![image004.jpg](https://res.cloudinary.com/olex/image/upload/v1788778737/image004_b7c17ceb40.jpg)

NILES, IL, 20th August 2026 — [Shure](https://www.shure.com/en-GB) today recapped its support of the 2026 Montreux Jazz Festival, where it deployed more than 2,000 components across 10 stages during the festival’s landmark 60th edition. For nearly 30 years, Shure has worked alongside Montreux Jazz Festival production teams to help manage complex wireless environments, evolving artists’ requirements, and the technical demands of a multi-stage live music event. 

The deployment included 156 channels of [Axient® Digital Wireless Systems](https://www.shure.com/en-US/products/wireless-systems/axient_digital?variant=Axient%2520Digital), 40 channels of [Axient Digital PSM Advanced In-Ear Monitoring System](https://www.shure.com/en-US/products/in-ear-monitoring/adpsm?variant=Axient%25C2%25AE%2520Digital%2520PSM), and 756 wired microphones, as well as [SM58®, KSM11 Cardioid Condenser Vocal capsules](https://www.shure.com/en-US/products/microphones/ksm11?variant=KSM11B%2FC) and [Nexadyne Dynamic Vocal Microphones](https://www.shure.com/en-US/products/microphones/nexadyne8?variant=NXN8%2FC), among others. 

At the festival’s Stravinski stage, Shure ShowLink® enabled engineers to remotely monitor all Axient Digital devices and simplify system management across performances. Five Shure ADTQ units were deployed on-site, each configured with eight channels for a total of 40 channels. Engineers operated the ADTQs in both SC Narrowband and Wideband Spatial Diversity modes, allowing them to switch between configurations based on each artist's and production's requirements.

> Montreux is one of the most demanding and inspiring live music environments in the world,” said Marco Weissert, Associate Vice President, Sales Europe, at Shure. "Engineers are managing multiple stages, changing artist requirements, and tight production schedules every day. We're there to help them stay focused on the performance and not the technology.

**Different Artists, Unique Voices, All Trusting Shure**

Across more than 300 concerts and activities, the festival brought together legendary artists, emerging talent, and international audiences for a live music experience defined by intimacy, scale, and world-class production.
Among the standout performances, John Legend used the Shure Nexadyne™ 8/S dynamic vocal microphone to deliver his signature vocal with clarity.

“If truth was a microphone, it would be the Shure Nexadyne 8/S,” said Jon Ostrin, engineer for John Legend. “The Nexadyne 8/S gives me the vocal tone I’ve been looking for. As engineers, our job is to replicate and enhance the signal. Nexadyne elevates it.”

Across the two-week festival, artists relied on a range of Shure wireless and microphone solutions. The Roots used Axient Digital transmitters with SM58 and Nexadyne microphones. Deep Purple performed with four channels of Axient Digital PSM, four ADTQ bodypacks, AD transmitters, and KSM11 capsules. Vulfpeck used AD2 transmitters paired with SM58 capsules.

This year’s edition marked a shared milestone, as both the Montreux Jazz Festival and the Shure SM58 celebrated their 60th anniversaries. For six decades, Shure’s iconic mic has remained a fixture on stages around the world, trusted by generations of artists and engineers for its durability, consistency, and unmistakable role in live vocal performance. 

Beyond equipment, Shure’s technical team supported production crews throughout the festival with microphone selection, wireless frequency coordination, system performance, and day-to-day technical demands across multiple venues. Shure also hosted the Engineers’ Lounge, where audio professionals could connect directly with the Shure technical team. 
To learn more about Shure wireless technology for live productions, please visit: [www.shure.com/applications/live-performance](https://www.shure.com/en-US/applications/live-performance)

**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

SHURE SUPPORTS MONTREUX JAZZ FESTIVAL’S 60TH EDITION ACROSS 10 STAGES WITH MORE THAN 2,000 AUDIO COMPONENTS 

![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 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

![LA_OM Seraing-JohnnyMarr_©Goldo_05.jpg](https://res.cloudinary.com/olex/image/upload/v1788778264/LA_OM_Seraing_Johnny_Marr_Goldo_05_0a0bca8d5b.jpg)

SERAING, Belgium – July 2026 – OM sits in Seraing, on the banks of the Meuse just outside Liège — a city whose industrial identity runs so deep that its nickname is La Cité Ardente, The Burning City. The building dates to 1948, designed as a banquet hall for workers at the Cockerill steel complex, the industrial giant that made Seraing the ironmaking capital of continental Europe. After decades of abandonment that followed the decline of Wallonia’s steel industry, the team behind Les Ardentes — the Liège festival that has drawn 75,000 attendees and major international acts every summer since 2006 — saw the potential for a new kind of venue. Opened in October 2023, OM’s main room holds up to 1,700 people and programmes everything from metal and jazz to techno and hip-hop, making it the largest and most versatile live music space in Wallonia.

The challenge was acoustic as much as aesthetic: a 1,500-capacity industrial room hosting everything from jazz to techno, with a technical brief that demanded festival-grade SPL and full-bandwidth coverage in a space where neither visual bulk nor subwoofer sprawl were acceptable. “We wanted to amaze our audiences,” says Fabrice Lamproye, Venue Director. “We wanted a system that was loud, impressive and festival-grade, but also compact enough to fit into our medium-sized venue.”

L-Acoustics Certified Provider XLR was brought on board to deliver the project. Their proposed solution: L-Acoustics K3.

**K3: the Logical Answer**

“As someone from Liège, I come to OM almost every week as a punter,” says XLR CEO Louis Lukusa. “I was personally invested in getting this right.” XLR has over 15 years’ experience deploying L-Acoustics across Belgium and Luxembourg, distributing across theatres, cultural centres, clubs and bars. When it came to OM, Lukusa had both the regional roots and the technical depth the project required.

OM’s brief was to design and deploy a system that would perform consistently across every genre. It had to be high-spec enough to satisfy the expectations of international touring productions, all without visually dominating the design of a relatively intimate space. K3 answered both requirements: rated 40 Hz to 20 kHz with no external subwoofer dependency, it delivers full-range output in a package compact enough to disappear into the room.

“K3 was the logical answer,” says Lukusa. “It’s the newest system in the range, and it comes with full bandwidth and uncomparable native contour built in — that changes everything in a venue like this. We didn’t have to rely on additional subwoofer deployment to fill out the low end. The power is already there, in a form that fits the space.”

The choice was reinforced by L-Acoustics’ standing on international riders. “Touring productions know the brand,” he adds. “Their recognition and acceptance is already there.”

> The most important thing we consider when evaluating a new sound system is its quality,” says Fabrice Lamproye, OM’s team coordinator and booking agent. “And we want to ensure that our artists will be happy with it. We’ve been working with L-Acoustics for years now, we have another system in a smaller venue that we’re really happy with, and that’s why we opted for K3 at OM. We knew that it would meet our need for clear and powerful sound.

**Eight a Side, No Delays**

With K3 selected, XLR moved into the design phase using L-Acoustics Soundvision, modelling the system to verify the coverage predictions and refine the speaker positions. OM’s 1950s design means that its acoustic environment can be challenging, and being able to model and plan for this in Soundvision before a single cabinet was hung made a significant difference.

> With eight K3 per side, we could cover 100% of the audience area without a single delay speaker,” says Lukusa. “We achieved about 3dB distribution across the full audience and a sound integrity figure of almost 93%. We were incredibly impressed with these figures for a venue of OM’s size.

The main system centres on two hangs of eight K3 per side — the install variant of K3, specified here for its permanent rigging credentials. Subwoofer coverage is delivered by four KS28 per side, flown alongside the main arrays rather than ground-stacked, meaning the low frequencies are distributed evenly across the audience and keep the stage area clear and unobstructed for the full range of productions OM hosts. The side-hung configuration also serves the venue’s electronic programme well, supporting the kind of stereo bass imaging that these genres demand.

To ensure consistent coverage throughout the room, a pair of X12 address the near-field in-fill areas, while four A10 Wide are deployed as front-fills maintain level and intelligibility for audiences closest to the stage. The result is a system that covers every seat from the front row to the back wall without disrupting any sightlines. Six LA12X supplied amplification. 

A Reputation That Speaks for Itself
“We’re thrilled with the new K3 system,” says Lamproye. “It’s very exact, and that helps you in a space where the acoustics aren't perfect. It gives you the control to manage what the room throws at you.”

The response from artists and touring crews has been equally strong. International productions arriving with high expectations have found a system they already know and trust, removing the friction that an unfamiliar rig can introduce. “From the very first shows, the bands were happy,” he adds. “That matters to us. We want artists to feel that this is a place where they can do their best work.”

For the venue’s audiences, the results have been just as tangible. OM has built a reputation in Wallonia both for the quality of its programming and its commitment to exceptional sound. “People come here because of the sound,” Lamproye concludes. “We wanted to bring the feeling of a big festival into a mid-size venue, and that’s exactly what we’ve done. K3 made it possible.”

**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 K3 Brings Festival-Grade Power to OM,  Wallonia’s Premier Concert Venue

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

  
![LA_Shenzhen_University_1000-seat Grand Theatre_01.jpg](https://res.cloudinary.com/olex/image/upload/v1788776458/LA_Shenzhen_University_1000_seat_Grand_Theatre_01_7c90330ac6.jpg)

SHENZHEN, CHINA – July 2026 – Shenzhen University is one of China’s fastest-rising research universities, with multiple disciplines ranked among the top 1% in the Essential Science Indicators global rankings. At the heart of the university’s artistic life sits its Arts Complex, which was built as part of its 40th birthday celebrations in 2023. The 128,000 square metre complex includes a 1,000-seat grand theatre, a 500-seat theatre, a 266-seat experimental theatre and a 245-seat concert hall, as well as dance and art studios, music practice rooms and recording suites. Together, they host everything from graduation ceremonies and symphony concerts to daily lessons, rehearsals and performances.

The brief was simple in intent but exacting in practice: bring all four of the Arts Complex’s performance rooms up to the same professional standard, whatever their size or purpose. Across such diverse spaces, this meant designing and installing four distinct systems that catered to the unique requirements of each room, while giving every room the same sonic signature, so a performance carries the same character whichever space it is staged in, alongside a common standard of reliability and ease of use for staff and students.

To assist with this work, Shenzhen University turned to Racpro, the longstanding L-Acoustics distributor and Certified Provider for Greater China, whose remit spans system design, installation, training and ongoing maintenance across the region. 

**Integrating Technology and Art**

“One of the core challenges of this project involved resolving the tensions between the four venues’ sound systems, architectural acoustics and interior aesthetics,” says Ou Xiangjun, Senior System Engineer at Racpro. “We needed to achieve a deep integration of technology and art.”

Each of the four rooms needed a professional-grade system that was also sensitive to its design and architecture. In the case of the grand theatre and the 500-seat theatre, this meant concealing the systems entirely. In the experimental theatre, the system was to be used as a learning tool and therefore needed to be visible.

> The systems also had to deliver the high fidelity and dynamic range expected of top-tier performances, while being adaptable and durable,” Xiangjun continues. “Educational environments can be demanding, and we had to ensure that our final deployment was sensitive to the university’s long-term operational needs.

**Multiple Rounds of Soundvision**

With the brief set, Racpro ran multiple rounds of L-Acoustics Soundvision simulations across all four venues to test the configurations and refine the geometry of every hang. The team was aware that, since most loudspeakers in the grand theatre and theatre needed to be hidden behind acoustic cladding, repositioning them once the cladding had been closed would prove difficult. Getting the rigging angle, delay timing and coverage pattern right upfront was therefore critical to minimising these disruptions.

> We didn't want to rely on experience or rule of thumb for spaces like this,” says Xiangjun. “Running Soundvision again and again enabled us to see exactly how the sound field would behave in every room, and predict the SPL, speech intelligibility and frequency response in every seat. That gave us a closed loop from design through to installation, which is exactly what a project with this little margin for rework requires.

**A Concealed Solution for the Grand Theatre**

As the building’s principal venue, the Grand Theatre called for substantial headroom and even coverage across all 1,000 seats. The room is also a campus landmark, which left the team no room to compromise on aesthetics. 

The main PA is formed by left and right hangs of three A15i Wide each, joined by a centre hang of two A15i Wide, all concealed within the theatre’s acoustic treatment, so the system disappears visually while still delivering full output. A left and right pair of X12 handle in-fill duty to remove any audible gap between main and front coverage, five 5XT loudspeakers reinforce the stage lip at near field, and six X8i loudspeakers cover the under-balcony seating. The surrounding tiers are completed by 12 X8 on the first layer and six X8 on the second, closing out coverage with no dead spots.

Two KS28 and two KS21i subwoofers supply the low end for large-scale productions.

**Even Coverage across the 500-seat Theatre**

The theatre shares much of the grand theatre’s design, with left and right hangs of three A15i Wide and a centre hang of two A15i Wide forming the main PA, again concealed within the building structure to preserve the room’s clean lines. 

A single X12 per side handles in-fill, six 5XT loudspeakers cover the front-fill, and two KS28 subwoofers supply the low end. Coverage continues with four X8 under the balcony, eight X8 across the first surround tier and six X8 on the second. These speakers smooth the transition in SPL and frequency response across the room and strengthen intelligibility for the teaching and interactive sessions the space hosts day to day.

**Layered Sound for the Experimental Theatre**

Designed as a laboratory for creative experimentation, the 266-seat experimental theatre required a different approach entirely. The university wanted rich layering and the flexibility to support everything from avant-garde theatre and electronic music to multimedia performance, with the system on full display rather than hidden. 

Left and right hangs of five Kiva II form the main PA, each suspended above a single SB15 enclosure that extends the array’s low-frequency response without adding a separate subwoofer hang. An X12 loudspeaker covers the centre channel, while one left and right SB18 IIi provides ground-stacked low end. 

With its architecture left visible, the system also doubles as a teaching reference for students studying sound design.

**Warmth and Simplicity for the Concert Hall**

For the 245-seat concert hall, Racpro chose four X12 loudspeakers flown from the ceiling, for the main PA for their warm tonal balance and precise directivity. 

Because the venue’s day-to-day operators are largely faculty and students rather than engineers, ease of use mattered as much as sound quality. As a result, Racpro paired the installation with full system training and a set of scene presets, so staff can recall a configuration for a recital or a lecture rather than build one from scratch.

**Supporting Tomorrow’s Artists**

Across four rooms with very different demands, Racpro delivered systems that meet the needs of arts education while working within the architecture of each space.

> We achieved this through precise acoustic simulation and customised system integration, and we’re delighted with the outcome,” says Xiangjun. “It's been an honour to deliver a system this comprehensive and reliable for Shenzhen University, and we’re proud that it will help further the goals of tomorrow’s artists.

**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.









Four Spaces, One Standard. L-Acoustics Develops Custom Solutions for Shenzhen University Arts Complex

![Desain tanpa judul - 2.jpg](https://res.cloudinary.com/olex/image/upload/v1788773466/Desain_tanpa_judul_2_a704f94e09.jpg)

Makassar, Indonesia – July 2026 – Makassar is the largest city in eastern Indonesia and the gateway to Sulawesi, and its nightlife has been catching up fast with its scale. In December 2025, Ultra Super Club opened on the Tanjung Bunga waterfront under the tagline “Beyond the Limits,” packing its New Year parties and quickly establishing itself among the city’s most-talked-about venues. With room for around 1,000 people, the club was designed to host both live performances in the early evening as well as late-night high-energy EDM parties. The audio spec was similarly dual-natured, requiring full-range clarity and articulation, and the deep, physical, low-frequency response that Indonesian audiences have come to expect on the dancefloor.

**A Listening Test Wins A Series the Contract**

The audio deployment was undertaken by PT Gracia Auvindo, L-Acoustics Certified Partner for Indonesia, which took responsibility for system design and post-installation validation. Established in 2008 and L-Acoustics certified since, Gracia Auvindo has shaped much of the country’s premium audio landscape, from the K2 install at Jakarta nightclub NOYA X 80 PROOF and the A Series at the Blaze music lounge to the L-ISA immersive system at the Graha Bakti Budaya theatre, the first of its kind in Southeast Asia. Thomas Rulyanto, a specialist systems integrator with a strong track record in club and entertainment installations, carried out the physical installation, while L-Acoustics application engineer Jufri Price ran technical support across the project design.

> The Ultra Super Club management team did their research before committing to a brand,” says Hendra Halim, Application Director at Gracia Auvindo. “Rather than taking a recommendation at face value, they visited existing installations to listen for themselves. They heard L-Acoustics at NOYA X 80 PROOF and compared it against competing systems at other venues. The L-Acoustics rig was the clear favourite.” NOYA X 80 PROOF, the Jakarta nightclub that helped convince the Ultra Super Club team, is itself a Gracia Auvindo project, built around an L-Acoustics K2 system and widely covered as one of Southeast Asia’s benchmark club installations.

The A Series answered the brief on every front. The main dancefloor is a big room, 23 by 26 meters under a 12-metre ceiling, and with a throw capability of 30 to 35 meters the A Series covered it comfortably, with headroom to spare and no need to over-specify. Between the two models, the team chose A15 over A10 for its extra low-frequency muscle. “In Indonesia, audiences love a strong low-frequency response,” explains Halim. “We knew the A15 would give them the impact they come for.”

**Soundvision Works the System Around a Fixed Structure**

One of the project’s most significant challenges was that Ultra Super Club’s ceiling structure required all speaker hangs to be fixed to a series of steel beams. This left little flexibility in terms of their positioning.

> We mapped the project out in detail using Soundvision at the outset with the understanding that Soundvision’s ideal hang point would sometimes differ from the beam grid we had available to us,” says Halim. “We had to make adjustments of up to 50cm on site. But the value of having modelled the room thoroughly beforehand was that our real-world changes could be assessed against a known baseline. It simplified the process and helped us work accurately within our existing constraints.

The complete system data generated through Soundvision, including power consumption figures, was also shared directly with the venue’s owners. This gave them a clear picture of the infrastructure requirements before installation began.

**A15 and KS28 Deliver**

The main left and right hangs each comprise four A15i — three A15i Focus and one A15i Wide per side — delivering primary coverage across the room. Three LA4X amplified controllers drive the hangs.

The low-frequency system centres on eight KS28 subwoofers, powered by two LA12X amplified controllers, providing the physical, full-body bass response the club’s programming demands. Two X12 handle out-fill duties, while four X8 deployed as front-fills ensure consistent coverage and level for the audience members closest to the stage.

Signal routing is deliberately streamlined. The console feeds directly into the amplified controllers, with processing handled by the built-in DSP of the LA4X and LA12X amplified controllers.

**A Series Keeps the Dancefloor Full, Night After Night**

From tender to completion took roughly three to four months, with a soft launch in November 2025 ahead of the December grand opening. Since then the system has run every night across the club’s twin programming of live bands and DJ sets.

For Gracia Auvindo, the project is proof that an exceptional system can be delivered on time without compromise.

Ultra Super club wanted a system that could handle live performance and EDM equally well, in the same room, night after night,” says Halim. “Getting that right comes down to precise specification, thorough modelling, world-class products and an excellent team. That’s what we had on this project.”

**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 A Series Powers Live Bands and EDM Nights at Ultra Super Club in Makassar, Indonesia

![LA_Joker Xue_EVOLUTION Tour_10.jpg](https://res.cloudinary.com/olex/image/upload/v1788773154/LA_Joker_Xue_EVOLUTION_Tour_10_1c8695e30f.jpg)

GUANGZHOU, CHINA – July 2026 – Few artists command a stage in China the way Joker Xue does. The Mandopop singer-songwriter, celebrated for the emotional ballads his fans call “Xue-style love songs,” sells out stadium runs in minutes: the Guangzhou stop of his current tour cleared nine nights and more than 357,000 tickets, and Changsha added six nights and over 233,000 more, with both cities selling out in seconds. He is among the most-streamed Chinese artists of all time, with tens of billions of plays. In March 2026, he opened his fourth and most ambitious tour yet, ‘EVOLUTION’. 

At its centre stood a four-sided stage that Chinese media billed as the largest ever built for a concert: 93 metres wide, 53 metres deep and rising 36 metres into the air, roughly the height of a twelve-storey building and covering 5,000 square metres, close to three-quarters of a football pitch. A 5,600-square-metre ring of LED wrapped the audience on every side, and the production played to crowds of tens of thousands each night. A stage on this scale, with no front and no back, made it the natural home for the first tour use of L1, the newly launched flagship of the L-Acoustics L Series, alongside its companion cardioid subwoofer, CS1, in the first L1 tour deployment in the world.

**MRT Brings the World’s Most Advanced Large-Format Loudspeaker to Asia**

L1 is the flagship of the L-Acoustics L Series and the most advanced expression to date of the company’s patented Progressive Ultra-Dense Line Source (PULS) technology, engineered to deliver the power, bandwidth and pattern control that stadium productions demand. For EVOLUTION, those capabilities had to answer to one of the most demanding stage designs in touring, and L1 reached the tour months before it reached the public.

Responsibility for putting that pre-launch system on stage night after night fell to Shanghai-based full production company, MRT, which had been running L1 on the tour for two months by the time L-Acoustics formally unveiled it in May. That trust was not given lightly. MRT is the only L-Acoustics certified L1 pilot partner in Asia, and one of just four worldwide entrusted with the system before its commercial release. Putting a pre-production flagship on a tour of this profile reflects deep confidence on both sides, built on MRT’s record supplying China’s largest live events and its close working relationship with regional distributor, Rightway Audio Consultants (Racpro), which supported the EVOLUTION Tour throughout.

A tour this ambitious called for capabilities that simply had not existed before. L1 answered with output and coverage while dramatically reducing the physical footprint of the deployed system. The system comprises of a main hang of four L1 and one L1D matching the performance of a 15-element K1 rig, while cutting rigging actions by around two-thirds and reducing overhead weight, which freed truck space and load on a stage already carrying enormous scenic and video structures. Just as valuable to the artist, the integrated cardioid design of L1 and CS1 keeps low-frequency energy on the audience and off the stage, giving Joker Xue a cleaner, more comfortable space to perform in across every night of the run.

**Soundvision and the New-Generation Autofilter Tame a Four-Sided Stage**

The design of the EVOLUTION tour stage presented a unique set of challenges. The four-sided configuration demanded consistent coverage in every direction simultaneously, with no primary axis to anchor the hang. Low-frequency management across an open stadium environment, where neighbouring reflections and spill can undermine intelligibility and tonal balance, presented another pressure point. 

To address these issues, MRT designed the system around L1 and CS1 from the outset, using L-Acoustics Soundvision to optimise array angles, coverage overlap and low-frequency behaviour across every audience zone. For a configuration this complex, Soundvision’s new-generation Autofilter algorithm proved critical in shaping the low-frequency beam of each L1 array in three dimensions. This helped to minimise front-to-back tonal drift and reduce low-frequency spread.

**L1, L1D and CS1: A System Built for Every Seat in the House**

The final system comprised of four hangs of four L1 and one L1D and four hangs of eight CS1 handling sub-bass. An additional 12 L2 and four L2D served as side-fills, supported by 80 KS28, 82 Kara II, 36 LA7.16 amplified controllers and 52 LA12X.

The result was a system that delivered the same experience regardless of where an audience member was sitting. Joker Xue marked the occasion from the stage himself, telling the audience that what they were hearing was “not a launch, but the first second of history.”

> For Front of House Engineer Zhang Junjun, it was the high frequencies that set L1 apart: “From my very first listen, I thought the high frequencies were absolutely beautiful. It has a sweet top end that never gets tiring. It’s comfortable any way you listen.”

“The biggest thing I noticed was how sonically clean everything was,” adds audio director Zhang Xiaonian. “There was no low-end rumble, or stray reflections to distract the artist. During soundcheck and mic setup, the whole audio experience was exceptionally clean.”

Music director Liu Zhuo found that he could push the faders without worry: “Every heavy-impact effect I mixed, every tone, and the clarity of the final output — that's what really met and even exceeded my expectations.

A New Reference for Live Sound 
The EVOLUTION Tour is ongoing, with 12 dates in Beijing’s National Stadium still to come, followed by a to-be-announced run of venues outside China. By the time the China series draws to a close, Joker Xue will have performed to well over 2.5 million people across the country, with L1 delivering this performance every night. 

For L-Acoustics, MRT and Racpro, the tour is setting a benchmark that the region’s live events industry will be measuring itself against for years.

“Mixing on L1 feels like driving a top-tier supercar,” says Junjun. “It’s unbelievably responsive and powerful, giving me the freedom to push the mix further than ever. Even when I pushed it to the limit, the vocals stayed silky and clear, with none of the harshness I’ve heard with other systems. And that gives me so much more confidence in my mix.”

Please visit L-Acoustics at [www.l-acoustics.com](https://www.l-acoustics.com/)

**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 L1 Makes its Global Tour Debut on Joker Xue’s  EVOLUTION World Tour

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_Yim_Jae_Beom_02 (1).jpg](https://res.cloudinary.com/olex/image/upload/v1788772803/LA_Yim_Jae_Beom_02_1_76059db2b2.jpg)

SEOUL, South Korea – July 2026 – Few voices in South Korean music carry the weight of Yim Jae-Beom. Widely regarded as one of the country’s greatest vocalists, he debuted in 1986 fronting the hard rock band Sinawe, whose 400,000-selling debut helped push Korean heavy metal into the mainstream. The solo career that followed turned his raw, emotionally charged delivery into a national signature. In 2011, a generation that had grown up on his ballads rediscovered that power when he joined the televised competition, I Am a Singer, placing first on two occasions. Throughout the course of his career, Yim has also composed for film and drama. 

Earlier this year, Yim performed a 40th anniversary farewell concert at Seoul’s KSPO Dome. The programme was designed to reflect the full breadth of his career, from his origins in metal and rock, to his later work across ballads, R&B, soul and orchestral arrangements. Billed as part of the tour that would close his performing career, the show carried an unusual emotional charge: an artist celebrated for the intimacy and force of a single voice, saying goodbye to a stadium-sized audience. That tension, between the scale of the room and the closeness the music depended on, shaped every decision that followed. With up to 15,000 people in the venue and a production brief centered on natural, detailed sound, L-Acoustics Certified Provider Klausys and Hyundae Sound turned to L-ISA immersive sound technology. 

**L-ISA Closes the Distance in an Arena-sized Room**

Composer and music producer Gi-Deok Park was responsible for the production’s artistic direction and had a clear idea of what he wanted to achieve. The goal was to make the audience feel as close to Yim as possible, regardless of where they were sitting. This was a complex task at KSPO Dome. Built as the gymnastics arena for the 1988 Seoul Olympics and since reinvented as one of Korea’s busiest large-scale concert venues, the room seats close to 15,000 across a wide floor and three steep tiers — the kind of volume that tends to push an audience away from the stage rather than draw it in.

> The production was never intended to sound exaggerated or overwhelming,” says FOH engineer Doosoo Park of Hyundae Sound. “Gi-Deok wanted the audience to feel close to the artist and the band — close enough to hear the smallest details, even Jae-Beom’s breathing. We both agreed very early that L-ISA was the right technology for achieving that level of realism and connection.

Hyundae Sound and Klausys have a long working relationship, established across numerous K2-based productions. The L-Acoustics APAC Application team also participated from the outset, with senior application advisor Alvin Koh embedded throughout design, preparation and the shows themselves.

For Klausys Head of Application Cheol Jang, the decision to go with L-ISA was based on what the music required. “With L-ISA, we were able to reproduce the position, separation and resolution of each audio source much more precisely,” he explains. “The result was a far more immersive and detailed listening experience throughout the arena.

Soundvision Accurately Predicts L-ISA Zones
Klausys built the design around an L-ISA Focus configuration, with the main Scene arrays based on K2 for tonal consistency across the sound field. Getting that spatial image to hold up evenly across the floor and all three tiers was where the modelling work began. “We spent a considerable amount of time optimising the rejection pattern through repeated simulation and on-site verification before finalising the setup,” says Jang. “That process became one of the most memorable technical parts of the project for me.”

L-Acoustics Soundvision was central to this work. In addition to mapping coverage and SPL distribution, its most useful feature in this instance was its ability to predict the L-ISA zones. “That gave us a much clearer understanding of how the spatial image would translate across the audience area in advance,” he adds. Soundvision also helped the team to verify structural data and safety conditions, and the visual system layouts made it easier to share the design concept and deployment with the wider production team.

**Powerful L-ISA Sound with K2**

The main L-ISA Scene system comprised five frontal clusters, built from a total of 60 K2. Extension and out-fill coverage was handled by 48 Kara II, while seven A15 Focus were deployed as spatial fill at the front of the stage. For low-frequency reinforcement, two flown KS28 clusters of eight enclosures per cluster were complemented by four ground-stacked KS28. A cardioid subwoofer arrangement reduced comb filtering and delivered consistent low-frequency coverage across the venue.

The system drive ran across 18 LA-RAK II AVB touring racks, with an L-ISA Processor I at the heart of the audio network. A P1 processor and a single LC16D audio converter completed the electronics package. The LC16D bridged the L-ISA Processor’s MADI outputs into a redundant Milan-AVB network, allowing legacy hardware and modern network infrastructure to operate seamlessly together. It also enabled precise clock synchronisation between the mixing console and the Milan-AVB media clock. “Because the LC16D can be monitored directly through a web interface, we could check device status and respond to technical issues immediately,” says Jang.

The integration between audio and visual was a deliberate part of the production design. Show producer James Koo built the visual content around the L-ISA environment, linking dynamic objects in the video content with audio object movement in the L-ISA Controller. 

**A Major Immersive Concert**

This was the first major concert in Korea to adopt L-ISA technology since the Los Angeles Philharmonic played the same venue in 2019. Wary of the unknowns, the team built generous time into the schedule, then found the system came together faster than expected — leaving the focus where it belonged, on a fitting send-off for one of South Korea’s most loved artists. 

> What impressed us most was the natural resonance and emotional impact of the live sound,” says Gi-Deok Park. “The immersion and clarity of both the vocal and band mix remained exceptional throughout the venue.

Post-show audience response reinforced that. “What stood out was how clearly many people recognised the difference between a conventional stereo system and the immersive L-ISA environment,” says Koo. “Positive feedback about the level of immersion appeared consistently across the entire venue, from the floor seats all the way to the upper tiers. Audiences also responded to the physical presence of the speaker system itself, with the flown clusters becoming part of the visual experience rather than only a technical element.”

For system engineer Sunchang Shon, the project opened up a broader perspective on what L-ISA represents as a production tool. “L-ISA expands the range of what can be expressed spatially and musically in a live environment,” he says. “Exploring that new territory was one of the most exciting parts of the entire production.”

**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.






Yim Jae-Beom’s Farewell Tour Brings the Audience Close with L-ISA Immersive Sound at Seoul’s KSPO Dome

![LA_Hill_House_02.jpg](https://res.cloudinary.com/olex/image/upload/v1788777735/LA_Hill_House_02_b5f9b15179.jpg)

LONDON, United Kingdom – July 2026 –  For a North London homeowner, it started with a Burna Boy concert. Struck by the sound, he looked into the system behind it, found L-Acoustics, and arrived at a question he couldn't let go. Could that same experience — physical, immersive, emotionally present — exist in a private home? The answer, he decided, would require two very different rooms, and two completely opposite approaches to the same goal.

**An Unambiguous Brief**

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

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

**Designing for Invisibility and Impact**

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

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

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

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

**Syva and X Series Deliver**

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

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

**Sound Worth Coming Home To**

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

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

**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.



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

![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.



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