

    The venue also upgraded its monitor package with seven coaxial X15 HiQ and nine X12 wedges, plus side/drum fills comprised of two A15 Focus over two KS21 subs per side. The entire house system is powered by LA7.16i amplified controllers, except for the KS28 subs and monitors, which are driven by LA12X. The sound system overhaul was rounded out with an upgrade to two new DiGiCo consoles, a Quantum338 at front of house and a Quantum225 at the stage monitor position.

    “They wanted no gaps in coverage anywhere,” says Adam Figueroa, Department Head, Sales and Installations at RAT Sound Systems. “It’s an interesting space. Their old rig was split, with subs in the middle of the arrays, because the balcony is so large. We brought the K2 rig way down to get a strong image on the floor, which is why we needed those A15i Focus over-balcony fills. And now they have consistent coverage.”

    The high channel count of the LA7.16i amplifier controllers allowed granular tuning throughout the challenging space. “They’re super-efficient. Their old rig had four or five racks full of amps, and we went with just one new rack full of LA7.16. It sounds great.”

    L-Acoustics was also a top choice for Goldenvoice’s management, which has been standardizing sound at many of its venues with the brand, including, in addition to the Fonda, L.A.’s Shrine Auditorium, Fox Theater Pomona, and the Regency Ballroom and Warfield Theatre, both in San Francisco. “My bosses talked about making our equipment rider-proof,” Fauset reports. “I’ve been looking at riders for two decades, and since the K Series came out, it’s almost always the top choice.”

    “The headroom alone is something to celebrate,” Fauset says, “and the fidelity, the musicality, the realism—everything people have come to expect from a K Series rig. It’s a real step forward for the venue.”

  • SoundTube Launches Rockustics Cherry Bomb Galaxy

    SoundTube Launches Rockustics Cherry Bomb Galaxy

    SoundTube Entertainment has introduced the Rockustics Cherry Bomb Galaxy (CBG5), a compact outdoor bollard speaker designed to deliver full-range sound from a single enclosure. Unlike traditional landscape systems that separate subwoofers, this model integrates a three-way system, including subwoofer, midrange, and tweeter, into one unit, ensuring better phase alignment and consistent audio performance across outdoor spaces.

    Built for both commercial and residential applications, the Cherry Bomb Galaxy simplifies installation while maintaining strong audio output, with low-frequency performance down to 38 Hz. Its durable, weather-resistant design and flexible system compatibility (70.7V, 100V, or 8-ohm) make it a practical solution for hospitality venues, public spaces, and outdoor entertainment environments.

    SoundTube Entertainment®, a leading innovator in commercial and residential loudspeaker solutions, today announced the Rockustics® Cherry Bomb Galaxy (CBG5), a high-performance outdoor bollard speaker engineered to deliver full-range landscape audio from a single, compact enclosure. Challenging the convention of hidden landscape audio, the Cherry Bomb Galaxy is intentionally designed as a visible design element, combining architectural presence with high-performance sound.

    Designed for outdoor environments where aesthetics, installation efficiency, and audio performance must work together, the Cherry Bomb Galaxy features a patented three-way system architecture that integrates a 5.25-inch double-chamber bandpass subwoofer, 4.5-inch midrange driver, and 0.75-inch titanium dome tweeter into a single outdoor-bollard.

    Unlike traditional landscape audio systems that require separate subwoofer placement, the Cherry Bomb Galaxy incorporates the subwoofer directly within the same enclosure as the midrange and high-frequency drivers. This design keeps all frequencies originating from the same physical location, eliminating the phase alignment challenges and variations in bass energy that often occur when subwoofers are installed separately.

    The result is uniform bass from a coherent, full-range outdoor speaker with faster and simpler installs.

    “With Cherry Bomb Galaxy, we’ve taken the next step in outdoor audio design by integrating a true three-way system with a built-in subwoofer into a single bollard form factor,” said Ken Hecht, vice president at SoundTube . That allows integrators to deliver full-range, phase-coherent sound from a single installation point while significantly simplifying system design and installation.”

    The Cherry Bomb Galaxy delivers extended low-frequency performance down to 38 Hz (-10 dB) while maintaining clear midrange and detailed highs across the listening environment. The design supports 70.7V, 100V, or 8-ohm operation, allowing it to integrate easily into a wide range of commercial and residential distributed audio systems.

    Constructed from rotomolded LLDPE with a weatherized aluminum grille, the Cherry Bomb Galaxy is designed for long-term durability in outdoor installations. Its direct-burial bollard design minimizes excavation requirements, requiring only a small below-grade footprint to reduce installation time and labor.

    Ideal applications include:

    • Hospitality and resort landscapes
      • Outdoor retail and dining environments
      • Residential landscape audio systems
      • Parks, walkways, and public spaces
      • Commercial outdoor entertainment areas

    The Cherry Bomb Galaxy is available in black and brown finishes to blend naturally into landscape environments.

  • Nine Inch Nails Continue to Push Forward with L-Acoustics on Peel It Back Tour

    Nine Inch Nails Continue to Push Forward with L-Acoustics on Peel It Back Tour

    Nine Inch Nails have just completed the third and final leg of their 60-plus-date Peel It Back Tour, which kicked off in Ireland in June 2025 and wrapped up in Sacramento, California on March 16, 2026. The first tour by NIN since a limited run in 2022, the string of arena shows, with Boys Noize opening every date, sold out across Europe and North America and was supported by a large L-Acoustics K1/K2 rig with KS28 subs provided by Britannia Row Productions, a Clair Global brand.

    “This was a ‘standard’ K Series arena spec for me,” says systems engineer Terence Hulkes, whose credits include multiple tours with Depeche Mode and David Gilmour, as well as stints with Beck, Swedish House Mafia, Dua Lipa, BTS and Mumford + Sons—all using L-Acoustics PA systems. The enclosure count on the latest tour was slightly higher than typical, he notes, not only for extended headroom but also to accommodate greater vertical dispersion in higher-roofed arenas and, where necessary, 270-degree coverage. “I like to use the angles to fine-tune SPL target coverage and frequency response without the restriction of simply not having the box count for it to be an option.”

    In total, this third leg of NIN’s Peel It Back Tour, a 22-show run across the US and Canada, carried main hangs of 16 K1 over four K2 per side, side arrays of 12 K1 over eight K2 per side, and 16 K2 per side for the rear 270-degree arrays. Eight KS28 subs were flown per side with another 24 K28 end-stacked in pairs across the stage face. Four A10 Focus spread out atop the ground subs provided front-fill, with an additional four horizontally arrayed A15 Wide per side for near out-fill. “We also carried four X8 with pole-mount brackets as auxiliary front-fill,” Hulkes reports, “we used them when necessary for hard-to-cover odd spots around the stage.”

    Thirty LA12X amplified controllers per side were flown in custom Brit Row flying carts alongside the arrays, with another six per side on the ground under the stage. Processing included three L-Acoustics P1 at FOH using dual-redundant Milan-AVB signal distribution with analog XLR backup.

    Jamie Pollock, recently appointed an L-Acoustics Artisan of Sound, is a veteran systems designer and FOH engineer whose credits span Radiohead, Depeche Mode, Peter Gabriel, and the Grammy Awards telecast. Having toured with the K1 system since its pre-launch beta release—first with Radiohead, then a string of early adopters—Pollock describes the rig design as a true collaboration. “I discovered the art of a systems engineer working with Radiohead, but always considered myself more of a mixer. Understanding the system and design is essential to me as a front-of-house engineer. When we start a tour, I’ll have the initial conversations, design system options, and then bring Terry into the conversation so I can get his thoughts and opinions. My role these days is more of a mixer and a producer, so at a certain point I hand it off to him and he takes it to the next level. The PA team that we had on this tour was the same people that we’re used to working with, so I knew the system would be deployed correctly and with care and precision.”

    None of the subs on the tour were in a now-typical cardioid configuration. “I think there’s a time to use cardioid, but I prefer the sound of subs when all the drivers face the same direction,” states Pollock. “I never really have a problem with low end, and to me, subs are just an extension of the full-range sound we get out of these large arrays. When I tune, I start with just the mains and get that right first. As we add subs, it’s adding in a musical way, and then having the correct amount of subs and configuration gives us the control.”

    The show, a spectacle of lights and video projected onto floor-to-ceiling scrims, started with Trent Reznor at a B stage piano in the audience before switching to the A stage with the full band, consisting of Reznor, Atticus Ross, and three touring band members. The focus then returned to the B stage for performances with Boys Noize before again returning to the main stage for NIN’s final set.

    “The B stage started with an ‘acoustic’ feel with some live mic elements and then built to a lot of electronics, drum machines, and synthesizers,” Hulkes elaborates. “We only used the main stage PA for this. We made sure the floor coverage of the PA was consistent in SPL and frequency response during design and tuning and achieved very respectable levels for that part of the show.” He used the Autofilter in L-Acoustics Soundvision software to get a baseline FIR balance for the arrays: “Then I walked the venue to align and calibrate the PA with L-Acoustics M1 suite and listened to verify and fine-tune manually to taste.”

    The L-Acoustics sound system was networked via Milan-AVB on the tour. “That definitely simplified the signal routing and was much more flexible and configurable in software without having to manually re-patch input cabling,” Hulkes points out. “It was also great to have the software routing available with the main amp racks flown in the air, as they’re not the easiest to access to move cables around when they’re hanging about 60 feet up in the roof. Also having AVB I/O on the front end of the P1 processors was a necessity to handle all the required input for system utility I/O, house feeds, et cetera, as all connected devices could access the AVB streams over the network.”

    Hulkes gives a big shoutout to his experienced PA technicians: “Thanks to Richard Trow and Juan Beilin for their efforts working with me to turn my PA design into reality on the day at the gig and get the system deployed, because it wouldn’t have happened without them.”

    Every system has its own sound, Hulkes concludes, “And the K Series just does something that people like. I’m always excited to see what’s on the horizon with L-Acoustics and to get the opportunity to try out new products and developments in the field.”

  • Kyushu University Inamori Hall Revamps Acoustics with JBL & Crown – Bringing New Resonance to Academic Exchange

    Kyushu University Inamori Hall Revamps Acoustics with JBL & Crown – Bringing New Resonance to Academic Exchange

    Kyushu University has completed an audio renovation of Inamori Hall, updating its audio system to improve clarity, balance and coverage for the academic and cultural programs hosted in the 300-square-meter venue. Located inside the Inamori Foundation Memorial Hall, the space serves as a platform for lectures, symposiums and international exchange, supporting the university’s mission as a globally open academic institution.

    After more than a decade of regular use, the hall’s system required a comprehensive update to restore consistent intelligibility. Following on‑site evaluations and demonstrations, the university selected JBL Professional Intellivox DSX280 HD as the primary system for full‑room coverage, with JBL Professional CBT 70J‑1 loudspeakers powered by Crown CDi 2 amplifiers engaged only when the hall is divided.

    The installation places JBL Intellivox DSX280 HD powered column loudspeakers on either side of the podium to deliver digitally steerable, uniform speech reinforcement across the full hall. To maintain the interior design, the loudspeaker exteriors were custom finished to blend with the architecture. When the room is partitioned, JBL CBT 70J‑1 column loudspeakers mounted along the side walls are used to provide even coverage within the subdivided configuration, driven by Crown CDi 2 amplifiers for dependable performance. “The university needed an audio solution that would support clear communication in a room used for lectures and international exchange,” said Nick Screen, VP & GM, Harman Professional Solutions, APAC. “With Intellivox providing primary full‑room coverage and CBT loudspeakers powered by Crown CDi 2 amplifiers serving divided‑room needs, the system delivers consistent intelligibility that keeps audiences engaged.”

    Following installation, staff observed immediate improvements in bass response, vocal clarity and detail in high-frequency content. Users noted that sound reached the farthest corners of the room with greater uniformity, creating a more comfortable listening environment for lectures, ceremonies and academic gatherings.

    With the new system in place, Inamori Hall is equipped to support ongoing academic, cultural and international programming with reliable intelligibility in both full and divided configurations.. This upgrade, using JBL Professional and Crown solutions, ensures the hall remains a functional and welcoming setting for university events and scholarly exchange.

  • Casino Rama Resort Entertainment Centre Upgrades to L-Acoustics K2 Concert Sound System

    Casino Rama Resort Entertainment Centre Upgrades to L-Acoustics K2 Concert Sound System

    Situated on the land of the Chippewas of Rama First Nation, roughly 90 minutes north of Toronto, Casino Rama Resort has been one of Ontario’s most storied entertainment destinations since opening its doors. At its heart is the Casino Rama Entertainment Centre (CREC), a 5,000-seat theatre that has welcomed an exceptionally wide range of talent over nearly three decades: rock legends like Kiss, Alice Cooper, and Deep Purple; pop icons including Dolly Parton, Diana Ross, and Lionel Richie; comedians, Celtic ensembles, boxing cards, and symphony orchestras. It is a room that has to sound right for all of it. As the CREC approaches its 25th anniversary this June, that mandate has received a fitting upgrade: a new L-Acoustics K2 system, supplied by Solotech, replacing a V-DOSC rig that delivered close to a quarter century of virtually flawless performance.

    A Legacy That Set the Bar

    That the outgoing system needed to be replaced at all was more a matter of timing than failure. “The old system was an incredible slugger,” says Rob Howick, Venue Operations Assistant Manager. “V-DOSC went out the door with absolutely nothing wrong with it after all that time. We brought it in once a year just to rotate cabinets. As a legacy product, it was simply time for an upgrade.”

    Perry Disera, A1 at CREC and the engineer who spearheaded the design and installation, underscores just how remarkable that track record was. “We were very fortunate to not require any manufacturer support throughout the lifetime of the system. V-DOSC handled everything we and incoming tour engineers put into it—withstanding the pounding of heavy metal acts while still sounding natural and sweet with symphonic performances. It was a remarkably worthwhile investment, all the way to the end.”

    That legacy, paradoxically, made the path forward straightforward. Staying within the L-Acoustics ecosystem meant a smooth transition, a familiar workflow for the in-house team, and confidence in the long-term investment. “I have a lot of deep respect for L-Acoustics products,” says Disera. “We’d had a long and amazing run with V-DOSC, and everybody was happy with it, so transitioning to K2 was a no-brainer.”

    A Phased Approach to the K2 Build

    Rather than a single-stage swap, the team structured the project to keep the venue operational throughout. “We split the project up to spread the capital purchasing,” Disera explains. “Phase one covered amplification, cabling, and background infrastructure—initially powering the then-current V-DOSC and dV-DOSC speakers. In phase two, we brought in more amplification to support all the new K2 enclosures, added another complement of subs per side, and completed all the cabling.” Brand continuity within the L-Acoustics platform made this phased approach viable, minimizing disruption and capital outlay at each stage.

    The complete system now features left and right main arrays of 16 K2 per side, with six additional K2 per side addressing the outer seating areas of the main floor. A pair of Kara II handle fill coverage for the front-center section. The LF system is anchored by 12 KS28 subwoofers per side, flown in a cardioid configuration and positioned within 11 feet of the five-foot stage for maximum impact and low-frequency control. Six LA-RAK II AVB touring racks, each loaded with three LA12X amplified controllers and two LS10 Milan-AVB switches, were added to the Entertainment Centre’s existing 10 LA-RAK II to round out the infrastructure.

    K2 Takes the Stage

    The rig has immediately impressed both the in-house team and visiting professionals. “Touring engineers are consistently happy with how this system performs sonically, and there’s very little they need to do to make their shows sound great,” says Disera. “I feel we now have what is probably one of the best rigs for a theatre of this size in Canada, if not in North America.”

    From the audience perspective, the impact has been equally striking. “The vocal clarity is night and day—the crispness, the overall texture of the high end,” says Howick. “Our room has always been excellent for sound, but there were some coverage gaps in the outer seating areas that the K2 outfills have completely resolved. The consistency from the first row to the very back row is really stunning.”

    Disera is quick to credit the team that helped make it happen: audio specialists Ryan Smith and Mike Brandon. “They’ve been instrumental in the installation and operation since we started putting the system in. We all have a hand in what’s going on with the PA and monitoring systems onstage, and we’re all genuinely thrilled with L-Acoustics. With our previous system delivering almost 25 years of incredible service, we’re confident this new one will do us right for at least 25 more.”

  • Crest Audio reinforces its networked loudspeaker portfolio with new PoE++ CiP model

    Crest Audio reinforces its networked loudspeaker portfolio with new PoE++ CiP model

    Crest Audio, a brand of Peavey Electronics, has expanded its networked loudspeaker lineup with the introduction of two PoE++ powered models, the CiP 26 and CiP 5. Designed for modern AV-over-IP environments, the new speakers deliver power, audio and control through a single Ethernet cable using PoE++ technology, eliminating the need for separate power supplies or amplifier racks and simplifying installation for integrators.

    The CiP 26 offers full-range performance with dual 6.5-inch woofers and wide sound coverage, making it suitable for hospitality venues, collaboration spaces and presentation environments. Meanwhile, the compact CiP 5 is designed for more focused applications such as boardrooms, classrooms and retail spaces. Both models support Dante and AES67 networking, providing scalable and flexible audio solutions for today’s network-centric commercial AV systems.

    Crest Audio, a brand of Peavey Electronics Corporation, has announced the introduction of two new PoE++ powered loudspeakers: the CiP 26 and the CiP 5. Designed for today’s fully networked AV environments, both models combine professional sound quality with streamlined, network-cable installation — reflecting the growing shift toward smarter, more scalable commercial audio systems.

    As organisations increasingly adopt networked-based infrastructures, the need for loudspeakers that integrate seamlessly into AVoIP ecosystems continues to grow. The CiP Series answers that demand by delivering both power, control and audio over a single Ethernet cable using PoE++ (IEEE 802.3bt Type 4 90W), removing the requirement for local mains power or separate amplifier racks. The result is cleaner installations, faster deployment and greater flexibility for integrators and end users alike.

    Commenting on the launch, Christoph Sesseck, Sales Manager EMEA for Peavey Commercial Audio, said: “We are seeing a clear shift toward network-first audio design. Integrators want solutions that reduce infrastructure complexity while maintaining professional performance standards. With these latest additions to our CiP speaker line, we are giving our partners scalable loudspeaker options that combine the latest networking protocols integration, PoE++ simplicity and the sonic character that Crest Audio is known for. It’s about making high-quality commercial audio easier to deploy and easier to manage.”

    The CiP 26 is a compact yet high-output two-way loudspeaker designed for applications where full-range performance and musical impact matter. Featuring dual 6.5-inch woofers paired with a 1-inch dynamic tweeter, its bi-amplified architecture delivers clarity and headroom, reaching peak sound pressure levels of 103 dB at one metre.

    With a frequency response spanning 65 Hz to 20 kHz and a wide 120° horizontal by 75° vertical coverage pattern, the CiP 26 is equally at home delivering dynamic foreground music in hospitality venues as it is supporting speech and presentation audio in larger collaboration spaces. A supplied wall-mount bracket simplifies installation, with connectivity coming via a single RJ-45 connector.

    Complementing the CiP 26, the CiP 5 offers a compact solution tailored for a more controlled soundstage. Equipped with a premium 5.25-inch woofer and 0.75-inch tweeter in a bi-amplified configuration, it delivers up to 101 dB peak SPL with a more focused 90° by 60° sound dispersion pattern. This makes it ideally suited to

    boardrooms, classrooms, meeting rooms, boutique retail spaces and distributed background music systems where intelligibility and tonal balance are essential.

    Like the CiP 26, the CiP 5 supports Dante and AES67 (sNET) audio networking and PoE++ power over a single Ethernet cable, with optional 24VDC external power available where required. Its compact enclosure and included U-bracket allow for quick, secure installation across a wide range of commercial settings.

    Together, every loudspeaker in the CiP range shares the same design philosophy: professional performance delivered through simplified infrastructure. Whether supporting distributed background music or driving higher-energy foreground applications, the CiP Series gives integrators a cohesive, scalable solution that reflects how modern commercial audio systems are designed today — networked, efficient and ready to grow

  • L-Acoustics DJ Makes Its US Festival Debut at Miami’s III Points

    L-Acoustics DJ Makes Its US Festival Debut at Miami’s III Points

    Each October, the Wynwood Arts District in Miami transforms for two nights into one of the US electronic music scene’s most distinctive gatherings. III Points Festival has, since its 2013 debut, built a reputation for its artist curation, with more than 150 acts across 12 stages spanning five city blocks, as well as for its commitment to bringing emerging technology into the live experience. This year, that commitment produced a genuine milestone: the US festival debut of L-Acoustics DJ, the first complete spatial audio system purpose-built for DJs.

    L-Acoustics DJ was announced in May 2025 and launched for sale at Amsterdam Dance Event that October, with shipments beginning in early 2026. III Points, running concurrently with ADE, became the technology’s first US festival deployment. Local L-Acoustics Certified Provider Unreal-Systems, which has handled sound design and deployment at III Points since the festival’s inaugural edition, led the installation.

    The S3QUENC3 Stage: Built for This Moment
    The deployment home for L-Acoustics DJ at III Points was S3QUENC3, a ninety-by-ninety-foot, two-level structure known at the festival as the ‘coliseum,’ which primarily hosted hard techno and high-energy electronic music. It was a fitting environment: a crowd accustomed to physical sound, high SPL, and artists who treat the dancefloor as a compositional surface.

    Unreal-Systems equipped the stage with eight hangs of L2D loudspeakers in an 8.1 configuration, an upgrade from the four-corner K2 deployment of the previous year, driven by LA7.16 amplified controllers and powered by the L-ISA processing engine at the heart of L-Acoustics DJ. Using AI-driven stem separation, L-Acoustics DJ broke standard left-right tracks into discrete elements—beats, basslines, melodies, and vocals—which artists could then move spatially around the crowd, live.

    Four frontal stacks of three KS28 subwoofers in cardioid configuration handled low-frequency reinforcement, while a ring of six coaxial X12 loudspeakers above the stage, paired with two KS21i subs, delivered an immersive monitor mix for the artists performing.

    This was the second year Unreal-Systems ran an immersive stage at III Points—last year’s 444 stage had introduced many attendees to L-ISA spatial audio—but the addition of L-Acoustics DJ took the concept further. “L-Acoustics DJ elevated the experience,” says Unreal Systems’ Luca Sabatini, who served as the festival’s technical director, production manager, and Mind Melt main stage manager. “It generated real interest and enthusiasm among the DJs.”

    Artists in the Space
    The response from artists who encountered L-Acoustics DJ on the S3QUENC3 stage ranged from immediate adoption to genuine transformation. Among those who engaged directly was Danny Daze, an artist who had previously mixed one of his records in an immersive format and performed it live in a planetarium. He arrived already primed for what the system could offer. “He was eager to try L-Acoustics DJ—and it clicked immediately,” says Sabatini. “He used it with real intention, and the crowd responded to what he was building for them.”

    DJs Soy Pasha and 2Clutch also explored the system alongside the L-Acoustics team. Playing tracks they knew well, they experienced how familiar music takes on new shape when it unfolds in three dimensions. No stems, no preparation, just their usual music reconsidered. “It feels like the sound is coming alive around me instead of just in front of me,” expresses Soy Pasha.

    Meeting Artists Where They Are
    Not every artist on the S3QUENC3 lineup was mentally prepared to operate L-Acoustics DJ directly during their set, but Sabatini points out another useful option. “For DJs who weren’t necessarily ready to activate it live and try something new on the fly, those artists could use the system’s default spatialization mode, which still brought immersive value to their performances as well,” he says. In this way, the technology meets artists at their comfort level, rather than demanding a new skillset as the price of admission.

    The Festival as a Testing Ground
    Beyond S3QUENC3, Unreal-Systems deployed L-Acoustics systems across much of III Points’ festival grounds, with more than 350 loudspeakers in total. At the Mind Melt stage, the festival’s main and largest stage, Unreal-Systems supplied a sizable loudspeaker package of 20 L-Acoustics K1 enclosures, 16 K1-SB, eight K2, 12 K3, six L2, and 28 KS28 subs. RC95 and Sector 3, the next two largest spaces, also featured K1, K2, and K3 systems paired with KS28 subs, while smaller stages including Door IV, Halo 88, and Isotropic were covered by more compact configurations, maintaining the sonic consistency III Points has built across its program since 2013.

    That consistency is part of why III Points made the right context for L-Acoustics DJ’s US debut. An audience that has been trained by years of high-quality L-Acoustics sound is an audience positioned to notice and respond to what spatial audio actually adds.

    “III Points has always taken sound quality seriously and has chosen L-Acoustics from the beginning,” says Sabatini. “Consistency across stages matters to them, and that’s where L-Acoustics excels. This year, we were glad to help drive adoption of L-Acoustics DJ, a tool that aligns well with III Points’ mission to present the technologies shaping how art is created and experienced.”

  • Blurring Boundaries: How Coastal Source Helped Homeowners Turn a Scenic Riverfront Property into a Lifestyle

    Blurring Boundaries: How Coastal Source Helped Homeowners Turn a Scenic Riverfront Property into a Lifestyle

    When a Dublin, Ohio couple chose their home along the Scioto River, the decision wasn’t just about the stunning views. They envisioned something larger — a lifestyle that allowed them to live as comfortably and joyfully outdoors as they did indoors. They wanted their home to become a true gathering place, a destination for friends and family, and a seamless blend of architecture, nature, and technology.

    To achieve this dream, they partnered with Hidden Creek Landscaping, one of Ohio’s premier luxury landscape design firms, and Coastal Source, the industry leading manufacturer of rugged, high-performance outdoor audio and lighting solutions that Defy the Elements™. Together, they transformed a scenic riverfront property into a living environment that goes far beyond landscaping: an immersive, year-round retreat where every space feels intentional, connected, and alive.

    The 1.5-acre estate already had strong architectural bones with an infinity-edge pool aligned with the river, a hot tub, fire features, and outdoor kitchens. But the homeowners wanted more than amenities; they wanted to create a rhythm between indoors and outdoors. Hidden Creek carried interior finishes onto patios and poolscapes to blur physical boundaries and then used Coastal Source audio and lighting to extend comfort, atmosphere, and energy across the property. The result was a home where the distinction between inside and outside truly vanishes.

    Lighting played a crucial role in this transformation. Rather than relying on utilitarian fixtures, Hidden Creek wove Coastal Source lighting into the landscape itself. Classic Hat Path Lights discreetly line walkways while Niche curved and square path lights highlight transitions and edges. Niche wash lights are tucked into stonework to softly illuminate architectural features, while Uni Ball tree lights create dramatic canopy effects overhead. Well lights add subtle uplighting to plantings and hardscape, completing a layered scheme that makes the property feel both safe and enchanting.

    The effect isn’t simply practical; it’s emotional. “When we turned the lighting off during installation, the homeowners immediately understood the difference,” said Jason Cromley, CEO of Hidden Creek. “With it, the outdoors became magnetic. Without it, the spaces faded away.”

    Audio, too, is designed as an extension of lifestyle. Because the homeowners already rely on Sonos indoors, seamless integration is key. Coastal Source’s outdoor systems make it possible to carry music and media from inside to outside without interruptions, app-switching, or loss of quality. Four Coastal Source Razor 220 speakers in white were retrofitted onto the deck to provide crisp, even coverage, while four 10.0 three-way Bollard speakers anchor the fire pit and outdoor kitchen zones with rich, full-bodied sound.

    The speakers are powered by Coastal Source’s SAS600/4 and CRS700/4 amplifiers, which give the homeowners zoned control to customize ambiance for different spaces and occasions. Whether energizing a wedding celebration or setting the perfect backdrop for a quiet evening, the system balances power with refinement, immersive yet never overwhelming.

    For Cromley, the success of the project is about more than just executing a design. It’s about realizing a vision: “This project is all about extending indoor comfort outside, and Coastal Source is essential to making that happen. Lighting makes it possible to keep people outdoors into the evening, and the music is what keeps them there. Together, they define the experience.”

    Today, the riverfront estate is more than a house. It’s a destination, an environment where family gatherings, milestone celebrations, and simple everyday moments unfold seamlessly between indoors and outdoors. The property reflects not only the beauty of its riverfront setting but the lifestyle aspirations of the people who call it home.

    “This is what sets Coastal Source apart,” Cromley added. “They weren’t designed for the easy install; they were designed for the unique install. Their products push us as designers to think bigger and create spaces that change the way people live.”

    He added, “Support is also central to our relationship. Coastal Source consistently provides guidance and innovation that set them apart from other manufacturers. It’s not just about product quality; it’s about the people who stand behind it.”

    For the homeowners, the project achieved exactly what they had hoped: a place where architecture, nature, and technology converge, creating a lifestyle that is as enduring as it is inspiring. With the right vision, and the right partners, living outdoors is no longer a seasonal choice. It’s an everyday reality.

  • Crossroads Oakley Adds L-Acoustics L-ISA Immersive Sound Technology Featuring L Series Loudspeakers to Cultivate Intimacy and Connection

    Crossroads Oakley Adds L-Acoustics L-ISA Immersive Sound Technology Featuring L Series Loudspeakers to Cultivate Intimacy and Connection

    Crossroads Church, one of the largest and fastest-growing churches in America, reaches over 34,000 people weekly across nine locations and online. When its flagship Oakley, Ohio campus opened in 2002 with a 1,500-seat auditorium, rapid growth pushed capacity to 3,500 seats just three years later. Scale is a great thing, but it also creates challenges to the kind of intimacy that effective worship requires. In October 2025, Crossroads Oakley addressed that issue by integrating L-Acoustics L-ISA immersive audio technology with its existing L-Acoustics main PA components. The project, accomplished by AVL systems integrator Diversified, now connects the entire congregation—music, message, and every seat—through immersive audio.

    “With L-ISA, the localization of the talent on the stage is remarkably realistic,” says Patrick Buescher, Assistant Director of Experience Operations. “Wherever the focus of the moment is, whether it’s a worship leader off to the side of the stage or a vocalist downstage right, we can localize their voice to their position onstage, and it connects in an incredibly natural manner.”

    “It creates an amazing space that unites the audience, the stage, and the service,” he says. The engineering aspect impresses him equally. “As a front-of-house engineer, you’re usually carving out space with EQ. L-ISA adds another dimension—you can move sounds around as objects, matching what you hear to what you see onstage. Instead of separating drums at 40-60Hz and bass at 60-100Hz through EQ alone, we can now separate them in physical space. They’re not stepping on each other acoustically; they’re positioned like the team they are onstage.”

    L-ISA Offers Effective Solution for Challenging Room Acoustics
    Dave Kendall, Crossroads Church Director of Site Audio, notes that the Oakley location’s room geometry was challenging. “It’s very wide, at least 180 degrees, probably more when you’re out on the thrust area, so a stereo system was never really ideal,” he explains. “We previously had kind of a left, right, left, right system, and depending on where you sat, it was a very different experience, so we tended to mix more towards mono than stereo a lot of the time.”

    He says the implementation of the L-ISA technology has not only addressed the geometry challenge but has also had the effect of bringing the congregation together in a new way. “One of the things we love about L-ISA is that every seat has the same experience,” he says. “We are so much closer now than we’ve ever been before, so the person in the second balcony and the person on the floor 10 feet away from the stage are having the same experience: they’re hearing the same sound, the same tonality. L-ISA definitely delivers that and we love that about it.”

    “And I’ll just go a step further to say the first time I heard the system in the room, I was amazed at the coverage. We have stairwells in the corners that are usually just boomy, no clarity at all. And I was walking up the stairs and noticed, Oh, wait, I can hear things here now! It was something I’d never expected and it took me off guard, in a very pleasant way.”

    New Loudspeakers Nicely Complement Existing Infrastructure
    Crossroads Oakley’s L-ISA design comprises a Scene system of five hangs of one L2 over one L2D, flanked by an Extension system made up of 10 Kiva II flown to both the far left and right of the main Scene arrays. Out-fills use four arrays of eight Kara IIi flown behind the Scene arrays, two per side, covering the upper and lower side seating areas. LFE is provided by 21 KS28 subs flown in cardioid groups of three behind the mains, in an arc.

    Forty-six coaxial X8 speakers are spread out around the three seating levels; 18 on the first two levels (Level 0 and 1), and ten more on the top level (Level 2), which are complemented by three A10i for the center seats. Overhead and surround speakers utilize the church’s legacy speakers, while a single L-Acoustics A10i Wide flown above centerstage provides foldback. The system is managed via an L-ISA Processor II and its accompanying L-ISA Controller display, with a P1 processor also in place to offer Milan-AVB signal transport. The audio system is rounded out by a DiGiCo SD5 console for monitors and a Quantum852 at front of house.

    The new sound system retaining some of its earlier components was a decision Kendall attributes to cost-savings. “And we were appreciative of L-Acoustics’ willingness to work that into our existing system,” he says. Those components include Kara II speakers installed three years ago when they began transitioning away from another system design that had been in the space for several years. In the process, the church was also transitioning from stereo to a surround-type system, and ultimately to immersive, with the addition of the L-ISA components.

    Natural, Localized Audio Fosters a More Intimate Experience
    But as attractive as the immersive effect has been for worship, Buescher says it was the L-Acoustics sound quality that was the clincher. “People talk about PA systems being ‘transparent’ sounding—what you put in is what you get out—but that can require a lot from a front-of-house engineer,” he explains. “Whereas L-Acoustics is a musical-sounding system right out of the box.”

    The combination of L-ISA technology and new L-Acoustics components has transformed the worship experience at the Oakley campus. “We love the way it sounds and the intimacy it brings,” Buescher says. “This system does an amazing job of helping our attendees feel connected, which is such an important element of worship.”