AVNation TV

Category: Loudspeakers

  • The Seabird Resort Takes Flight with Atlas+Fyne IsoFlare™ Premium In-Ceiling Loudspeakers

    The Seabird Resort Takes Flight with Atlas+Fyne IsoFlare™ Premium In-Ceiling Loudspeakers

    San Diego County’s coastal “living room” and home to The Seabird Ocean Resort and Spa. Voted as one of the best resorts in California, the Seabird offers a stunning oceanfront experience featuring curated art by visionaries hailing from the SoCal region, Californian cuisine you’ll want to savor with good company, and a buzzy ocean-view bar that serves as a premier spot to catch the best California sunset.

    It’s no secret that ambiance and audio are critical elements to a bar’s success when everyone’s having a good time, people tend to stay longer and spend more money. Management wanted “to get the activity level up” in The Shore Room, so they contacted David Schwartz, Founder and President of Essential Communications, to improve the audio. Schwartz immediately recommended AtlasIED’s Atlas+Fyne in-ceiling loudspeakers. The Atlas+Fyne FC Series is the benchmark of premium loudspeakers in the commercial market, utilizing IsoFlare™ point-source technology to deliver outstanding off-axis clarity across all frequency ranges.

    “I was blown away when I heard the [Atlas+Fyne] IsoFlare Series because they’re that good,” said Schwartz. “When Seabird staff told me they wanted a more music-centric environment, I immediately thought of FC. The room had in-ceiling loudspeakers from another manufacturer, and I said, ‘Hey, why don’t we just take what’s in the hole and put something else better in the hole?’ So we did the math and figured out the Atlas+Fyne FC would fit. And that’s what we did. And it was a home run.”

    “I was blown away when I heard the [Atlas+Fyne] IsoFlare Series, because they’re that good.”

    — David Schwartz
    Founder and President of Essential Communications

    The FC-8T is a wide bandwidth, high sensitivity 8” in-ceiling loudspeaker designed for the ultimate in fidelity, coverage, and aesthetics. Unlike standard discrete and ‘coax’ offerings, the IsoFlare driver exhibits excellent harmonic alignment between HF and LF sources, the effect of which is to deliver accurate and natural reproduction with superb tonal balance, ensuring seamless integration in any environment. Propagating a spherical wavefront, homogeneously aligned on all axes, the IsoFlare point source driver yields an even response throughout the listening area, a constant time delay over the entire frequency spectrum, providing exceptional off-axis performance.

    Hotel management also wanted to replace the surface-mount loudspeakers above their patio because they felt they didn’t “sound good.” Essential Communications performed a one-to-one replacement of the outdoor loudspeakers with weatherresistant AtlasIED AS Series surface-mount loudspeakers.

    The AS-8T is a two-way compact surface-mount loudspeaker boasting an exceptional performance-to-size ratio for demanding foreground and background applications where durability, modern, understated aesthetics, and outstanding sonic performance are prerequisites. Featuring a high-excursion, weather-treated 8” woofer that seamlessly transitions to a 1” exit compression driver, the AS-8T delivers a consistent and accurate broadband frequency response, both on- and off-axis. Equipped with a low insertion loss 60W transformer for 70V or 100V distributed applications, wattage tap selection and low impedance bypass are easily configurable via a rear-mounted slide selector switch with a security cover. The durable, scuff-resistant, high-impact ABS enclosure with UV inhibitor is weather-resistant (IP55) for consistent performance in adverse conditions, both indoors and out.

    With the new loudspeakers in place, The Shore Room no longer had an issue with guests leaving because the room felt noisy at weekend sound levels. The clearer, better-controlled sound encouraged patrons to stay longer, elevating the guest experience and customer satisfaction.

    “The sound in The Shore Room is drastically improved over the previous system, allowing us more control over sound in specific areas as well as being able to increase the volume without it being overwhelming to guests,” said Russell Jackson, Food and Beverage Manager at the Seabird Ocean Resort and Spa. “The sound spreads more evenly and makes the environment much more comfortable for guests.”

    “The sound in The Shore Room is drastically improved over the previous system.”

    — Russell Jackson
    Food and Beverage Manager at the Seabird Ocean Resort and Spa

    Management was so pleased with the results that they’re planning to install Atlas+Fyne loudspeakers in the hotel’s aptly named Piper Restaurant later this year.

    “The fun part for me is when somebody notices the changes and says, That sounds amazing,” said Schwartz. “That’s what I live for. In the Seabird’s case, staff directly equate the sound quality with their ability to entertain people, and it’s great to work with people who get it. The Atlas+Fyne IsoFlare are incredible loudspeakers, and I will definitely use them again.”

  • Nearly 20 Years Later, My Chemical Romance’s Black Parade Carries On With L-Acoustics

    Nearly 20 Years Later, My Chemical Romance’s Black Parade Carries On With L-Acoustics

    When My Chemical Romance released The Black Parade in October of 2006, the album shot to Billboard’s number two slot in its very first week, further cementing the band as darlings of the emo genre. Four months later, the group embarked on a 36-date North American tour, with support acts Rise Against and Muse, carrying an L-Acoustics V-DOSC/dV-DOSC loudspeaker system for its sound reinforcement.

    Over the years since then, the popularity of that influential record has remained strong, prompting MCR to revisit those songs on the road with its current Long Live the Black Parade tour, which will wrap its North American leg in mid-September before heading to South America, Mexico, Asia, and the UK in 2026. This time around, the band is carrying a much larger and more powerful system – a massive L-Acoustics K Series rig provided by Eighth Day Sound, a Clair Global brand – that can be configured and scaled for deployment at any of the major indoor and outdoor sports stadiums, arenas, and ballparks on the global itinerary.

    “This is a loud rock show,” reports System Engineer Andy Fitton who, in just the past year or so, has worked on L-Acoustics tours with Madonna – including the 2024 Rio de Janeiro show where she played to 1.6 million people – and Vampire Weekend. “It runs 101 to 102 dB, and the mains are throwing 120 meters, or 400 feet, maintaining consistent tonal balance from front to back where we transition sonically between the main and delay hangs. To my mind, that is quite impressive.”

    L-Acoustics Earns a Repeat Performance
    MCR FOH Engineer Jay Rigby says he directly credits his decision to use L-Acoustics to Fitton. “When I took over mixing Vampire Weekend a couple of years ago, I fell into working with their System Engineer, Andy, and the K1 PA they had out. I was initially skeptical, but after the first show, it was hands-down the best PA I had ever been on. What Andy is able to do with both Soundvision and K1 is incredible.”

    “On top of that, as this is a reincarnation of My Chemical Romance’s original Black Parade tour, which carried V-DOSC, I thought it would be nice to pay tribute, and keep it ‘French,’” he adds. “We have consistent results where Andy is doing all of the tuning and timing while I am on the flight to the next gig, and when I show up, I turn it on and we are show-ready. It’s been fantastic.”

    K Series Delivers the Firepower
    To accommodate the different venue configurations on the tour, Fitton’s system design includes two main hangs of six K1-SB subs over 14 K1 over four K2 cabinets each. “That’s the largest hang of K1 that you can deploy,” he says. Behind each of those line arrays there are hangs of 16 KS28 subs, configured in a three-to-one ratio cardioid array. Side hangs comprise 16 K1 over six K2, and, for venues where upper bowl seating coverage is necessary, the tour is carrying two additional upstage hangs each of 10 K2. Where delays are required, three to four sets of 12 K2 are available, while on the stage, one A15 Wide and two KS28 subs per side provide side-fill for the band. Up to 108 LA12X amplified controllers are used for the largest shows.”

    “On the ground, we have 12 carts of three KS28 subs with a two-to-one cardioid ratio,” he continues. “We have an A15 Focus for front-fill stacked on top of each one of those carts. That gets wrapped and strapped together on custom carts and rolls in and out like that. Our PA crew has those carts ready to roll to the truck before I have my FOH drive rack turned off when we’re loading out. It’s crazy just how fast this PA system moves in and out.”

    The tour has maxed out the line length of the main hangs to accommodate Rigby’s sound design, Fitton says. “His mix is all about the low-mid. Obviously, you end up with a lot of sub with an array that size, but for him, getting the low-mid to sit in the mix, especially with this band, is absolutely crucial. If you listen to ‘Welcome to the Black Parade,’ there’s a tom fill right before the chorus that’s my favorite part of the whole song. So just making sure that people can feel that impact, even if they’re 600 feet away from the stage, is why we went for that line length.”

    The transition from the main K1 arrays to the K2 delays is completely seamless, Fitton says. “Panflex is an absolute godsend when working with delays. Being able to manipulate transition zones using Soundvision’s coverage and delay modes is a real game changer. It’s like having thousands of virtual measurement mics.”

    “Our load-ins and load-outs have been flawless. It’s so easy to hang the K1, even with such large box counts. Our PA crew is led by crew chief Tristan Johnson, and PA techs Colin Dodds, Katy Ruggiero, Chris DiLeo, and Albert Lim do an excellent job putting the system up. I don’t think there has been a single incorrect angle the entire tour,” adds Fitton.

    Soundvision is the Secret to Success
    Fitton’s secret, he reveals, is L-Acoustics’ latest release of the company’s 3D modeling and prediction software, Soundvision 2025.1. “L-Acoustics has updated the calculation engine so you can look at how your mains and subs interact, how the low end propagates throughout the entire venue, and you can also look at more complex interactions between sources. Unlocking that feature in Soundvision is huge for me. I’m making full use of those new additions to Soundvision, like being able to see the frequency response at FOH, what people in those tough-to-reach spots are hearing, or the transitions between multiple arrays. We also use L-Acoustics’ P1/M1 platform to tune the system. It makes it so easy to collect a large quantity of data very quickly, and it’s a great tool for verifying the validity of the system deployment.”

    Further, he says, “The import feature from Vectorworks [3D CAD software] into Soundvision allows me to have all of the scenic elements of the show drawn in. When I’m working with scenic designers, creative designers, or production managers, it’s so easy to visualize where things go, now that you can draw those detailed elements into Soundvision. Exporting my design to the new Soundvision Connect platform is a great way to share ideas with other stakeholders. And it just looks cool!”

    For all the incredible theatrics on stage, sound still takes precedence, he reports. “Tour Director Jon Dunleavy and Production Manager Andrew ‘Juice’ Werlick are both bona fide FOH engineers; Juice earned his Qualified V-DOSC Technician (QVT) certification in 2004. It’s because of them that we’re able to have such a great sound system.”

    “A huge amount of gratitude and appreciation also goes to Meegan Holmes, our longtime Eighth Day Sound account rep and maker of all things better,” Rigby adds. “Without her, this tour never would have been as successful as it is!”

    A Solid Foundation of Education
    All that said, “The boxes are the boxes, and we could talk about them all day,” Fitton comments. “But something that’s really worth mentioning, that gets to the core of my workflow, is the L-Acoustics education platform.” Fitton was doing grunt work in the warehouse when he first saw the K2 roll through. “It was love at first sight. I was like, ‘Man, I need to learn about this.’ I’ve gone through the entire L-Acoustics training program, from the in-person trainings to the online courses. I’ve seen every single online webinar. I’ve read every research paper that the company has published, which is really the secret sauce, because all of the underlying math and physics and research and development is there for you to read, for free. All you need to do is go look it up under the Education page on the L-Acoustics website.”

    There has also been lots of in-person application support, he continues. “Application engineers like Chris ‘Sully’ Sullivan have really helped me out. Learning all this stuff from them has helped me unlock a level of system deployment with L-Acoustics products that has taken me from the basics of the industry all the way to these big stadium deployments, and all of their tools have been incredible to work with on each step of that journey.”

  • JBL SRX900 System Powers The All-American Rejects “House Party Tour”

    JBL SRX900 System Powers The All-American Rejects “House Party Tour”

    For the All-American Rejects’ offbeat and energetic “House Party Tour,” production manager and front-of-house engineer Brendan Goers knew the traditional big-rig approach wouldn’t cut it. With pop-up shows in backyards, skating rinks and compact event spaces, including a standout performance at a skating rink in Arkansas, the band needed gear that was compact, powerful and flexible enough to adapt to whatever space they landed in.

    “We’ve had to fit where we fit,” said Goers. “Some of these shows have been in literal backyards. It’s been a lesson in rolling with the punches and putting the motto ‘the show must go on’ into practice.”

    Goers relied on a JBL Professional system comprising of JBL SRX906 loudspeakers, SRX918 subwoofers, and PRX912 wedges, products he hadn’t used before the tour but quickly came to trust. “I had never heard the SRX boxes before this run of house shows, but our entire team was very impressed with them right out of the box,” he said. “We used another brand for the first few shows, and plain and simple, they just didn’t cut it. We ended up blowing multiple speakers. But once we got the JBL SRX rig up and running, it was a night and day difference.”

    According to Goers, even The All-American Rejects frontman Tyson Ritter took notice. “He came down from the green room to mention the difference he noticed just while I was tuning the PA before soundcheck,” he added.

    In addition to delivering impressive sound quality, the system provided much-needed versatility. For example, the team pole-mounted the SRX906s during a pop-up show in Tulsa, aiming them to cover a second-floor VIP area. “It was exactly what we needed,” Goers said. “The pole-mount plates for the 906s allowed us to aim the top box up to the top level to ensure the people in VIP heard everything just as well.”

    The JBL PRX912 wedges, while not used by the band itself (which runs on IEMs), proved ideal for the tour’s support acts. “The 912s were perfect to give them a few mixes on stage, and then we flipped the front two around and used them as ‘front fill/Tyson Ritter barrier,’” Goers explained. “It kept the audience from encroaching on his space and allowed them to hear a full mix while being so close to the band and out of the main PA pattern.”

    One of the most unexpected challenges Goers faced was power. “All of these pop-up shows have been a power nightmare,” he said. “At our most recent show in Tulsa, we were told all outlets were dedicated circuits. We later found out they were all on one circuit. The entire PA and backline power was on a single 20A circuit.”

    The system performed so efficiently that it managed to keep the show going, even after the breaker tripped mid-song. “Although that led to an incredibly moving moment with the crowd singing along on their own, I panicked,” Goers admitted. “We got the breaker reset and continued on…on one circuit. If that’s not a show of how efficient the power of these speakers is, I don’t know what is!”

    The audience and crew reactions reflected the quality of the gear. “Almost any video you see online of these shows has comments that mention how good the band sounds,” said Goers. “Many factors there, but it certainly couldn’t have been done without the JBL PA we had.”

    Having previously used JBL A12 and A8 systems on past shows, Goers sees a consistent through line in the brand’s reliability and sound. “What holds true across all of them is that they’re just easy. Sounds great out of the box. Didn’t take much to get them to sound the way I needed them to.”

    With JBL Professional products supporting the stripped-down but high-energy House Party Tour, The All-American Rejects continue to bring professional audio to unexpected places – proving that with the right rig and the right attitude, the show can go on anywhere.

  • Clearwater’s BayCare Sound at Coachman Park Goes Rider-Ready With L-Acoustics L Series Concert Sound System

    Clearwater’s BayCare Sound at Coachman Park Goes Rider-Ready With L-Acoustics L Series Concert Sound System

    In Clearwater, Florida, they call The BayCare Sound at Coachman Park the city’s newest outdoor, waterfront, boutique concert venue—and every one of those descriptors is spot on. Opened in 2023 on Clearwater’s Intracoastal Waterway, the venue’s capacity is 9,000, with 4,000 seats under the canopy and space for 5,000 more on the lawn. Nestled in the city’s newly reimagined Coachman Park, shows began on day one with Cheap Trick, and have included Peter Frampton, Goo Goo Dolls, John Fogerty, Foreigner, Kenny Loggins, Ringo Starr and His All-Starr Band, and many more.

    The BayCare Sound has been on an upgrade trajectory ever since it opened, transitioning from renting its AVL systems to owning them, beginning with its LED video wall and, most recently, purchasing an L-Acoustics L Series sound system from locally based ESI Production Services, the venue’s vendor from the start. That system, which was installed in March of this year, continues to utilize some of the L-Acoustics Kara II and A15 enclosures the venue opened with, originally rented from ESI.

    “We had been bringing in systems as needed, but from a cost perspective, it made sense for them to own the system instead of renting for every show,” says ESI Production Services President Erick “Otto” Celeiro, who notes that the venue is owned by the City of Clearwater and managed and operated by Ruth Eckerd Hall. “They had already been using our L-Acoustics systems and knew how good they sounded, so it made sense to stay with the brand.”

    Solid Performance in Challenging Conditions
    But it was another equation that sealed the deal, one very familiar to outdoor event producers on the state’s often-turbulent west coast. Celeiro recalls the day the system was demoed onsite last September was also just as Hurricane Helene was approaching the area. “The boxes were swinging in the wind, and I was amazed at how coherent and consistent the sound remained,” he remembers. “It was more than I would have expected from any sound system, but the L Series made it sound like no weather at all.”

    Mark “Sarge” Yuhas, Technical Director and Production Manager at The BayCare Sound, confirms that stormy performance. But he adds, even when the air is still, the L2 arrays outperform. “There are just no holes in the sound here now,” he says. “Often, if you’re off axis to the mains, you’ll experience a gap in the sound of a typical loudspeaker, but not the L2. I can turn off the delays and fills and still get great coverage, even with the mains three to four hundred feet away. It’s a phenomenal system.”

    Rider Ready and Artist Approved
    That’s why, he says, touring artists have let him know they’re happy to see the L-Acoustics L Series when they arrive. Shows there since the system was installed have included Brad Paisley, UB40, Melissa Etheridge, Styx, Willie Nelson, Chicago, Air Supply, Of The Trees, and Dropkick Murphys. “There aren’t that many L2 systems out there yet, but some artists will have encountered them on a west-coast tour swing, and when they see it here, they know what to expect—a great show,” he says.

    The system currently features main arrays of two L2 over one L2D per side, with sub hangs of six KS28 flown behind each main, plus six more KS28 on the ground as an LF-support center cluster. Seven Kara II are spread out across the stage as front-fills, while three K3 plus two KS28 on each side of the stage supply monitor side-fill. Some pre-existing Kara II lawn-fills, flown from the far end of the roof structure, and A15 out-fills remain in place from the previous system design. The entire system is driven via three L-Acoustics LA-RAK III and three LA-RAK II Milan-AVB racks, all processed via an L-Acoustics P1 at FOH paired with two LS10 Milan-AVB switches.

    And while the “Hurricane Helene test” went very well, Yuhas notes that the system is constantly exposed to the area’s high humidity and the venue’s proximity to salt water. “We are a half mile from the beach and the Intracoastal inlet, and we’re an open-air venue, but the L Series is holding up incredibly well to all of that,” he says. “And it still manages to look pretty sexy up there while sounding absolutely amazing.”

  • Beyond the Frame: JBL Professional Transforms Ulsan’s Digital Gallery into a Living Canvas

    Beyond the Frame: JBL Professional Transforms Ulsan’s Digital Gallery into a Living Canvas

    In the heart of Ulsan, a city long known as a pillar of South Korea’s industrial might, a powerful new cultural landmark has emerged. Lightroom Ulsan Baekyangsa, an immersive multimedia exhibition hall, opened in April 2025 to reshape how visitors experience art, sound, and space.

    Driven by the vision of Baekyangsa Temple, an institution with more than a thousand years of history in the Jogye Order, Lightroom Ulsan was established to bridge heritage and innovation. The venue offers state-of-the-art exhibitions where digital artistry comes alive across towering screens, amplified by multidimensional audio that draws guests into each scene.

    To meet the venue’s ambitious demands for clarity, uniformity, and immersive audio coverage, Kinoton Korea, Inc. partnered with the integration team at Lightroom Ulsan to deploy a comprehensive HARMAN Professional audio system.

    The goal for the Lightroom Ulsan integration team was never to create a traditional exhibition space as they needed an environment that immersed the audience both visually and acoustically. High-resolution projection alone wasn’t enough and that they needed sound that was precise, powerful, and evenly distributed throughout a highly reflective space.

    To overcome acoustic challenges caused by the venue’s high ceilings and open architectural layout, the team installed sound-absorbing panels across all four walls and finished them with fabric materials. This approach effectively minimized reverb and ensured acoustic consistency across the venue.

    For the install, six JBL’s VTX A6 loudspeakers provided compact yet wide coverage, while twelve of the JBL VTX F15 loudspeakers delivered accurate point-source clarity. Six of the JBL VTX B15G subwoofers added immersive low-end presence, and six Crown’s I-Tech 4X3500HD amplifiers, complete with built-in DSP, offered intuitive control and system reliability that they stated was one of the biggest advantages to deploying a JBL Professional and Crown system.

    What set this project apart was the use of JBL’s Venue Synthesis software from the earliest stages. The Kinoton Korea team reported that using Venue Synthesis instead of CAD (Computer-Aided Design) during speaker placement significantly accelerated planning and improved collaboration with the architectural team, while also helping them prepare tuning data early, reducing overall setup time.

    “The immersive visuals surrounding all four walls were stunning, and I was impressed by the high-quality sound that elevated the entire experience. It felt like I had truly stepped into Hockney’s world, filled with vibrant colors and light,” said Jay Ko from Lightroom Ulsan Baekyangsa

    “The installation at Lightroom Ulsan showcases how HARMAN’s integrated technologies can power immersive art spaces that engage all the senses,” said Amar Subash, VP & GM, HARMAN Professional Solutions, APAC. “We commend Kinoton Korea and the Lightroom Ulsan team for their meticulous design and execution, and we’re proud to be part of this transformative cultural project.”

  • Shangri-La Jeddah Elevates Luxury Experience with Cutting-Edge HARMAN Professional Solutions

    Shangri-La Jeddah Elevates Luxury Experience with Cutting-Edge HARMAN Professional Solutions

    Anchored on the new Jeddah Waterfront along the shores of the Red Sea, Shangri-La Jeddah sets a new standard for luxury in the city. Floor-to-ceiling windows throughout the hotel invite the outdoors in, and the stylish interiors reflect the endless blue of the sea and sandy beaches right outside. To support a world-class guest experience with the latest technology, the hotel turned to HAV to bring their vision to life with a suite of cutting-edge solutions. HAV was approached directly by the hotel owner to meet the required standards.

    Shangri-La Jeddah worked closely with HAV, the exclusive distributor of HARMAN Professional Solutions in Saudi Arabia, to outfit the hotel with a comprehensive audio solution consisting of JBL Professional speakers, Crown amplifiers, Soundcraft mixing consoles, and BSS signal processors and network devices. The project involved fitting the audio solution for the restaurants, ballroom, hotel suites, VIP rooms, and the hotel lobby. This included six top niche restaurants and one of the most luxurious ballrooms in Jeddah overlooking the Red Sea.

    Shangri-La Main Ballroom, with some of the city’s most extensive and versatile event spaces, is a popular venue for weddings and social events. HAV provided an extensive integrated audio and lighting solution, making the ballroom one of the best of its kind on the Red Sea. A total of 96 JBL Control 300 Series Ceiling Speakers were installed in the ceiling, including a combination of 12” Control 322C Main and Control 312CS subs powered by Crown XLS DriveCore Amplifiers, with DSP and matrixing handled by BSS. The ballroom can be split into three sections or used as one, using multiple orientations in the process. For each stage area, JBL Point Source AE Expansion series were used as L&R speakers. The ballroom was acoustically treated with the help of JOCAVI, all simulated in the design stage.

    The Capo front lobby, an exquisite boutique patisserie showcasing the fine art of coffee and chocolate pairing, features Line Array CBT 70J-1 with Control C26T ceiling speakers for the indoor area and AWC 62 for the outdoor terrace. Crown Drive Core high-performance amplifiers and BSS Digital Signal Processing are used for control and zone management.

    Niyyali Restaurant, overlooking the Red Sea and the Jeddah Corniche Circuit, offers breathtaking views. HAV provided an integrated audio solution comprising JBL Control 28-1L, Control C26T, Control 19CS, DriveCore Crown amplifiers, and BSS Digital Signal Processing for control and zone management. The venue is known for its good vibes, open-air terrace, and exciting nighttime atmosphere.

    Kaia Club features an all-weather DJ-ready solution, consisting of JBL Control 31WH with marine grills as main speakers, AWC 15LF for sub-bass, supported by JBL Control 28-1L with SS grills for surrounding delays. dbx ZonePro digital signal processors and Crown DriveCore high-performance amplifiers complete the setup. Additionally, a Pioneer DJ solution was provided.

    Waterfront Kitchen, a culinary adventure venue, allows guests to settle in the bow and gaze out across the glittering Red Sea. HAV provided an aesthetically blended signature audio system, with JBL CRV speakers formed into a complete circle simulating a lifebuoy and distributed under the fishnet ceiling. Sub-bass was handled by JBL Control 19CS hidden in the ceiling. BSS Digital Signal Processing was used for control and zone management, with Crown XLS DriveCore amplifiers.

    “We are thrilled to have partnered with Shangri-La Jeddah to deliver an unparalleled audio experience. HARMAN’s products allowed us to integrate a sophisticated audio system that complements the luxurious atmosphere of the hotel,” said Bassam Halwani, CEO of Halwani Audio Visual (HAV). “The JBL speakers, Crown amplifiers, and BSS signal processors have significantly elevated the guest experience by providing clear, high-quality sound throughout the hotel. This project has set a new benchmark for audio excellence in the hospitality industry.”

    Despite initial setbacks with the previous integrator, HAV’s expertise and the unwavering support from HARMAN ensured the successful completion of the project. Shangri-La Jeddah expressed immense satisfaction with the audio solution provided, recognizing HAV for their exceptional work and indicating a willingness to collaborate on future projects.

    Shangri-La Jeddah’s integration of HARMAN’s cutting-edge solutions not only enhances the guest experience but also sets a new standard for luxury in the hospitality industry. The project stands as a testament to the commitment to creating smart, innovative experiences.

  • JBL Professional Introduces Control 400 Standard Coverage & Premium Coverage Series Ceiling Speakers Significantly Expanding Lineup

    JBL Professional Introduces Control 400 Standard Coverage & Premium Coverage Series Ceiling Speakers Significantly Expanding Lineup

    HARMAN Professional Solutions has launched two new series of ceiling speakers under the JBL Professional Control 400 family: the Standard Coverage and Premium Coverage Series. These new models, which expand the Control 400 family to a total of 21 products, offer high-performance sound solutions tailored for commercial applications. The new series are designed for flexible integration, with features like customizable grilles, various sizes, and advanced sound technologies to suit any environment.

    The Standard Coverage Series provides high-quality audio at an affordable price, while the Premium Coverage Series incorporates advanced JBL technologies for exceptional audio clarity and coverage consistency. With easy installation features, including top/side cable entry and a dogear design for versatile ceiling thickness compatibility, these models are perfect for integrators looking for reliable, high-quality solutions for corporate spaces, hospitality venues, and more.

    HARMAN Professional Solutions, the global leader in audio, video, control, and lighting systems, today announced the launch of the JBL Professional Control 400 Standard Coverage Series and Control 400 Premium Coverage Series Ceiling Speakers. Comprised of 15 new models, these series join the Control 400 Enhanced Coverage Series, introduced earlier this year, completing the Control 400 Ceiling Speaker Family’s 21-model lineup. Together, these variants provide options at three distinct tiers of coverage consistency and price, enabling integrators to curate the optimal solution to support any commercial application.

    The JBL Control 400 Family represents the next generation of excellence from the most trusted name in loudspeakers. Building on the legacy of the iconic JBL Control 10, Control 20, and Control 40 ceiling speaker families, the Control 400 Standard Coverage Series, Enhanced Coverage Series, and Premium Coverage Series share many core features, including superior sonic performance, unmatched reliability, helpful installation features, and a contemporary design aesthetic. Additionally:

    • The Standard Coverage Series is designed to provide high-performance audio at affordable price points.
    • The Enhanced Coverage Series includes JBL’s Coplanar Radiation Boundary Integrator™ (CRBI™) to provide a more even frequency response throughout the coverage area and strikes an elegant performance to cost balance between the Standard and Premium models.
    • The flagship Premium Coverage Series leverages JBL’s proprietary conical Radiation Boundary Integrator® (RBI™) technology to achieve the utmost coverage consistency for installations where audio quality and clarity is paramount.

    Staying true to JBL’s commitment to installer-friendly design, all Control 400 Series models boast thoughtfully engineered installation features to enhance safety, efficiency, and repeatability. Terminal covers allow for convenient top or side cable entry and the reliable captive dogear design accommodates a variety of ceiling thicknesses, ensuring versatility for any environment. Most options include transformers to support both 70V/100V and low impedance applications.

    All models embrace design elements tailored for modern interiors. The included full-face magnetic grille is paintable for seamless integration into any decor, while available black and square grilles provide added customization.

    “Expanding the Control 400 Family with two new series and 15 additional models brings our total to 21 options,” said Steve Mathis, Senior Product Manager, Installed Audio, HARMAN Professional Solutions. “Our goal is to provide incredible sound quality in products that are reliable, easy to install, and adaptable to any design vision. These additions not only broaden our offering but also simplify setup and elevate aesthetics – giving integrators the tools they need for outstanding audio installations.”

    With options at various sizes and price points, the new JBL Control 400 Standard Coverage, Enhanced Coverage, and Premium Coverage families all deliver best-in-class sonic performance, elegant design, extreme

    reliability, and installer-focused features to enhance corporate spaces, hospitality venues, or anywhere in between.

    FEATURE HIGHLIGHTS:

    • Solutions For Every Environment – Three distinct product ranges allow you to choose what’s best for your specific application. No matter which series you choose, every model provides high-quality JBL sound, unmatched reliability, helpful installation features, and a contemporary design aesthetic.
    • Efficient, Flexible Installation – Control 400 Series ceiling speakers are engineered to improve installation repeatability and safety while reducing installation time. Terminal covers provide both top and side cable entry ports, allowing installers to choose the best option for each application. The captive dogear design is extremely reliable and works with a wide range of ceiling thicknesses.
    • Refined, Modern Aesthetics – Full-face magnetic grilles provide a sleek, refined look to meet the sensibilities of modern architectural design. They are equipped with safety tethers, which mount right into the baffle to ensure peace of mind. Optional black and square accessory grilles are also available to empower added design versatility.
    • Premium Sonic Performance – Featuring JBL’s proprietary Radiation Boundary Integrator® (RBI™) technology, the Premium Coverage Series achieves constant directivity coverage, ensuring that listeners can enjoy an especially smooth sound character that remains extremely consistent, clear, and pleasant across a wide coverage area.

    ADDITIONAL DETAILS AND SPECIFICATIONS:

    • Control 400 Series Ceiling Speakers
    • Standard Coverage Series
    • Enhanced Coverage Series
    • Premium Coverage Series
  • World’s Fourth-Busiest Arena Overcomes Difficult Dome Acoustics with L-Acoustics K2

    World’s Fourth-Busiest Arena Overcomes Difficult Dome Acoustics with L-Acoustics K2

    Despite initial construction on Movistar Arena beginning in 1956, the structure remained unfinished and unused for 50 years. But today, Santiago, Chile’s multipurpose arena at O’Higgins Park has more than made up for lost time. Two years after it opened to the public in 2006, Movistar Chile bought the venue’s naming rights and added 5,000 seats, bumping its capacity to 16,500 and transforming the facility into what is now one of the largest and busiest arenas in South America.

    Movistar Arena sold more than 1.4 million tickets in 2024, according to Pollstar, earning it the rank of number four among all arenas worldwide for highest number of ticket sales. With no shortage of top artists and their fans queuing up for shows at the venue, Movistar Arena has utilized L-Acoustics loudspeakers on a rental basis for many of the productions it has hosted since 2019. Now, on the recommendation of its exclusive audio vendor, Bsound, the arena has made a strategic investment in purchasing its own premium L-Acoustics K2 system to offer its visiting acts.

    “I’ve been working with L-Acoustics for decades; in fact, I was involved with the first system sold in Chile, so I deeply understand the company’s philosophy, development, and sound quality,” says Bsound Founder and CEO Daniel Vinagre. “Other brands proposed designs for the arena, but the best proposal came from L-Acoustics and, for me, there was no doubt that it was the right one. We required more than just a simple loudspeaker upgrade. Our goal was to have better SPL control, and L-Acoustics clearly offered the best results in terms of SPL, integrity, and coverage.”

    Unique Acoustic Challenges in Historic Dome Structure

    Movistar Arena’s dome shape presents distinctive acoustic challenges, and government policies preclude any modifications to the original structure since the building is considered historic. Working closely with Francisco Jaramillo at local L-Acoustics Certified Provider Distributor VGL and consultant Salvador Castañeda, who provided the calibration, L-Acoustics Application Engineer Alex Soto created the arena’s initial system design in Soundvision. Bsound’s first-rate audio tech team made refinements to optimize the configuration for their specific needs.

    The final system includes main arrays of 18 K2 per side, each backed by a hang of eight K1-SB subwoofers and flanked by a dozen more K2 per side for out-fill coverage. Sixteen Kara II typically stacked in groups of two supply front-fill, while five more Kara II flown per side address the 270-degree seating sections. Low-end is further bolstered by 18 KS28 ground subs in six stacks of three, and everything is driven by LA-RAK II paired with LS10 Milan-AVB switches and controlled by two P1 processors.

    With its domed roof and acoustically reflective surfaces, one of the biggest design challenges was controlling low end. “We successfully addressed this by designing a flown cardioid subwoofer setup, integrating the main and out-fill arrays with subs flown behind both arrays at equal distances,” Vinagre shares. “This approach allowed us to gain directional control of the low end, significantly improving the overall system response while working harmoniously with the arena’s distinctive architectural character.”

    Versatility for Multi-Purpose Venue Requirements

    Although Movistar Arena’s new loudspeaker system is most typically deployed as a left-right design, it can also be dropped and re-flown in a variety of other setups as needed. “The flexibility of this system was also one of the main reasons we chose it,” Vinagre describes. “We can easily repurpose it to do half-arena, 360-degree, and other custom configurations depending on what we’re hosting. This is a very dynamic venue. We not only have rock and roll shows, but everything from tennis matches to circuses as well, so we needed a system that could handle it all. L-Acoustics K2, with its adjustable Panflex directivity, versatile rigging, and reasonably light weight, is a very versatile performer.”

    Advanced Milan-AVB Networking Ensures Rock-Solid Reliability

    The decision to utilize an AVB signal path was a wise one, Vinagre notes: “We are feeding the audio signals to the system through Milan-AVB, chosen for its stability, and practicality—since each of the two CAT6 cables carries eight audio signals, providing redundancy—and primarily because the audio signal remains in the digital domain, thus avoiding losses due to distance and noise from induction. It has proven to be very successful. In over 100 shows to date, we’ve never needed the redundancy. And even if we did, we’ve already verified that it functions correctly, even when switching to the backup AES system.”

    Artist and Audience Acclaim

    Anuel AA, a reggaetón singer from Puerto Rico, was the first artist to perform on Movistar’s new system, christening the rig with four sold-out arena shows. Since then, Lenny Kravitz, Toto, Dream Theater, Tool, Sting, Aurora, and many others have played in the venue, including Simply Red, who sold out five nights, the highlights of which will soon be turned into a theatrical release. “Almost every visiting artist and audio engineer has told us that they really love our new system,” Vinagre adds. “K2 is working like a champ—the sound has been incredible and our audiences are absolutely loving what they’re hearing. We couldn’t be happier with our choice of L-Acoustics.”

  • JBL Professional and Epic Deliver Powerful Audio for KultureBall Annual Gala

    JBL Professional and Epic Deliver Powerful Audio for KultureBall Annual Gala

    Every year, KultureCity®, the world’s leading nonprofit for sensory accessibility, hosts KultureBall, a black-tie evening where celebrities and philanthropy walk hand-in-hand to promote acceptance, inclusion, and raise funds for individuals with invisible disabilities. Recently, the organization marked its 10th anniversary with an evening filled with inspiration, surprise performances, and sensory-inclusive design, powered by a high-performance JBL Professional audio system provided by longtime partner Epic.

    The gala featured a unique mix of content, including a full orchestra, multiple presenters, ASL interpreters, a center-stage extension, and live performances from Arnel Pineda of Journey, Orianthi, and American Idol winner Taylor Hicks. The event called for a sound system with the power and clarity of a touring rig, but with the elegance and intelligibility of a symphony hall. To meet those demands, Epic deployed a JBL Professional VTX A Series loudspeaker system with Crown amplifiers and JBL Performance Manager software.

    “We first demoed the JBL VTX A Series at an outdoor event in 2024,” said Matt Yancey, FOH engineer for Epic. “Even with an orchestra playing alongside a rock band, the system provided incredible clarity and coverage. That same flexibility made it the perfect choice for KultureCity’s gala, which again featured a full orchestra, multiple presenters, and top-tier talent.”

    KultureBall 2024 took place inside the historic Boutwell Auditorium, one of Birmingham’s most storied venues. To accommodate the event’s wide range of programming, Epic designed an AV layout that included a traditional main stage, an extended downstage platform for the orchestra, and a round stage in the center of the venue for keynote moments and performances.

    “If the Boutwell could talk, it would tell countless stories of iconic performances,” said Gary Teal Junior, CEO of Epic. “It’s a beautiful space, but a challenging one for audio. With the orchestra pushed beyond the PA and a center stage added to the mix, feedback stability and full coverage were non-negotiable. The JBL VTX rig delivered on both.”

    Rigging the system presented its own logistical challenge, but the team, including Steve Huf, Stage Patch, Travis Navara, RF Tech, and Marcel Natson, System Tech, were able to deploy quickly thanks to the VTX Series’ auto-locking mechanisms. “I’ve used just about every major PA,” said Matt Yancey, House Audio Engineer. “The A Series rigging is hands-down the easiest to get in the air. We’re always waiting on video and lighting to catch up.”

    Jacob Moore, Monitor Engineer and System Tech, added, “The rigging in the venue is complicated, but having a PA that goes up easily saves so much time. And the punch of the JBL VTX M22 monitors are incredible as volume and clarity are never an issue.”

    For system design and configuration, the team used JBL Performance Manager, integrating data from JBL’s Venue Synthesis software for seamless deployment. “The drag-and-drop functionality is fantastic,” said Moore. “Once the Venue Synthesis file is ready, Performance Manager auto-populates everything. It’s efficient, intuitive and reliable.”

    As with previous years, KultureBall included sensory accessibility features such as ASL interpreters, live captioning, and quiet zones, ensuring that every guest could experience the event comfortably. The JBL VTX system enhanced those efforts by providing consistent, high-fidelity sound throughout the room with minimal strain or distraction.

    “The feedback has been phenomenal,” said Teal. “From the presenters to our KultureCity partners, everyone was impressed with the clarity, warmth and presence of the system. It helped make this milestone gala truly unforgettable.” Attendees and artists alike also praised the sound quality, including musicians from the headline acts who described the experience as “like listening to a hi-fi in your living room.”

    As KultureCity continues to expand its impact, by outfitting venues for sensory inclusion and breaking down barriers, Epic and JBL Professional ensured their signature gala remains a world-class, accessible celebration of inclusion, powered by technology that meets the moment.

  • L-Acoustics L Series Concert Sound System Addresses Sound Control Challenges at Forest Hills Stadium

    L-Acoustics L Series Concert Sound System Addresses Sound Control Challenges at Forest Hills Stadium

    One person’s music is another person’s noise, and that dynamic has been playing out ever since guitars were plugged into amplifiers. However, as more venues in densely populated urban settings embrace live music, the conversation around balancing live events and community has become increasingly important – and increasingly rewarding when done thoughtfully.

    Leading this charge is the venerable Forest Hills Stadium in NYC’s Queens borough. The venue is regularly home to the US Tennis Open but has also long been a major stop for music during the touring season – including when it hosted The Monkees with opening act Jimi Hendrix back in 1967. Like many urban venues, it has navigated the ongoing conversation with local residents about balancing powerful live sound with neighborhood comfort. However, the music is a lot sweeter this year now that Forest Hills Stadium has installed, on a semi-permanent basis, an L-Acoustics L Series sound system.

    Provided and managed by Firehouse Productions, the longtime AV vendor for the venue, the new system comprises main arrays of two L2 over a single L2D per side, each flanked by an out-fill hang of one L2D. Fill sound is supplied by 20 Kara II loudspeakers, with plenty of controlled low end from 16 KS28 subs, and the entire setup is powered by four LA7.16 and three LA12X amplified controllers.

    The results are clear: off-site sound levels are measuring 10 to 15dB lower than last year’s system. Tim Fraleigh, Firehouse Productions’ system engineer onsite for the season, credits the dramatic improvement to a recommendation from legendary live-sound guru Dave Rat. Rat suggested the L Series would offer the same sonic quality as the K2 system deployed in past years, but in a more compact form factor with even greater sound control. “It was a good call and quite an accomplishment,” says Fraleigh, referring to the off-site measurement improvement. “Great sound makes for good neighbors.”

    He attributes the improvement to the L2’s innate cardioid design, as well as L-Acoustics Soundvision software, which predicted the sonic boundaries with great accuracy. And L2 achieved the main goal of mitigating sound leakage while also improving sight lines, thanks to its compact size. “It’s one of those things where when you first put it up in the air and you step back from it, you’re kind of like, ‘wow, is this really going to do it?’” he says. “And then you turn it on and it’s pretty amazing.”

    Steve Gordon, Account Manager at Firehouse Productions, comes to his role after years on the road as a touring production manager, and he says what Forest Hills Stadium and its neighbors had been experiencing is a universal problem for touring music. “We always used to ask, ‘why are we trying to do a rock show in a place where you can’t make noise?’” he muses. “But that’s the nature of the issue. It’s challenging for everyone: the engineers, the audience, and the artists because the whole experience changes. And I’ve run into it all over the world. Gordon points out, though, that the L2’s “cohesiveness” is key to making it the right solution for Forest Hills Stadium’s situation. “One of the great things about L Series is that it doesn’t have to be run loud to be impactful. That really helps keep the levels under control.”

    Fraleigh confirms that, adding, “As an FOH mixer, you don’t feel the same need to turn it up to get impact. That’s really helped make it more manageable this season.” That certainly applied to EDM-influenced indie rockers Bloc Party, the first show in a five-month-long season that will also include performances by Shawn Mendes, the Black Keys, Phish, Mumford & Sons, and Alabama Shakes. “Even the low end stays comfortably within the guidelines,” he says.

    That’s exactly what Bryan Berge, Production Manager for Function of Gravity, the production management company for the venue, discovered when standing out in the street during the season’s first show. “People were saying, ‘that’s all there is?’” He recalls happily. Brought on to consult on the noise-mitigation issue, Berge says the L2 made a huge difference, with a distinct lowering of measured sound levels without any attenuation of perceived impact, even with the tightened metrics in place this season. In addition, he says, the L2 offers a more encompassing, less directional listening experience, one that deepens fan engagement with the music. “When you see production elements like speakers, it tends to subconsciously take you out of the moment,” he explains. “But there’s something about the L Series – their smaller size, their engineering – that makes you feel they’re not there, that you’re connecting directly with the music. That’s a very satisfying experience.”

    After initially being denied a permit for this year’s shows, concertgoers are celebrating now that the city cleared the way for the show to go on at the storied venue after an agreement between stakeholders let the permits go through. Much of that is a result of the implementation of the new L-Acoustics L Series sound system, which will assure that the music will stay exactly where it needs to be.

    “Our goal at Forest Hills Stadium has always been to create unforgettable moments for our fans, and with the L-Acoustics L Series system, we’re doing just that,” confirms Jason Brandt, General Manager for the iconic outdoor venue, which is operated by The Bowery Presents. “This cutting-edge sound technology ensures the music remains immersive within the venue, allowing our audiences to connect with the music on a deeper level, all while being the best possible neighbors to the surrounding community. We’re excited for many more seasons of incredible music.”