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

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

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

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

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

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

L-Acoustics

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

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

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

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

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

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

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

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

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

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

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



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

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


Shure

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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


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

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

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


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

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

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

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

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

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

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

**Artist-Specific Wireless Solutions**


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

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


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

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

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

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

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


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

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

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


Shure Innovation Delivers Rock-Solid Audio Across Super Bowl LX

London, United Kingdom – February 2026 — A major, star-studded production at London’s iconic Royal Albert Hall relied on Shure’s Axient® Digital Wireless System to deliver uncompromising RF performance and audio quality for a demanding, multi-act show produced for Cascade Productions.

![Audio_Alliance_Bestway_10_07_25_48013 (1).jpg](https://res.cloudinary.com/olex/image/upload/v1771501911/Audio_Alliance_Bestway_10_07_25_48013_1_4364b5f83e.jpg)

Audio Alliance, Shure UK’s trusted partner on the project, specified and deployed Shure Axient Digital to support a complex programme featuring a full orchestra, an international A-list artist, a second major ensemble, an opera singer, speeches and playback elements, all delivered within an exceptionally tight production schedule.

With the entire production loaded in, rehearsed, performed and loaded out in under 20 hours, reliability and certainty were critical. Audio Alliance turned to Shure to ensure flawless operation across all wireless systems in a high-pressure, RF-intensive environment.
“On a show of this scale, there are no second chances,” said Oliver Driver, Audio Alliance. “Reliability was the overriding factor in our decision. Shure is a known quantity for us — proven products, predictable performance and absolute confidence that the system will behave exactly as expected under pressure.”

For the production, Audio Alliance deployed a comprehensive Shure Axient Digital system including 20 channels of Shure Axient Digital, using a combination of ADX1M Micro Bodypack Transmitters and ADX2 transmitters and 28 channels of Axient Digital PSM with ADXR in-ear monitoring receivers.

With a significant number of RF channels in play, frequency coordination and system agility were essential. The flexibility of Axient Digital, combined with Shure ShowLink® Remote control  Shure ShowLink® software provided Audio Alliance with the tools needed to manage RF proactively and maintain performance throughout the event.

“There was a huge amount of RF in use, as you’d expect at a venue like the Royal Albert Hall,” continued Driver. “The flexibility of Axient Digital, combined with ShowLink, gave us confidence that we could remain frequency-agile if conditions changed or interference became an issue. Wireless Workbench is a standard part of our workflow, and ShowLink gives us genuine, real-time insight into what the performer’s pack is actually experiencing.”

Driver also highlighted the impact of Shure’s latest Axient® Digital PSM technology on the production. “The new ADXR receivers are genuinely game-changing in terms of audio quality, performance and feature set,” he added. “Axient Digital remains a trusted and familiar platform for us, it’s rock-solid, sounds excellent and gives us total confidence under pressure.”

In addition to product performance, Audio Alliance praised the ongoing technical support from Shure UK. “Working with Shure is consistently positive,” said Driver. “Beyond supplying top-tier equipment, the level of technical advice and support is excellent whenever it’s needed. Dave Phillips is always at the end of the phone, and our relationship with the wider Shure UK team is genuinely invaluable. It’s a partnership we trust implicitly on major productions.”

David Phillips, Senior Manager, Pro Audio Sales at Shure UK, commented: “Productions like this at the Royal Albert Hall demand absolute reliability and confidence in RF. It’s great to see Audio Alliance using the full capabilities of Axient Digital, Wireless Workbench and ShowLink to deliver such a complex show under intense time pressure. We’re proud to support our partners with technology and expertise they can depend on in the most demanding live environments.”

For more information on Shure Axient Digital Wireless Systems, please visit: www.shure.com 

Press release assets available here: [https://drive.google.com/drive/folders/1DN4wwI90kEsGPjmBcEL508SI2EcCLvGV?usp=drive_link](link)


SHURE AXIENT® DIGITAL DELIVERS ROCK-SOLID RF FOR HIGH-PROFILE ROYAL ALBERT HALL PRODUCTION

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

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

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

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

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

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

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

**Precision Design Solves Complex Coverage Challenges**

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

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

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

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

**Exceptional Results Across Historic Shows**

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

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

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

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


L-Acoustics L2 Delivers for Radiohead's Record-Breaking Return to Arenas 

LOS ANGELES, — At this year’s GRAMMY® Awards, Shure microphones and wireless technology again played a crucial role in delivering pristine audio to millions of viewers around the world. With ATK providing all wireless gear for this year’s production, and longtime audio partners returning to the show, the ceremony showcased the reliability, sonic consistency, and broadcast-ready performance of Shure’s Axient® Digital Wireless System, Axient Digital PSM, and PSM® 1000 in-ear monitoring systems, and an extensive roster of Shure vocal microphones.

![Lady Gaga.jpg](https://res.cloudinary.com/olex/image/upload/v1770891408/Lady_Gaga_ed7c8731b0.jpg)
LOS ANGELES, CALIFORNIA - FEBRUARY 01: Lady Gaga performs onstage during the 68th GRAMMY Awards at Crypto.com Arena on February 01, 2026 in Los Angeles, California. (Photo by Kevin Mazur/Getty Images for The Recording Academy)

**Shure Wireless Powers the Broadcast**

Building on years of partnership with the GRAMMY production team, Shure equipment supported the show’s full spectrum of live performances and presenter moments. The engineering team deployed Axient® Digital transmitters and a set of AD4Q receivers—expanded from previous years to accommodate additional channels—ensuring seamless operation in the RF-dense environment of L.A.’s Crypto.com Arena.

Shure remained the in-ear wireless system of choice for artists throughout the night. Host Trevor Noah once again relied on Axient Digital PSM for his IFB, configured in spatial diversity mode by Steve Vaughn, Radio Frequency Coordinator.

**Headline Performers Trust Shure**

A wide range of GRAMMY performers selected Shure Axient Digital handhelds and vocal microphone capsules for their live sets:

•	Tyler, The Creator – SM39 Headset Microphone
•	Lady Gaga – SM39
•	Bruno Mars – BETA® 58A
•	Reba McEntire – Nexadyne™ 8/S
•	KATSEYE – Nexadyne 8/S
•	Leon Thomas – BETA 58A
•	Lucky Daye – SM58®
•	Raphael Saadiq – SM58
•	Anthony Hamilton – SM58
•	Jon Batiste – SM58
•	Rosé – BETA 58A
•	Olivia Dean – SM58 (wired)
•	Sombr. – Customized Chrome SM58

Additional artists—including Sabrina Carpenter, Lola Young, The Marias, John Legend, and Pharrell Williams—also performed with Axient Digital wireless handhelds.

**Shure SM39 Earns High Praise from GRAMMY Engineers for Game Changing Sound **

This year saw expanded use of the Shure SM39, with several performers choosing the headset microphone for its clarity, warmth, and vocal isolation. GRAMMY Music Broadcast Mixer John Harris shared praise:

“This year’s GRAMMY Awards brought the usual challenges, and in our first audio meeting I learned that what was likely to be my toughest segment—Lady Gaga—came with a curveball: she wanted to wear a headset mic. Aaaagh! Headsets are always a compromise. They never behave or sound like a handheld, and I was sure this would be an uphill battle.

During the first run through, I didn’t look up at the video—just listened—and thought, ‘Great, she’s not using the headset.’ But she was. It was tucked into her very elaborate costume, right against her mouth, and it sounded fantastic. No wild EQ, no easing off the compressors because of proximity issues, none of the density or breath noise headsets usually create. It was amazing. I found out it was the new Shure SM39. Revolutionary. Game changing high end performance. No idea how they pulled it off.”

Jamie Pollock, FOH Engineer, added, “I was extremely impressed with the vocal quality I was able to achieve with the Shure SM39 across multiple artists at the 68th Grammy Awards. Consistently this microphone gave me a clear “up front” sound that I could place into a mix quickly. I was able to preserve dynamics and found myself using less processing to control unwanted artifacts.”

**Shure Nexadyne Showcases Exceptional Clarity Across Diverse Vocal Styles **

The next generation Nexadyne™ 8/S capsule also continued its rapid adoption among top artists. With both Reba and KATSEYE performing on Nexadyne 8/S, the engineering team reported exceptional vocal presence and consistency throughout the broadcast. KATSEYE Monitor Engineer Nathan Langford shared his experience with Nexadyne:

“When it comes to selecting a capsule for six unique voices performing a wide range of genres and styles, I’ve found that Nexadyne brings a consistent tonal character to all members of KATSEYE. The top end, which is paramount for the vocal in the mix, especially the female voice, remains smooth and present. I didn’t want a variety of different capsules on stage that might suit each unique voice individually; I wanted one capsule that could capture all six voices the way they need to be heard, whether they’re singing, rapping, or shouting into the mic.”

Nathan continued, “The rejection we get from the Nexadyne 8/S is critical for a variety of reasons. One of them is that all six members are often in close proximity to one another on stage, so I look for every dB of side rejection I can get. Six open vocal mics on a stage can be challenging, so the rejection we’re able to achieve is essential to keeping mics ‘closed’ with the use of expanders and primary source enhancers. Maintaining sonic quality while delivering the technical performance a supercardioid microphone must have is ultimately what I’ve found in the Nexadyne 8/S.”

**A Trusted Workflow and Familiar Crew**

The GRAMMY Awards brought back the same core audio team as last year, ensuring complete continuity across RF management, mixing, and FOH operations. ATK provided all wireless gear for the broadcast, while Soundtronics furnished microphone and antenna infrastructure.

“Seeing several artists using our latest headset, our latest wireless capsules, the Axient Digital PSM system, and a standard wired SM58 on Grammy Awards is so rewarding. The demand for quality at this show is high. We are thankful that so many artists and engineers trust and rely on Shure products,” shared Ryan Smith, Manager of Artist Relations at Shure.

Media assets available here: [https://drive.google.com/drive/folders/1VTRFMXdLxNU8kR5hd7Ic9NS-MqM-WEmY?usp=drive_link]

  SHURE TAKES CENTRE STAGE AT THE GRAMMY AWARDS WITH INDUSTRY-LEADING WIRELESS AND MICROPHONE INNOVATION

**Newcastle, UK – February 2026 –** Sonical, creator of the Remora hearing platform, today announces a strategic research partnership with Newcastle University to develop and rapidly deploy new technologies designed to support people living with tinnitus.
The collaboration brings together Sonical’s pioneering Remora device with world-leading neuroscience expertise from Newcastle University, led by Dr William Sedley, a globally recognised expert in auditory perception and tinnitus neuroscience.
Together, the partners aim to tackle one of the most pressing challenges in hearing health: translating promising tinnitus research into practical help for real people at a pace that matches the scale of the problem.

![Will Sedley - RNID - credit Exposure Photo Agency Ltd (11).jpg](https://res.cloudinary.com/olex/image/upload/v1770806220/Will_Sedley_RNID_credit_Exposure_Photo_Agency_Ltd_11_8a7e925408.jpg)

**A growing problem in need of faster solutions**

Tinnitus affects hundreds of millions of people worldwide, causing persistent ringing or buzzing in the ears that can have a profound impact on sleep, concentration and quality of life. Yet despite decades of research, progress toward effective support remains slow. Clinical trials are often limited in size, fragmented, and measured in years rather than months.
“For people living with tinnitus, the pace of innovation simply hasn’t been fast enough,” said Gary Spittle, Founder and CEO of Sonical, who also has to deal with the condition on a daily basis. “Too many are left waiting for solutions that may never reach them. We’re on a mission to change that.”

**A new model for real-world impact**

The partnership with Newcastle University is designed to create a faster, more practical path from research lab to everyday life.
Using Remora – Sonical’s AI-powered hearing computer – new therapeutic approaches developed by Dr Sedley’s team can be delivered directly to users at scale, without reliance on a smartphone, and without needing to visit a specialist clinic or research lab. This enables rapid testing, iteration and data collection with large populations, rather than small, time-limited studies.
“Remora gives us a unique opportunity to take cutting-edge neuroscience and put it into the hands – and ears – of people who need it far more quickly than traditional methods allow,” said Dr William Sedley, neuroscientist at Newcastle University. “By working together, we can evaluate new approaches in the real world and learn at a pace that simply hasn’t been possible before.

**Remora: more than headphones – a true hearing computer**

At the heart of the collaboration is Sonical’s Remora platform. Unlike conventional earbuds and headphones, Remora is a powerful personal computing device capable of running advanced audio processing and customised therapeutic algorithms directly on the hardware.
This makes it uniquely suited to tinnitus support: always available, discreet, and independent of other devices. Dr Sedley explained that “What is perhaps most appealing is the potential for Remora to apply real-time modifications to its audio output, effectively turning everything the user is already listening to into sound therapy to help quieten their tinnitus. The idea of people being able to quieten their tinnitus just by going about their normal daily activities is very exciting.”
The partnership reinforces Remora’s role as far more than a way to listen to music. It is a platform for delivering meaningful health applications – with tinnitus as the first major focus.

**Embracing many solutions**

Experts increasingly recognise that tinnitus is a complex and highly individual condition. There is unlikely to be a single solution that works for everyone. Sonical and Newcastle University believe progress depends on exploring a wide range of approaches, including those that may only help a small proportion of sufferers, and those with modest and moderate effects that can be combined with other approaches.
“If a new method helps even ten percent of people with tinnitus, that’s still millions of lives improved,” added Spittle. “We can’t afford to wait for perfect answers. Our goal is to get promising ideas into the real world quickly, learn from real users, and keep moving forward.”

**Looking ahead together**

The collaboration will initially focus on deploying and evaluating Newcastle University’s latest tinnitus research through the Remora platform, gathering large-scale, real-world data to inform future development.
While tinnitus is the immediate priority, both organisations see this as the beginning of a broader partnership aimed at transforming how auditory and brain-related hearing conditions are understood and supported.
“This is only the start,” said Dr Sedley. “The combination of advanced research and an agile platform like Remora that combines sensors and audio opens up exciting possibilities for many areas of hearing and brain health.”

Media assets available here: [https://drive.google.com/drive/folders/1DiJfNA1jgHQIMl4T9O-15mUwR8xl075d](link)[text](link)

Sonical

 Sonical Partners with Newcastle University to Accelerate Breakthroughs for People Living with Tinnitus

**TEL AVIV, Israel - February 2026 —** Opened in 1957 with a design by the founding architects of the State of Israel, Dov Karmi and Ze'ev Rechter, Lowy Hall instantly became a cultural cornerstone that would define Israel's musical landscape for generations. As the home of the Israel Philharmonic Orchestra, the wood-lined concert hall within the Charles Bronfman Auditorium has hosted some of the world's most celebrated performers, from Frank Sinatra, Barbara Streisand, and Leonard Bernstein to leading international orchestras. Following a 2013 acoustic renovation by Yasuhisa Toyota, whose work includes Walt Disney Concert Hall, the 2,479-seat amphitheatre-style venue now combines exceptional acoustics with clear sightlines from every position. In 2025, the hall commissioned an extensive audio upgrade to match its architectural significance and acoustic pedigree: a fully immersive L-Acoustics L-ISA configuration that would serve its demanding mix of classical, jazz, and pop concerts, choirs, conferences, and ceremonies.

![LA_Lowy_Hall_01.jpg](https://res.cloudinary.com/olex/image/upload/v1770628615/LA_Lowy_Hall_01_a4b7579edb.jpg)

To design and oversee the upgrade, Lowy Concert Hall engaged award-winning AV consultant Harel Tabibi, who wrote a detailed tender in which three leading global manufacturers participated. The process of selecting the right speaker manufacturer and the integrator company was critical since this was the first permanent installation of an immersive system in Israel. 
Tabibi prioritised the following criteria in his evaluation: sound quality, compliance with A-list artist specifications, friendly and accessible software that any guest technician could learn quickly and easily, and most importantly, how well the size of the speakers would integrate in Lowy Concert Hall, a historic and protected building.
At the end of this process, L-Acoustics Certified Partner Sincopa 2002 Ltd, won the tender and signed the contract, sub-contracting Charmer Group to carry out the integration. Together with Assa Efrat and the L-Acoustics team, they delivered Israel's first large-scale L-ISA installation in its largest and busiest concert hall.

**Strategic Planning in a Working Venue**


The project began in 2024 when Sincopa and Harel started developing the design in partnership with the L-Acoustics Application team. The one-year development timeline reflected the complexity of integrating cutting-edge immersive technology into a historically significant space that maintains a demanding performance schedule. "The Israel Philharmonic Orchestra not only performs in the hall but rehearses there daily," explains Assa Efrat, Sound Engineer at Sincopa. "We coordinated around their schedule and maximized the month-long closure over summer 2025, which allowed us to focus on the installation without interruption."
The technical challenge centred on achieving precise loudspeaker positioning while preserving existing infrastructure. Lighting trusses, fly bars, and motorised acoustic panels remained in place, requiring careful coordination. "We had to replace ceiling infrastructure and all lighting to accommodate the L-ISA stage-wide configuration," notes Omri (BaBu) Levy from Charmer Group. "The key was integrating new technology without compromising the venue's historic aesthetic or acoustic performance."

**Precision Design with L Series**


As part of the preparatory work, Sincopa brought the venue's technical team to L-Acoustics' Marcoussis facility to experience the newly released L2 line source firsthand. L2 satisfied two critical requirements: its elegant design complemented the hall's historic character, while delivering the technical sophistication needed for a fully immersive sound solution.
Sincopa used Soundvision to model and refine the design before deployment. "Soundvision was the critical tool on this project," says Efrat. "It let me assess how different approaches would perform, then finalize and implement the optimal solution."
The final configuration features five hangs of one L2 over an L2D, with two extension hangs of four A10 clusters on each side for consistent coverage across the venue's wider seating areas and a centre-hung array of six KS28 in cardioid mode, all integrated into the ceiling structure. The ceiling's net-like construction allows low frequencies to pass through unobstructed, delivering powerful bass response throughout the hall without compromising sightlines or visual integrity. Ten Kiva II provide spatial front-fill coverage. The hall's distinctive side balconies receive focused treatment from four X6i per side, delivering precise coverage to these challenging areas without spilling into the main seating bowl. Two KS21 subwoofers on a chariot system, with A15 Wide and A15 Focus, are on hand as a mobile system that can be repositioned as side fills or to provide additional reinforcement for specific productions.

The processing architecture includes 12 LA7.16i amplified controllers—10 dedicated to L2 arrays, one handling both A10 clusters and X6i balcony fills—with LA12X amplified controllers driving the subwoofer array. On-stage racks include LA7.16i for the Kiva front-fill system, and LA12X amplified controllers for a mobile backup configuration: 
Since the venue doesn't maintain a house console, Sincopa designed the system with flexibility to accommodate the variety of mixing desks that arrive with different productions. A technical room beside FOH houses all necessary electronics, including multiple computers running different applications, a master clock, and two LS10 Milan-AVB switches.
The audio infrastructure uses a clear signal flow from FOH to an isolated, air-conditioned amplifier room, with additional stage connectivity, all linked via fibre optics. L-Acoustics P1 processors at FOH and on stage convert analogue and AES3 input points into Milan-AVB streams, which travel over the redundant LS10 network to the L-ISA Controller and amplified controllers. The L-Acoustics Milan-AVB ecosystem—LS10 switches, AVB-capable amplifiers, and P1 processors—forms the system backbone in a fully redundant configuration.

**Exceptional Support and Performance**


The project's success stemmed from outstanding coordination between technical teams. "We received exceptional support from L-Acoustics throughout," adds Levy. "They connected with us remotely whenever needed, helping troubleshoot, fine-tune the system, and resolve remaining issues. Their responsiveness and willingness to engage with details delivered exactly the support we needed for a project of this scale."

Engineers who have worked with the new system report significant improvements. Renowned mix engineer Eran Pereldik has worked with the system twice, once with Ishai Ribo and the Israeli Philharmonic and one with Rami Kleinstein and the Israeli Philharmonic. “Lowy Concert Hall sounds completely different with L2,” he says. “The image is clear and crisp, and you can keep a low working level while still getting an intelligible image in every seat. L-ISA adds width and, especially with classical music, if the level is correct, the image is so transparent that you might sometimes wonder if the mics are working.”

Mix engineer Lior Tevet agrees: "The L-Acoustics L-ISA technology has transformed both the mixing experience and the audience's listening experience. Beyond the system's capabilities for shaping an interesting and unique sonic image, the fact that every listener receives the same result regardless of where they sit is remarkable."

Yossi Lugassi, FOH engineer for several Israeli acts, says: "My experience with the L-ISA installation was excellent. The system allowed me to mix effectively in a hall that's usually acoustically challenging in terms of reverb time and sound distribution. The level of detail I achieved was unlike anything I've heard before, and I didn't need to push the system hard to get there. The audience response was incredible—coverage and clarity were consistent throughout the entire hall, from front rows to the back."

Editor contact: Gemma Robinson OLEX Communications gemma@olexcommunications.co.uk +44 7854 813 153

Media assets available at: [https://medialibrary.l-acoustics.com/p?t=blHPttp8j#/share ](link)


Lowy Concert Hall Launches Substantial Sound Upgrade with L-Acoustics L-ISA

**Southampton, UK – 2nd February 2026** – Audioscenic, a brand emerging as a leader in intelligent spatial audio technology, announces new team members Marcela Rada and Natalia Mamcarczyk as part of the Strategic Partnerships & Industry Relations team. Rada and Mamcarczyk will strengthen Audioscenic’s connections across music, education, research, and the wider immersive audio ecosystem, while continuing to actively shape the industry from within.

These appointments reflect Audioscenic’s commitment to collaboration and meaningful industry engagement. Both positions are part time, ensuring Rada and Mamcarczyk will continue their ongoing work across academia, music, and within the immersive audio communities. Their complementary backgrounds bring current, hands-on perspectives that will help to directly shape Audioscenic’s technology partnerships and long-term strategy.

![2E2A1468~2.jpg](https://res.cloudinary.com/olex/image/upload/v1770629410/2_E2_A1468_2_e0fa7aec51.jpg)

Marcela Rada’s primary focus is on the music industry and immersive production workflows. As an accomplished audio engineer, educator, and researcher, Rada is recognised for her ability to make complex music production and immersive audio concepts accessible, practical, and artist-focused. With more than a decade of experience working across academia and industry, she has collaborated closely with artists and now is helping advance immersive workflows that bridge creative intent and technical execution. At Audioscenic, Rada will help strengthen relationships with music creators, labels, and production partners exploring new spatial audio possibilities.

![Natalia Mamcarczyk headshot.jpg](https://res.cloudinary.com/olex/image/upload/v1770629442/Natalia_Mamcarczyk_headshot_0474e1647a.jpg)

Natalia Mamcarczyk has an impressive background in education, community building, and industry engagement. An audio engineer, sound artist, and designer, Mamcarczyk specialises in spatial and immersive audio, including Higher Order Ambisonics and Dolby Atmos, plus additional new formats available on the market. Her research has explored user experience and the translatability of content across immersive audio formats, making her a strong advocate for clarity, accessibility, and real-world adoption. Additionally, Mamcarczyk has a network in the Electronic Music and TV Production world. With a broad international network in education and a passion for mentorship, Mamcarczyk is dedicated to bringing spatial audio “to the masses” through learning, community creation, and inclusive knowledge-sharing.

Together, Rada and Mamcarczyk will expand Audioscenic’s strategic partnerships - connecting technology, creativity, and education at a time when immersive audio is rapidly gaining momentum across industries. 
For more information about Audioscenic, please visit [www.audioscenic.com](link)

Audioscenic

Audioscenic Launches Strategic Partnerships & Industry Relations Team with Two Leading Voices in Immersive Audio

**MARCOUSSIS, FRANCE – February 2026 **– L-Acoustics, the global leader in premium professional audio, has launched the L-Acoustics Education Partner Program, a comprehensive initiative designed to bridge the gap between academic audio education and professional practice. The program partners with leading universities worldwide to integrate L-Acoustics professional training and certification into academic curricula, ensuring students graduate with both theoretical knowledge and practical, industry-recognized expertise.

![LA_Education_Partners_01.jpg](https://res.cloudinary.com/olex/image/upload/v1770629167/LA_Education_Partners_01_b01686a624.jpg)

The live audio industry is experiencing unprecedented growth, fueled by surging demand for concerts, festivals, corporate events, and immersive experiences. Academic programs excel at teaching theory and studio fundamentals, while the rapidly evolving live sound sector also demands hands-on experience with current technologies and workflows - particularly the ability to master real-time production in dynamic, high-stakes environments. The L-Acoustics Education Partners Program bridges this gap by bringing world-class professional training and equipment directly into the classroom, preparing graduates for the most exciting and in-demand careers in audio.

"Universities excel at teaching the theory and science of audio, and when combined with hands-on experience using professional live sound systems, students gain the complete skill set the industry demands," said Luca Iacomino, Director of Education Operations at L-Acoustics. "Through this program, we're empowering academic institutions to deliver the same professional certification that working engineers receive, giving students hands-on experience with the technologies and workflows they'll encounter throughout their careers. When these graduates enter the workforce, they arrive ready to contribute from day one."

The program offers participating institutions access to L-Acoustics’ comprehensive learning curriculum, developed through decades of training nearly 20,000 audio professionals worldwide. Faculty members become L-Acoustics Certified Trainers, enabling them to deliver industry-standard courses and award recognized certifications to their students. Partner institutions gain access to L-Acoustics loudspeaker systems for educational purposes, ensuring students learn on the same advanced technologies deployed at the world's most prestigious venues and events.

The inaugural cohort of 17 University Partners represents a diverse global network spanning different educational models, geographic regions, and program types. They are all institutions recognized for excellence in audio education and their commitment to preparing students for professional careers.

"This program represents a long-term investment in the future of our industry," said Etienne Corteel, Global Director of Education at L-Acoustics. "Education has always been at the heart of the L-Acoustics mission. By partnering with the world’s leading academic institutions, we're training the next generation of audio professionals, and we’re advancing the entire industry. These students will enter the market with a level of practical expertise that would have traditionally taken years to develop, and that benefits everyone: the graduates themselves, the venues and production companies who hire them, and ultimately the audiences who enjoy the best shared sound experiences."

The L-Acoustics Educations Partner Program creates a sustainable ecosystem that extends beyond graduation. Students have access to the L-Acoustics learning community of global professionals, while L-Acoustics Certified Provider partners gain access to a pipeline of qualified, certified professionals ready to meet the industry's growing demand for skilled live sound engineers.

The program builds on the company's recently expanded Education Division, which in 2025 delivered nearly 100,000 hours of training and 14,000 education certificates worldwide. By extending this professional development infrastructure into academia, L-Acoustics reinforces its commitment to advancing both audio technology and the people who bring it to life.

For more information about the L-Acoustics Education Partners Program, visit[text](link)

Media materials can be downloaded here: [https://medialibrary.l-acoustics.com/bJF5vIa3D](link)

L-Acoustics Launches Global Education Partner Program to Bridge Academic and Professional Audio

**MARCOUSSIS, FRANCE – February 2026** – L-Acoustics, the global leader in premium professional audio, has appointed Olivier Maynard as Executive Director of Strategic Market Development and significantly expanded the recently established division's capabilities to accelerate growth across key vertical markets worldwide. The new Strategic Market Development division regroups three core disciplines – Business Development, Creative Engagement, and Market Intelligence - working in close coordination with regional sales teams to drive demand and strengthen L-Acoustics' position in both established and emerging markets. Olivier will also be spearheading commercial innovation, developing new business models from concept to implementation throughout the organization. Joining the company’s Executive Committee, he will work alongside the leadership team to integrate market development and new business models into the company's long-term vision to connect humans through the best shared sound experiences. Olivier reports directly to L-Acoustics co-CEO Laurent Vaissié.

![LA_Strategic_Market_Intelligence_01 (1).jpg](https://res.cloudinary.com/olex/image/upload/v1770628891/LA_Strategic_Market_Intelligence_01_1_fc8ee33ba2.jpg)

The Strategic Market Development division is charged with understanding L-Acoustics markets at the deepest level, building relationships with end users and influencers, and creating demand for the company's innovative technologies across diverse vertical applications. From touring and festivals to houses of worship, sports venues, themed attractions, corporate events, and architectural installations, the team develops targeted strategies that connect L-Acoustics technical excellence with the specific needs and aspirations of each market segment. 

"In an industry where detailed market data is scarce, our ability to truly understand our customers, their challenges, and their ambitions gives us a decisive advantage," says Maynard. "Our mission is to support our clients’ business by engaging end users in ways that are inspirational and experiential rather than purely technical - speaking to artists, architects, venue owners, and creative professionals about the creative potential when exceptional sound becomes part of their vision. By working hand-in-hand with our sales teams in every territory, we're creating sustainable demand that benefits our entire partner ecosystem."

Maynard brings extensive experience in strategic market development and business model innovation. He spent over a decade at Boston Consulting Group leading projects in go-to-market strategy, sales, and digital transformation for industrial companies before joining Groupe Beneteau, a global leader in recreational boating, as Director of Digital, New Business Models, and Transformation. In that role, he led the company's digital strategy and served as Deputy CEO of Services, developing innovative financing and service models. At L-Acoustics, he will apply this expertise to professionalize the division's approach to vertical markets while exploring new business model opportunities that keep L-Acoustics at the forefront of industry innovation.

"As our portfolio of source, system, and space premium audio solutions continues to expand into new markets, our long-term vision and clients’ success depends on a leadership team that has a deep understanding of the different vertical needs, as well as an ability to explain our value proposition to a wide range of stakeholders, from technical experts to creatives and decision makers,” explains Vaissié. “Welcoming Olivier to our business team and Executive Committee is a key part of this evolution. His unique background in digital transformation and business model innovation is exactly what we need to steer this new division. By integrating Strategic Market Development into our core executive group, we are ensuring that deep market intelligence and creative engagement remain at the heart of our collective decision-making, securing our leadership position for years to come."

The Business Development team deploys specialized experts who work globally within specific vertical markets to develop targeted strategies that accelerate growth in high-potential sectors. These experts develop comprehensive go-to-market strategies for each sector, identifying key markets, defining unique value propositions, optimizing product mix, and cultivating strategic partner relationships.

Market Intelligence constructs L-Acoustics' understanding of the global professional audio landscape through rigorous research and analysis. In an industry where comprehensive market data is limited, this team's work provides L-Acoustics with a competitive advantage, enabling data-driven decisions about market priorities, product development, and strategic investments.

Creative Engagement focuses on building authentic relationships with influencers and decision-makers who shape the audio industry—artists, architects, designers, and creative professionals. This team communicates through inspiration and experience, demonstrating how L-Acoustics technologies enable extraordinary creative outcomes. This approach is particularly crucial in markets where L-Acoustics is developing brand presence, creating awareness and market demand.

"This organizational structure reflects our commitment to a more strategic, vertical-focused approach to market development," Maynard continues. "Rather than reacting to market opportunities as they arise, we're building deep expertise in each vertical market to understand the key countries, the decision-makers, the unique value propositions, and the optimal partner strategies and lead the way. This brings greater efficiency and performance across the entire organization while positioning us to explore innovative business models that will define the future of our industry."

For more information on the L-Acoustics leadership team: [https://l-acoustics.com/leadership](link)

Media materials can be downloaded here: [https://medialibrary.l-acoustics.com/bG3UzX9MI](link)



L-Acoustics Appoints Olivier Maynard as Executive Director  of Strategic Market Development

CHICAGO, January 27, 2026—[Shure](https://www.shure.com/en-GB), a global leader in workplace collaboration solutions, today announced the [IntelliMix™ Bar Pro](https://www.shure.com/en-GB/products/video-conferencing/imxbpk?variant=IMXBPK-B-E), an all-in-one video bar engineered to solve IT’s everyday challenges in meeting spaces. The newest addition to its collaboration portfolio expands Shure’s suite of solutions designed to enhance the AI-powered workplace. The IntelliMix Bar Pro delivers exceptional audio and video coverage from a single device, making it ideal for medium to large meeting spaces. Its innovative, patent-pending camera placement and AI-framing technology enables precise capture of non-verbal cues, creating more engaging and productive meetings for all participants. 

> Businesses today need seamless audio and video solutions to make AI-driven collaboration effortless, and we're committed to delivering future-ready, reliable AI experiences in every meeting space. The IntelliMix Bar Pro achieves this by combining Shure’s industry-leading audio expertise with cutting-edge video technology,” said Sam Sabet, Chief Technology Officer at Shure. “Engineered for the AI-enabled workplace, the IntelliMix Bar Pro is breaking barriers by covering large rooms with a single front-of-room device. Close development of this enterprise-ready solution with Microsoft now allows our customers to deploy systems faster and reduce maintenance, significantly lowering the total cost of ownership.

**Scalable Systems for Enterprise Environments**

The Shure IntelliMix collaboration portfolio is engineered for enterprise-grade scalability, reliability, and consistency, delivering streamlined deployment and dependable performance across diverse environments. The IntelliMix Bar Pro integrates well-known, patented Shure Microflex® Advance™ array microphones with high output, premium stereo loudspeakers to deliver superior audio for meeting experiences.

Onboard IntelliMix processing enhances audio clarity by reducing background noise and isolating voices, supporting precise transcriptions for AI tools like Copilot in Microsoft Teams and ensuring every word is captured clearly to boost productivity. 

Built on the Microsoft Device Ecosystem Platform (MDEP), the IntelliMix Bar Pro also prioritizes a foundation of security and long-term stability for enterprises. MDEP enables IT teams to deploy and manage systems confidently, at scale, and with a consistent performance while meeting stringent security and compliance requirements. The strong collaboration between Shure and Microsoft reflects a shared commitment to quality, innovation, and customer satisfaction for AI-powered experiences.

> This collaboration with Shure shows what’s possible when enterprise security, quality hardware, and deep platform integration come together. By building on MDEP, Shure delivers devices that are secure by design, manageable at scale, and ready for the realities of modern IT environments. It’s a strong example of shared values translating into real customer impact,” said Juha Kuosmanen, Head of MDEP.

**Empowering Smart Meetings and Collaboration**

Shure IntelliMix View™ AI framing technology accurately frames each participant as they would appear in person. Four 4K cameras offer a combined 135-degree wide-angle field of view to ensure full-room visibility and the ability to intelligently highlight active participants.

**Streamlined Setup and Remote Management**

The Android-based IntelliMix Bar Pro, built on MDEP, includes an onboard compute. This simplifies setup, reduces potential points of failure, and lowers overall maintenance. IT teams can securely control, manage, and update devices remotely using ShureCloud and other enterprise IoT systems like Pro Management Portal and ServiceNow. 

With the IntelliMix Bar Pro, Shure continues to lead the way in workplace collaboration, delivering intelligent solutions that empower IT teams and elevate meeting experiences across the enterprise. Innovations like IntelliMix View AI Video Framing position the IntelliMix Bar Pro as a smart, scalable platform for AI-powered workplaces. 

The IntelliMix Bar Pro will be showcased for the first time at ISE (Feb 3-6 in Barcelona). To learn more, visit: [www.shure.com/imxbpk](www.shure.com/imxbpk)

**About Shure**

[Shure](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 Redefines the All-in-One Bar: The IntelliMix™ Bar Pro Empowers Modern Collaboration in AI-Powered Workplaces

Anaheim, CA, January 21, 2026—Today at NAMM 2026, Shure introduced the SLX-D+ Wireless Microphone System, the next evolution in its renowned wireless portfolio. Building on SLX-D’s proven success, SLX-D+ delivers a powerful combination of advanced features and ease-of-use, now accessible to audio professionals and experienced volunteers in live performance, houses of worship, education, content creation, electronic newsgathering (ENG), broadcast, and video industries.

![SLX-D+ Receiver and Transmitters - (Live Performance).jpg](https://res.cloudinary.com/olex/image/upload/v1770630224/SLX_D_Receiver_and_Transmitters_Live_Performance_98cbd792d2.jpg)

SLX-D+ empowers users with greater flexibility, reliability, and control, making wireless audio management easier than ever. With wide tuning across all components, users benefit from simplified setup, seamless deployment in any environment, and reduced inventory complexity. Remote system management, AES-256 encryption and automatic feedback suppression further streamline operation, ensuring clear, secure, and uninterrupted performance.
“As we introduce SLX-D+, we’re not just raising the bar for wireless technology; we’re empowering our customers to push creative boundaries by removing complexity from their workflows,” said Nick Wood, Associate VP, Marketing and Product Management. “By making advanced features like wide tuning and remote management accessible to a broader audience, we’re making wireless more resilient to the most common challenges, streamlining the path to great audio, and shaping a future where audio professionals and volunteers alike can innovate with confidence.”

**Wide Tuning: Simplified Deployment and Inventory**

SLX-D+ features wide tuning across all components up to 138 MHz*, enabling seamless countrywide deployment and minimizing inventory complexity. Systems can operate across multiple frequency bands, reducing the need to own several product variants.

**ShowLink® Ease: Effortless Remote Control**

The new ShowLink Ease technology, inspired by ShowLink® on Shure’s premier Axient Digital wireless system, provides real-time, two-way communication between receiver and transmitter. Once synced, the transmitter remains paired to the receiver every time it is powered on. This allows for automated radio frequency (RF) set up, and remote parameter adjustments, eliminating the need for physical proximity and streamlining live management from performance to performance.

**Interference Management: Enhanced Operation with Continuous Connectivity**

Should interference occur, the SLX-D+ system can automatically scan for a new, clean frequency and deploy it to both the receiver and transmitter without requiring user interaction, ensuring enhanced operation and continuous connectivity.

**Digital Feedback Reduction: Reliable and Clear Sound**

SLX-D+ integrates advanced digital feedback reduction (DFR) algorithms to automatically detect and suppress audio feedback, delivering clarity and confidence in any environment.

**Mobile Management with Wireless Workbench Applications: Flexible, On-the-Go Control**

With robust mobile management via the Wireless Workbench (WWB) Mobile app, users can monitor and adjust their systems remotely using Wi-Fi or Bluetooth, which is available for the first time in SLX-D+ systems to improve workflow efficiency. Gain visibility and control over system gain, transmitter locking and unlocking, battery status, frequency scans and changes, and audio metering.

**Backward Compatibility, Streamlined Design **

SLX-D+ maintains compatibility with existing SLX-D systems and introduces a new half-rack dual receiver, supporting straightforward upgrades and flexible configurations.

**RF Cascade and Audio Summing for Added Flexibility**

RF cascading makes it possible for three SLX-D+ Quad Receivers to be linked together to create a twelve-channel SLX-D+ receiver system. This facilitates the ability to quickly scale up and condense the footprint of multi-channel wireless systems without requiring additional accessories.

SLX-D+’s audio summing feature on dual and quad receivers enables users to set and combine audio levels, then mix them down between one and two outputs, simplifying the process of managing wireless output levels and managing receiver outputs to best match open mixer channels.

SHURE INTRODUCES SLX-D+ WIRELESS MICROPHONE SYSTEM: TRUSTED BY PROFESSIONALS, ENGINEERED FOR EVERYONE

**ANAHEIM, 21st January 2026**— Shure, a leading manufacturer of audio solutions known for quality, performance, and durability, unveiled its new KSM condenser microphone line today—the KSM32C, KSM40C, and KSM44MP—at NAMM 2026. The new KSM series delivers lifelike fidelity and a thoughtfully engineered design, crafted for musicians and studio professionals. 

![KSM_Group_Mics_Shockmounts_Tabletop_OnBlack.png](https://res.cloudinary.com/olex/image/upload/v1770629694/KSM_Group_Mics_Shockmounts_Tabletop_On_Black_d38ded6cf0.png)

Shure KSM microphones have delivered exceptional audio quality for decades. With the launch of new models, the KSM line once again sets the benchmark for professional recording by providing premium, true-to-life audio capture and ultra-low self-noise, all within a sleek, modern design.

The KSM line captures every nuance, from the warmth of vocals to the dynamic energy of instruments, with stunning realism. Each model features precision-engineered capsules for maximum control and accuracy, ensuring the source sounds exactly as intended. Whether you're a musician or engineer needing transparent voicing for natural reproduction, rich low-end presence, or multi-pattern flexibility, there’s a KSM microphone ready to elevate any session.

“At Shure, our mission has always been to empower audio professionals and artists with quality tools that deliver uncompromising sound,” said Eduardo Valdes, Associate Vice President of Global Marketing and Product Management, at Shure. “The new KSM microphone line reflects this commitment by offering upgrades to both design and engineering, meeting the evolving needs of recording studios. Featuring circuitry upgrades from previous models, varied capsule options, and premium accessories, we designed every detail to help professionals capture precisely what they want. By making boutique-level quality attainable for both home and professional studios, we’re ensuring exceptional performance is within reach for all professionals."

**The KSM Studio Lineup**

Built for precision and performance, the new line includes a range of expertly engineered and hand-crafted capsules, from compact ¾" to robust 1" designs, offering exceptional off-axis rejection, clarity, and creative flexibility for vocals, instruments, ensembles, and beyond. Thoughtful details like lightweight, all-metal construction, advanced shock mounts, and curved magnetic pop filters ensure durability and ease of use, while premium accessory options complete the professional package.  

**KSM32C—SMALL CAPSULE. BIG SOUND.**\

The KSM32C is a large diaphragm condenser microphone that delivers a smooth, balanced response and exceptional low-frequency performance. This microphone is ideal for vocals, instruments, drum overheads, and ensemble work, and is available in a stage and studio bundle.
- Precision engineered ¾" capsule
- Exceptional off-axis rejection
- Flattest voicing in the KSM line
- Exceptional flexibility for vocal and instrument recording
- Premium materials and compact design
- KSM40C—WARMTH YOU CAN FEEL. DETAIL YOU CAN HEAR.
- The KSM40C is a versatile, large diaphragm condenser microphone that delivers natural, detailed audio with enhanced proximity effect and natural high-frequency boost. An ideal microphone for capturing rich nuances in vocals and instruments, including upright bass, guitar amps and kick drum.
- 1” capsule delivers natural, detailed audio with rich low-end
- Uniform cardioid polar pattern for predictable placement
- Extremely low self-noise
- Sleek, modern design with premium materials

**KSM44MP—STUNNING REALISM. EXCEPTIONAL VERSATILITY.**

The KSM44MP offers unparalleled versatility in a sleek, dual-diaphragm design that maximizes sensitivity and stabilizes pattern consistency, improving off-axis control at low frequencies. A multi-pattern microphone with natural clarity and smooth, airy detail, this mic is ideal for vocals, pianos, stereo techniques, distant miking, and ensembles.
- Selectable polar patterns: Cardioid, Omnidirectional, and Bidirectional
- Flat response with subtle high-frequency emphasis
- Optimized polar consistency and low-frequency rejection
- Ultra-low self noise
- Sleek, modern design

“The new KSM microphones look elegant, and have great, low-profile appearance, which is always a nice aesthetic in the studio (and live) environment,” said Greg Norman, Engineer, Electrical Audio. “One of the most immediately striking features is their impossibly low self-noise, so low, in fact, that while tracking a very quiet vocal, I found myself double-checking to confirm the mic was even active. This level of noise performance is seriously impressive.”



Shure Unveils KSM Studio Microphones: Modern Design Meets Timeless Sound 

WARSAW, Poland - January 2026 -- TheOne Club opened its doors in October 2025 in the heart of Warsaw's premier clubbing district on Mazowiecka Street, unifying high-end hospitality with a club-caliber audio environment. Under one roof, this ambitious space seamlessly blends a nightclub, restaurant, cocktail bar, and lounge - each requiring distinct acoustic characteristics yet working together to create a unified brand experience. An L-Acoustics sound system, designed by Sound Experience and supplied by L-Acoustics Certified Provider Audio Plus, provides the acoustic foundation that makes this versatility possible.

![LA_The One Club_01.jpg](https://res.cloudinary.com/olex/image/upload/v1770630511/LA_The_One_Club_01_1e01097afd.jpg)

No detail was spared in TheOne's design and execution. The venue's sophisticated aesthetic—dark wood paneling, luxurious furnishings, diffused atmospheric lighting, and soft minimalist lines—demanded an equally refined technical approach. The vision was clear: create a space where an evening can begin with Mediterranean-inspired cuisine and transition effortlessly into an unforgettable nightlife experience, all while maintaining the elegance and warmth that defines the brand.

To achieve this, TheOne's owners approached the project with intention and awareness. Before making any decisions, they visited numerous clubs around the world to explore how the greatest nightclub sound systems are created. They made a special visit to Sound Experience's Wroclaw-based facility and demo room to experience various L-Acoustics configurations firsthand. It was this visit that convinced them L-Acoustics was the right solution for their vision.

**Balancing Power with Sophistication**

"The challenge at TheOne was to create a cohesive audio experience across its diverse spaces," says Wojciech Mazurek, Key Account Manager at Audio Plus. "TheOne required a professional sound system capable of delivering everything from subtle ambient music during dinner service to powerful, club-grade performance for late-night events—all while maintaining the space's sophisticated aesthetic."

"Clubgoers have increasingly high expectations of nightclubs," adds Michał Macewicz, owner at Sound Experience, who is also an L-Acoustics system designer and DJ. "They want balanced, high-quality sound and proper coverage throughout the venue. Modern club owners know this and are investing in solutions capable of meeting this need."

For Macewicz, L-Acoustics offered something essential beyond technical performance: the ability to create a system that feels right for the space. "I really enjoy creating projects based on L-Acoustics solutions because they allow us to tailor the system to a specific venue. I want the loudspeakers I use to operate within their natural working range, without being pushed, which results in a warm, pleasant sound—exactly what a luxury venue like TheOne demands."

**Soundvision Enables Multi-Level Experience**

Sound Experience mapped the entire design in Soundvision before a single speaker was purchased or a single cable laid, ensuring the venue's most important requirement, adaptable and uniform sound, was met throughout every zone. The teams were supported by expert system engineers and trainers from L-Acoustics, including Jerzy Kubiak from Audio Plus, who brought specialised expertise to this complex, multifunctional project, delivering a sound experience that is both spacious and intimate.

**Distributed L-Acoustics System Adapts to Every Space**

The main dance floor features two flown arrays of one A15 Wide and one A15 Focus with two KS21 subwoofers per side. Two A10 wide are placed backstage and onstage, while DJ monitoring is handled by groundstacks of two X12 atop two KS21 subwoofers. Four ceiling-mounted X12 serve the rear of the dance floor while under-balcony areas boast seven X6i speakers, two of which belong to the VIP zone.

Five X12 and seven X6i speakers are used for delays, and a lounge area features four X8i and two SB15m subwoofers. The entire system is powered by eight LA4X amplified controllers, providing 32 independent channels.

"The listening experience in the VIP area is especially impressive," adds Macewicz. "It’s situated on the upper floor at the very end of the dance floor, where the sound from the far-reaching A15 speakers at the front are superimposed in a straight line. It also includes two zones consisting of X12 speakers, and the VIP room itself, where two X6i speakers increase the clarity through appropriate tuning."

**Aesthetic Integration Matters**

"The L-Acoustics X6i deserve special recognition - they just fit perfectly into a venue like TheOne," he continues. "Aesthetically, their sleek profile blends seamlessly into TheOne's high-end design. They're compact while still delivering professional-grade sound. And we love their exceptionally wide range of mounting systems and brackets. These options simplify the installation process and give us the flexibility we need to adjust the tilt of every speaker to our precise needs. It’s also easy to mount them to the ceiling if necessary."

This attention to visual integration was crucial for a venue where design creates the first impression and sets expectations for the entire experience.

**Presets for Every Scenario**

To ensure the best acoustic experience for any time of day or type of event, three presets were carefully prepared. During the day, "restaurant" mode operates all components at an evenly distributed, low-volume level with a slight boost in the 600-900 Hz and 4 kHz bands, which significantly improves the intelligibility of music at low levels—an ideal configuration for conversational environments.

When the "club" preset is activated, the whole system naturally operates at much higher volume. The low frequencies, already more prominent at higher SPL, no longer need enhancement. The delay zones are slightly reduced in level, while the upper level is significantly louder, ensuring that the energy from the dance floor is felt effectively throughout the entire venue. The tuning has also been refined to achieve the warm sound characteristic of the L-Acoustics system while maintaining the audible details in the music.

The third preset is for concerts, which also take place during closed events at the club. "This preset gives us the clearest and most balanced sound in full harmony, while leaving room for the sound engineer to mix as they see fit, " says Macewicz, who tuned the system himself.

**Where Sound Meets Experience**

"This project can proudly be described as a flagship L-Acoustics club installation," says Paweł Kuhn, Marketing Director at Audio Plus. "Every aspect of the deployment depended on the ingenuity, flexibility and precision that defines an L-Acoustics solution. The final result was a dynamic, pleasing and, most importantly, well-balanced acoustic deployment throughout the club. At the same time, the system is easy to configure and adapt, allowing it to meet the demands of the venue's many different functions effectively."

Media assets available at: [https://medialibrary.l-acoustics.com/p?t=bkggNi4Za#/share ](link)

TheOne Club Warsaw Defines New Dimension of Nightlife with L-Acoustics

![NAD C 3030 - updated VU - 3-4 - no Shadow Medium 2.jpeg](https://res.cloudinary.com/olex/image/upload/v1768411531/NAD_C_3030_updated_VU_3_4_no_Shadow_Medium_2_6d7204b4ab.jpg)

TORONTO, CANADA – NAD ELECTRONICS, a leading manufacturer of high-performance audio components, today announced the launch of two new stereo integrated amplifiers, NAD C 3030 and NAD C 3030S. Inspired by NAD’s iconic designs of the past and the global success of the NAD C 3050 anniversary-edition amplifier, these new models show a continued commitment to design-forward products that pair vintage aesthetics with modern Hi-fi performance and connectivity.

The NAD C 3030 and C 3030S build on the visual language reintroduced with the C 3050, translating its heritage-inspired character in more accessible, compact forms with NAD’s Classic Series. Subtle retro cues, including VU meters, a black faceplate, and a classic script NAD logo, reference the original NAD3030 of the late 1970s, while internal engineering reflects NAD’s contemporary approach to sound quality, reliability, and usability. 

> The response to the C 3050 reflects a wider shift toward more intentional listening,” said Morten Nielsen, NAD Product Manager. “Vinyl and CD are returning not as replacements for streaming, but as a way to reconnect with music in a more deliberate way. With the C 3030, our goal was to make that experience accessible to more listeners. There is a tangible connection in the physical act of listening—placing a needle on a record or injecting a CD—that brings music to life. The C 3030 captures that sense of heritage while delivering the performance and simplicity expected from a modern NAD amplifier.

![NAD C 3030 - updated VU - Front - with Shadow Medium.jpeg](https://res.cloudinary.com/olex/image/upload/v1768411604/NAD_C_3030_updated_VU_Front_with_Shadow_Medium_5f7fb11b42.jpg)

**Design that Goes Beyond Nostalgia**

While many products borrow visual cues from the past, the NAD C 3030 and C 3030S are not replicas. Their proportions are intentionally closer to the original NAD 3030 than the C 3050, resulting in a compact chassis that fits naturally into modern living spaces, bookshelves, and home interiors. NAD’s goal was not to recreate a vintage component, but to reinterpret it. Balancing tactical appeal and visual warmth with contemporary functionality.

For NAD, this design direction reflects a broader philosophy. As music listening increasingly shares space with daily life, audio components must feel as considered as the furniture and objects around them. The C 3030 integrated amplifiers are designed to be displayed, used, and kept—offering an alternative anonymous black boxes or overly stylised retro replicas.

**NAD C 3030: Heritage Style Meets Essential Performance**

The NAD C 3030 Stereo Integrated Amplifier delivers a streamlined, performance-focused listening experience for music enthusiasts who value both sound quality and distinctive design. At its core is 50 watts per channel of powerfully clean NAD amplification, engineered to deliver musical accuracy, control, and engagement across a wide range of loudspeakers.

Despite its heritage-inspired appearance, the C 3030 is equipped for modern use. HDMI eARC allows for seamless integration with a television, making it easy to elevate TV, film, and gaming audio through a true Hi-Fi system. aptX HD Bluetooth enables wireless playback from smartphones, tablets, and computers, while its subwoofer output with adjustable high pass filtering supports refined 2.1 system configurations.

The C 3030 is the most accessible vintage-styled amplifier in NAD’s Classic Series, offering a compelling entry point for listeners who want a component with personality, practicality, and legendary NAD performance—without unnecessary complexity.

![NAD C 3030 Rear.jpg](https://res.cloudinary.com/olex/image/upload/v1768411729/NAD_C_3030_Rear_bc0f1d7ff2.jpg)

**Key Features:**

•	50 watts per channel of award-winning amplification: Clean, dynamic power engineered for musical accuracy, control, and real-world loudspeaker compatibility. 

•	Heritage-inspired design with a compact footprint: Stylish black faceplate, retro VU meters, and a classic script NAD logo, housed in a compact 14-inch-wide chassis (356mm) inspired by the original NAD 3030. 

•	HDMI eARC for TV integration: Simple, high-quality connection for dramatically improved television, film, and gaming sound through a stereo system. 

•	Bluetooth wireless playback: Effortless streaming from smartphones, tablets, and computers without additional components. 

•	Bass-managed subwoofer output: Adjustable high-pass filtering for clean, well-integrated 2.1 system setups. 

**NAD C 3030S: Classic Form with Streaming-Centric Functionality**

For listeners seeking greater versatility and integrated streaming, the NAD C 3030S Integrated Streaming Amplifier builds on the same design foundation while adding BluOS high-resolution multi-room streaming.  
  
BluOS transforms the C 3030S into a complete, modern music system. With support for lossless playback up to 24-bit/192kHz and native MQA decoding, BluOS enables access to more than 20 music streaming services, internet radio, local libraries, and networked storage. Playback can be controlled via a full-featured app, with the ability to group multiple rooms, share connected sources, and create a seamless whole-home listening experience.

In addition to BluOS streaming, the C 3030S offers HDMI eARC, aptX® HD Bluetooth, a built-in moving magnet phono input for vinyl playback, analogue and digital optical inputs, and a bass-managed subwoofer output. This comprehensive connectivity allows the C 3030S to function as a standalone streaming solution, the centre of a 2.1 home audio system, or part of a larger multi-room setup—all without additional components or wiring.

Like the C 3030, the C 3030S delivers 50 watts per channel of NAD amplification, ensuring the musicality and control required for serious listening. It is also the most affordable BluOS enabled amplifier in NAD’s Classic Series, bringing the platform’s capabilities to a broader audience in a design-led package.

**The Core Vision of NAD’s Classic Series**

Behind their distinctive design, both amplifiers reflect NAD’s long-standing engineering priorities: real-world power delivery, tonal accuracy, and long-term reliability. NAD’s amplifier designs focus on delivering sound that remains composed, detailed, and engaging across different listening levels and loudspeaker loads.

This approach ensures that the C 3030 and C 3030S re not only visually appealing, but also capable Hi-Fi components that remain true to the source—whether reproducing vinyl, streaming high-resolution audio, or enhancing TV sound.

With this introduction, NAD continues to expand the Classic Series in a way that pays homage to its heritage while driving innovation forward. These models demonstrate that design-forward Hi-Fi does not need to be limited to special edition models or premium price points. Instead, the C 3030 and C 3030S represent an ongoing commitment to creating components that people connect with—visually, emotionally, and sonically.

**Pricing & Availability**

•	The NAD C 3030 is available globally through authorised NAD retailers now. The NAD C 3030S will be available in the Spring 2026.

•	The NAD C 3030 will be available at a suggested retail price of €999 and £899. The NAD C 3030S will be €1299 and £1149. This pricing is subject to change based on region.

Access the full press toolkit, including media assets, product information, and other brand resources [here](https://brandlibrary.lenbrook.com/portals/nadc3030_press)

**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.


NAD Introduces C 3030 and C 3030S

**PARIS, FRANCE – December 2025 **– Returning to the nation’s stages with a new production spanning Zéniths and arenas across France, David Hallyday is performing to audiences of between 3,000 and 6,000 people each night. Blending energetic pop-rock, modern electro textures and intimate ballads, the show places high demands on clarity, control and dynamic range. To deliver the precision required for this repertoire, Front-of-House engineer and mixer Stéphane Plisson, supported by MAWIP, selected a full L-Acoustics K Series concert sound system, supplied by Potar, continuing a partnership that stretches back nearly four decades.
Plisson’s association with the Hallyday family spans many years, including his role mixing Johnny Hallyday’s Flashback Tour in 2006. Personally approached by David for this new tour, Plisson brought MAWIP — the company he co-manages — to provide the complete audio package. “I have worked almost exclusively with L-Acoustics since their very first models in 1987,” he explains. “From DOSC and V-DOSC to K1, K2, K3 and now L Series, I’ve followed every step of the brand’s development. For this reason, I choose L-Acoustics on all the tours I mix.”

![LA_David_Hallyday_10.jpeg](https://res.cloudinary.com/olex/image/upload/v1765976435/LA_David_Hallyday_10_17385f3f00.jpg)


**Confronting the Acoustic Challenge of Arenas and Zéniths**

The tour’s itinerary brings with it a wide variety of acoustic challenges. Zéniths and mid-sized arenas are known for their complex reverberation profiles, variable audience geometry and unpredictable low-frequency behaviour. Hallyday’s show, driven by a high-precision FOH mix, calls for stable SPL, a coherent stereo image and a controlled yet impactful low-end response from front row to upper tier.
“Zéniths are difficult for the low end, which I actually enjoy,” Plisson notes. “I mix with the vibrations, and the audience feels them too. The challenge is to avoid low-end build-up, cancellations and pressure hotspots.” Supporting a demanding touring schedule, the system also needed to be deployed and calibrated quickly, providing consistent results irrespective of local crew or venue variation.
Sculpting the Sound: A Custom K Series Configuration with Subtle Precision
To meet these requirements, Plisson and MAWIP designed a system architecture rooted in the power, versatility and musicality of L-Acoustics K2. The main arrays typically comprise fourteen K2 per side, delivering wide bandwidth, generous headroom and articulate mid-frequency performance essential for Hallyday’s dynamic vocal and instrumental arrangements. In venues with restricted rigging capacity, the array is adapted to twelve or ten cabinets while maintaining target coverage.

Low-frequency impact and control are delivered through a combination of six flown KS21 in omni mode and six ground-stacked KS28 in an end-fire configuration at 60 Hz, carefully spaced to project a clean, directional low end while reducing rearward energy on stage. Eight K3 out-fills extend coverage to the sides, six Kara II in-fills shape the near field, and a combination of three A15 Wide and three X8 cabinets ensure seamless tonal continuity across the lip of the stage.

The system is powered by LA12X amplified controllers housed in custom racks produced by the rental company to streamline network and power connectivity during daily load-ins. Processing flows through a fully redundant Milan-AVB network anchored by a P1 processor, which receives an AES feed from Plisson’s Midas Pro HD96 before distributing audio over AVB via LA-RACK II AVB and LS10 switches.

To ensure a consistent sonic signature from one city to the next, the team relies heavily on L-Acoustics Soundvision. Rigging, coverage, SPL distribution and tonal balance are modelled in advance, while Autofilter and synchronised zoning groups help achieve a predictable and repeatable result — even under tight touring schedules.

**Consistent Impact — From First Note to Final Applause**

Three hours. That's the timeline from truck opening to a fully calibrated system ready for showtime — a testament to both the efficiency of the design and the crew's familiarity with the workflow. Throughout the tour, the system has delivered without failure, maintaining stable FOH reference and consistent show quality across all venues. 
The artist, band members and technical teams have responded positively to the sonic results, particularly noting the clarity of the mix, the precision of the stereo image, and the controlled yet impactful low end. Musicians report excellent comfort in their in-ear mixes, while audiences across different venues have experienced consistent coverage and immersive sound. 
Reflecting on the production, Plisson's advice to other sound companies is characteristically direct: "Stay flexible, trust your ears, work closely with your system engineer, and never underestimate the importance of low-frequency control. And above all, choose a system you truly know and feel comfortable with — it makes all the difference on tour."


Media assets available at: https://medialibrary.l-acoustics.com/p?t=bYa5Ca4Q8#/share 

Press Releases

Hear the buzz...