![Picture 1SHURE.png](https://res.cloudinary.com/olex/image/upload/v1785766823/Picture_1_SHURE_9a47b2cc72.png)

Shure Associates stand alongside Rock Nashville and Soundcheck Partners while opening expanded Nashville office
From Left: Kevin Smith, Ryan Smith, Robert Bull (ECCHO Live / Clair Global / Rock Nashville), Sean Bowman, Kindal Jumper (Soundcheck), Jason Waufle, Jenn Liang-Chaboud

NASHVILLE, 3rd August 2026 — From Tootsies to the Ryman and the Grand Ole Opry, Shure has been part of the music community in Nashville for more than 25 years -- enabling musicians and engineers to sound extraordinary. 

Shure is celebrating 25 years of having an office in Nashville and expanding into the newly built Rock Nashville facility, a 600,000-square-foot production campus -- the largest purpose-built music campus in the world with 13 rehearsal studios and two arena rehearsal studios. 

Even beyond the 25 years of having an office in Nashville, Shure has been supporting the area for decades. Whether it was supporting local independent music venues, or helping artists impacted by the floods in 2010, or supporting music creativity at home through the pandemic, Shure has been here supporting the resilient Nashville community.

Several Nashville performers, audio professionals, and civic leaders helped “dedicate” the new office space with a ribbon-cutting ceremony.

Shure also presented a check to ECCHO Live, a Nashville-based organization that provides resources to individuals in the touring industry such as mental health services, financial coaching, and full year-round programming, including on-site support at festivals and events. 

The Company has been part of the Nashville family for years, even before they had a physical office there.

> Shure has supported country music for decades. Reps from Shure’s Evanston factory would drive a truckload of gear to Nashville for Fan Fair every year to help facilitate that event,” said Chuck Young, retired Director of Production & Technical Services at Opry Entertainment Group. “Even before the Grand Ole Opry House was built in 1974, Shure supplied microphones and a Vocal Master PA at our original Ryman Auditorium home. That partnership has flourished for more than 50 years, and we still use Shure mics and IEMs for the longest-running radio show in history. With more than 300 Opry shows per year, hundreds of performers, and three-minute set changes, gear performance and reliability are paramount in our venues. We get that, along with great engineering support from Shure.

Both founded in 1925, the Grand Ole Opry and Shure share a rich history together, with music and cultural icons trusting Shure microphones on the Opry stage. During the Grand Ole Opry 100th Celebration, it featured a procession of artists who relied on Shure audio technology as they honored the legacy of the iconic country music institution. 

When Opryland USA opened in 1972, Shure was there, providing an array of microphones for performances.

> Nashville has always been an important part of Shure’s history and we’re proud to grow our presence there as we continue to support the community,” said Chris Schyvinck, President and CEO at Shure.

*Dave Mustaine, co-founder and frontman of Megadeth added his congratulations to Shure.*

> Being a staunch believer in Shure microphones, since I first saw one being swung by Roger Daltry, and used by all the great singers when I started, I was a believer,” said Mustaine. “That was an SM58, and I was convinced. Now I use Shure's Beta 58A. My guitar microphones are also Shure as well--the famous SM57, as being used by almost all the guitarists I respected. At this point, I knew I wanted to be a Shure endorser too. 
 
Mustaine also added praise for Shure’s Nashville-based lead.

> Shure has a secret weapon at their Nashville location, to go with their exceptional audio equipment: Artist Relations Manager Ryan Smith,” said Mustaine. “Ryan can be found most any day at the convenient Shure location at Soundcheck Rehearsals at Rock Nashville, expertly handling his clients and addressing their needs.

**About Shure**

[Shure](https://www.shure.com/en-GB) has been helping people sound extraordinary for more than 100 years. Founded in 1925, we are a leading global manufacturer of audio and collaboration technology, known for our commitment to quality, performance, and durability. We make microphones, wireless microphones, conference room solutions, earphones and headphones, in-ear monitors, and more.

From the biggest broadcast events and live performances, to critical business meetings and university lectures, to your home office or studio, you can always rely on Shure.

Shure is headquartered just outside of Chicago in Niles, Illinois, in the United States. We have more than 30 locations around the world, and our products are sold in over 120 countries.




Shure

SHURE CELEBRATES 25+ YEARS IN NASHVILLE  WITH EXPANDED OFFICE IN ROCK NASHVILLE COMPLEX

![ADPSM_Blog.png](https://res.cloudinary.com/olex/image/upload/v1786550939/ADPSM_Blog_734021e055.png)

New York, August 3, 2026 —  [Shure](https://www.shure.com/en-GB) today announced that its wireless, monitoring, remote control and broadcast audio technologies played a critical role during the entertainment segments of international football's premier final. From a packed New Jersey stadium to billions of viewers around the world, [Axient® Digital](https://www.shure.com/en-US/products/wireless-systems/axient_digital?variant=Axient%2520Digital), [Axient Digital PSM](https://www.shure.com/en-US/products/in-ear-monitoring/adpsm?variant=Axient%25C2%25AE%2520Digital%2520PSM), ShowLink®, and the [DCA901 Broadcast Microphone Array](https://www.shure.com/en-US/products/microphones/dca901?variant=DCA901) delivered clear, reliable audio throughout the half-time production in one of the world’s most challenging wireless environments. 

Professional Wireless Systems (PWS), led the deployment alongside ATK/Clair Global, relying on Shure wireless microphones, in-ear systems and software to support presenters and guest artists across an RF infrastructure built for high channel counts and complex frequency coordination.

> We managed the microphones on the field through ShowLink together, from one position. That changed how fast we could respond when something shifted during the show," said Jim Van Winkle, General Manager of PWS. "At an event of this scale, every second matters. Being able to make adjustments immediately helped us keep the focus on where it belonged: on the performance.

**Built for the Toughest Wireless Environment**

To support the halftime show, PWS deployed 12 channels of Shure Axient Digital PSM Digital In-Ear Monitoring Systems, as well as ADX microphone transmitters and [AD4Q Digital Wireless receivers](https://www.shure.com/en-US/products/wireless-systems/axient_digital/ad4q?variant=AD4QNP%3D-A) with Quadversity™ technology. Quadversity enables four antenna zones per receiver to maximize coverage across the stadium and helps engineers minimize signal dropouts. The team also used 8 channels in Quadversity with a Shure [ANX4 Scalable Wireless Receiver](https://www.shure.com/en-US/products/wireless-systems/anx/anx4?variant=ANX4LC).

ShowLink remote control technology connected it all, enabling engineers to manage Axient Digital Wireless microphone transmitters from a single location. Engineers adjusted device settings, monitored performance in real time, and responded immediately to changing conditions, helping maintain seamless operation throughout the event.

The broadcast audio team also used the Shure DCA901 Broadcast Microphone Array to capture immersive stadium audio for the live telecast.

> I used the Shure DCA901 at the Halftime Show, and it gave me eight isolated audio channels from a single microphone location, with steerable lobes that let me remotely shape pickup zones in real time without moving gear around," said Tom Holmes, Production Audio Mixer. "It comprised all of the height sources for my immersive broadcast mix. I had never used it before, but setup was incredibly straightforward with the built-in web browser control panel. One network connection handled audio, power and control, which reduced cable runs and setup time. The time and effort we saved by not having to deploy additional microphones around the stadium was a game changer.

**Global Artists Relied on Shure**

Chris Martin from Coldplay performed using a Shure SM58® capsule on an [Axient Digital AD2 transmitter.](https://www.shure.com/en-US/products/wireless-systems/axient_digital/ad2_sm58?variant=AD2%2FSM58%3D-G57) The SM58 microphone marks its 60th anniversary in 2026, after decades of being trusted by performers, broadcasters, and audio professionals on the world's biggest stages.

Burna Boy also performed with Axient Digital wireless technology. Jason Sudeikis and Brendan Hunt, appearing in character as Ted Lasso and Coach Beard, along with Justin Bieber, using Shure [SM39 Headset Microphones](https://www.shure.com/en-US/products/microphones/sm39?variant=SM39-TQG).

Major sporting events present some of the most challenging environments for wireless audio. High channel counts, complex frequency coordination, and extensive RF activity require technology that performers, engineers and product teams can trust. Shure wireless solutions continue to support many of the world’s largest broadcasts and events, helping production teams maintain reliable audio when the stakes are highest.

Learn more about Shure Wireless technology for live and sports events on [shure.com/broadcast](https://www.shure.com/en-US/applications/broadcast).   

**About Shure**

[Shure](https://www.shure.com/) has been helping people sound extraordinary for more than 100 years. Founded in 1925, we are a leading global manufacturer of audio and collaboration technology, known for our commitment to quality, performance, and durability. We make microphones, wireless microphones, conference room solutions, earphones and headphones, in-ear monitors, and more. 
 
From the biggest broadcast events and live performances, to critical business meetings and university lectures, to your home office or studio, you can always rely on Shure. 

Shure is headquartered just outside of Chicago in Niles, Illinois, in the United States. We have more than 30 locations around the world, and our products are sold in over 120 countries. 




SHURE POWERS PERFORMANCES ON FOOTBALL’S BIGGEST STAGE  

CHINA – August 2026 – On China’s live-vocal music shows there is nowhere to hide. Audiences expect every note delivered live and unedited, and the sound system has to carry that promise to thousands in the studio and millions more at home. Three of the country’s most closely watched programmes meet that demand using L-Acoustics: the long-running Singer, the new cross-generational showcase Guo Yue Wu Shuang, and the collaborative The Treasured Voice. Across all three, sound director He Biao specified L-Acoustics professional sound systems, deployed by L-Acoustics Certified Parter, Beijing Dadong Huahan Audio Visual Equipment with product and technical support from L-Acoustics Certified Provider Distributor, Rightway Audio Consultants (Racpro).

He Biao is one of the most sought-after sound designers in Chinese television, the engineer production teams call when a live broadcast leaves no room for error. He has built the acoustic backbone of these flagship shows season after season, and he keeps returning to the same tools. “Today, Chinese artists and audiences are demanding that music variety shows push the boundaries of audiovisual production,” says He. “Our solutions have to meet these needs.”

**L-ISA Immersive Sound Places the Audience Inside Singer**

Singer is the show that set the template. More than a decade after it first put established vocalists head-to-head in a fully live contest, Hunan TV’s flagship remains the benchmark against which other Chinese music shows are measured. Broadcast live, its 2026 season brought nine leading voices to one stage, from Taiwanese Mandopop and folk singer Chyi Yu to Albanian-American artist Stanaj.

For a live broadcast spanning so many styles, Singer has been built on L-Acoustics L-ISA Immersive Hyperreal Sound since its 2024 return. For 2026, He Biao’s team expanded the deployment, enlarging the main hangs and widening coverage so the immersive effect reached more of the studio audience.

L-ISA moves the mix beyond a traditional stereo model, using object-based mapping to place each voice and instrument at a precise point in space. During Chyi Yu’s performance of the folk song “The Olive Tree”, her textured vocal held its own position rather than folding into the arrangement; on Zhang Bichen’s “Interstellar”, the ultra-wide sound field carried the emotional weight of the percussion while keeping the high frequencies transparent rather than harsh.

The main system comprised five hangs of two L2 and one L2D each, with Panflex and cardioid low-frequency control holding SPL across the front while limiting onstage spill. Four flown cardioid KS28 arrays anchored the low end, seven A10 provided spatial in-fill, and two dV-DOSC hangs covered the box seats. Six 115XT HiQ served as stage monitors.

> L-ISA lets us deliver the same clear imaging to every seat in the studio,” says He. “Audiences tell us it feels like the singer is performing directly to them, and that response feeds straight back into the artist’s performance.

**K2 Line Arrays Carry Both Voices of Guo Yue Wu Shuang**

Guo Yue Wu Shuang takes a different path. Co-produced by CCTV-6 and Zhejiang Satellite TV and premiered in May 2026, it is built on a single idea: one melody, two lives. Rather than a competition, it pairs artists to perform the same classic song first in Mandarin and then in Cantonese, illustrating how differently the two languages shape the same music. Its cross-generational guest list runs from international film icon Jackie Chan to Mandopop star Chris Lee (Li Yuchun), performing alongside traditional Chinese instrumentation.

The concept placed resolution above everything: the system had to render fine tonal shifts cleanly and stand up to the production’s three-dimensional visuals built with XR virtual production and holographic projection. He Biao's team turned to K2, the same array that carries the world's biggest tours, to give the studio genuine concert sound. Two arrays of ten K2 covered the audience, holding their clarity from the quietest phrase to the fullest arrangement.

> K2 gives us the precision to place every consonant and every pitch change,” says He. “It carries the Mandarin and the Cantonese reading of a song with equal clarity.

**K2 and Kara II Hold the Detail on The Treasured Voice**

Now in its seventh season, The Treasured Voice takes yet another approach, pairing established singers with a new generation of artists for one-off collaborative stages. Its 2026 line-up ranges from veterans Sun Nan, Chen Chusheng and Zhou Bichang to emerging voices including Tan Songyun, Zeng Shunxi and Mu Zhicheng.

With the musical style changing from one collaboration to the next, the show needed a system that could stay composed through constant shifts and reproduce fine vocal and arrangement detail. He Biao’s team built the PA on two arrays of eight K2, added two arrays of four KS28 for a clean low-frequency foundation, and placed two groups of two Kara II across the front rows. It is a configuration the team has refined across successive seasons of the show.

> This setup has been refined season after season, and it doesn’t need reinventing each year,” says He. “What matters is that it keeps delivering, whatever the stage throws at it.

**Season After Season**

Across three very different formats, the common thread is a sound system the production teams no longer have to think about and a partnership that keeps pace as each show evolves. As Guo Yue Wu Shuang finds its audience, and Singer and The Treasured Voice move through their latest seasons, He Biao, Dadong Huahan and L-Acoustics expect their work with Chinese-language live music to keep growing.

> Every one of these shows asks something different of the technology, but the response from audiences and artists tells us we keep getting it right,” says He. “As Chinese-language music variety shows keep raising the bar for live production, we will keep evolving right alongside them.

**About L-Acoustics**

Since 1984, we have been continuously innovating to shape the future of sound.

Our European-designed solutions optimize Source, System, and Space—unleashing creative possibilities in content, perfecting audio technology, and harmonizing with venue acoustics to guarantee exceptional performance.

Our global team of over 1,000, with 20% dedicated to R&D, has pioneered breakthroughs like the V-DOSC line array, L-ISA immersive solutions, and the eco-conscious L Series—innovations that have both transformed our industry and transcended our auditory perceptions. 

The world’s most demanding stages trust us: Adele's Las Vegas residency, the Philharmonie de Paris, the Zaha Hadid-designed Guangzhou Opera House, and over 13,000 premium venues worldwide. We’ve earned this trust by consistently delivering extraordinary audio in every venue and any space.

We are L-Acoustics. We connect humans through the best shared sound experiences.


L-Acoustics

China’s Leading Live-Vocal Shows Choose L-Acoustics, Season After Season

23rd July 2026 – Technics is proud to announce a limited edition in collaboration with  The Rolling Stones, adding a landmark collaboration to its true wireless earbuds lineup.
 
Launched to coincide with the band’s new album “Foreign Tongues” (10 July), this exclusive collaboration unites Technics’ signature audiophile engineering with one of music’s most iconic legacies. It is a joint project between The Rolling Stones and Technics.

![Technics AZ100E1-K_Rolling Stones edition (3).jpeg](https://res.cloudinary.com/olex/image/upload/v1784814061/Technics_AZ_100_E1_K_Rolling_Stones_edition_3_41b1e9e2a3.jpg)


“Foreign Tongues” is a dynamic, forward-looking record that captures the band’s unmistakable energy while pushing into bold new musical and lyrical territory. With the Technics EAH-AZ100, every note is delivered exactly as intended. Powered by the Magnetic Fluid Driver — the first of its kind in the industry — the EAH-AZ100 achieves ultra-low distortion, deep controlled bass and exceptional clarity across the full frequency range, from crisp natural highs to richly resonant lows. Recorded at Metropolis Studios in London, “Foreign Tongues” deserves nothing less.

Each set comes presented in a specially designed gift box, housing the EAH-AZ100 in its signature black finish alongside an exclusive rubber case embossed with the band’s legendary Lips & Tongue logo — transforming a precision audio product into a statement piece and collector’s item.

Available as a limited edition of 5,000 units worldwide, and the back of the original protective case features a laser-engraved serial number from 0001 to 5000 on the reverse. Serial numbers cannot be pre-selected, but if yours happens to align with a date or number significant in Rolling Stones history, we hope you’ll share the moment with fellow fans.

The EAH-AZ100 Rolling Stones Limited Edition is available exclusively online — including online and through Bravado — priced at €299 / £259.

A fusion of high-fidelity engineering and rock ‘n’ roll heritage, made for those who demand both performance and personality.

—ENDS—


Technics

The Rolling Stones x Technics:  When Iconic Sound Meets an Iconic Legacy

London – United Kingdom – 7th July 2026 - Ronnie Scott’s, London’s legendary Soho jazz club, has turned to Shure to deliver the audio backbone of ‘Upstairs at Ronnie’s’, its newly redeveloped live music room. The venue, which sits above the club’s famous downstairs stage, has been built from the ground up with a single ambition: to create the greatest small live music venue in the world.

Designed to seat 140 guests, Upstairs at Ronnie’s combines world-class technical specification with intimacy, pairing a Yamaha S3X Grand Piano and d&b sound system with a fully digital Shure microphone and monitoring signal chain built around [SLX-D+](https://www.shure.com/en-GB/products/wireless-systems/slxd-plus?variant=SLX-D%252B) and [Axient Digital PSM](https://www.shure.com/en-GB/products/in-ear-monitoring/adpsm?variant=Axient%25C2%25AE%2520Digital%2520PSM). The result is a room engineered to put performers and audiences closer to the music than ever before.

**A New Stage for a Wider Range of Artists**

The club set out to create a purpose-built room that complements its main stage while offering a different experience, one where every design decision, from acoustics and sightlines to equipment selection, is focused on sound quality, comfort and connection.

> With Upstairs at Ronnie’s, we set ourselves the somewhat audacious goal of creating the greatest small live music venue in the world,” says Charlie Dale, Technical Manager at Ronnie Scott’s. “We wanted a space where artists and audiences could feel even closer to the music, with every element of the design focused on sound quality, comfort and connection.

The redevelopment gives the club the platform to support a far broader range of performances than would traditionally be associated with a small jazz club. Monday nights host a classical series presented by violinist Lizzie Ball and the club’s Artistic Director and House Pianist James Pearson; Wednesdays focus on jazz vocal performances followed by a vocal jam night for emerging and established singers alike; and the venue’s long-running Friday night Cuban music session continues a tradition stretching back well over a decade.

**Pristine Audio, Built for the Rigours of Everyday Use**

Audio quality was central to the brief from the outset. Ronnie Scott’s has long held a reputation as a great-sounding venue, and that standard needed to extend seamlessly into the new room – whether reinforcing the most intimate performances or supporting the club’s Monday Classical series, where every nuance of the performance needed to be faithfully reproduced.

> The quality of the audio for both audiences and musicians on stage was of utmost importance to us when designing the venue,” Dale explains. “For many of the shows, our goal is to make the PA as audibly invisible as possible, while also needing the ability to have a more vibey and in-your-face sound for shows that require it.

Reliability was equally critical. The club is open 362 days a year, often staging between two and four shows daily, placing significant demands on every piece of equipment in the building.

> We also needed to make sure the equipment we chose was as robust as possible,” Dale continues. “Working with trusted brands within the industry such as Shure, d&b and Yamaha was essential to achieve these goals. All these brands have proven track records of providing high-quality gear that is built for the rigours of everyday use, in a small footprint but powerful enough package for a 140-capacity room with as varied a lineup of acts as we get Upstairs.

**A Fully Digital Signal Chain from Mic to Monitor**

Given the requirements for pristine audio quality and dependable hardware, Shure was a natural fit for the project.
“Shure was the obvious choice to work with,” says Dale. “They have been at the top of the game for mics and RF gear for a long time for a reason. No musician or engineer from anywhere in the world will be upset if you offer them an SM58 or SM57 as a first or second choice of microphone for most applications.”

Upstairs at Ronnie’s deploys [Shure SLX-D+](https://www.shure.com/en-GB/products/wireless-systems/slxd-plus?variant=SLX-D%252B)for microphones and [Axient Digital PSM](link) for in-ear monitoring, giving the venue a fully digital signal chain from mic to monitor. Upstairs at Ronnie’s runs four channels of [Axient Digital PSM](https://www.shure.com/en-GB/products/in-ear-monitoring/adpsm?variant=Axient%25C2%25AE%2520Digital%2520PSM), with the system also allowing the team to monitor RF quality and settings directly from the console over the venue’s Dante network.

> Using SLX-D+ and Axient Digital PSM for mics and monitoring allows us to have a high-quality, completely digital signal chain from mic to monitor, while also allowing us to monitor the RF quality and settings of the mics in our console over the Dante network – which is a must in a sound booth with limited space to have a laptop with Wireless Workbench open all the time,” Dale says

The venue’s Axient Digital PSM system also benefits from Shure’s recent firmware update introducing Single Carrier (SC) Narrowband, a new digital transmission mode designed to give engineers a more familiar and dependable RF setup without the need for complex coordination or advanced antenna configurations – well suited to a fast-paced room running multiple shows a day.
The club also praised the installation and commissioning support provided by the Shure UK team.

> Working with the UK Shure team is always a great experience, and this time is no different,” Dale adds. “A huge thanks must go to Stuart Moots and Peppe Mallozzi for organising the installation, and to Jack Drury and Andrew Francis for commissioning the installation for us, including making sure we had the latest firmware on all the equipment and that our Dante network was rock solid.

**“Nothing but Compliments” from Performers**

Since opening, the venue has drawn praise from artists for the quality of sound both on and off stage.

> We have had nothing but compliments from artists about how good Upstairs sounds, both on and off the stage,” says Dale. “Having pristine audio for our artists is a key priority for us, so that every act can be confident that they can produce the show they want to put on to the highest standard possible.

That includes the option of stereo in-ear monitoring, an increasingly common request even within the jazz world, giving artists greater choice over how they perform and monitor themselves within such an intimate setting.

Looking Ahead
For Ronnie Scott’s, Upstairs represents an expansion of a reputation built over decades downstairs, giving the club two venues of exceptional quality under one roof and a platform to introduce newer artists to the standard of venue more typically reserved for established names.

> Having Shure as a partner in this is wonderful,” Dale concludes. “Both Shure and the club have long-standing, sterling reputations for audio quality, so working together to bring our shows to life is a no-brainer for us. For our engineers, knowing that they have the ability to offer rock-solid RF mics and IEMs to artists makes that side of gigs smooth and stress-free, and our artists know that they can rely on us and the tech we have, so they can focus on their music.

> Stuart Moots, Director of Market Development at Shure UK, adds: “Ronnie Scott’s is one of the most iconic and respected jazz venues in the world, so supporting Upstairs at Ronnie’s with our wireless and monitoring technology is a project we’re incredibly proud to be part of. Seeing our gear underpin a club with this level of heritage, while also helping it open the door to new artists and new audiences, is exactly the kind of partnership that reflects what Shure stands for.




Shure Brings Pristine Audio to ‘Upstairs at Ronnie’s’ as Ronnie Scott’s opens new Live Music Room

![LA_Shenzhen_Longgang_01.jpg](https://res.cloudinary.com/olex/image/upload/v1786551813/LA_Shenzhen_Longgang_01_13eded774b.jpg)

SHENZHEN, China – July 2026 – Shenzhen has spent four decades reinventing itself from a fishing village to a global technology hub, and the Longgang International Arts Centre is its most ambitious statement yet. The centre opened on 30 January 2026 as the flagship venue of Shenzhen’s 14th Five-Year Plan, the centrepiece of the city’s drive to position itself as an international capital of performing arts. Its 110,000-square-metre building, conceived by American architectural firm TVS Design and realised by the Beijing Institute of Architectural Design, draws on the forms of traditional Chinese instruments — the pipa, the xun, and the erhu — to create what TVS describe as a giant urban musical instrument. The centre hosts a 1,501-seat opera theatre, a 552-seat drama theatre and a 305-seat concert hall, and within weeks of opening it staged the Asian premiere of the prestigious Verbier Festival. For its opera house and concert hall, the centre chose L-ISA Immersive Hyperreal Sound.

**Invisible by Design: L-ISA Behind the Architecture**

The acoustic design brief set two requirements that cut against each other: the sound system had to fill some of the most architecturally intricate spaces in Shenzhen, and it had to do so without a single loudspeaker being visible to the audience. Every element of every system — from main arrays to surround speakers — would need to be concealed behind fabric grilles and integrated into the fabric of the building, protecting extensive painted artwork and working within tight tolerances. In the opera theatre, that meant achieving full coverage with just 80 cm of clearance above the ceiling panels. The solution that met both requirements was L-ISA Immersive Hyperreal Sound.

For the system design, the venue engaged Kunkel, Germany-headquartered consulting engineers with an established project portfolio across China and Asia. Kunkel developed the system concept in collaboration with Rightway Audio Consultants (Racpro), who had an existing working relationship with the venue. Both firms brought deep familiarity with L-ISA spatial technology and a track record of specifying immersive systems into major performance spaces across the region.

> The venue’s architects set an extraordinary challenge,” Shawn Yu, Senior System Engineer, Racpro explains. “The building is itself an instrument where every surface and every curve carries meaning. The sound system had to serve that vision completely, which meant disappearing into it. L-ISA gave us the object-based resolution to fill spaces of this scale and complexity while keeping every element of the system out of sight.

**Opera Theatre: Seven Arrays, Full 360° Immersion**

The 1,501-seat opera theatre is the most technically ambitious space in the centre, and the system design reflects that. Seven independent, equally spaced Kara II line source arrays are deployed above the stage in a scene and extension layout, supported by KS28 subwoofers. The ultra-wide array configuration multiplies the horizontal resolution of the stage sound significantly: the L-ISA processor maps each audio object to its corresponding physical position on stage, so as a performer moves, the sound field moves with them across all 1,501 seats. With limited rigging clearance above the ceiling panels, Panflex variable directivity technology was used to direct sound energy into the audience area and away from the reflective side walls.

The full 360° surround network relies on 5XT coaxial loudspeakers installed at high density along balcony railings and walls on every level of the house, giving every seat in the venue a sound field with a distinct sense of direction and distance. Compact X8 coaxial loudspeakers provide near-field coverage, while X12 and KS21i units overhead complete the three-dimensional picture. The result is a system that can simulate acoustic environments from the intimacy of a chamber space to the reverberance of a cathedral directly from the dedicated control room, where the engineering team uses Sound Spaces within L-ISA to monitor and mix in immersive audio and refine the experience for each production.

> Not a single loudspeaker is visible to the audience,” Yu adds. “Every element of the system, from the Kara II arrays above the stage to the 5XT surrounds at every level, is concealed. We achieved that with just 80 cm of clearance above the ceiling panels, and while taking care to protect the venue’s extensive painted artwork throughout.

**Concert Hall: L-ISA in an Intimate Space**

The 305-seat concert hall presented a different set of constraints: lower rigging height, a more intimate acoustic environment, and a programme weighted towards instrumental performance. During the design phase, the team recognised that an object-based approach would serve the space as well as it served the opera theatre. 

The main system is built around a Scene System of X12 coaxial loudspeakers, whose 90° x 60° elliptical directivity delivers high SPL and a wide frequency response under the hall’s limited rigging height, ensuring fullness across the main coverage area. Six Compact X8 coaxial loudspeakers handle near-field fill and surround duties; their consistent off-axis response closes coverage gaps and maintains tonal uniformity throughout the hall alongside six 5XT overheads.

**A Standard for Performing Arts in China**
Shenzhen Longgang International Arts Centre opened with the Asian premiere of the Verbier Festival — 23 world-class concerts and seven masterclasses in its first weeks. The venue’s L-ISA spatial systems have since supported a programming schedule that covers opera, chamber music, contemporary performance. 

**About L-Acoustics**

Since 1984, we have been continuously innovating to shape the future of sound.

Our European-designed solutions optimize Source, System, and Space—unleashing creative possibilities in content, perfecting audio technology, and harmonizing with venue acoustics to guarantee exceptional performance.

Our global team of over 1,000, with 20% dedicated to R&D, has pioneered breakthroughs like the V-DOSC line array, L-ISA immersive solutions, and the eco-conscious L Series—innovations that have both transformed our industry and transcended our auditory perceptions. The world's most demanding stages trust us: Adele's Las Vegas residency, the Philharmonie de Paris, the Zaha Hadid-designed Guangzhou Opera House, and over 13,000 premium venues worldwide. We've earned this trust by consistently delivering extraordinary audio in every venue and any space.

We are L-Acoustics. We connect humans through the best shared sound experiences.




L-ISA Immersive Hyperreal Sound Powers Shenzhen’s Longgang International Arts Centre Opera Theatre and Concert Hall

Copenhagen, 10th June 2026 – Fritz Hansen and Technics introduce a collaboration that brings together light and sound through two limited editions: the KAISER idell™ Luxus 6631-T and the Technics SL-40CBT, both presented in a coordinated deep burgundy finish. Grounded in a shared focus on precision and craftsmanship, the collaboration considers how light and sound define the character of a space, where light defines mood, sound evokes emotion, and minimalist design connects both.

![Technics SL-40CBT FH_Life Style (7).jpg](https://res.cloudinary.com/olex/image/upload/v1785518687/Technics_SL_40_CBT_FH_Life_Style_7_508f232141.jpg)

> Sound and light both change how a space feels without touching its structure. That's what we wanted to explore, two objects with distinct origins that, together, form a setting that is considered and deeply human. – Dario Reicherl, CEO Asia

> Music is an art of time. Time flows without form, quietly imprinting itself on our emotions through sound. In this collaboration, light shapes space, and the sound that emerges allows time to be felt, seeking to give rise to an experience that is deeply human. — Ryo Ogasawara, Technics

At the centre of the collaboration are two objects with distinct origins, brought together for the way they relate visually and how they define a space through light and sound. The KAISER idell™ lamp, designed in 1936 by Bauhaus designer Christian Dell, reflects a design approach grounded in precision, proportion and function, and reaches its 90th year in 2026. Alongside it, the Technics SL-40CBT turntable uses the brand’s direct-drive motor system, first introduced in 1970, known for its stable rotation and accurate sound reproduction. Long associated with professional audio environments, Technics is known for its role in shaping how recorded sound is played.  Individually, each object establishes its own presence. The lamp defines a contained pool of light, while the turntable introduces sound as a continuous layer within the room. Together, they form a composed setting where light and sound define the atmosphere of the space.

The collaboration is previewed at 3daysofdesign 2026 as part of the Fritz Hansen Sound Club installation. Within the listening bar, the two designs are placed on original Fritz Hansen Bauhaus-style tables drawn from the archive, creating a more focused setting for listening. 

The limited editions will launch to market in October 2026. Fritz Hansen will offer 200 lamps across Asia and Europe. The Technics turntable will be offered as a limited edition of up to 300 units, on display at select Fritz Hansen partner stores and available for purchase via Technics’ distribution, including in the US.

[Press Release & Assets](https://drive.google.com/drive/folders/1wqHCbKjp7mSaiPmEceU9INO2Zsxy3BWV)

**About FRITZ HANSEN**

Founded in Denmark in 1872, Fritz Hansen plays an active role in the evolution of Danish design, shaping a legacy of craftsmanship, quality, and innovation. Throughout its history, the company has worked closely with visionary designers and architects to shape lasting designs that have stood the test of time. From Arne Jacobsen and Poul Kjærholm to contemporary talents like Cecilie Manz, Piero Lissoni, and Jaime Hayon, each collaboration contributes to an ongoing dialogue between heritage and innovation—united by a dedication to enduring design made to pass on to the next generation. Today, Fritz Hansen’s collections span indoor and outdoor furniture, lighting, and objects, brought to life in homes, workplaces, and hospitality spaces around the world.

**About Technics**

The Technics brand was established in 1965. Beginning with the Technics 1 speaker, the brand has gone on to develop revolutionary audio products and technologies, including amps, players, and tuners. In particular, the direct-drive turntable was an industry gamechanger, laying the foundation for today’s DJ and club music scenes. Today, in a diverse music scene that favours both analogue and digital audio, Technics continues to lead the market as a comprehensive audio brand.

Fritz Hansen × Technics A collaboration in light and sound, previewed at 3daysofdesign 2026


CHICAGO, SAN JOSE, June 9, 2026—[Shure](https://www.shure.com/en-GB), a global leader in workplace collaboration solutions, and Zoom Communications, Inc. (NASDAQ: ZM) are reinforcing their commitment to customers by providing reliable, scalable meeting room solutions that easily standardize across Zoom workspaces and higher education environments. Shure now provides greater flexibility with the IntelliMix Collaboration Portfolio by offering the [IntelliMix™ Room Kits](https://www.shure.com/en-US/products/video-conferencing/imxrk?variant=IMXRK30) and [IntelliMix™ Foundation System for Zoom Rooms](https://www.shure.com/en-US/products/video-conferencing/imxf5?variant=IMXF5). 

Built to support the growing role of human-AI collaboration in meetings and learning, these offerings enable consistent, high quality audio capture to support more accurate inputs in Zoom AI. 

Shure IntelliMix Foundation system includes a powerful compute with built-in IntelliMix Room ® DSP software, alongside an intuitive touch panel. The industry-first compute is designed to reduce or replace the need for external DSP components while delivering exceptional audio for very sophisticated AV rooms. 

For IT teams that want straightforward deployment and scalability across standard meeting spaces, they have the option to choose their preferred pre-configured IntelliMix Room Kit, which includes the same powerful compute and intuitive touch panel, the MXA902 Ceiling Array Microphone and Loudspeaker, and an intelligent camera from Huddly. With zero-touch provisioning, IT teams can choose quick and easy deployments based on the room size: whether it is a small space that requires just one microphone and camera, or a larger room demanding different coverage areas and multi-camera options. 

Together, these solutions give IT teams and AV professionals a variety of choices for rapid deployment in standard rooms and flexible building blocks for complex spaces.

> The future of work demands spaces that are intelligent, connected, and designed for the AI era. Shure's IntelliMix Collaboration Portfolio amplifies the power of Zoom Rooms through clear, consistent audio that drives Zoom AI's most essential capabilities across any room, and any environment,” said Jeff Smith, head of Product, Workplace at Zoom.

**Solutions Designed for Different Deployments.**

Based on their needs, customers can choose:

- 	**IntelliMix Foundation System Base Kit for Advanced AV Rooms**
Built for sophisticated AV rooms and complex spaces, the IntelliMix Foundation System provides the flexibility AV professionals need to tailor rooms to unique environments.  

 - Ideal for lecture halls, divisible rooms, hybrid or HyFlex classrooms, and enterprise spaces, including large boardrooms and high-impact collaboration environments.

 - Works with Shure’s Microflex Portfolio to precisely tailor your audio needs.

 - Flexible video options, including cameras from the Shure Camera Partner Program or other supported camera choices.

- 	**Pre-configured IntelliMix Room Kits for Small to Large Rooms**

Designed for fast, consistent deployment across small to large standard meeting spaces, IntelliMix Room Kits support organizations looking to standardize at scale. 

 - Ideal for IT teams seeking consistent performance and simplified management across rooms. 

 - Zero-touch provisioning enables simple installation and setup.

 - Pre-configured, complete systems including premium microphone + loudspeaker, intelligent video, Windows-based compute for Zoom Rooms, and an intuitive touch panel. 

 - Customers can choose from several kits based on room size: IntelliMix Room Kit 30 for small spaces, IntelliMix Room Kit 50 for medium rooms, IntelliMix Room Kit 70 for large rooms, and IntelliMix Room Kit 80 for larger rooms that require multiple cameras. 

> Our deep partnership with Zoom provides the foundation for enterprises and educators to build modern environments that evolve with AI, rather than being constrained by it,” said Wayne Driggers, Director, Strategic Alliances at Shure. “Reliable, AI-powered communication starts with trust, and we want to ensure organizations feel confident when deploying the underlying infrastructure that empowers it.

**Built for Secure, Scalable Zoom Spaces.**

Through joint solutions, customers benefit from enterprise-grade security for meetings, lectures, and collaboration in Zoom. Using ShureCloud or Zoom Device Management, IT teams and AV professionals can remotely monitor, manage and update systems in real time to help reduce operational overhead and streamline IT workflows. 

With IntelliMix Room Kits and the IntelliMix Foundation System, organizations gain a cohesive, integrated certified solution, backed by a strong partnership, comprehensive global support, and future-ready technology. 

The IntelliMix Room Kits and Foundation System for Zoom will be showcased for the first time at InfoComm 2026 and are expected to be available starting July 2026. To learn more, visit: [www.shure.com/products/video-conferencing](https://www.shure.com/en-US/products/video-conferencing)   

**About Shure**

[Shure](https://www.shure.com/en-GB) has been helping people sound extraordinary for more than 100 years. Founded in 1925, we are a leading global manufacturer of audio and collaboration technology, known for our commitment to quality, performance, and durability. We make microphones, wireless microphones, conference room solutions, earphones and headphones, in-ear monitors, and more.

From the biggest broadcast events and live performances to critical business meetings and university lectures, to your home office or studio, you can always rely on Shure.

Shure is headquartered just outside of Chicago in Niles, Illinois, in the United States. We have more than 30 locations around the world, and our products are sold in over 120 countries. 

Shure and Zoom Introduce New Flexible Solutions for Zoom Spaces

![Picture 1TOKI.png](https://res.cloudinary.com/olex/image/upload/v1785514557/Picture_1_TOKI_6d7287c9b7.png)

[Suntory Toki Whisky](https://house.suntory.com/toki-whisky) together with [Technics](https://www.technics.com/uk/), is set to bring a new ritual to UK nightlife with the launch of Toki-O Nights, a new series of free and ticketed music-led events inspired by Tokyo’s iconic kissaten and listening bar culture, reimagined for a new era of intentional socialising.

Launching on 3rd June at Spiritland Kings Cross, Toki-O Nights will continue from June to December across a curated selection of listening bars and music-led venues in London, Manchester and Edinburgh, with events taking place on two Wednesdays a month throughout the series. The programme will roll out across venues including: **Spiritland, London; Equal Parts, London; Bar Shrimp, Manchester; Mitsu, London; Caley Bar, Edinburgh; The Listening Room, London; Mad Cats, London; Archive & Myth, London; and Jazu, London**. Blending exceptional sound and vinyl-led DJ sets with the crisp refreshment of the Toki Japanese Highball, the series celebrates the meeting point of heritage and modern culture.

Created by Toki and delivered in partnership with Technics, Toki-O Nights will pair Japan’s iconic Whisky Highball with immersive, music-led experiences, giving guests the chance to discover the brand in a contemporary yet culturally driven setting. Technics, renowned Japanese audio brand, will be curating an eclectic vinyl-led line-up of globally respected selectors and pioneering artists spanning jazz, soul and electronic sounds. From [Nina Yamada](https://www.instagram.com/ninanina27/) and [Mari Kimura](https://www.instagram.com/marinx611/) to [Zag Erlat](https://www.instagram.com/zagerlat/) from [My Analog Journal](https://www.instagram.com/myanalogjournal/), alongside a wider cast of culturally influential vinyl DJs and tastemakers whose sets bridge heritage and modernity - reflecting Toki's own spirit of 'old meets new'. 

All performances will be powered by Technics’ high-quality SL-1200GR2 and EAH-A800 headphones, ensuring an immersive, high-fidelity listening experience. Select venues will also have a dedicated Listening Station throughout the month, offering a more intimate way to engage with the music – inviting guests to tune in and enjoy a Toki Highball.

> Technics has long been rooted in precision sound and authentic listening experiences, making this partnership with Suntory Toki Whisky a natural fit and extremely exciting.’ Comments Frank Balzuweit, Technical Marketing Lead for Technics ‘Toki-O Nights, is about more than music; it’s about creating space for people to connect and come together to truly appreciate sound, inspired by Tokyo’s legendary kissaten culture.

Alongside the free Wednesday DJ performances, Toki-O Nights will also introduce a limited series of ticketed sessions designed to draw guests further into the worlds of sound, craft and culture. Ranging from intimate Q&As with Technics hi-fi experts to immersive workshops exploring Japanese vinyl culture, these sessions will offer a rare opportunity to get closer to the artistry behind the music. During these sessions, guests will also be invited to discover the art of creating the perfect Japanese Highball.

Inspired by the energy of modern Tokyo, Toki-O Nights reflects the brand’s philosophy of **tradition reinvented**, where old meets new, and where timeless craft finds expression in contemporary social spaces.

> Toki-O Nights brings together two rituals I have always loved: the Japanese Highball and the art of truly listening. The beauty of the Highball lies in its precision; it is crisp, refreshing and seemingly simple, but every detail matters. Paired with the atmosphere of Japan’s listening bar culture, it creates a moment that feels both considered and social. We’re excited to bring that energy to the UK through a series that celebrates Toki’s spirit of old meets new.

*Raffaele Di Monaco, UK House of Suntory Brand Ambassador and Japanese Spirits Specialist*

At the heart of each event will be the Toki Japanese Highball: crisp, bright and refreshing, served as the signature drink. Complementing this Japanese favourite, each venue will present its own unique interpretation of the Highball, reimagining it through bespoke twists using Suntory Toki Whisky.
Each edition of Toki-O Nights will spotlight a different venue and selector, giving every event its own identity while staying true to the series’ core idea: creating shared listening experiences that blend Japanese inspiration, elevated sound and modern nightlife. 

Further details, including the free-to-access Wednesday DJ spotlights, ticketed event information and full DJ line-up can be found at: [https://tokiohighballnightsuk.splashthat.com/](https://tokiohighballnightsuk.splashthat.com/)
The free events are expected to be busy, so to guarantee a table, booking a reservation directly via each venue is recommended.

For further information and press enquiries, please get in touch with Kirsty at **Kirsty@katlist.com** 


TOKI X TECHNICS ANNOUNCE TOKI-O NIGHTS: A NEW HI-FI LISTENING BAR SERIES BRINGING TOKYO-INSPIRED HIGHBALL CULTURE TO THE UK

![Picture 1NAD.jpg](https://res.cloudinary.com/olex/image/upload/v1785516213/Picture_1_NAD_fe0d05826e.jpg)

TORONTO, CANADA, MAY 19, 2026– NAD Electronics, a leading global high-performance audio brand, today announces support for Dirac Live bass Control for select BluOS enabled amplifiers, bringing advanced low-frequency optimization and intelligent subwoofer integration to users for the first time.

Available beginning May 19, 2026, with BluOS version 4.16.6, Dirac Live Bass Control will be available on NAD’s newest generation of premium streaming amplifiers, including the NAD M33 V2, NAD M10 V3, and NAD C 658 BluOS Streaming DAC. Support for Dirac Live Bass Control also extends to previous generations of the M33 and M10. 

By intelligently optimizing speakers, subwoofers, and room acoustics together, Dirac Live Bass Control delivers tighter, smoother, and more immersive bass performance throughout the listening environment.

> The integration of Dirac Live Bass Control into select NAD amps marks a strong step forward, expanding Dirac’s market presence while enhancing the audio performance of NAD’s renowned lineup," stated Rikard Hellerfelt, VP and Head of Consumer Electronics at Dirac. "Traditionally, configuring subwoofers for optimal performance has been complex and often imprecise. Our advanced bass control technology co-optimizes subwoofers and speakers, creating a seamless blend at the crossover point. This innovation eliminates seat-to-seat sound variation, delivering impactful bass that’s free of unwanted reflections and boominess – making premium bass quality accessible to everyone, from professional installers and audiophiles to everyday consumers.

Dirac Live Bass Control is an advanced room optimization solution that works alongside Dirac Live Room Correction to analyze both frequency and timing behaviour. Powered by advanced AI and machine learning, the technology intelligently calibrates one or multiple subwoofers to improve bass integration, phase alignment, transient response, and seat-to-to consistency. 

> With Dirac Live Bass Control, we’re continuing to elevate the NAD listening experience by bringing more precise and intelligently optimized bass performance to our most advanced BluOS streaming amplifiers,” said Morten Nielsen, Product Manager at NAD Electronics. “This update not only enhances our newest generation of streaming amplifiers like the M33 V2 and M10 V3, but it also reinforces our commitment to supporting older generation products through the BluOS platform.

The result is more accurate and balanced low-frequency reproduction that integrates naturally with the main speakers while minimizing boominess, standing waves, and uneven bass response. For music listeners, this means improved clarity, realism, and emotion, while home theatre enthusiasts can create a more immersive, cinematic experience throughout the room. 

**KEY FEATURES OF DIRAC LIVE BASS CONTROL**

- 	Tighter, smoother, and more accurate bass reproduction

-       Intelligent optimization for single or multiple subwoofers

-       Improved bass consistency throughout the listening room

-       Enhanced integration between speakers and subwoofers

- 	Integrated directly into supported NAD amplifiers

**AVAILABILITY**

Starting May 19, 2026, Dirac Live Bass Control will be supported on the NAD M10, M10 V2, M10 V3, M33, M33 V2, and C 658. Dirac Live Bass Control requires both BluOS version 4.16.6 (or higher) and a Dirac Live Bass Control license (sold separately). 

For more information and to download a license, visit [dirac.com/brands/nad](https://www.dirac.com/brands/nad)

**ABOUT DIRAC**

Dirac develops digital software solutions that create significantly improved sound experiences for all types of sound systems. Our customers include enterprises, such as sound system manufacturers and streaming services, as well as consumers. Dirac is a global company with headquarters in Uppsala, Sweden, and R&D facilities in Copenhagen, Denmark and Bangalore, India, with representation in Greater China, Germany, Japan, Korea, and the USA. Learn more at [www.dirac.com](https://www.dirac.com/).

**ABOUT NAD ELECTRONICS**

Founded in 1972 and now sold in over 80 countries, NAD Electronics is renowned for its award-winning line of high-quality components for audio, home theatre and custom installation applications. Since the beginning, NAD’s commitment to four core values – innovation, simplicity, performance, and value – have earned it a cult-like following that catapulted it to becoming a household name amongst audiophiles and music lovers alike. To this day, the brand continues to design and manufacture some of the most acclaimed and affordable hi-fi components that include modern features and technologies meant to appeal to a new generation of audiophiles. Visit [nadelectronics.com](https://nadelectronics.com/) for more. 

**CONTACTS**

media@nadelectronics.com



NAD Electronics Brings Dirac Live Bass Control to Select BluOS Streaming Amplifiers

![Olivia Dean.jpg](https://res.cloudinary.com/olex/image/upload/v1779095116/Olivia_Dean_692ee0864d.jpg)
*Olivia Dean Performs with her personalised, chrome SM58*

NILES, IL, 18th MAY 2026 — For six decades, the Shure SM58 microphone has been at the center of the world’s most important moments in music and culture. From emerging artists and modern headliners to the most influential performers of the past six decades, the SM58 continues to define how live vocals connect with audiences around the world. 

Introduced in 1966 and still in production today, the SM58 has earned its place as the most recognizable live vocal microphone by delivering consistent, reliable performance in clubs, theaters, arenas, and festivals of every size. While its legacy includes decades of historic performances, the SM58 remains firmly rooted in the present, chosen by today’s most innovative artists across genres.
British singer-songwriter and Best New Artist at the 68th GRAMMY Awards, Olivia Dean is among a new generation of artists who rely on the SM58 as a core part of their live sound.

“The SM58 has been a staple of my live show for years. Having the right microphone is so important to me, I need something reliable, durable and the SM58 has that warm, crisp and classic sound that I love. We ended up going with a chrome finish for The Art of Loving Tour, which fit perfectly with the show design,” said Dean.

The SM58’s longevity is rooted in its original design. Built for live sound, it is trusted for its durability and ability to deliver clear, natural vocals in virtually any environment. Its cardioid pickup pattern reduces feedback and background noise, while its internal shock mount and rugged construction withstand the realities of the road. The original design, improved in numerous ways over the decades, continues to meet the needs of modern performers and production teams.

“Very few products remain relevant for 60 years, let alone become the industry benchmark,” said Chris Schyvinck, President and CEO of Shure. “The SM58 has been trusted across generations not because of trends, but because it works, night after night, show after show.”

Over the decades, the SM58 has appeared everywhere from presidential addresses and international broadcasts to legendary concert stages globally. Its unmistakable spherical grille has become a universal symbol of live performance, capturing voices at defining moments in history and helping artists connect with audiences of every size.

**Honoring the SM58 During Shure’s 2026 Iconic Mic Celebration**
To mark the SM58 microphone’s 60th anniversary, Shure is celebrating the microphone throughout May as part of its annual Iconic Mic Celebration, a global moment honoring microphones that have helped shape live sound and music culture for generations. Throughout the month of May, Shure is offering 10% on its most iconic microphones, including the SM58, SM7B, MV7+, and more. 

More media images available here: [https://drive.google.com/drive/folders/17clnehwSIZN2F_XGdxxxgf1OJIiJqxHb?usp=sharing](link)

AFTER 60 YEARS, THE SHURE SM58 REMAINS THE SOUND OF LIVE MUSIC

![Picture DIRAC.jpg](https://res.cloudinary.com/olex/image/upload/v1785514334/Picture_DIRAC_4254c22f70.jpg)

**TORONTO, CANADA** – Bluesound, the original hi-res multi-room audio
brand, today announced that the latest generation of its acclaimed POWERNODE (N331)
wireless streaming amplifier now supports Dirac Live, making Dirac's industry-leading
room correction technology available to users. With this update, listeners can analyze
their room’s acoustic properties and optimize speaker performance for a more accurate
and balanced listening experience.

Dirac Live is widely recognized for its ability to correct both frequency response and impulse response, going beyond traditional EQ to deliver a more accurate and natural listening experience. By addressing common acoustic challenges such as reflections, standing waves, and uneven bass, Dirac Live helps eliminate distortions introduced by the listening environment itself. The result is tighter low-end performance, improved clarity across frequencies, and a more precise, lifelike soundstage.

With this integration, POWERNODE users can now fine tune their system with a level of
control and precision typically reserved for high-end audio systems, ensuring
consistently optimized sound regardless of room size or layout.

> Great sound isn’t just about the right amp or speakers—it’s how that gear interacts with
the room,” said Matt Simmonds, Brand Manager at Bluesound. “By bringing Dirac Live to
the POWERNODE, we’re giving listeners more tools to unlock the full potential of their
Bluesound system, no matter the space.

To enable Dirac Live room correction, users can purchase the Dirac Live Calibration kit
from bluesound.com or an authorized Bluesound retailer, which includes a high-
precision measurement microphone for accurate room analysis. A Dirac Live software
license is also available for purchase. To buy and activate a Dirac Live license, visit
[dirac.com/brands/bluesound](dirac.com/brands/bluesound).

Bluesound now offers support for Dirac Live across their line of wireless stereo
components, including the NODE, NODE ICON, and POWERNODE EDGE. For a list of
compatible of devices including older generations and models, visit
[bluesound.com/pages/dirac](bluesound.com/pages/dirac).

**ABOUT BLUESOUND**

An alliance of audiophiles. We are the designers, engineers and individuals who have
spent our lives in the music industry. Our founders helped pioneer HiFi in the 70s –
innovation and the pursuit of perfection in audio runs deep in our collective DNA.
Bluesound’s sole mission is to create innovative wireless audio products and
technologies that allow for the most true-to-live performance music reproduction
possible, utilizing the most advanced, state-of-the-art digital technology.

**ABOUT DIRAC**

Dirac develops digital software solutions that create a significantly improved sound
experience for all types of sound systems. Our customers include enterprises, such as
sound system manufacturers and streaming services, as well as consumers. Dirac is a
global company with headquarters in Uppsala, Sweden and R&D facilities in
Copenhagen, Denmark, and Bangalore, India, with representation in Greater China.





Bluesound

Dirac Live Room Correction Now Available on Bluesound's Latest Generation POWERNODE

![Picture 1.png](https://res.cloudinary.com/olex/image/upload/v1779138667/Picture_1_8199e35560.png)

TORONTO, CANADA, APRIL 22, 2026 – NAD ELECTRONICS, a leading manufacturer of high-performance audio components, today announced the launch of the NAD C 589 CD Player, a precision-engineered source component designed to extract the highest level of performance from compact discs. Combining advanced digital processing with NAD’s longstanding engineering philosophy of simplicity and value, the C 589 delivers refined playback for music lovers who continue to value the experience of physical media.

Part of NAD’s Classic Series, the C 589 fills an important role in the company’s lineup as a dedicated CD player built to deliver exceptional sound quality while integrating seamlessly into modern Hi-Fi systems.

>  The resurgence of physical formats reflects a desire to reconnect with music in a more intentional way,” said Morten Nielsen, NAD Product Manager. “For many listeners, compact disc remains an incredibly rewarding format. With the C 589, we wanted to create a player that honours that experience while applying modern digital technologies to extract the best possible performance from every disc.

**Precision Engineering for Compact Disc Playback**

At the heart of the C 589 is QRONO d2a, a digital audio technology developed by MQA Labs that improves digital timing and reconstruction accuracy. By refining the way digital signals are converted to analogue, QRONO d2a enhances spatial detail, transient accuracy, and musical flow. 

This advanced processing helps ensure that the C 589 reveals the subtle nuances and dynamic energy captured in compact disc recordings.

**Built for Reliability and System Flexibility**

The NAD C 589 features a precision disc loader and transport mechanism engineered for smooth, quiet, and reliable operation. Its high-quality loader and laser pick-up ensure accurate disc tracking and stable playback across a wide range of CDs, including older or frequently played discs.

Internally, the C 589 includes a carefully implemented digital-to-analogue conversion stage designed to preserve fine musical detail while maintaining low noise and distortion. The result is clear, transparent sound that allows recordings to retain their natural character.

To ensure compatibility with a wide variety of audio systems, the C 589 provides a comprehensive selection of analogue and digital outputs. Balanced XLR and RCA analogue outputs allow direct connection to integrated amplifiers or preamplifiers, while AES/EBU, coaxial, and optical digital outputs enable the player to function as a dedicated CD transport for external DACs.

**Designed Around the Listening Experience**

While engineered for audiophile-grade performance, the C 589 is equally focused on usability. A large front-panel display with CD Text support shows artist and track information when available, making it easy to follow albums from across the room. The included remote control allows listeners to navigate playback comfortably from their listening position.

Whether rediscovering long-owned recordings or exploring newly acquired discs, the C 589 delivers a focused listening experience built around the simple pleasure of pressing play.

**Key Features**

- QRONO d2a digital processing improves timing and resolution

- Precision CD transport and loader for smooth, reliable playback

- High-performance digital-to-analogue conversion stage

- Balanced XLR and RCA analogue outputs

- AES/EBU, coaxial, and optical digital outputs

- Large front display with CD Text support

- Remote control for convenient playback operation

**Pricing & Availability**

The NAD C 589 CD Player will be available through authorised NAD retailers worldwide at a suggested retail price of €1599 and £1199. Pricing and availability may vary by region.

Access the full press toolkit, including media assets, product information, and other brand resources here:  [https://brandlibrary.lenbrook.com/portals/NAD_C589](https://brandlibrary.lenbrook.com/portals/NAD_C589)

Founded in 1972 and now sold in over 80 countries, NAD Electronics is renowned for its
award-winning line of high-quality components for audio, home theatre and custom
installation applications. Since the beginning, NAD’s commitment to four core values –
innovation, simplicity, performance, and value – have earned it a cult-like
following that catapulted it to becoming a household name amongst audiophiles and
music lovers alike. To this day, the brand continues to design and manufacture some of
the most acclaimed and affordable hi-fi components that include modern features and
technologies meant to appeal to a new generation of audiophiles.



NAD Introduces the C 589 CD Player

As outdoor events continue to grow in urban areas, effective noise management has become critical. Until now, predicting noise emissions from festivals and events with systems from different manufacturers has been challenging, as each system relied on its proprietary tools. The lack of interoperability often resulted in inconsistent noise predictions, making it difficult to meet environmental requirements.

![LA_SDE.jpg](https://res.cloudinary.com/olex/image/upload/v1776339039/LA_SDE_8bb6b3aac6.jpg)

The SDE standard directly addresses this challenge by providing a unified method and file format to ensure reliable, consistent, and comparable predictions in environmental noise software. It defines how to export data from system design software, such as d&b’s ArrayCalc or L-Acoustics’ Soundvision and details the methodology for calculating complex acoustic interactions. This includes calibration and decoherence factors, ensuring the highest level of accuracy at any distance – something that hasn't been possible until now.

With SDE, system technicians can export their designs as standardised SDE files, which can then be imported into environmental noise software like SoundPLAN. This streamlined, secure and fast workflow as well as the consideration of complex acoustic summation for the correct calculation of coherent sources (considering phase), allow consultants and event organisers to perform equivalent calculations in order to accurately predict noise emissions for festivals with multiple stages and systems from different manufacturers. In the future, the SDE format will be made available to other manufacturers and other noise pollution software.
"The SDE standard is a huge step forward in addressing the noise management challenges of large-scale events," says Florian Hahn, Product Manager Application Software at d&b audiotechnik. "With SDE, we're making effective and comparable noise management accessible, ensuring that audiences can enjoy their favourite artists while respecting nearby communities, public facilities and natural habitats.”

Yann Gaël Gicquel, Director of Product Management, Spatial Systems at L-Acoustics adds: "Organizing a festival today means navigating real tension between the energy that makes live music special and the legitimate expectations of the communities hosting it. Using SDE gives everyone at that table - promoters, consultants, local authorities - one shared, reliable source of truth for those conversations. That's what makes it meaningful." 

"SDE will set a new benchmark for noise prediction in the audio industry," concludes  Jochen Schaal, Managing Director at SoundPLAN. "Its innovative, collaborative approach promises to establish SDE as an industry standard, simplifying workflows and delivering the most reliable and accurate prediction of noise emissions from different sound system manufacturers to date.“
The new SDE standard is available as of now. For L-Acoustics users, SDE is currently available to consultants trained and certified by L-Acoustics, and through the company's Environmental System Design service. More details can be found online at www.sde-info.com. For d&b users, SDE is accessible directly within ArrayCalc.

d&b audiotechnik and L-Acoustics unite with SoundPLAN to launch SDE (System Design Exchange) – a new standard for noise prediction

The company was founded in 2019 by two University of California, Riverside students, Ethan Castro and Valtteri Salomaki. Castro was inspired by his life experiences as a hard-of-hearing music producer and engineer. Salomaki has been focused on information systems and marketing strategy. Together, they have grown into an innovative organization working to revolutionize entertainment.

![DCA901_EdgeSound_Blog_1920x1080 (1).png](https://res.cloudinary.com/olex/image/upload/v1776338902/DCA_901_Edge_Sound_Blog_1920x1080_1_b22897162f.png)

Shure and EDGE Sound Research have already been collaborating on new innovations. Shure’s DCA901, the first array microphone tailored for broadcast, brings an improved immersive experience to every home with the help of EDGE Sound Research’s Virtual Sound Engine. Fans watching from their couches can now hear the game with the same sense of presence once exclusive to premium seating. 

Virtual Sound Engine software analyzes the detailed audio from games captured by the DCA901 and automatically identifies and isolates the sound objects that define emotion, pace, and connection. The combination of DCA901 and Virtual Sound Engine moves the fan experience from observation to participation, creating meaningful value for every stakeholder.

“Through this partnership, Shure aims to leverage EDGE Sound Research's groundbreaking developments to further its mission of delivering exceptional audio quality and innovation,” said Chris Schyvinck, President and CEO of Shure. “By combining Shure's 100-plus years of expertise and market presence with EDGE Sound Research's breakthrough technologies, this collaboration aligns perfectly with Shure's commitment to pushing the boundaries of audio technology and creating extraordinary listening experiences."

Shure and EDGE Sound Research are working to deliver something new for specific groups.

For Sports Leagues  
•	Elevated audio formats to help strengthen the value of media rights  
•	Deeper presence enhances emotional fan engagement globally  
•	Scalable systems supporting consistent production across regions  

For Broadcasters  
•	Premium audio becomes a clear differentiator for subscription tiers  
•	Alternate experiences and specialized mixes create new monetizable offerings  
•	Automated sound object workflows reduce operational load and improve turnaround time  

For Teams and Venues  
•	Premium suites evolve into immersive storytelling environments  
•	Enhanced sound connects fans to the key moments of the game inside the venue  
•	Authentic game audio strengthens the connection and overall satisfaction for fans  

For Fans
•	The right mix of audio from coach instructions to player comments to crowd noise
•	Capturing key sounds of the game when the ball is in play
•	Audio to match the HD and 4K upgrades on broadcast visuals



The NBA, MLS, and U.S. Tennis Association have all been working with EDGE Sound Research to enhance their broadcasts for fans. EDGE Sound Research's technology has potential applications in a number of other areas beyond sports. 

"We’re excited to be partnering with such an established audio leader like Shure,” said Valtteri Salomaki, Co-Founder and CEO of EDGE Sound Research. “The most iconic moments in history have been captured by Shure microphones, and we’re thrilled about the possibilities of creating the new generation of sound experiences."


SHURE PARTNERS WITH EDGE SOUND RESEARCH  TO PROVIDE THE ULTIMATE AUDIO EXPERIENCES FOR FANS

LONDON, UK – April 2026 – Shakespeare’s Globe is one of the most acoustically and architecturally singular performance spaces on earth. A meticulous reconstruction of the open-air Elizabethan playhouse where Shakespeare himself premiered Hamlet, Julius Caesar and King Lear, it is built from English oak using 16th-century mortise and tenon joinery. And it holds the distinction of being the only building in London permitted to have a thatched roof since the Great Fire of 1666. Its circular structure wraps the audience on three sides around a wide, thrust stage, with 600 standing audience ‘Groundlings’ in the open pit and 1,000 seated in the three tiers of gallery seating rising steeply above them, with the closest boxes barely metres from the actors. It is a space designed from the outset for the unaided human voice. The intimacy and acoustic directness of the design are treated as fundamental to the experience of Shakespeare’s theatre.

![LA_Globe_Pinocchio_01.jpg](https://res.cloudinary.com/olex/image/upload/v1776339302/LA_Globe_Pinocchio_01_9b4660561c.jpg)

In December 2025, the Globe staged a brand-new musical, Pinocchio, as part of its festive season run in the open-air theatre. This new smash-hit production was aimed at families, and Pinocchio’s creative team recognised that a live band, songs and young audience members called for temporary sound reinforcement – without changing the fabric or aesthetic of the theatre, and with respect to the unique Globe audience experience. Amplification has been used across the years of the Globe’s history, especially for special events such as music gigs, comedy shows, poetry events, etc. and as one of the last-remaining unamplified theatres, the Globe is proud to champion the power of the unamplified human voice across its year-round activity. However, a musical during winter in the open-air presented real challenges for ensuring they produced a world-class experience for families coming to the theatre. 

The goal was therefore clear - the solution had to be transparent, with sound that audiences would feel rather than notice. L-ISA Hyperreal’s object-based spatial audio, which distributes individual sound sources across a multi-array configuration to align what audiences hear with what they see on stage, made that level of naturalness achievable.

Pinocchio’s producer, Shakespeare’s Globe, approached Olivier Award-winning sound designer Tony Gayle after hearing his work on My Neighbour Totoro, a production which earned Gayle an Olivier Award for Best Sound Design. “The team were looking for something similar for Pinocchio. It needed to be transparent and natural, particularly for the vocals,” says Toby Chester, Global Application Lead for Musicals at L-Acoustics. “Gayle’s expertise was a welcome addition.”


The Globe as an acoustic space, and why L-ISA Was the Exception
“The decision to amplify this production at the Globe wasn’t taken lightly,” says Will McGonagle, Hire Manager at Autograph. “Since re-opening in 1997, the theatre has championed an unamplified acoustic space. Its audiences come to the Globe expecting an experience that’s akin to Shakespeare’s time – acoustic, lively big story-telling. We knew that any sound design would need to earn its place without drawing attention to itself. The brief was therefore to achieve intelligibility and musical clarity for a family audience, while remaining entirely invisible.”

An Open-Air Wooden Theatre in Wind and Weather: Modelling the Space in Soundvision First
The Globe presented a unique set of challenges to Gayle, Chester and Autograph. Its open-air, circular auditorium means sound behaves differently to a conventional enclosed theatre, contending with wind, the weather and the natural reverberation of the room. It is also a challenge to achieve consistent coverage across the pit and the three gallery tiers.

“The biggest issue was probably how it was going to look,” Chester says. “The technology couldn’t appear too industrial. The theatre is a deeply historic, wooden building. Understandably, the production team didn’t want to see lots of equipment in there.” 

To find the right solution, L-Acoustics and Autograph used L-Acoustics Soundvision software in cohorts with Gayle to model the space and present multiple configuration options to the Globe and Pinocchio teams. They even brought physical speakers to the venue so the Globe could assess their size and visual impact before any commitment was made. The speakers chosen, which had L-Acoustics distinctive dark brown colour, ultimately disappeared into the architecture entirely.

Five X12 for the Stage, 113 5XT for the Galleries: L-ISA Sound Spaces utilised on Every Tier
The final system was supplied by Autograph and prepped and installed by a team of audio professionals who closely work with Gayle. Five X12 formed the main Scene system, flown across the front of the stage. Two KS21 subwoofers underpinned the low-end, keeping bass tight and controlled in the open-air environment.

The most distinctive element of the design, however, was the spatial fill system deployed across the gallery boxes. With speakers arranged across three tiers encircling the auditorium, every individual box was equipped with three 5XT — 113 in total — making it the largest L-Acoustics spatial fill system of its kind deployed to date. For audience members seated in the upper-tier boxes, where the main stage audio system is obscured, these fills carried the entire audio experience.

To manage this complexity, the system was built around an L-ISA Processor II, with LA7.16 amplified controllers and LS10 switches handling signal distribution via a redundant Milan-AVB. Chester adds: “Using the LA7.16 amplifiers reduced our overall power consumption significantly and meant that our footprint in the tech space was significantly reduced, by more than half, when compared to traditional amplifiers. The amplifiers were built in L-Acoustics LARAKIII which are prebuilt with dual redundant ABV connectivity using LS10 network switches along with additional AES/analogue fallback capability which reduce the time needed to prepare and program equipment in the warehouse.”

Four discrete Sound Spaces were configured within L-ISA: a main sound space for the primary Scene system, and one dedicated space for each of the central boxes. This along with using the Source Trims feature to adjust the mix for those seated closer to the stage who hear more of the band acoustically allowed the team to deliver a tailored mix to every area of the house. The source trims feature within L-ISA proved to be invaluable.

Audiences Heard the Story, Not the System, and Pinocchio Returns in 2026
The result was everything the creative team had hoped for. Audience feedback was overwhelmingly positive, with the musical director and creative director among those who praised the system’s performance. Most importantly of all, Gayle’s sound design achieved what had been asked of it: audiences were absorbed in the story of Pinocchio without ever being distracted by the technology making it possible.

For Chester, the project proved something important about the relationship between L-ISA’s spatial distribution and the perception of naturalness. “The 5XT is a remarkably compact speaker. Small enough to sit inside a gallery box without disrupting the architecture. That physical discretion is what made the fill system possible at the Globe in the first place,” he notes. “Together with Autograph, we were able to deliver subtlety through a professional sound system that served the production without compromising the Globe’s identity or the audience’s experience.”


Shakespeare's Globe Takes a New Direction with L-Acoustics L-ISA Hyperreal Sound for Pinocchio Musical

Belfast, Northern Ireland – April 2026 – As the Lyric Theatre marks its 75th anniversary, it has announced that its L-Acoustics L-ISA immersive audio system will become a permanent fixture within the theatre’s Main Stage auditorium. First introduced in late 2025 during the world premiere of Denouement by John Morton, directed by Jimmy Fay, it was the first deployment of L-ISA in a live theatrical production on the island of Ireland.

![LA_Lyric Theatre_01©Ian Vennard.jpg](https://res.cloudinary.com/olex/image/upload/v1776339596/LA_Lyric_Theatre_01_Ian_Vennard_4a1d366523.jpg)

The Lyric Theatre, Northern Ireland’s only full-time, self-producing theatre, stages at least six full-scale productions each year. For Denouement, the venue collaborated with L-Acoustics Certified Provider Forfey and Application Engineer Oli Crump to harness immersive sound, heightening the production’s thematic themes, creating a tense, atmosphere.

The positive response from the director, management, technical teams, and audiences made a permanent installation a clear choice.
“As the theatre’s run of Denouement drew to a close, the conversation naturally turned to what came next, Jimmy Fay (Executive Producer at the Lyric Theatre and Director of Denouement) saw first-hand what spatial audio could bring to the stage. It enhanced the production’s emotionally charged narrative so profoundly that removing the system was simply not an option” says Lyric Theatre Deputy Technical Manager, Ian Vennard. 

Sound That Reaches Everyone
While L-ISA’s impact was clear to the in-house teams, audiences felt it most. Many had never experienced a stage production with such clarity, and those with reduced hearing called Denouement their most meaningful live theatre experience. They could follow dialogue easily and perceive location-based sound effects that had previously been lost.
After Denouement, the Lyric retained the L-ISA setup for its Christmas production of A Christmas Carol by Marie Jones - a seasonal adaptation reimagined for spatial audio. Vennard adds: “During the Christmas show, our Sound Designer remarked that the depth and quality achieved through L-ISA was unlike anything they had worked with before. With our 75th anniversary on the horizon, it was clear the time was right to make a bold statement. Every production from 2026 onwards would be built around L-ISA from the ground up”.

A New Immersive Chapter
The permanent installation will reshape how the Lyric Theatre approaches sound. The in-house team is developing expertise in L-ISA, ensuring every future production is conceived with spatial audio in mind.
This installation will be showcased for the first time when Belfast Ensemble, in association with the Lyric Theatre, presents its spring musical from 20 March to 4 April. Featuring a 12-piece band on stage, the production provides an ideal platform for L-ISA to demonstrate its full capabilities.

Written by Conor Mitchell - Artistic Director of Belfast Ensemble and Associate Artist at the Southbank Centre in London - the production positions the Lyric’s 75th anniversary season at the forefront of new creative work in the region.
A Permanent A Series and L-ISA System
The Lyric’s Main Stage auditorium seats 380 across a single end-stage rake, with no overhangs or balcony obstructions - perfect for a precise L-ISA deployment. Forfey used L-Acoustics Soundvision to model coverage across the seating area, optimising the system before installation.

The system features a Scene setup with A10 arrays, A10 extensions, KS21 subwoofers, five 5XT front-fill speakers, and X6i balcony fills, delivering an even, immersive sound field. It is powered by two LA7.16i and one LA1.16i amplified controllers, two LA2Xi units, and runs on a Milan-AVB network.

L-Acoustics Application Engineer Sergey Becker travelled to Belfast for on-site calibration.
Vennard added “It’s been invaluable to have that depth of support from design through to completion, knowing the people behind the technology are invested in how we use it gives us real confidence that we’re making the right decisions for the right product”.

Leading the Way at 75
For a theatre that has championed creative and technical excellence since 1951, the L-ISA installation aligns perfectly with the Lyric Theatre’s values. The theatre aims to lead the island of Ireland’s venues in immersive audio technology, building in-house expertise for years to come.

For Forfey’s Matt Minford, the project reflects the value of long-term partnerships; “This outcome is what happens when a venue truly commits to its creative vision. The Lyric wanted to rethink what theatre sound could be, and it’s been a privilege to help make that happen”.

Vennard concluded: “Our goal has always been to lead. With every production from here onwards based on L-ISA, we’ll be actively bringing this vision to life. That’s a genuinely thrilling place to be as we head into our 75th year”.

For more information on the Lyric Theatre Belfast, please visit www.lyrictheatre.co.uk. More information on Forfey can be found at www.forfey.com.


Lyric Theatre Belfast Makes L-ISA Immersive Audio Permanent as It Marks 75 Years

WARSAW, Poland — March 2026 — Named after the mermaid on Warsaw’s coat of arms, Teatr Syrena has been a cornerstone of Polish cultural life for nearly 80 years. Founded in Łódź in the immediate post-war years, the theatre relocated to Warsaw in 1948 and has remained one of the capital’s most vibrant musical stages, specialising in musical theatre, socially engaged in its programming, and consistently committed to production quality.

![LA_Teatr Syrena_1_©Krzysztof Sklodowski.jpg](https://res.cloudinary.com/olex/image/upload/v1776339841/LA_Teatr_Syrena_1_Krzysztof_Sklodowski_487b2a870f.jpg)

In 2025, Teatr Syrena took a significant step forward in its technical capabilities, transitioning to an L-ISA Immersive Hyperreal installation. The project, carried out by Warsaw-based L-Acoustics Certified Provider Audio Plus, built directly on an L-Acoustics ARCS II system the company had originally installed at the theatre in 2016. It has now been upgrading it to a full L-ISA configuration without replacing a single amplifier or retiring a single loudspeaker, and completing the entire installation in under a week.
A Strong Foundation: The 2016 L-Acoustics Installation
Audio Plus first installed an L-Acoustics system at Teatr Syrena in 2016. That system comprised four ARCSII line sources as the front-of-house arrays, four 5XT point sources as front-fills, six X8 point sources for surround, four SB18i subwoofers, and two X12 point sources used as side-fills. Two 108P active monitors were installed in the sound booth. Three LA4X and one LA8 amplified controllers powered the system.

It was — and remains — a professional-grade foundation. When Teatr Syrena approached Audio Plus in 2025 about an upgrade, the brief was clear: expand the system to the highest possible configuration while keeping every existing component in active use.
L-ISA Immersive Audio: Precision and Presence for Musical Theatre
For a venue whose programming centres on musical theatre, the case for L-ISA is compelling. Object-based mixing allows instruments and performers to be positioned in space with a precision that conventional stereo systems cannot match — reflecting the physical reality of the stage rather than compressing it into a left-right image. The result is a more spatially accurate and emotionally immediate experience for the audience.

There is a practical benefit too: the increased number of front arrays that L-ISA requires distributes the acoustic load more evenly across the room, allowing overall volume levels to be reduced without any loss of impact — improving listening comfort across a full production.

“L-ISA’s object-based mixing allows instruments and performers on stage to be positioned with far greater precision, producing a more realistic and spatially accurate experience,” explains Jakub Kowalik, Tech and Sales Representative at Audio Plus. “At the same time, the increased number of front arrays allows overall volume levels to be reduced without any loss of impact, creating a comfortable listening experience.”

From Four ARCS Arrays to Five A10i Arrays: The L-ISA Upgrade
Moving to L-ISA required a minimum of five front-of-house arrays — one more than the existing four ARCS configuration. For the new Scene System, Audio Plus deployed five arrays of A10i Focus paired with five A10i Wide. The A10i is the direct successor to the ARCS, and its PanFlex technology — which allows horizontal dispersion to be adjusted — was particularly useful in Teatr Syrena’s relatively compact auditorium, enabling the arrays to be aimed precisely and minimise unwanted wall reflections.

A secondary challenge was the LA8 amplifier, which predates the Milan-AVB protocol used by newer L-Acoustics hardware. Rather than replacing it, Audio Plus reconfigured it to drive the four SB18i subwoofers — now repositioned to hang on the sides of the central array — via an AES/EBU digital signal fed from the L-ISA Processor II. Only two amplifiers were added to the system: one LA4X and one LA2Xi, alongside an LS10 network switch.

“An important characteristic of L-Acoustics hardware is that it is designed to grow with you,” says Łukasz Kaźmierczak, Head of Projects and Installation at Audio Plus. “Using the existing infrastructure, we were able to significantly expand the theatre’s technical capabilities with relatively few additional resources. It was far more cost-effective than replacing the entire system.”

Every Component Finds a New Role
None of the 2016 installation was retired. The four ARCS units were reassigned: two now hang at the rear of the stage as monitors, with the remaining two serving as side-fills. The front-fill line was extended by one additional 5XT — bringing the total to five and ensuring audiences in the front rows receive the full immersive effect alongside the rest of the house. The six X8 surround speakers remain in their original positions. The two X12 units previously used as side-fills have been redeployed as stage wedge monitors. The 108P monitors in the sound booth continue to operate as before. All three original LA4X amplified controllers remain in use alongside the reconfigured LA8.

Installed in Under a Week, Without Disrupting the Programme
The full installation was completed in under a week. Audio Plus prepared the necessary components at their projects and installation facility in Łomianki before arriving on site, keeping disruption to the theatre’s active programme to a minimum. Tech support engineer Tomasz Schnitzer led the installation and system integration; L-Acoustics trainer Jerzy Kubiak handled post-installation tuning and crew training.

Teatr Syrena now delivers a fully immersive audio experience to every seat in the house, with sound design possibilities that were simply unavailable before the upgrade. It stands among the most technically advanced audio installations of any theatre in Poland — built almost entirely on equipment that was already there.

“When you choose L-Acoustics, you are building a foundation,” says Kowalik. “Ten years on, every piece of equipment we installed at Syrena is still working — and now it is part of one of the finest immersive audio installations in the country. That is what a real professional sound system looks like.”


Warsaw’s Syrena Theatre Transforms Its L-Acoustics Sound System into a Full L-ISA Immersive Audio Installation

CHICAGO, 10th March 2026—From the stadium to millions of viewers around the world, Shure wireless technology again played a critical role at the Super Bowl, featuring the audio leader’s newest innovations, including the SM39 Headset Microphone. These solutions delivered reliable, high-quality audio across every facet of the broadcast, live entertainment, and fan experience. 

For Super Bowl LX, ATK Audiotek and Professional Wireless Systems (PWS) supplied all wireless microphones and in-ear monitoring systems for stadium entertainment, the Apple Music Halftime Show, referees, and additional live productions throughout the week, continuing their longstanding partnership supporting the NFL’s largest event.

![Bad Bunny with Shure SM39 Headset Microphone.jpg](https://res.cloudinary.com/olex/image/upload/v1773168317/Bad_Bunny_with_Shure_SM_39_Headset_Microphone_ae41c9572b.jpg)
SANTA CLARA, CALIFORNIA - FEBRUARY 08: Bad Bunny performs onstage during the Apple Music Super Bowl LX Halftime Show at Levi's Stadium on February 08, 2026 in Santa Clara, California. (Photo by Kevin C. Cox/Getty Images)

**Wireless Confidence in One of the World’s Most Complex RF Environments**


Throughout the event, the production team relied on Shure Axient® Digital Wireless Microphone Systems, PSM® 1000 Advanced In-Ear Personal Monitoring Systems, Shure TwinPlex™ lavaliers, and SM39 headset microphones to meet the demands of an extremely dense RF environment.

The wireless infrastructure included AD4Q receivers configured in Quadversity™, with additional Axient Digital receivers supporting entertainment, broadcast, and referee communications. Shure Wireless Workbench and Wavetool software tools were used for real-time RF and audio monitoring, ensuring performance integrity throughout the big game.

**Halftime Show: Hands-free Performance on the Biggest Stage**


One of the most technically demanding moments of Super Bowl LX came during the Apple Music Halftime Show, where global superstar Bad Bunny (Benito Antonio Martínez Ocasio) opted for a Shure headset microphone rather than a traditional handheld.

“When I found out that Bad Bunny wanted to use a headset on the Halftime Show at Super Bowl LX this February, I was pretty apprehensive,” said Tom Holmes, Broadcast Audio Mixer for Super Bowl LX. “For a big show in such a large stadium, and literally tons of speakers on the field, a handheld mic is usually what I want to hear.”

Despite this apprehension, Bad Bunny performed using a Shure SM39 headset microphone paired with an Axient Digital ADX1 bodypack transmitter, delivering full vocal power while maintaining hands-free freedom of movement throughout the performance.

“Much to my surprise, this mic was the perfect choice,” Holmes continued. “It handled his quite-loud singing voice, no problem. It kept leakage from the field PA to a negligible amount, had little to no popping, and delivered really nice sound quality for being in such close proximity to the mouth. This is now my go-to large diaphragm headset mic—tailor-made for hands-free singers in large or small venues. It performs like a champ and stays stable enough to handle anything from climbing telephone poles to diving into a crowd of dancers. Well done, Shure.”

“The SM39 is my go-to headset mic for vocalists,” said Alex Guessard, FOH Mixer. “It delivers excellent tone, rock-solid mechanical stability, and outstanding rejection.”

“We’ve been really happy with the Shure SM39 headset microphone on this tour run. It’s been dependable, comfortable for the artist, and delivers a clear and present sound each night,” added Jose Angel Rivera Jr., FOH Engineer for Bad Bunny. 

All halftime performers relied on Shure PSM® 1000 Advanced In-Ear Personal Monitoring Systems, ensuring clear, consistent mixes in one of the most challenging live audio environments in the world.

**Artist-Specific Wireless Solutions**


Super Bowl LX featured a wide range of artist-specific wireless configurations, including Charlie Puth, who relied on an Axient Digital ADX2FD frequency diversity handheld transmitter, with receivers configured in Quadversity. Both Charlie and Coco Jones, who performed a stunning rendition of “Lift Every Voice and Sing,” were equipped with Shure PSM 1000 In-Ear Monitoring Systems.

**Broadcast, Referees, and Live Fan Engagement**


Beyond the halftime show, Van Wagner Sports & Entertainment deployed 16 channels of Axient Digital wireless, supported by Shure ANX4 receivers for on-field entertainment and broadcast production.

"Using the ANX4 was a wonderful experience; having access to a wide-band tuning range meant there was never a concern. We could bring one piece of equipment and slot ourselves into the most ideal spot frequency-wise without having to make sacrifices due to device limitations,” said Matthew Bell, RF Technician. “The flexibility to route every channel to two different Dante outputs internal to the ANX4 meant building out redundant and talkback routes was easier than ever. Finally, the ability to selectively enable Quadversity per-channel is a huge asset in being able to stay flexible and respond to challenges as they arise without impacting the rest of the RF signal chain."

Referees again trusted Axient Digital ADX1 bodypack transmitters paired with TwinPlex TL47 lavalier microphones, ensuring intelligible, consistent communication throughout the game. The ADX1 bodypacks leveraged frequency diversity to help maintain uninterrupted audio in one of the most RF-congested live broadcast environments. Dual TL47 microphones were deployed per referee for redundancy.

Shure wireless also powered the Whatnot livestream, using 16 channels of Axient Digital to support live fan engagement during Super Bowl week.

**A Trusted Partner for the World’s Biggest Event**


“Supporting engineers and production teams during Super Bowl week is always a priority for us,” said Jenn Liang-Chaboud, Shure Entertainment Relations Manager. “From rehearsals through game day, our goal is to make sure they have reliable tools and trusted support to deliver exceptional audio, no matter how challenging the environment.”

With decades of Super Bowl experience, Shure continues to set the standard for wireless reliability, audio quality, and spectrum efficiency, helping engineers deliver unforgettable moments on the world’s biggest stage.

Media assets available here: [https://drive.google.com/drive/folders/1Zj7YF4h5x9fCihhmjKgA6D4jPcYgcIEW?usp=sharing](link)


Shure Innovation Delivers Rock-Solid Audio Across Super Bowl LX

LONDON, UK - February 2026 -- When Radiohead announced their first tour in seven years, the Oxford quintet made a bold choice: rather than the traditional end-stage setup, they would perform in the round on a small circular stage at the centre of each arena. The decision reflected the band's commitment to creating a more intimate connection with audiences despite playing some of the largest venues in Europe.

![LA_Radiohead_01©Jeremy Lloyd.jpg](https://res.cloudinary.com/olex/image/upload/v1771501206/LA_Radiohead_01_Jeremy_Lloyd_bc3497055a.jpg)

The results exceeded expectations. At London's O2 Arena in late November, where Radiohead performed four sold-out shows, they broke the venue's attendance record night after night. The final show drew 22,355 people—a new high-water mark for the iconic venue and a testament to both the band's enduring appeal and the production team's ability to deliver exceptional sound to every seat.

To meet the demanding requirements of the in-the-round configuration—including a dynamic 360-degree LED screen floating above the stage that could transform from a decagon to a star shape while spinning—L-Acoustics Certified Partner Britannia Row Productions and FOH engineer Simon Hodge deployed a comprehensive L-Acoustics L Series system.
Hodge, who has worked with Thom Yorke and Jonny Greenwood since 2020 on their project The Smile, was among the first engineers to take L2 on tour. His experience with the system during The Smile's 2024 tour convinced him it was the right choice for Radiohead's more ambitious production.

"I was struck by the directionality of L2 and how controlled the low mid is due to the continuous baffle," Hodge explains. "But equally important was efficiency. It's a relatively small number of lightweight boxes, which makes it incredibly efficient in terms of production resources and easy to load in and out."

This efficiency was critical. The arrays were installed in the very centre of every venue, requiring careful rigging considerations. The tight timelines—with cable bridges running from FOH to the centre of the arena and PA load-in typically starting at 6:00 AM—demanded a system that could be deployed quickly and reliably.

"The creative designs for this tour started over a year ago and involved considerable planning," Hodge continues. "The geometry for audio coverage was particularly demanding. We needed a system that could deliver consistent coverage while minimizing interference with the visual production and accommodating audiences on all sides of the stage at various elevations."

**Precision Design Solves Complex Coverage Challenges**

Working with production designer Josh Loyd, Hodge's final design consisted of eight hangs of three L2 and one L2D positioned at the corners of a square containing the circular stage, providing consistent 360-degree coverage. A total of 12 A10 Wide provided front-fill coverage. The low-frequency system involved 32 KS28 subwoofers flown centrally on a custom-made cart that handled all cable management, amplified controllers, and rigging, supplemented by 24 ground-stacked KS21 subwoofers. The system was powered by 37 LA7.16 and 13 LA12X amplified controller. All L2 arrays were deployed in supercardioid mode, with Panflex horizontal coverage angles carefully adjusted to avoid exciting reflective surfaces in each room. For larger venues, small Kara II delays brought back high frequency in the top rows.

The extended vertical coverage of L2D proved essential for reaching front rows without sight-line interference from the dynamic LED installation. "Thanks to the excellent off-axis response of L2, we achieved great coverage everywhere," Hodge notes. The centralized KS28 deployment created coherent low-end response throughout each venue while keeping the stage remarkably quiet—a critical factor for the band's performance.

L-Acoustics Soundvision software was vital during the design phase. "With the latest updates modeling the TM array, dispersion became extremely easy and fast," says Hodge. "We were able to evaluate the need for delays, correctly aim arrays based on seating geometry, and align front-fills and delays beforehand—saving precious time on-site."

Loyd's thoughtful design placed the amplified controller carts behind the arrays and in front of the cable bridges, allowing the audio team to be largely independent from other departments and streamlining daily operations. The team used Milan-AVB as the main audio protocol, with its seamless integration with both LA7.16 and LA12X simplifying programming and patching. A P1 was used for backup and to tune the system through the M1 platform.

**Exceptional Results Across Historic Shows**

"L2 is game-changing in how quick it is to deploy and how even the coverage is once you’ve correctly modelled it in Soundvision," Hodge concludes. "Despite all the challenges involved in an in-the-round gig, we were able to achieve stunning sound all the way to the very last row.

"These historic shows were as successful as they were because of the sound. Both the artist and monitor engineer were astonished by how quiet the stage was, and everyone involved in the production was remarkably impressed by how well the system performed," Hodges explains.

The tour garnered widespread critical acclaim. NME gave the opening London show five stars, praising "a visceral energy, a tasteful spectacle, all delivered with a generosity of spirit." The review concluded: "For a band once embarrassed by the notion of 'arena rock,' nobody does it better."

Media assets available at: [https://medialibrary.l-acoustics.com/bCGwNd20h ](link)


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