MONTREAL and RASTATT, Germany—Grass Valley has announced a technology collaboration to validate orchestration, control and media exchange integration between Grass Valley AMPP and Lawo HOME.

The collaboration is aligned with the open system approach of the companies. It supports the EBU Dynamic Media Facility (DMF) initiative and the Media eXchange Layer (MXL) project.

As media organizations move toward hybrid production environments spanning on-premises systems and public cloud, media organizations increasingly require best-of-breed platforms to work together predictably and without custom integration burden. The collaboration reinforces the companies’ commitment to open and operationally flexible media infrastructures across software and hardware by connecting Grass Valley’s AMPP and Lawo’s HOME platforms.

The collaboration will initially focus on validating practical interoperability between AMPP and HOME across control, orchestration, media transport and exchange, and operational monitoring with security-first deployment principles at the heart. This includes exploring use cases such as multi-platform routing, cross-environment resource visibility and MXL-aligned exchange between software-based media functions.

“At Grass Valley, Open by Design is a foundational commitment to helping customers build the future of media infrastructure on their terms,” said Grass Valley CEO Jon Wilson. “The industry is moving toward dynamic, software-based media facilities where customers need confidence that leading platforms can interoperate across control, orchestration and media exchange. By collaborating with Lawo, we are together helping to show how DMF principles can be applied in real-world, multi-vendor deployments.”

The collaboration supports the broader strategy of Grass Valley and Lawo to enable organizations to modernize their operations while protecting choice and flexibility. Both AMPP and HOME provide a software-based foundation for live production and media workflows, enabling users to deploy across cloud, edge and hybrid environments.

The collaboration is intended to bring increased value by reducing integration friction, improving deployment confidence and accelerating the practical adoption of open, dynamic media facilities. Rather than creating another closed ecosystem, the focus is on validating the orchestration and interoperability patterns required for multi-vendor media operations to work at scale.

“Lawo shares Grass Valley’s commitment to open, interoperable media infrastructure,” Lawo CEO Jamie Dunn said. “Lawo HOME is designed to support the management and orchestration of modern IP-based media environments, and this collaboration with Grass Valley reflects the importance of practical interoperability between the market-leading software infrastructure platforms. Together, we are enabling customers to implement dynamic media facilities today without concerns about vendor lock-in or restrictions.”

More information is available on the Grass Valley and Lawo websites.

Lawo will showcase its Edge One, which it says is the world’s only converged AV I/O system featuring integrated processing and JPEG XS compression, at InfoComm 2026 in Las Vegas (June 17-19).

Visitors to Lawo’s booth in North Hall of the Las Vegas Convention Center (N6463) will see a demonstration of how software-based IP infrastructures address the needs of modern pro AV environments, the company said. They can also explore flexible, reliable and future-ready solutions designed for live events, corporate production, educational organizations, and houses of worship, Lawo said.

Edge One, the compact, converged audio and video stagebox Lawo introduced at NAB Show in April, will be a key highlight. Lawo said Edge One is designed to accelerate and simplify the connection of sources and destinations in Pro AV environments and live venues.

Edge One combines SDI and HDMI video I/O with JPEG XS encoding and decoding, frame synchronization, and a high-performance mc²-grade audio DSP engine in a single device. Audio connectivity spans analog, MADI, and USB-C, while user-swappable interface modules support mic/line I/O and commentary applications. With flexible Audio, Video, or Audio + Video packages and the option to activate additional capabilities using perpetual licenses or Lawo’s Flex subscription model, Edge One offers system designers and operators an unprecedented level of adaptability.

Central to Lawo’s software-based strategy is the HOME platform, which will be showcased extensively at InfoComm 2026. HOME provides unified device discovery, orchestration, monitoring and role-based access control across Lawo and third-party systems. Built for modern IP infrastructures, it enables engineers to manage complex setups with clarity and security. The HOME ecosystem also includes HOME Apps that deliver specialized functionality as scalable microservices running on standard COTS servers.

The HOME mc² DSP app brings the full processing power of Lawo’s A__UHD Core into the software domain. Fully integrated into the HOME platform, it allows operators to instantiate a complete virtual mc² mixing engine wherever audio processing is needed—on demand and without dedicated hardware. Despite its CPU-based architecture, HOME mc² DSP matches the ultralow latency and operational behavior of Lawo’s FPGA-based cores so closely that users are unable to tell the difference between hardware and software processing. Supporting thousands of DSP channels, immersive audio formats, and automatic downmixing, the app is designed for IP-based, cloud, and hybrid production environments, L:awo said.

Another notable solution is Lawo’s HOME Video Monitor app, a monitoring solution engineered for both broadcast and professional AV applications. The browser-based software enables secure monitoring of between one and nine concurrent video streams, with optional audio metering, from virtually any location.

Running natively as an HTML5 application, it can be accessed from desktops, tablets, smartphones, and even AR devices. The app reduces operational complexity while delivering reliable, low-latency monitoring across distributed IP infrastructures.

Integrated transcoding and native WebRTC support ensure efficient resource usage, while HOME-based authentication and encryption meet stringent security requirements.

Lawo will also demonstrate the HOME Power Core app, the virtualized evolution of its respected Power Core platform. Delivered as a HOME App, it provides high-performance DSP processing, mixing, routing, and monitoring on standard servers, with support for open industry standards such as SMPTE ST 2110, AES67, Dante, NDI, and SRT. Partially derived from Lawo’s mc² console DSP algorithms, HOME Power Core delivers uncompromising sound quality for AV and broadcast productions alike, reinforcing Lawo’s commitment to open, interoperable IP ecosystems.

Complementing these software solutions, Lawo will present its mc² hardware portfolio, including the mc²56 Audio Production Console and the mc²36 All-in-One mixing desk. Both systems exemplify Lawo’s approach to combining tactile control with highly scalable IP processing. With advanced user interfaces, deep Waves SuperRack integration, OSC support, real-time analyzer functionality, and seamless interaction with HOME-based applications, mc² consoles provide a powerful bridge between traditional mixing workflows and software-based AV environments.

For additional information, visit Lawo’s website.

Kronehit, a private broadcaster in Austria, has awarded SLG Broadcast AG and Lawo AG a major contract for the comprehensive modernization of its entire studio infrastructure.

As part of the deal, all kronehit studios will be equipped with state-of-the-art Lawo diamond audio mixing consoles. SLG Broadcast, the broadcaster’s longtime technical partner, will oversee system design, configuration and overall project implementation.

The decision was publicly sealed with a handshake between Marc Straehl, CEO of SLG Broadcast, Jamie Dunn, CEO of Lawo, and Martin Holovlasky, chief technology officer of kronehit, at last month’s NAB Show.

Kronehit and SLG Broadcast have been working together for more than a decade. As early as 2015, SLG Broadcast implemented the technical infrastructure of kronehit’s broadcast center based on Lawo Sapphire mixing consoles, the companies said.

In subsequent years, SLG Broadcast continued to serve as a key technical partner for the broadcaster. In 2017, among other initiatives, an OB van was equipped with a Lawo Sapphire Compact, existing studios were expanded with additional I/O capacity, and the audio platform was gradually enhanced with Power Core–based structures.

Between 2018 and 2024, multiple migration and expansion phases supported the transition to IP‑based audio production.

These included the integration of the Lawo A__UHD Core, the deployment of a RAVENNA‑based audio‑over‑IP network, and the adaptation of the infrastructure to evolving production and distribution requirements, the companies said.

Throughout this process, the focus consistently remained on a holistic and coherent system design that seamlessly integrates technology, editorial workflows, and operational processes.

The agreement to renew the entire studio landscape represents the logical next step, the companies reported.

Going forward, kronehit will deploy five Lawo diamond consoles, paired with five Power Core audio engines. The diamond platform features a fully IP-native architecture, ultra-low latency, and high processing power, creating ideal conditions for modern, parallel radio production workflows. The existing Lawo A__UHD Core will be expanded into a fully redundant setup, forming the highly available central backbone of the entire audio production environment.

Kronehit benefits from an infrastructure that has evolved jointly with Lawo and SLG Broadcast over many years and has been consistently designed with future‑proofing in mind. Even today, the broadcaster operates a comprehensive Lawo environment comprising sapphire consoles, IP‑based routing, centralized system management via VisTool, and a high‑performance AoIP network architecture. The high scalability of the Lawo platform enables flexible studio configurations, dynamic resource allocation, and system adjustments without disrupting live operations. Peripheral systems such as studio telephony have also been fully migrated to IP‑based solutions and tightly integrated into the Lawo infrastructure.

Beyond planning and implementation, key aspects of SLG’s work include workflow design, process optimization, and long‑term operational reliability. In‑house software tools such as the SLG Broadcast Suite for monitoring and analyzing complex broadcast systems complement the Lawo ecosystem and contribute to transparency, efficiency, and reliability in day‑to‑day operations.

For kronehit, the decision represents a targeted investment in flexibility, automation, and future resilience. The new diamond-based infrastructure enables clearly structured and highly automated production workflows, allows rapid adaptation to new formats, and at the same time delivers the stability and redundancy required by a leading private broadcaster operating 24/7.

More than ever, technology suppliers in 2026 are meeting media entities where they live and work, with a hybrid, flexible and often invisible ecosystem.

Audio infrastructure manufacturers and providers agree that while the “sound” still must be perfect, the exact location of the gear no longer matters.

“We are not moving towards a future where the physical location of the audio suite doesn’t matter anymore,” said Calrec Director of Product Management Henry Goodman. “We’re already there.”

WHO, HOW AND WHERE

While the “where” has shifted, the “who” remains the foundation of the broadcast. Humans are still largely mixing and shaping program output. “But how and where they do all this has changed beyond recognition,” Goodman said.

The show’s exhibit floor offers ample evidence for television, radio and streaming contexts.

Wheatstone is showcasing its VMX virtual mixing platform, which can serve as a single mixing backend for multiple consoles or surfaces, at its booth.

Marketing Director Dee McVicker said the cost benefits from virtualization are a focal point. “Not to mention removing the massive physical limitations of the studio as we know it,” she said.

For manufacturers, the challenge is ensuring that as consoles move from isolated desks to complex networks — whether on-site, on edge or in the cloud — the engineer’s experience remains intuitive.

Solid State Logic intends to decouple the “big console” experience from the giant desk. Berny Carpenter, SSL’s broadcast product manager, said that through the company’s Virtual Tempest Engine, the software can be deployed across public clouds or private data centers.

Does this flexibility mean that mixing can be performed truly anywhere? Wheatstone’s McVicker offered a nuanced take.

“We’re not taking away from the tactile feel of a fixed console, yet we’re not limiting you to that or where you might be mixing at the moment,” she said.

Goodman too said Calrec’s approach is to provide the “big console” experience in a portable package.

FIXED HARDWARE TO MOBILE APPS

In the West Hall, Lawo is preaching a philosophy of agility through its HOME Apps platform. The concept is a departure from the “one box for each task” style of broadcasting.

For a media outlet using a generic commercial off-the-shelf server, Lawo believes the platform is ideal for managing a succession of workflows, allowing a broadcaster to decide on Monday that it’s an audio mixer and on Tuesday that it’s a multiviewer by switching containerized microservices.

“Hardware infrastructure no longer dictates workflows: Workflows now define the agile processing stack,” said Wolfgang Huber, Lawo’s public relations manager.

According to Huber, that kind of agility is important in mobile production trucks, where every inch of rack space and watt of power counts.

Wheatstone’s VML, an HTML5-based virtual console, can be accessed through a web browser, offering mixing on a laptop, tablet, smartphone or desktop. “You have a lot of flexibility to set up remote broadcasts, temporary studios in a disaster situation or even add on a permanent production studio,” McVicker said.

BY YOUR SIDE

But how does an engineer harness all of the power available now, particularly from AI and automation?

At Telos Alliance, AI is framed as a “mixing assistant riding shotgun,” said Clark Novak, its marketing content manager.

Telos’ flexAI platform utilizes the Jünger Audio Intelligent Companion, an AI-powered automixer.

Novak explained that flexAI pushes background noise down while keeping dialogue consistent, allowing the engineer to focus on the overall mix while the platform handles “small corrective moves.”

SSL offers a similar philosophy with its System T Dialogue Automix. Carpenter said that the system focuses on the active speaker across a large number of sources to reduce crosstalk.

“It allows the operator to focus on the output, rather than reacting to who is currently speaking,” Carpenter said.

Lawo, for its part, sticks to deterministic algorithms in its KICK sports mixing technology, for example, to avoid “AI hallucinations” in high-stakes environments.

But with the platform’s close-ball mixing, which is automated based on camera tracking data, Lawo’s Huber said the technology allows the audio engineer to focus on creative storytelling rather than manual gain-riding.

But a recurring theme is that disappearance of large surfaces. For instance, Telos Alliance’s Axia Altus and Studio Essentials lines allow mixing to be controlled entirely via a web browser.

“Virtual mixing isn’t about replacing the studio,” Novak said, “it’s about expanding it to other locations.”

Wheatstone’s McVicker called it a hardware-agnostic philosophy.

As NAB Show exhibitors will demonstrate, the movement to flexibility is not an all-or-nothing proposition. Most facilities are adopting a hybrid approach — keeping hardware where tactile control is needed, but moving the “heavy lifting” to the cloud.

As Calrec’s Goodman concluded, the tools must provide the operator with the ability to adapt to demanding environments.

Whether the processing happens in a basement rack or a distant data center, the mission remains the same: clear and compelling audio.

© 2026 NAB

Lawo announced this week the debut of Edge One, a new device that provides combined, expandable connectivity and functionality for both video and audio in a compact footprint. Edge One will be demo-ed in the company’s booth (C2108) during the 2026 NAB Show, April 18-22 in Las Vegas.

Edge One features SMPTE ST2110 native support with a bandwidth of up to 25Gbps. It is equipped with both RJ45 ports incl. PoE++ and SFP ports. For applications that don’t require a network connection, the company says Edge One matches and surpasses previous Lawo solutions that are still popular for audio de-embedding, shuffling and embedding.

One side of the device is equipped with 8x bi-directional HD-BNC connectors for SDI signals, that can function either as inputs or outputs, and 4x HDMI outputs, two of which can alternatively be used as inputs. Furthermore, SFP ports for MADI I/O, GPI I/Os, an audio interface via USB-C and Sync, Reference and Wordclock connectors are also available.

On the other side of the device, three audio interface modules cover a variety of I/O applications: Mic/Line inputs only; Mic/Line inputs and Line outputs; as well as a module specifically for commentary applications. The audio interface modules can be easily swapped by the user for agile utilization scenarios.

Since not all connectors and software functionality may be needed in every use case, Edge One supports Lawo FLEX. Lawo’s software-licensable functionality allows users to activate what they need and leave out what they don’t. For out-of-the-box deployment, Edge One is available in three intuitive packages: Audio, Video and Audio + Video.

The following functions can be licensed if they are not included in the selected package: video signal instances (in or out), video frame syncs, JPEG XS en-/decoding, the Edge One Commentary App, audio MADI I/O with built-in SRC, and the mc²-grade audio DSP for low-latency local mixing.

While Edge One can be rack-mounted (1U) or installed in a convenient location using an optional mounting bracket, it is also compact enough to be carried from one assignment to the next, while being protected with rubber bumpers.

“Despite its impressive specifications, Edge One is first and foremost about convenience and agility for broadcast and AV professionals,” says Lucas Zwicker, Senior Director, Workflow and Integration, CTO Office at Lawo. “A single stagebox can be used to connect microphones, speakers, cameras, monitors, projectors and more.”

Christian Struck, Lawo’s Senior Product Manager, Audio Infrastructure, adds: “Most productions require a limited number of audio and video connections, and some applications can be handled more efficiently by placing compact stageboxes close to the sources and destinations in a distributed fashion. This is where Edge One shines.”

The University of Nebraska’s HuskerVision has completed the second phase of a multi‑year modernization effort with the deployment of a comprehensive ST 2110‑based video infrastructure powered by Lawo.

Following an audio‑first transformation in 2023—HuskerVision’s initial step into IP workflows—the new video implementation brings all major athletic venues into a unified, software‑based production environment. The result is a campus‑wide media fabric capable of handling simultaneous shows from multiple control rooms, while giving student operators access to the same tools used in top‑tier broadcast facilities, according to Lawo.

The earlier audio upgrade had introduced HuskerVision to Lawo’s IP ecosystem through mc²56 production consoles, A__UHD Core processing, A__stage 64 and A__mic 8 interfaces, and HOME Management for routing and orchestration.

“Doing audio first was key,” recalls recently retired Chief Engineer Scott Guthrie. “We learned timing, stream management, PTP, device discovery—all the fundamentals. When it came time to roll out video, everyone was ready.”

That readiness was crucial as the university moved towards their SMPTE ST 2110 implementation designed and integrated by BeckTV. With Nebraska’s athletic venues spread across a wide geographic area—including Memorial Stadium, Hawks Championship Center, the Devaney Center, Pinnacle Bank Arena, Haymarket Park, and the Dillon tennis and Hibner soccer complexes—the goal was to bring all locations together through a single IP backbone feeding three co‑located control rooms inside Memorial Stadium. This allowed operational consolidation while dramatically boosting routing flexibility.

Lawo’s .edge platform is at the core of the new video infrastructure, used both as a high‑density gateway and as a full IP processing node. Multiple .edge frames provide 3G‑SDI and 12G‑SDI ingest, while native ST 2110 connectivity and quad‑25GbE interfaces feed the production fabric. The system’s ability to present SDI inputs as network “proxies” gives HuskerVision high scalability with minimal bandwidth overhead.

“We can bring in signals from any venue—whether five cameras from volleyball or a full football package—and everything just shows up in the fabric,” says Director of Technology Garrett Hill. “Routing video or audio essences independently is as easy as moving blocks around.”

One of the most operationally transformative areas is the truck dock at Memorial Stadium. Using .edge for video and A__stage64 for audio, HuskerVision can now exchange 24×24 bidirectional signals with national broadcast trucks, accommodating 12G‑SDI, HDR, SDR and ST 2110 feeds without additional hardware.

“Trucks get whatever flavor they want,” says Guthrie. “Up, down, HDR, SDR—it’s all handled right there in the IP edge.” Hill notes that the increase in available I/O and native processing “has completely changed how we interact with visiting crews.”

Workflows inside the control rooms benefit heavily from Lawo’s HOME Apps, running on COTS servers. The HOME Multiviewer, combined with theWall layout builder, enables dynamic, venue‑specific monitoring setups that can be reconfigured in seconds. Meanwhile, the HOME UDX app provides on‑demand up/down/cross conversion directly in the network, reducing the need for traditional baseband converters.

BeckTV Senior Engineer and Nebraska alumnus Brock Raum describes this flexibility as the project’s defining characteristic: “From season to season your shows change—and sometimes just from sport to sport. You might have soccer in one control room one day and football in another. With HOME Apps you shut down the tools you don’t need and spin up the ones you do. We’ve played with the webRTC app, downstream keying, UDX—you name it. The flexibility of using COTS hardware with the HOME App system is the highlight of the whole solution. If I need an app for a set of shows, I use FLEX credits. When I don’t, I shut it down and reuse those credits for something else.”

All workflows—video routing, tally, device control and multiviewer changes—are orchestrated through Lawo VSM, which gives operators a single, intuitive control layer across the multi‑venue environment.

According to Guthrie, “VSM lets us go from a big‑screen volleyball show to a press‑conference recording setup with one or two clicks. In a schedule where events overlap constantly, that’s huge.”

Because HuskerVision relies heavily on student operators, the accessibility of the system was essential. Seven full‑time staff oversee a large student team who are involved in every aspect of the productions.

Raum says, “Students are doing real engineering tasks now. They’re learning on the same tools used in the broadcast trucks.” Guthrie adds, “They learn the backend—how to modify layouts, manage essences, fix routes. And they get it.” Hill emphasizes the career value: “Training on the best gear helps them get jobs. Our students leave here ready for the industry.”

The new IP backbone, allows HuskerVision to scale productions, transport media content more efficiently between venues, and makes it easier for the network to support multiple overlapping events, Lawo said.

RASTATT, Germany—Pro audio and video equipment maker Lawo AG has named Jamie Dunn as CEO.

Dunn joined the company in 2011, and has served as “vorstand,” or management board member, and deputy CEO since 2024.

As CEO, Dunn will play a key role in shaping the continued development of the Lawo Group, the company said, citing his long tenure, deep market understanding and global experience as forming a strong foundation for the future.

“Lawo’s strength has always been rooted in its people, its partnerships, its values and its commitment to innovation,” Dunn said. “I am honored to lead the next chapter of success of this remarkable company. These are exciting times—and there are huge opportunities ahead for our company.”

As part of the transition, Philipp Lawo will step down from Lawo AG’s “vorstand” and join the company’s supervisory board. The management board now consists of Dunn, CEO and “vorstand”; Claüs Gartner, chief financial officer and “vorstand”; Andreas Hilmer, chief marketing officer; Christian Lukic, chief supply chain officer; Phil Meyers, chief technology officer; and Ulrich Schnabl, chief operating officer.

“These changes reaffirm our confidence in Lawo’s proven management structure and the strong collaboration within the Management Team,” said Michael Sonnabend, chair of Lawo’s supervisory board. “This transition ensures the company’s continued stability as we look to the future.”

As a member of the supervisory board, Philipp Lawo will continue to support the company’s development and ensure the values of the Lawo family remain at the heart of its culture, Lawo said. As the only “vorstand” of Lawo Holding AG, he will be responsible for the strategic direction of the entire Lawo Group, the company said, reinforcing its focus on long-term stability and sustainable growth.

“Our goal is to ensure that Lawo continues to build on its strong foundations while pursuing a sustainable and robust growth model,” Sonnabend said. “The Supervisory Board has full trust in Jamie Dunn and the entire Management Team. With their collective expertise and dedication, Lawo is ideally positioned for the next chapter of its journey.”

Lawo has announced that the Women’s Winter Classics in Gstaad marked the first live outing for OB truck S12, the new mobile production unit operated by Swiss broadcast service provider brutal güet that relies on an audio infrastructure from Lawo.

Produced for RED+, the open-air event, which is a flagship fixture of Switzerland’s top-tier women’s ice hockey league, also served as the inaugural live deployment of the vehicle’s fully IP-based Lawo audio infrastructure.

At the core of the audio control room is a Lawo mc²56 MkIII console with 48 faders, paired with a redundant A__UHD Core and an AoIP environment based on SMPTE ST 2110, AES67 and RAVENNA. The production demonstrated how flexible system configurations, efficient workflows and high audio quality can be reliably implemented in a demanding live environment.

For Christian Maier, senior broadcast audio engineer at brutal güet, the first production with the new system marked a technological step forward: “Overall, it initially felt quite unspectacular because I was already familiar with the system. At the same time, working with AES and RAVENNA streams introduces new capabilities and advantages that still require a certain degree of adaptation.”

The Winter Classics in Gstaad rank among the premier events in Swiss women’s hockey. Staged in the center of the village, and framed by an alpine backdrop, the matchup saw reigning champions SC Bern face league leaders EV Zug.

The production was realized in a demanding setup given the lack of conventional stadium infrastructure on site. For brutal güet, the event provided an ideal opportunity to put the production concept of the new OB van into operation for the first time under live broadcast conditions.

Multilingual operation is a central requirement in Swiss broadcast productions. Although only one language feed was actively used in Gstaad, the audio setup was designed for trilingual operation from the outset.

“Productions in Switzerland are inherently more complex. We always have to be able to deliver three language versions,” explained Maier. “That’s why I structured the setup so that all three languages are prepared — not only for this production, but for all future ones as well.”

The latest mc² generation provides advanced DSP capabilities that streamline daily workflows. “Being able to store and recall EQs, compressors and presets, as well as using dynamic EQ processing, makes multilingual productions much easier. I don’t have to build the same signal chains multiple times," he added.

DSP resources can also be allocated selectively. “Not every output requires full processing," Maier explained. "If a signal path is mainly used for information delivery, I can reduce processing there and allocate resources where they deliver the greatest sonic benefit.”

Speed is another critical factor in live broadcast operation — both in day-to-day use and when troubleshooting.

“I can customize the console to suit my workflow in every detail, but I don’t have to," Maier said. I can also pragmatically route a signal from A to B quickly and easily — and it still works. At the same time, I can create an interface that lets me work extremely efficiently”, says Maier. The system’s visual clarity proves particularly valuable when problems arise: “If a camera operator reports they can’t hear anything, I can immediately check a second or third meter to see whether the signal is leaving my system. That tells me right away where to look — or where not to look.”

The open-air setting introduced additional acoustic challenges for the audio design. With no plexiglass walls behind the goals, the typical ice hockey reflections were absent; also the number of spectators was unpredictable. “It makes a significant difference whether 500 or 5,000 people are standing around the rink. In some cases, spectators may even be just a meter behind my ambience microphones,” notes Maier. To address this, the team implemented a customized microphone setup using directional shotgun microphones, ensuring precise capture of the on-ice action while minimizing unwanted noise.

Maier’s mixing approach focuses on balancing atmosphere and speech intelligibility. “I like to use a strong ambience mix to create an immersive experience, but the commentator always needs a clearly defined space.” This was implemented using dynamic EQ processing, sidechain filtering and automix functions. “The ambience is dynamically shaped in the relevant frequency ranges to leave room for speech without reducing overall level. This is an area where the latest Lawo console generation offers significantly more creative and technical flexibility.”

Precise timing and latency management is another critical aspect of modern broadcast production. Wireless cameras, remote feeds and distributed IP signal paths require flexible delay strategies. “Different signal paths operate in different time domains, and these have to be aligned again at the output stage. With Lawo, delays can be applied exactly where they make sense — at the input stage, within groups or on direct outputs. This level of clarity and flexibility remains a key advantage, especially in hybrid IP and remote production environments.”

For brutal güet, the S12 premiere represents both a technical milestone and a strategic foundation. The vehicle was built by Broadcast Solutions based on the Streamline concept and designed for a wide range of production scenarios, including sports, cultural events, festivals and live entertainment. “From the outset, our goal was not to focus exclusively on traditional sports productions,” says Maier. “If we produce an opera, we need this surface structure and channel capacity as well. The concept is to use the OB van as a fully equipped mobile control room and minimize on-site setups.”

The successful Winter Classics production validated this approach, showing how Lawo AoIP technology, flexible DSP architectures, and carefully designed workflows enable modern live broadcasts to be executed efficiently with consistently high quality, even under challenging conditions. For brutal güet, the first production with the S12 OB van marks the beginning of a new generation of mobile broadcast operations — scalable, versatile, and fully IP-based.

For additional information, visit www.lawo.com.

RASTATT, Germany—Lawo and the Society of Motion Picture and Television Engineers (SMPTE) have partnered to launch the SMPTE ST 2110 Practical Lab, an immersive training program to assist the industry’s transition to IP-based workflows.

The Practical Lab, hosted at Lawo headquarters in Rastatt, Germany, offers a hands-on environment to design, synchronize and troubleshoot live-production IP networks, the company said.

The lab builds on SMPTE’s education path, which includes:

• Introduction to SMPTE ST 2110 (Independent study.) — Ongoing enrollment throughout 2026. https://www.smpte.org/introduction-to-st2110
• Understanding SMPTE ST 2110 (Instructor-led, virtual/online.) — In-depth technical exploration of ST 2110 with peer learning through an online flipped classroom model. https://www.smpte.org/virtual-course/st2110
• SMPTE ST 2110 Boot Camp (Intensive instructor-led, virtual/online training) — The next Boot Camp session to be held in January. https://www.smpte.org/smpte-st-2110-boot-camp-january

Once media professionals who have completed these courses can apply their knowledge in real-world scenarios using Lawo solutions, including A__mic8 audio stagebox, .edge SDI/IP gateway, VSM, HOME management platform and HOME Apps.

Key dates include:

• Understanding SMPTE ST 2110 (Virtual): Dec. 2–18.
• SMPTE ST 2110 Boot Camp: Jan. 12, 2026, to April 30, 2026.
• Practical Lab: Booked after the Boot Camp or SMPTE ST 2110 course and offered remotely during a one-day self-paced list of hands-on exercises.

“The transition to IP is one of the most significant evolutions in broadcast technology,” said Wim Van Roy, educational architect at Lawo and 2025 education director at SMPTE. “By partnering with SMPTE and the wider industry to deliver this Practical Lab, we’re empowering professionals to confidently design and operate ST 2110 workflows—supporting the industry’s future towards dynamic media facilities powered by SMPTE ST 2110 standards.”

More information about the Practical Lab is available online.

More information is available on the company’s website.

Brutal güet, a Swiss broadcast services provider, has rolled out a state-of-the-art outside broadcast (OB) vehicle built on a Lawo AoIP (audio-over-internet protocol) infrastructure to power IP-based workflows.

The new vehicle is outfitted with a Lawo mc²56 MkIII production console with 48 faders, running on a redundant A__UHD Core licensed for 256 DSP channels. The core itself features a software-defined architecture providing up to 1,024 DSP channels within a compact 1RU housing. With native support for SMPTE ST2110, AES67, and RAVENNA, the system enables fully IP-based signal processing, Lawo said.

“The combination of the mc²56 and HOME [Lawo’s cloud-native control and management platform] has fundamentally streamlined our production workflows,” brutal güet Chief Operating Officer Jonas Zubriggen said. “We can configure complex setups in no time, automatically integrate devices into the network and react flexibly to new requirements—without manual IP configuration or lengthy prep work.”

The setup offers brutal güet maximum operational reliability and scalability, qualities that are essential for productions involving complex audio configurations and simultaneous multilingual broadcasts, it said.

“With Lawo, we can reliably manage parallel commentary feeds in German, French and Italian—all from one compact yet powerful vehicle,” Zurbriggen said.

The Lawo console supports demanding live productions and immersive audio workflows and offers snapshot automation, loudness metering and direct integration of Waves plug-ins, the company said.

Lawo’s A__stage80 and A__stage48 I/O units provide signal distribution. The A__stage80 offers 32 mic/line inputs, 32 line outputs, and eight AES3 stereo I/Os. It also supports SMPTE ST2022-7 seamless protection switching for redundant networking. Both are equipped with Class-A microphone preamps, MADI interfaces and dual IP ports.

The Lawo HOME platform manages brutal güet’s AoIP infrastructure. It automatically detects compatible devices, integrates them securely into the network and enables centralized configuration via an intuitive interface. HOME supports NMOS IS-04/05, IEEE 802.1x and RADIUS. With the new HOME 4.0 release and the HOME Pass licensing model, infrastructures can be scaled precisely, it said.

Broadcast Solutions designed the OB vehicle based on brutal güet’s operational requirements using its Streamline concept. The interior layout follows a clear workflow structure: the front section houses the video control area featuring a Sony MLS-1 video switcher for UHD/HDR productions, along with slo-mo and multifunction workstations in an expandable bay.

The center section accommodates the Lawo mc²56 MkIII console, installed perpendicular to the driving direction to maintain direct line-of-sight between the audio engineer and the director. A side window further enhances communication. The rear section includes camera shading and technical control workstations, along with server racks and the HI human interface control software system providing centralized process automation.

“We’re new to the OB truck business, but from the outset we wanted to make a clear statement about quality,” Zurbriggen said. “With Lawo, we’ve found a solution that not only meets our current needs but is also fully scalable for the future.”

More information is available on the Lawo and brutal güet websites.

RASTATT, Germany—Broadcast and media workflow technology vendor Lawo has tapped Mike Wright as VP of sales, North America.

A veteran strategic sales leader who has held roles at Appear, EditShare, Tektronix/Telestream and Grass Valley, he’s tasked with spearheading Lawo’s commercial strategy in the region, focusing on expanding its market presence, strengthening its customer awareness and driving brand awareness across key verticals.

“Joining Lawo at such a dynamic time is incredibly exciting,” Wright said. “The company’s innovation and commitment to excellence are unmatched, and I look forward to working with our talented teams and partners to deliver outstanding value to our customers throughout North America.”

Wright’s appointment underscores Lawo’s continued investment in North America and its commitment to customer-centric growth, the company said.

“Mike’s track record speaks for itself,” said Sam Schauland, Lawo executive vice president, North America. “His strategic mindset, deep industry knowledge, and passion for customer success make him the ideal leader to take our North American sales to the next level. We’re thrilled to welcome him to the Lawo family.”

VIENNA—With the 2025-26 concert season already underway, Austrian broadcaster ORF has inaugurated its newly upgraded sound-control room at the Vienna Musikverein concert hall, which is now fully equipped with IP-based audio technology from Lawo.

The upgrade marks a significant step forward in enhancing live broadcast workflows, capturing the intricate soundscapes of orchestral performances with even greater precision and ensuring robust operational reliability for high-profile live productions, Lawo and the broadcaster said.

The smooth functioning of the control room plays a central role in mixing not only numerous concerts and live broadcasts throughout the year, but also the Vienna Philharmonic New Year’s Concert, viewed by millions around the world.

The decision to implement Lawo technology was driven by the need to improve system compatibility and foster synergies across ORF’s production infrastructure.

“This new setup is more than just an upgrade—it’s our gateway into next-generation audio IP technology,” says Reinhard Tomek, project manager audio technology at ORF. “It offers us tremendous flexibility for future expansions and seamless integration of external devices. The incorporation of Lawo’s HOME platform simplifies system management, while keeping interfaces to external IP-enabled systems open and adaptable.”

At the heart of the new infrastructure is an mc²56 MkIII production console featuring 48 faders, powered by an A_UHD Core audio engine licensed for 256 DSP channels.

Two A_stage80 stageboxes provide connectivity, while the signal architecture is managed via Lawo’s HOME platform, designed for IP-based production environments. The console runs the latest software version 12.2, which introduces several key enhancements.

Notably, a new 7-band EQ with three dynamic bands enables sound engineers to shape orchestral audio with exceptional precision. Additional improvements include optimized channel displays, more intuitive operation of audio crosspoints via the HOME API, and the ability to switch banks and layers directly from the fader panel, the two companies explained.

Previous software versions such as 10.12 and 12.0 laid the foundation for deeper integration between console, DSP, and network. With the HOME mc² DSP app, CPU-based processing resources are now also available, Lawo said.

Another major highlight of the upgrade is the full integration of Waves SuperRack V15. Extensive Waves plug-in bundles can be loaded into the Immersive Wrapper and operated directly from the console—ideal for immersive formats such as 5.1.4, 7.1.4, or 9.1.4.

“Native control of Waves processing within the console streamlines live operations significantly,” Tomek said. “It allows complex sound processing to be embedded directly into the workflow, eliminating the need for external workstations or workaround solutions.”

Following commissioning in August, Lawo conducted a three-day, hands-on training session for ORF’s sound engineers, focusing on the practical application of the new features.

The system made its debut on Sept. 20,. during the season-opening concert featuring the Munich Philharmonic Orchestra under the direction of Lahav Shani. “Despite the new technology, it was a routine production for our team—a clear sign that the system is intuitive, and the transition went smoothly,” Tomek said.

With this renovation, ORF ensures that future productions at the Vienna Musikverein can be realized with maximum reliability and cutting-edge technical capabilities. At the same time, the new infrastructure enables the exceptional acoustics of the Musikverein’s Great Hall to be captured with unmatched precision and brought vividly to life for radio audiences, Lawo said.

For additional information, visit www.lawo.com.

SINGAPORE—The Toyota World Para Swimming Championships, which concludes here Sept. 26 at the OCBC Aquatic Centre, is not only a celebration of sporting excellence but also a showcase of technical innovation.

A leading national broadcaster has chosen Lawo’s mc²56 MkIII production console to deliver the official audio mix for the championships, ensuring a sound experience that matches the event’s high profile, the company said.

The event brings together more than 600 of the leading para athlete swimmers from around the world to compete.

The mc²56 MkIII—backed by a 16-fader mc²36 as a standby mixer—was installed a few months ago in the broadcaster’s fully IP-based new OB van as the centerpiece of audio production. Compact in design yet powerful in performance, the console offers 48 physical faders, full native support for immersive audio formats and integrated auto-mix functions, the company said.

Designed for fast-paced live environments, it combines pristine sound with intuitive operation, enabling engineers to balance crowd ambience, commentator feeds and underwater microphones, it said.

Flexible configuration options allow seamless adaptation to the specific needs of each competition session, while advanced workflow tools such as snapshot recall accelerate production tasks and ensure consistent output, it said.

At the heart of the system is Lawo’s A__UHD Core, a software-defined IP audio engine that provides up to 1,024 mc²-grade DSP channels within a compact 1RU unit. In addition to its pristine DSP processing, the A__UHD Core features Lawo’s HOME functionality, which makes IP setups for Lawo mc² consoles as simple as analog. With native RAVENNA/AES67 and SMPTE ST 2110 support, it offers wide interoperability in IP-based broadcast infrastructures, it said.

Full hardware and network redundancy, coupled with Lawo’s resource-pooling concept, deliver reliable, scalable and flexible performance in demanding live sports environments. The A__UHD Core also delivers ultra-low latency for real-time performance and is highly energy-efficient — an important factor for mobile production units, the company said.

More information is available on the company’s website.

Sport Nation in Auckland has unveiled a brand-new, state-of-the-art broadcast studio that includes a variety of solutions and technologies from Lawo and Densitron.

Professional Audio & Television (PAT) designed and delivered the technical backbone for the studio that combines a cutting-edge audio infrastructure with intuitive studio control and a sleek new look for multiplatform broadcasting.

Sport Nation is a dedicated sports radio and digital media platform based in Auckland, New Zealand that broadcasts live shows, podcasts and video content. The new studios strengthen Sport Nation’s radio operations and its ability to create content across multiple platforms – from live radio and social media to on-demand video and television.

At the heart of the new installation are Lawo’s diamond radio consoles. The 18-fader desks offer motorized precision, high-resolution displays and flexible configuration options that provide operators and presenters with customizable workflows.

These consoles are supported by Lawo’s Power Cores, which provide the DSP horsepower and extensive I/O to handle mixing, routing and audio processing across the facility. For maximum flexibility, the studios also feature Lawo’s VisTool touchscreen interfaces and crystal Clear virtual consoles, enabling intuitive control and remote-ready operations from any workstation, Lawo reported.

Studio control and branding feature a Densitron IDS system, which manages everything from studio signage and lighting to clocks, countdowns and camera triggers. To give presenters fast and tactile control, Densitron ProDecks were installed, allowing on-air talent to adjust microphones, headphones and talkback channels instantly, without breaking the flow of a live show.

Behind the scenes, PAT designed and delivered the technical backbone that ensures the new studios are future-ready. Arista switch fabric now underpins the IP infrastructure, providing resilient, high-bandwidth connectivity. And iHSE KVM systems give operators seamless, low-latency access to critical computers and applications from anywhere in the facility.

“We are extremely pleased with the outcome of this project and the collaboration with Professional Audio & Television and its manufacturers,” explained Michael Tompkins, head of technology at Entain Media, the operators of Sport Nation. “Having a trusted local technology partner on the ground in New Zealand who understands both our requirements and the solutions has been invaluable in ensuring a smooth and successful implementation.”

Riccardo Ball, radio host and executive producer at Sport Nation, added that "Mike, Steve and the crew at PAT have done an amazing job in our new studios, such an upgrade to our previous facilities. Not only does it look killer but it enables us to create content that wouldn’t have been possible before. The content we're creating, and the technology solutions we're using are on-par with any studio anywhere. Seamless integration between traditional radio, social media and even TV content, is now possible. This is huge for the brands we represent in New Zealand."

For PAT, the project is another milestone in their ongoing collaboration with Entain. “This project represents yet another chapter in the highly successful collaboration between Entain and PAT,” explained Mike Heard, head of technology at PAT. “We are proud to have supported Sport Nation with world-class technology and services that will enhance their broadcasting capabilities for years to come.”

ROWLETT, Texas—Specializing in high-end events, CineLive covers everything from multicam live music shows to one-day events for Netflix Live, Amazon Music, etc., and “the three-letter networks,” to red carpets for big film studios, captures for theaters, corporate as well as creative YouTube events in cinematic 4K HDR and immersive audio.

We designed the audio suite of our truck to be flexible for typical broadcast applications, multicam shoots, corporate events, etc., and there is absolutely nothing that our Lawo mc²-based mixing system cannot do. It is part of the HOME platform that sits at the heart of our infrastructure.

Licensed for 256 Channels
Every freelance engineer who sits down at our mc²56 desk acknowledges that it sounds superior, even for the simplest of shows, like stand-up comedy with audience mics. We recently had our lowest channel count ever, with 20 channels for a movie release. In this high-value project, everything had to shine, and we delivered. For festival shoots, on the other hand, we often use 18 cameras and 196 audio channels.

We’re licensed for 256 audio channels and occasionally add temporary licenses for larger projects. Although we have a 7.1.4-capable audio suite in our truck, stereo and 5.1 still make up the bulk of our projects. My team and I took a mere two weeks to master the mc²56 console, as its layout is highly intuitive.

While making our decision on whose audio platform to adopt, we kept looking at the bigger picture, knowing that someone else would be sitting at the console for each project. We decided against a console from a brand that supplies most OB trucks in the United States, even though some people told us that this would make it more difficult to find freelancers.

Luckily, the number of people who want to learn to work with a Lawo console has grown exponentially. Additionally, none of our clients ever objected to our console.

Before we decided on the mc²56, we A/B’d several brands that used exactly the same signals and the sonic difference was obvious. The preamps are superb and our A__UHD Core DSP infrastructure is deep and complex, yet intuitive. We use two of them for full redundancy to eliminate any single point of failure.

We’ve also begun using the Lawo VSC software to record Ravenna streams directly to ProTools on our two Macs. Our inputs and outputs are provided by two Power Cores and a bunch of A__stage stageboxes. One Power Core is used for all analog I/O signals inside the truck, which are broken out to patchbays, as these are still mandatory for some customers.

The other Power Core is equipped with four Dante cards for our outboard equipment.

My advice to other users would be to stop clinging to the misconception that Lawo consoles are only for entertainment—we use our mc²56 for everything we do.

Immersive Audio
Some people think Lawo is expensive, yet for smaller outfits like CineLive, consoles from other brands cost either the same or substantially more. In the end, I’m glad I didn’t listen to the naysayers: We are immensely happy with our mc²56, whose specifications and price are difficult to match. It allows us to deliver 96-kilohertz immersive audio at a highly competitive price.

Lawo immediately understood our vision for the first CineLive truck, and Tony Staires and the team were there throughout the whole process, encouraging me to take our project to the next level.

If someone tells you that something cannot be done with a Lawo console, question and doubt them, and remember that the service we receive from Lawo is simply outstanding. I have been in the business long enough to know that this is a major pro.

More information is available at lawo.com.

Monitoring audio and video content in today’s increasingly complex media environment requires more flexibility than ever. Fortunately, broadcasters’ adoption of IP and the cloud have brought that flexibility to a more reasonable integration level and price point.

As production environments evolve, the role of multiviewers continues to expand, according to Ketan Patel, product manager, multiviewer systems for Evertz. “Today’s multiviewers must handle a wide variety of signal types—compressed and uncompressed, IP and SDI—and operate seamlessly across both on-prem and cloud infrastructures,” he says.

With more operations adopting the SMPTE 2110 IP protocol, demand is increasing, Patel added. “Evertz has deployed over 600 SMPTE ST 2110 systems globally, many of which feature our high-density ev670-X30-HW-V2 modular platform and the ultra-high-density PREFEX multiviewer system.”

Michael Demb, vice president of product strategy for TAG, agreed that having flexibility across both cloud and on-prem is paramount in today’s multiviewer platforms.

“Multiviewers are evolving from passive displays into active operational hubs, central to how media teams manage software-defined workflows today,” he said. “As infrastructures decentralize and scale dynamically across cloud, on-prem, and hybrid environments, multiviewers like TAG’s are becoming the front line for real-time insight, signal integrity validation, and workflow control.”

Saving Money
Budgetary pressures are also driving broadcasters’ demands, and whether they’re deployed in a full-cloud scenario or hybrid on-prem, multiviewers are becoming more versatile, according to John Mailhot, senior vice president, product management, at Imagine Communications.

“Operational and cost efficiencies are top of mind in today’s dynamic production operations,” he said. “Whether signal processing is done in the cloud or on-prem, the multiviewer plays a critical role in enabling operations teams to make fast, informed, content-critical decisions.

“A robust multiviewer system allows operators to quickly identify and resolve issues in real time—ultimately enabling the team to manage more signals across more productions,” Mailhot added. “As a result, multiviewers will continue evolving from passive display systems to active enablers of efficient, scalable media operations.”

Erling Hedkvist, sales and business development for manifold, said his company’s platform can provide the best of both cloud and on-prem worlds.

“One of our big differentiators is that our customers get the flexibility of software and virtualization but with the performance of dedicated hardware that the live production industry demands,” he said. “This gives them subframe latency and uncompressed, high-quality processing but also a service-based architecture where they can spin services up and down on-demand and that is self-healing in case of an underlying hardware issue.”

Hedkvist touts the “secret sauce” of manifold’s cloud-based live production system: “The underlying design of manifold CLOUD is built around a shared memory architecture,” he said. “Media is first written into memory, allowing multiple services [such as multiviewers, format converters, color correctors and codecs] to access and process that data directly rather than relying on traditional signal paths. This architecture decouples processing from format and frame rate, as services work on pixel data in memory.”

Lower Latency
Monitoring live production often requires making split-second decisions, something that remains top of mind when dealing with latency. Suzana Brady, senior vice president of worldwide sales and marketing for Cobalt Digital, said that even though the company’s UltraBlue SW-MV multiviewer is implemented in software on a PC platform, “it was designed with latency in mind.”

“For baseband inputs, the latency is around three frames to a screen, and less than that for a streaming output,” she said. “Scalability is provided by the PC platform, from lower-cost units for simple multiviewers to large platforms for units with lots of inputs and heads. There is a full-featured modern API to ease integration in complex workflows.”

The importance of integrating software-based multiviewing into live production platforms has been demonstrated through the flexibility offered by the cloud and IP, according to Evertz’ Patel.

“All [Evertz] platforms are designed to be part of a unified system, enabling operators to build highly dense, format-agnostic monitoring solutions across 3G, UHD, compressed and uncompressed feeds,” Patel said. “Whether it’s for native IP, hybrid or SDI workflows, users can scale according to their operational requirements without compromising quality or latency.”

When it comes to the variety of high-resolution formats, including HDR, vendors have adopted a format-agnostic approach and upped their processing power.

Chris Scheck, head of marketing content for Lawo, says the efficiency of the company’s HOME Multiviewer—available as a standalone solution and as part of Lawo’s HOME Apps ecosystem—is architected to consume less power, making monitoring more efficient.

“In combination with a .edge Hyper-Density SDI/IP Gateway and Processing unit, which can simultaneously receive and output SDI signals and generate smaller-resolution versions of video input signals, the HOME Multi­viewer can be used in a so-called intelligent workflow that uses no more than the absolutely required amount of network bandwidth for each PiP [picture in picture], based on its size, thus ensuring that the input bandwidth never exceeds the output bandwidth,” Sheck said, adding that such proxies are important when operating in a bandwidth-
restricted environment.

“UHD streams, for instance, comprise a lot more data than is needed for a small PiP; not having to downscale such PiP footage therefore means that fewer CPU cores are needed to process the information,” he said. “The allocation of the relevant proxy to each PiP/tile is handled automatically while the multiviewer head is being configured with the intuitive theWALL app.”

New Features
While multiviewing continues to evolve, vendors are continually adding new features that take advantage of the flexibility offered by IP and the cloud.

At IBC this month, Mediaproxy is introducing Instant Replay for live incident review along with the ability to monitor HTML content directly within mosaic outputs. Designed to streamline the process of incident investigation, Instant Replay allows broadcast operators and engineers to instantly review incidents that occur during live broadcasts.

“Being able to have high-quality instant replay within our ecosystem of monitoring tools will significantly reduce the time it takes to investigate and clear on-air incidents,” says Erik Otto, Mediaproxy CEO. “The addition of HTML data panels in both our interactive server-side multiviewers further underline our commitment to solving real-world problems for customers today.”

Lawo is taking its HOME Video Monitor app out of the facility and making it more accessible to operators, according to Scheck.

“With its HOME Video Monitor app, Lawo is about to launch a solution that allows users to monitor video feeds on their laptops and mobile devices, which is extremely useful for busy operators who quickly need to check something on their way to a different location,” he says. “While this may not be a replacement for a full-blown multiviewer, it may be practical for certain workflows.”

What About AI?
Vendors are taking the same cautious approach towards implementing artificial intelligence into their multiviewing platforms as their customers are.

TAG is actively exploring the potential of adding AI as part of its long-term innovation road map. “We’re engaged in early-stage development to evaluate how technologies like Multimodal AI and agentic AI could support operational efficiency, simplify workflows, and enhance the monitoring experience,” Demb said, adding that “any future capabilities will be designed to augment—not replace—human decision-making, and to serve the real-world needs of our customers.”

There are no immediate plans for manifold to integrate AI into its multi­viewer line, the company says. In fact, “we recently signed a significant contract with a major U.K. broadcaster that explicitly prohibits the inclusion of AI in the deliverables,” Hedkvist says. “[This is] a clear sign that there’s still hesitation among Tier-1 customers when it comes to unsupervised AI in live production workflows.”

Scheck concurs that the jury is still out when it comes to adopting AI.

“Lawo’s HOME Multiviewer comes equipped with a flexible logic system for alarm and tally functions to allow users to catch errors in a timely fashion and remain in control,” he says. “Whether AI could play a part in this is certainly worth investigating, even though a deterministic approach based on algorithms and real-world experience may be hard to beat for some time to come.”

Scheck adds that some operators are taking multiviewing to another level.

“One of our customers now operates OB trucks that are no longer equipped with multiviewer walls; the screens have been replaced by Apple Vision Pro headsets,” he says. “From what we have heard, getting used to them was rather straightforward, and operators in those trucks like the thrill of working with flexible cutting-edge tools and increasingly consider multiviewer walls as somewhat ‘old-school.’ ”

Nevertheless, all the bells and whistles being added to multiviewers don’t take away the essential role of the technology, according to Cobalt’s Brady.

“We don’t see the fundamental role of multiviewers changing in live broadcast, their purpose has remained consistent since the early days of television,” she says. “What is changing is the scale, quality, and accessibility of multiviewing in modern, software-defined infrastructures.”

TORONTO—CBC/Radio-Canada can now stream up to 80 events at the same time with two instances of the Lawo HOME mc² DSP app.

The solution enables CBC/Radio-Canada to instantiate processing channels for sports and entertainment events, press conferences and simulcasts, the company said.

The primary use case for audio shuffling is to correct nonstandardized audio sources from live-event venues to prepare them for airing on digital outlets, such as its O&Os, Gem, CBC.ca or third-party services like YouTube and FAST channel programming. Frequently, the solution is used for university sports, government news conferences or Olympic events, Lawo said.

Many media sources arrive with nonstandardized audio streams that require digital streaming operators to use an audio shuffler function to manipulate the audio prior to streaming. For example, audio on channels 3 and 4 is remapped to channels 1 and 2; the gain of soft audio is increased; off-tube commentary is added to the stadium sound; and 5.1 sources are downmixed to 2.0 channels. The goal is to achieve a standardized 2.0 audio stream for live events streamed to the web using downstream AWS Elemental encoders, it said.

CBC/Radio-Canada said it was looking for a flexible SMPTE ST 2110-based solution to replace legacy, single-purpose hardware. It also sought to introduce the ability to scale up and down the number of audio streams that can be processed simultaneously beyond the limitations of previously used hardware devices, it said.

“Today, one app offering as many shuffling instances as we need can be controlled using VSM to provide us with the required agility,” said Jaime Thomas, supervising technician of digital presentation at CBC/Radio-Canada.

Lawo’s HOME mc² DSP stood out among proposed solutions as the most elegant and compact solution for the broadcaster’s envisaged audio workflow, Lawo said.

The HOME mc² DSP app’s CoMixer function allows the team to instantiate the desired number of audio shufflers. For its streaming and linear channels, CBC/Radio-Canada requested 80 shuffling instances, each offering 22 audio input channels and 18 audio output channels, it said.

The solution relies on scripts for XCS mixing cores and mapping files for the VSM control system, which is used to map, adjust and balance the relevant audio feeds individually for each streaming event. Two VSM panels have been created, each displaying up to 40 mixes, it said.

In use the system modifies nonstandard audio content, which can include operations such as audio channel remapping, gain adjustment, downmix and mono summing. Standardized signals are then routed to the six-channel (5.1) and stereo busses. Each CoMixer shuffling instance provides DSP functionality for level changes and other tweaks. The resulting stereo stream is passed on for use downstream, Lawo said.

Each HOME mc² DSP app configured by CBC/Radio-Canada provides 40 shuffling mixers, so that two HOME mc² DSP app instances allow the broadcaster to accommodate up to 80 streaming events. Although up to three HOME mc² DSP instances can comfortably run on one 64-core CPU server, the broadcaster chose to host its two HOME mc² DSP instances on separate servers, which enables a HOME mc² DSP instance to migrate to the other server in the event of a problem, thereby providing seamless redundant operation, it said.

“We like the economy and dynamic scalability of the HOME mc² DSP app,” said Frédéric Dorion, project lead, Capital Project Management Governance and Engineering at CBC/Radio-Canada. “With just two app instances and the built-in shuffling functionality, we are able to cover as many streaming events as we need with convenient VSM panel control.”

At the 2025 IBC Show at the RAI Amsterdam, Sept. 12-15, Lawo and Italian-based broadcast systems integrator ARET Video & Audio Engineering will showcase a new demo OB truck that combines cutting-edge ARET coachworx exclusive Box over Box technology and will be “a showroom of advanced video and audio technology,” the companies said.

The new OB trailer, currently under construction at ARET’s Milan facility, will be presented to the public for the first time at IBC 2025. The truck will showcase samples of next-generation Lawo IP technology designed to redefine mobile production standards, the companies said. At booth 8.B90, Lawo will present its full portfolio of IP-native broadcast solutions, including the HOME platform for broadcast infrastructure management, the mc² audio production console series, the A__line and Power Core audio interfaces, and the flexible VSM control and orchestration system—technology that powers both broadcast studios and OB units around the globe.

Brand new, and ready to start system integration, it will make its debut on site in Amsterdam, giving visitors a firsthand look at what will soon be “one of the most modern OB trucks roaming the world,” according to the companies.

With support for up to 34 UHD cameras, hybrid 12G-SDI/IP workflows, and full UHD HDR production capability, this 14-meter (46-foot) mobile unit is built to perform under the most demanding production and environmental conditions. It also offers a rare “box-over-box” expansion on the left side and one wide traditional “box-in-box” expansion on the right, creating three acoustically optimized and fully separated workspaces for video shading, production, and audio.

Lawo’s IP-native audio and control systems form the technical backbone of this high-end production vehicle. The audio control room is centered around a 64-fader mc²56 audio production console, a top-tier mixing surface designed for agile operation in complex environments. With full native support for SMPTE ST 2110, AES67/RAVENNA, MADI, and Dante, the mc²56 delivers maximum format flexibility. The console is driven by redundant A__UHD Core engines, each offering 1,024 fully processed DSP channels, ultra-low latency, and full support for immersive audio workflows such as Dolby Atmos—making the system future-ready for evolving production demands.

Complementing the mc² system is a Lawo Power Core, which acts as a high-density gateway between IP and baseband audio, while also providing additional DSP resources and I/O expandability. The modular nature of Power Core ensures easy adaptation to any future changes in workflow or signal format.

For control and orchestration, the OB trailer will be equipped with Lawo’s Virtual Studio Manager (VSM)—the industry’s most powerful control system for IP-based broadcast infrastructure. VSM enables unified routing and control of all signal types and devices across video, audio, intercom, and multiviewers. With customizable touch GUIs, logic-based automation, and snapshot-based reconfiguration, VSM gives operators complete control and maximum flexibility, reducing downtime and ensuring operational continuity in fast-paced production environments.

“Lawo technology provides a perfectly integrated and highly flexible IP backbone for this complex project,” says Alessandro Asti, Vice President Sales at ARET. “From the mc²56 console to the A__UHD Core and Power Core, the Lawo infrastructure allows us to build a scalable, future-ready audio environment with full format compatibility, superb sound quality, and rock-solid reliability. Combined with VSM control, and thanks to the great support of Lawo HOME in IP environments we are able to offer a highly adaptable system that’s easy to operate and quick to reconfigure for different production needs.”

To ensure uninterrupted performance even in extreme temperatures and weather conditions, the trailer is equipped with a high-capacity, multi-zone HVAC system and advanced airflow design. Every element of the unit—from coachbuilding to systems integration—has been engineered and tested by ARET in-house, ensuring consistent quality and end-to-end accountability.

The truck will be located at outdoor position 0.A07 at the RAI Amsterdam during the show.

At this year’s IBC show in Amsterdam, Sept. 12-15, Lawo will showcase a forward-thinking portfolio of innovations that enables broadcasters to build agile, scalable, and highly efficient production environments. From infrastructure management and virtualized DSP to user-centric control solutions and software enhancements for radio and TV production, Lawo is providing the tools to shape the next generation of media workflows.

Visitors can also look forward to the launch of Lawo’s 15^th HOME App and the announcement of significant upgrades to the VSM workflow control system.

Dynamic Media Facility (DMF)
Lawo’s implementation of the EBU’s Dynamic Media Facility initiative will be on display for the first time in Europe. This highly agile installation hinges on a generic-server cluster that is controlled via four buzzer-style buttons to change the technology stack as and when necessary, with a single press.

Each of the three selectable example setups consists of an optimized mix of HOME Apps with assorted configuration settings. Highlighting the power of Lawo’s VSM workflow control system and the HOME Apps universe, this is a must-experience.

HOME 4.0: Scalable, License-Efficient Infrastructure Management
At the heart of this year’s presentation is HOME 4.0, the latest evolution of Lawo’s IP-native management platform for broadcast infrastructures. HOME 4.0 introduces major architectural refinements and a simplified licensing model designed to meet the operational and financial realities of today’s dynamic facilities.

With the introduction of HOME Passes—lightweight licenses required for each actively managed device or app—broadcasters gain precise control over infrastructure costs. The HOME platform itself is now free of charge; only devices managed within the system require a pass. HOME Passes are available as permanent licenses or through Lawo’s FLEX subscription credit model, ideal for event-based or variable workflows.

The new approach ensures that infrastructure grows organically with operational needs, reducing overhead in smaller setups while providing unlimited expansion potential as operations scale, the company said. All newly purchased HOME-native Lawo devices and software products include the required HOME Passes, ensuring immediate onboarding and reducing administrative effort. For existing installations, a seamless upgrade path is available.

.edge with More Power and Flexibility
With no fewer than 11 freely selectable firmware images, system software v3.2 for .edge helps users combine cutting-edge gateway functionality with processing right at the network’s edge—simultaneously. In light of all the championships where .edge has become the staple SDI/IP gateway linking venues to the IBC, users are now able to leverage JPEG-XS encoding/decoding alongside essence transport, as well as SDI<>IP and IP<>IP processing such as color correction, frame synchronization, 3G UHD Gearboxing, and more.

With the highest 3G port density per rack unit in the industry, .edge provides long-term usage flexibility and future proofing. In conjunction with Lawo’s HOME platform, .edge enables intelligent multiviewer heads based on proxy feeds it generates and the Dynamic Receiver parameter setting in the HOME Multiviewer app to ensure that each PiP/tile uses the smallest possible picture resolution at the highest quality.

Lawo Workspaces
In parallel, Lawo will launch Lawo Workspaces, a game-changing addition to the HOME ecosystem. Designed for ultimate accessibility and mobility, Lawo Workspaces bring intuitive HTML5-native user interfaces to Lawo’s modular, microservice-based HOME Apps. These Workspaces allow operators to access broadcast-grade tools from any device with a modern web browser – be it a laptop computer, tablet, smartphone, or even an augmented-reality headset.

The interfaces are fast, secure, and entirely platform-agnostic, making them ideal for distributed production teams, control room staff, and remote operators. Security and media flow encryption are handled natively by the HOME framework, ensuring that even browser-based workflows meet the highest standards of professional broadcast.

HOME Power Core
In a major step toward fully virtualized radio operations, Lawo officially launches the new HOME Power Core app. This software-only version of the proven Power Core hardware unit is designed for IP-based broadcast environments where flexibility, footprint, and scalability are paramount. It supports the same powerful real-time mixing, routing, and monitoring capabilities as its hardware counterpart and is fully compatible with Lawo’s crystal, diamond, and crystal Clear mixing consoles.

The app runs on standard COTS servers and is available in three instance sizes—Compact, Large, and XL—allowing precise matching of DSP power to operational requirements. The HOME Power Core app supports RAVENNA/AES67, ST2110, Dante*, NDI*, and SRT* formats natively, making it a highly versatile tool for modern talk radio, visual radio, and live webcasts.

Integrated transcoding and stream management ensure that all audio sources—whether from physical Power Core units, A__line stageboxes, .edge interfaces, or third-party devices – can be dynamically connected, monitored, and processed. Like all HOME Apps, HOME Power Core supports perpetual licenses and FLEX Subscription credit-based activation for maximum deployment flexibility.

(*) Future product developments.

HOME Apps Keep Evolving
Lawo HOME Apps keep evolving on an almost monthly basis to expand and complement their feature set, minimize latency, etc. Microservice-based HOME Apps seamlessly migrate to servers with ever more CPU cores, allowing more apps and instances to run on the same server, with support for 400Gbps and 200Gbps fabrics.

mc² Software Release 12.2.0
Beyond infrastructure and control, Lawo also showcases significant software enhancements for its mc² audio production consoles. The new 12.2.0 software release brings a host of additional productivity features and workflow refinements to the mc² mixing platform. These include enhanced integration with VSM workflow control systems through Audio Matrix Control via the HOME API, enabling tighter, more responsive routing operations.

Channel Display management has also been improved with the ability to select up to three different Mini Displays per screen for more at-a-glance information. A newly introduced standard 7-Band EQ module now includes three dynamic bands, offering more detailed and precise audio shaping, especially in demanding live environments. Furthermore, fader user buttons now allow operators to switch banks and layers directly from the fader panel, reducing navigation time during live productions.

Radio Software Release 8.2
Radio broadcasters will find the new Radio 8.2 software release equally compelling. Among its standout features is the introduction of the 96kHz XL License, which brings enhanced DSP capabilities to Lawo’s radio consoles, along with switchable compressor modes that can operate in either automatic or manual settings.

VisTool, Lawo’s powerful GUI design and control software, has also been enhanced. New features include the expansion of the source assignment module, direct text input fields for faster configuration, improved touch handling, and refined visual feedback mechanisms for touchscreen operations. Together, these updates significantly boost usability and streamline both setup and live operation in radio studios of all sizes.

Lawo will be in Booth 8.B90 in the RAI Amsterdam.

RASTATT, Germany—Lawo today released HOME 4.0, the latest version of its IP-native management platform with major updates, including architectural improvements, streamlined licensing and greater operational flexibility.

Lawo’s HOME software platform manages and secures IP-based media infrastructures. Built on cloud-native, containerized microservices, the platform allows users to connect, configure and control all Lawo HOME-native devices and ecosystem partners as well as NMOS-compliant third-party equipment, the company said.

HOME offers a unified solution for device discovery, parameter control, stream routing and intuitive system operation—all within a secure and standards-based environment. It offers native support for SMPTE ST 2110, AES67, NMOS IS-04/05, IEEE 802.1x and RADIUS, and serves as the central control layer for modern IP-based workflows, it said.

It integrates seamlessly with Lawo’s portfolio of hardware and software, including its HOME Apps for signal processing, monitoring, commentary and transcoding.

HOME 4.0 introduces HOME Passes, which replace all previous HOME Core licenses. Going forward, one HOME Pass is required per actively managed device or HOME App in the platform's inventory.

This transparent and scalable licensing model enables precise planning and cost control, Lawo said. It is particularly beneficial in dynamic infrastructures where system size may fluctuate, resulting in the need for fewer physical devices and lowering licensing costs, according to the company. As infrastructures grow, additional devices can be licensed easily and on demand, Lawo said.

HOME Passes are available both as permanent licenses and via Lawo’s FLEX subscription model using credits.

HOME 4.0 is now available at no cost. This allows users to deploy HOME even in smaller or temporary environments without any initial licensing investment, supporting agile project planning and faster deployment.

To further streamline onboarding, all newly purchased Lawo devices and HOME Apps based on HOME 4.0 or higher now include the required HOME Passes.

More information is available on the company’s website.

PARIS—Lawo has announced that it once again provided the IP-based audio infrastructure for the live sound and broadcast requirements of the French public broadcasters and the Eurovision network during their coverage of the Concert de Paris during France’s National Day celebrations on 14 July.

This AoIP setup, which included three mc²56 audio production consoles from Lawo, delivered impeccable audio quality to more than 100,000 attendees on site and millions of listeners and viewers worldwide, Lawo said.

Following the 2024 edition, which featured the arrival of the Olympic flame at the forecourt of the Hôtel de Ville, the traditional Concert de Paris returned to its iconic location at the foot of the Eiffel Tower on the Champ de Mars.

For the public address system, Lawo’s audio infrastructure was operated by a team from Radio France, led by Christophe Lukaszewski. At front-of-house position (FOH), Nadège Antonini handled the orchestral mix and FOH output using a 48-fader mc²56 console, while Stéphane Thouvenin managed the soloists and choirs on a 32-fader desk.

Stage monitoring was managed by Tahar Boukhlifa and Charles Bouticourt. They operated a 32-fader mc²56 with a 16-fader extender in a two-operator configuration with two separate control surfaces, ensuring precise monitoring throughout the performance. The setup included a redundant pair of A__UHD Core audio engines shared among the three consoles, with a redundant RAVENNA network integrating FOH and stage. A central HOME management cluster connected, managed and secured all aspects of this live production environment.

Radio France also deployed an OB truck equipped with an mc²66 MkII console to produce the audio clean feed for French radio and television, as well as for the Eurovision network. Laurent Fracchia was responsible for the broadcast mix in the OB truck (Régie 5).

The evening was broadcast live on France 2 and france.tv, and simulcast by EBU-Eurovision in more than 10 countries, making it one of the world’s largest classical music events.

A large audience gathered on the Champ de Mars to attend the performances by the Orchestre National de France, the Chœur and Maîtrise de Radio France, conducted by Cristian Măcelaru, alongside internationally renowned opera singers and soloists including Aida Garifullina (soprano), Julie Fuchs (soprano), Bruno de Sá (sopranist), Rihab Chaieb (mezzo-soprano), Benjamin Bernheim (tenor), Florian Sempey (baritone), Gautier Capuçon (cello), Dom La Nena (cello), Bomsori Kim (violin), Bohdan Luts (violin), and Saehyun Kim (piano).

Once again, the concert was immediately followed by a fireworks display from the Eiffel Tower and the Trocadéro gardens.

The event reached 2.9 million viewers on France 2 and many more on France Inter radio. It was broadcast live in numerous countries via the Euroradio and Eurovision networks, Lawo reported.

For additional information, visit www.lawo.com.

Lawo has announced that Stuttgart Media University (Hochschule der Medien, HdM) has comprehensively modernized its central recording studio after selecting an IP-based Lawo system featuring an mc²56 MkIII production console.

Configured with 32 faders, an A__UHD Core (licensed for 256 DSP channels), an A__stage64 stagebox, and a Power Core with Dante interface, the installation provides maximum flexibility for a wide range of production formats. Signal routing, device management, and configuration are handled via Lawo’s HOME management platform, which serves as the system’s operational backbone.

Audio production at HdM spans a broad spectrum—from classical chamber music, jazz and big band to film soundtracks, radio plays, and sound design for animation and gaming.

“We need a console that covers the entire workflow, from recording to mixing to post-production, and adapts easily to a wide variety of setups,” explained professor Oliver Curdt, who supervises audio productions within the Audiovisual Media program. “The mc²56 not only meets these technical requirements but also enables real-time configuration adjustments—such as adapting to more aux sends and fewer groups at short notice.”

For the whole scope of applications, the A__UHD Core provides dynamic DSP resources that can be allocated on a per-project basis—an ideal solution for an educational environment. The HOME platform enables centralized management of devices, audio streams, and users. In addition to features like user authorization, security zones, and auto-discovery of devices, HOME ensures fast access to all I/Os, regardless of their location in the network, Lawo reported.

“This simplifies our day-to-day work significantly—especially in an environment with constantly changing student teams,” Curdt notes.

Seamless integration with an existing Dante infrastructure was another key requirement for the studio upgrade. Thanks to the Lawo Power Core Rev3 equipped with a Dante interface, this integration was achieved effortlessly. The device also offers a broad range of connectivity options, including analog mic/line, AES, and MADI I/Os.

HdM’s audio-over-IP infrastructure is based on RAVENNA/AES67 and also supports SMPTE ST2110-30/31 via the A__stage64 stagebox, which provides 32 high-quality microphone preamps along with AES and MADI interfaces.

To support intuitive workflows, user-specific configurations were implemented.

“I can tailor the console precisely to my needs—from color coding and encoder mapping to freely assignable user buttons. That’s incredibly helpful in a dynamic production environment,” says Curdt.

An external control surface from Skaarhoj was also integrated, serving as a fully programmable command center for headphone routing and studio communication. Lawo’s team developed the panel configuration and user interfaces in close collaboration with HdM staff.

Another important selection criterion was the ability to manage automation with precision—especially for pop and jazz productions.

“If I want to perform A/B comparisons, I need a full-featured console with storable automation and instantly accessible snapshots for direct reference. That’s not something a DAW can offer in the same way,” Curdt emphasizes. “It’s also vital for students to learn what professional signal flow means—even if they end up working ‘in the box’ later on.”

Lawo supported the project throughout all stages, starting with the joint development of the system design and specifications during the planning phase. Installation was preceded by a multi-day factory acceptance test in January 2025, which included detailed configuration and testing procedures. This was followed by three days of training for faculty and students.

“The Lawo team combined deep technical expertise with highly practical instruction,” says Curdt. “Having a direct support channel is incredibly valuable—I can usually get a response within minutes. Remote support is reliable, and most issues can be resolved without the need for on-site service.”

With the Lawo system now in place, Stuttgart Media University is technologically up to date. More importantly, it offers students hands-on access to professional broadcast workflows—an essential foundation for successful careers in the media industry.

For additional information, visit www.lawo.com.

High End TV, a major provider of mobile broadcast and recording services, has installed a Lawo mc²56 MkIII console in its flagship mobile production truck, Symphony.

Designed for high-end concert and event as well as cinematic production, Symphony delivers an uncompromising audio workflows using Lawo;s technology

High End TV specializes in producing live concerts, where premium sound quality and reliable performance are critical. The company noted that it’s previous audio console had reached its limits. After an extensive search for a solution that could meet growing production demands, Lawo’s mc²56 MkIII was selected as the ideal choice.

“We needed a console that could handle high input counts, deliver pristine audio at 96kHz, and provide seamless integration with our existing infrastructure,” says David Habegger, A1 and system integrator at High End TV. “Lawo not only met those criteria but exceeded our expectations with its workflow efficiency and networked audio capabilities.”

The mc²56 MkIII console, equipped with a UHD core, delivers up to 256 processing channels and full support for 96kHz operation. Its comprehensive routing capabilities, seamless IP integration, and redundant multitrack recording make it an invaluable asset for High End TV’s productions.

“With the mc²56 MkIII, we have the flexibility to handle anything from a small acoustic set to a large-scale, multi-band festival – all with the same system,” adds Habegger. “And because it’s IP-native, we can expand our setup easily and integrate additional sources with minimal effort.”

A major factor in choosing Lawo was the ability to integrate effortlessly with the rest of Symphony's audio infrastructure, the companies said. The truck is equipped with A__stage64 stageboxes and a Power Core Rev3 AP Gateway, ensuring high-quality analog and Dante connectivity.

“The ability to move signals across our network without running massive amounts of copper was a game-changer,” says Adam Mills, engineer-in-charge at High End TV. “With Lawo’s HOME platform, we get a streamlined, intuitive interface for configuring and managing the system—something we didn’t have before.”

HOME, Lawo’s IP management ecosystem, also allows for simplified device discovery and control, significantly reducing setup time and complexity. “The ability to route, monitor, and manage all our audio sources in real time is incredibly powerful,” Mills adds.

Lawo’s seamless Waves integration was another key factor in High End TV’s decision. The truck’s Waves LiveBox server is fully controlled from the mc²56 MkIII surface, allowing engineers to access advanced plug-in processing directly from the console.

“With Waves integrated natively into the console, we’re able to fine-tune every mix with high-end processing tools, without needing additional hardware or workarounds,” Habegger explains. “That’s a huge advantage, especially when working on time-sensitive live productions.”

The combination of 96kHz operation and Genelec 5.1 surround monitoring ensures that every mix translates accurately, whether it’s for a live audience, broadcast, or recording.

“This setup gives us confidence that what we hear in the truck is exactly what’s being captured,” says Mills. “When you’re mixing at this level, every nuance matters, and Lawo helps us deliver the best possible results.”

Beyond its audio performance, the mc²56 MkIII console was chosen for its build quality and durability – a crucial factor for a mobile production truck that travels extensively, the companies reported.

“We first encountered Lawo consoles at Brentwood Baptist Church in Nashville, and we were immediately impressed by the build quality,” recalls Habegger. “The buttons, knobs, and faders are solid. This console is designed to last, even when it’s bouncing down the road from show to show.”

Moreover, Lawo’s modular DSP architecture allows engineers to reallocate processing resources as needed, ensuring that the system can adapt to different production requirements.

“Having the ability to scale up when needed, without overhauling the entire system, gives us a future-proof solution,” says Mills. “Lawo has become a standard in high-end entertainment production, and we now understand why.”

Since its commissioning in November, Symphony has been used on major productions, including the T-Mobile SEC Opening Show and the Mayday T-Pop Concert. “Every element of this truck was designed to be best-in-class, from cameras to lenses, from switchers to speakers,” says Habegger. “Lawo sits right at the heart of it all, giving us the audio performance we need to deliver flawless productions, every time.”

Based in Nashville, Tenn., High End TV provides cutting-edge mobile production services for concerts, festivals, and broadcast events. With a reputation for quality and innovation, the company specializes in high-end video and audio production, offering 4K HDR and 35mm cinematic workflows with best-in-class equipment. More information is available at www.highendtv.com.

TV Tech: What do you anticipate to be the most significant technology trends at the 2025 NAB Show?

Chris Scheck: One important trend no doubt is the migration towards hardware-agnostic processing on COTS servers and in the public cloud. The CPU and GPU technology employed for this is evolving at such a staggering pace that building one’s own proprietary hardware simply no longer makes sense. Lawo prefers to stand on the shoulders of giants in this respect. This trend is already accelerating the virtualization of live production workflows, with more and more processes providing more creative and flexible options than the hardware from which the original concepts may have been derived. The new implementation options are so diverse, however, that simply lifting and shifting existing approaches would cause users to miss out on the most interesting bits, hence the importance of a future-oriented microservice approach.

AI will probably be announced or claimed by many in one way or another. It certainly deserves the industry’s full attention. But so does AR for production, and that is being addressed by Lawo Workspaces.

TVT: What will be your most important product news?

CS: Lawo’s most important product news will be HOME Apps with an integrated “Workspace” user interface, under the “do more with less anywhere” motto. Built for specific tasks, Workspace UIs run in the HTML5 browser on your laptop, tablet, phone and your AR headset, for untethered yet perfectly secure pro-grade operation. Each UI controls a full-time HOME App running on a COTS server somewhere in the world, with minimal latency and robust security. The HOME Commentary app is downright spectacular: it is a virtual, broadcast-grade commentary station for off-tube and in-venue jobs. In its simplest form, it can be operated with a USB-C microphone and a pair of headphones for world-class storytelling.

Two additional HOME Apps with Workspace UIs will also be on display: HOME Video Monitor, which delivers low-latency video monitoring for busy broadcast/AV professionals; and HOME mc² crystal Controller, which acts as the missing link for high-end audio mixing scenarios involving crystal consoles.

The new HOME Power Core app, for its part, leverages the agility of Lawo’s HOME Apps platform to provide instant processing, mixing, routing and monitoring for radio and TV workflows. Derived from Lawo’s physical Power Core unit, this app allows users to choose among a compact, a large, and an XL instance to make optimal use of the available CPU power.

TVT: How is your new product different from what’s available on the market?

CS: HOME Apps with a Lawo Workspace add a new dimension to how HOME Apps can be used to contribute to the content creation chain. While more such apps are already in the pipeline, the HOME Commentary app makes it easy for commentators and sports celebrities to contribute to the live coverage of events from their homes, their holiday resorts, etc. This was already possible, but it used to require quite some hardware that had to be configured beforehand.

All new HOME Apps are, of course, members of Lawo’s unified, open platform whose core mission is to provide content creators with at least one workflow—usually multiple workflows—for each building block along the storytelling journey. As more functionality is delivered via servers, operators benefit from more flexibility and agility, as well as the convenience of shrinking data centers.

TVT: What is it about NAB Show that brings you back every year?

CS: NAB Show is one of the main trade shows in North America. It is where the industry introduces new products and where new projects and cooperations are discussed and signed. No industry pro can afford to miss NAB Show.

BERLIN—Studio Berlin upgraded audio production capabilities onboard its Ü2 OB truck based on Audio-over-IP (AoIP) technology in time for production of the 75^th Berlinale Film Festival.

The upgrade included a 48-fader Lawo mc²56 MKIII console that replaced the production unit’s existing mc²66 mixing desk. The upgrade also required expanding an existing Lawo VSM system to optimize control over the IP-based broadcast infrastructure as well as the addition of Lawo A__stage units used as I/O devices and the HOME mc² DSP App, which provides 256 DSP channels, the company said.

“With the HOME mc² DSP App, we can manage DSP resources flexibly and efficiently—an essential improvement for our workflow. This is particularly crucial as we continue to upgrade and expand our studio facilities and control rooms,” said Mathias Heinrich, head of audio at Studio Berlin. “Virtualization eliminates the need for dedicated DSP hardware, which not only saves space but also provides exceptional flexibility in configuration and scalability.”

Completed in time for the film festival, which began Feb. 13, the truck was used to produce the event’s opening ceremony and its awards gala Feb. 22. The productions were live-streamed and later broadcast by Rundfunk Berlin-Brandenburg (rbb) as well as ZDF/3sat. In collaboration with X Verleih, the opening gala and premiere film were also transmitted live to seven cinemas across Germany.

During the upgrade it was important to integrate the new technology seamlessly into Ü2’s existing 3G-SDI workflow.

“The challenge was to replace a well-established infrastructure with emerging, continuously evolving technology,” said Studio Berlin audio engineer Leonard Weißhahn. “The HOME mc² DSP App has proven to be a solid, future-proof solution. It delivers the renowned Lawo quality and performance while offering a valuable learning and development opportunity for both Lawo and Studio Berlin.”

The move of AoIP required efficient routing of all relevant audio signals as well as seamless communication between the mc²56 MKIII console, A__stage units and the redundant DSP App. The existing Lawo VSM system played a crucial role by providing centralized control of the entire infrastructure and enabling intuitive workflow optimizations, it said.

The truck’s new IP-based support simplifies setup and making adjustments for productions. “Previously, modifying signal processing during large-scale productions was a challenge,” said Heinrich. “With the HOME mc² DSP App, we can make real-time adjustments as needed without reconfiguring physical hardware, saving both time and resources,” said Heinrich.

The HOME mc² DSP App enables optimized signal processing, superior audio quality and flexible resource management. “We now have a production environment that meets current demands while being fully prepared for future developments in the broadcast sector. At the same time, we are gaining valuable insights together with Lawo as we navigate this exciting technological transition,” said Weißhahn.

More information is available on the company’s website.

The physical function of audio mixing remains relatively unchanged today despite technology’s onward march. There are now many ways to mix studio and outside source signals for live broadcasts, but the familiar console with faders, meters and turnable knobs is still a reassuring presence in most sound suites. That’s not to say there have not been considerable changes in the background, with processing and routing racks now commonly situated either in a separate equipment room or, increasingly, replaced by software in the cloud.

As Lawo Senior Product Manager for Audio Infrastructure Christian Struck observes, the implementation of powerful IP networking has directly impacted soundboards. “The trend in audio mixing is shifting toward integration with broader IT-based infrastructures,” he says. “This includes the adoption of data-center architectures and the use of commodity, off-the-shelf server hardware. Essentially, audio mixing is no longer a standalone activity but part of an ecosystem emphasizing agility, scalability and flexibility.”

“All major live production mixer manufacturers” now produce consoles that run on standard CPU hardware and are more in line with IT environments than proprietary broadcast systems, Struck explains. On an operational level, he adds, there is “noticeable demand” for higher channel counts in tandem with support for Next Generation Audio (NGA) formats.

Distributed Production
The configuration of an audio desk is often dictated by its application. When it comes to live news, Wheatstone Senior Sales Engineer Phil Owens says, the mission remains much the same as it has been—providing reliability and ease of use along with necessary support for various live in-studio functions, such as automation and remote contribution.

“Audio systems must be flexible enough to support different dayparts, from a newscast with two anchors, sports and weather to a full panel discussion or a single shot news break-in,” Owens says. “New systems are able to recall the sources—remote or local—and settings needed for these and other possible workflows.”

Any discussion of audio console technology over the last two to three years has inevitably included the cloud and distributed production. Henry Goodman, director of product management at Calrec Audio, describes them as the two strands of the main trend in this area.

“Distributed production environments are where a lot of broadcasters can see added value for their businesses,” he says. “The extension of remote operation to wider distributed production and the ability to utilize resources at will—both in terms of hardware and equipment resources as well as people, in a more efficient way—to produce more content is clearly a process many broadcasters are having to go through for commercial reasons, rather than just because it’s a new technology.”

Calrec recently launched ImPulseV, its first mixer dedicated to the cloud, based on a virtual audio mix engine with cloud-based DSP software hosted in AWS. While Goodman says there are “fairly forward-thinking broadcasters” now considering this way of working, he does not agree that the console or control surface has become secondary to the virtual processing and mixing setup.

“My view is almost the inverse of that,” he explains. “Once you’ve put your DSP in a cloud environment, a lot of people start to think about that processing as more generic. The differentiator comes down to how the operator uses it and the surfaces and control systems they’re sitting in front of.”

Wheatstone is “seeing a small uptick in demand” for virtual consoles to control audio hardware, according to Owens. “Touchscreens do offer some advantages, such as fewer moving parts, making them easier to maintain or replace, plus lower cost,” he says. “But most audio operators still prefer the ‘fader in hand’ approach. Of course, that may change as more of the ‘iPhone generation’ step into board op roles.”

The transition toward cloud-based DSP and remote production workflows has introduced more agile and distributed approaches to audio mixing, including the use of virtual control surfaces and computer-
based mixing, according to Struck.

“However,” he adds, “for large-scale, high-profile events such as international sports broadcasts, consoles in the tradition of haptic faders and real rotaries and buttons remain essential. Controllers and in-the-box workflows have gained traction for less demanding or smaller-scale productions but they cannot replace the traditional console in high-pressure scenarios.”

What’s Hot, What’s Not
Whether physical or virtual, all modern consoles—and their manufacturers—support immersive audio, which usually means Dolby Atmos. While the big streaming services—notably Netflix and Amazon Prime Video—specify Atmos for high-end drama, as Struck points out, it is still not yet a standard requirement for broadcasters and most streamers. “The interest in immersive audio workflows remains confined to a smaller portion of customers,” he says.

Goodman wonders if much of the viewing public takes advantage of what immersive audio is available, adding that “the vast majority of distributed content” is still not in the format. Even less exploited, in Goodman’s opinion, is the use of object-based audio (OBA) to personalize broadcast audio.

“Alternative languages are the obvious application,” he says, “but in sports coverage, OBA can also offer a choice of commentary and a different mix relating to the team a viewer supports. It’s still not very commonplace, for a number of reasons—the main one being it’s not cheap to do, because you’re effectively creating another mix. How you would commercialize it is another question.”

Some sports broadcasters have picked up features of OBA, but it is not a priority in other areas. “We haven’t seen [demand for] that,” Owens says. “But we deal primarily with live news. OBA requires more from audio systems in terms of an expanded number of sources and the ability to pan in new directions. I’m sure that will become a need at some point but I would put it in the scope of five to 10 years.”

Personalization is not the main reason to adopt NGA/OBA, Struck adds. “What we see is a growth of the channel count, from 5.1 to 5.1.4 or 7.1.4 and higher rather than broadcasters striving to achieve an OBA workflow with personalization,” he says. “It is an emerging trend, however, and the shift to OBA workflows has already redefined expectations for mixing consoles, particularly in terms of resource management and operator assistance.”

The mixing console has come a long way in a relatively short period of time. It will doubtlessly continue to evolve over the coming few years, while, based on recent developments, remaining very much itself.

Lawo has announced it will be showcasing a variety of IP-based solutions at ISE 2025 in Barcelona (Feb. 4-7) at booth 5H700.

During the show, Lawo said that it would demonstrate how its IP-based solutions deliver unmatched performance and flexibility for a variety of applications, including facility infrastructure, corporate applications, live productions, stadiums, parliaments, theaters and opera houses for AV and production.

More specifically, Lawo said that on Feb. 4, 5 and 6 at 4:30 p.m., its booth will feature clients discussing their experiences with Lawo’s IP solutions. The presenters speaking at Lawo’s booth were directly involved in the planning, installation, and operation of the systems, and agreed to share their experience and insights.

La Monnaie (Brussels) will present the cutting-edge AV tools it used for its immersive-audio “Fanny and Alexander” production and Teatro Real (Madrid), one of the world’s most renowned opera houses, will discuss using its three mc²56 consoles powered by six redundant A__UHD Core audio engines for a variety of sophisticated production workflows. In addition, the Gran Teatre del Liceu (Barcelona) will present the venue’s roadmap for immersive and highly sophisticated audio and video productions.

Visitors are encouraged to register here.

Also during ISE, visitors will also see the crystal broadcast console, a compact and highly adaptable mixing solution built on RAVENNA/AES67 networking standards. Fully compliant with SMPTE ST2110-30/-31 for audio and ST2022-7 for redundancy, the crystal console supports a wide range of audio sources, including AES67, MADI, analog, AES3, and Dante.

The crystal console operates in two distinct modes, providing unmatched versatility. In Power Core mode, it acts as an independent mixer powered by Lawo’s Power Core engine, a software-defined, high-density DSP and modular I/O device that supports expandable connectivity for a variety of audio formats. This configuration is ideal for traditional broadcast environments and ensures seamless scalability.

In Controller mode, the crystal console becomes part of a larger production setup by serving as an extension interface for Lawo’s mc² audio production consoles.

Designed to fit into space-constrained environments, the crystal console features a high-density control surface in light and dark versions and configurations with 6, 8, or 14 faders. Its expandable I/O and customizable Virtual Extensions make it ideal for small to mid-sized studios, regional broadcast operations, or as an auxiliary controller in large-scale setups.

Lawo will also showcase the mc²36 audio production console, a versatile tool for theaters, houses of worship, live events, corporate settings, and broadcast applications. With integrated A__UHD Core functionality, the mc²36 delivers 384 processing channels, native support for ST2110, AES67, RAVENNA, and Ember+, and an impressive I/O capacity of 864 channels.

Key features include touch-sensitive rotary controls, LiveView video thumbnails, color TFT fader-strip displays, and advanced loudness monitoring compliant with ITU 1770 standards. Its compact footprint and user-friendly design make it the ideal solution for demanding audio production environments where space and performance are critical.

Also on display will be Lawo’s HOME Apps. Built on a microservice-based architecture, these apps provide unparalleled flexibility for media workflows, supporting mixed technologies and formats such as SMPTE ST2110, JPEG XS, NDI, SRT, Dante and H.264/H.265.

The app family of 10 includes the HOME Multiviewer, UDX Converter with HDR processing, and Graphic Inserter for seamless video and graphic workflows; the HOME mc² DSP App delivers powerful audio processing with features such as advanced EQ and dynamics control, while the HOME Test Pattern Generator, Color Corrector with HDR capabilities and Timecode Generator offer indispensable tools for live and post-production environments. The HOME Downstream Keyer, the most recent addition, provides sophisticated video overlay capabilities, making it ideal for dynamic live productions.

Running on standard servers, whether on-premise, in remote data centers, or in the public cloud, HOME Apps redefine media processing by combining scalability with efficiency for outstanding agility in production workflows. Their adaptability ensures they remain viable as new technologies and formats emerge, making them an essential component of modern media infrastructures.

In addition, Lawo’s HOME unified, open management platform for IP-based media infrastructures is designed to connect, manage and secure. Natively built on a cloud-ready microservices architecture, it enables users to connect, manage and secure networked production setups from the ground up.

Furthermore, it provides centralized access to, and control over, all Lawo gear within a setup. HOME helps broadcast professionals address some of the most demanding requirements of modern IP infrastructures, including automated discovery and registration of devices, connection management, flow control, software & firmware management, scalability and security.

Lawo’s HOME platform is based on open standards, e.g. SMPTE ST2110, NMOS, IEEE802.1x and RADIUS, and follows LUX, Lawo’s unified experience design principles for a consistent workflow across all Lawo IP solutions.

More information is available at www.lawo.com.

RASTATT, Germany—Lawo has begun shipping v12.0.0 software for its current mc² mixing console systems with native support for the HOME mc² DSP App that runs on generic CPU platforms using cloud-native technologies and an increase in the mc²36 MkII console’s processing channel count to 384.

HOME mc² DSP, Lawo’s audio processing HOME App for mc² mixing console systems, is an alternative offering to the A__UHD Core processor in a CPU-based package for production workflows based on Lawo’s unified, open HOME platform where operational agility is key. It runs on generic CPU processors and offers next-level granularity for Lawo’s mc²-grade DSP processing, the company said.

The HOME mc² DSP audio engine provides the familiar mc²-style signal processing architecture; support for mono, stereo, 5.1 and immersive formats; and the ability to handle up to 2,048 input processing channels. Other highlights include 256 aux busses, 96 groups, 96 sums, support for 32 automix groups, a downmixing function for stereo, 5.1 and immersive processing channels, as well as a co-mixer feature for monitoring and other collaborative purposes, it said.

The latest version adds 128 processing channels to Lawo’s standalone mc²36 MkII console with on-board A__UHD Core technology for a total of 384 (previously 256) channels with up to 256 busses. This expansion is free of charge and requires no additional license for mc²36 MkII consoles, it said.

The release also includes all of the features introduced with v10.12.0, such as improvements to channel assignments and management, Waves integration, a more intuitive user experience and increased security features under EBU R143 cybersecurity guidelines. Users who haven’t yet installed v10.12.0 may install software release 12.0.0 directly to access all features introduced by versions v10.12.0 and v12.0.0, the company said.

Release notes for v12.0.0 and v10.12.0 are available online.

More information is available on the company’s website.

SINGAPORE—Mediacorp, Singapore’s largest media conglomerate, has selected Lawo’s advanced IP broadcast technology for its alternative broadcast center (BBTC) as part of its move towards IP-based infrastructure.

Mediacorp, which operates a range of television channels, radio stations, and digital platforms, is using BBTC as a testbed for full IP redundancy as part of an upgrade of its main campus at One North. This project was largely carried out by systems integrator BCI.

Lawo’s solution links four studios to the master control room (MCR). The MCR is powered by two fully redundant Lawo Power Core units, providing expansive routing and DSP capabilities. Each Power Core is connected via fiber to AIOX (Audio I/O Extender) units, ensuring secure, high-capacity audio I/O across the network. The redundant media network ensures continuous operations with automatic failover protection, delivering a crucial benefit for broadcasters looking to eliminate downtime in mission-critical environments, Lawo said.

In the studio setup, each of the four studios is equipped with a 12-fader diamond broadcast console. The modular diamond console, designed for scalability and ease of use, leverages the DSP power of its Power Core unit, offering sophisticated audio routing and processing capabilities. The seamless IP connectivity between the studios and the MCR ensures that Mediacorp’s operators benefit from a streamlined, networked workflow that enhances efficiency and flexibility.

In addition, VisTool, Lawo’s virtual radio studio control environment, gives engineers full visibility and control over the entire system from a single interface. Its intuitive design allows for real-time monitoring and management of the Power Core units, helping broadcasters easily control routing, DSP, and other crucial functions in complex multistudio environments.

The AIOX extenders bring additional benefits by significantly reducing the footprint and power consumption of the installation. Each 1RU AIOX unit provides up to 64 channels of audio I/O, offering a high-density solution that can consolidate large amounts of I/O into a compact space. This delivers a significant benefit for broadcasters aiming to optimize both cost and space in equipment rooms.

BCI, the systems integrator for this project, played a vital role in overseeing the implementation and configuration of the new system. BCI has been instrumental in bringing state-of-the-art broadcast technology to the region and has a proven track record of successfully delivering complex broadcast projects, Lawo said.

The fully redundant media network guarantees operational reliability, the companies said, while Lawo’s scalable, modular products ensure that the BBTC is well-prepared for future expansion. This installation supports Mediacorp’s current operational requirements and serves as a steppingstone for future deployments at their main campus.

For more information on the technology used in this project, visit www.lawo.com.

RASTATT, Germany—Lawo has introduced software version 10.12 for its latest mc² audio production consoles. The new version featured significant improvements in channel management, Waves integration, user experience and system security.

Designed for professionals in demanding audio environments, this update will provide users with improved efficiency, flexibility, and production reliability, Lawo reported.

One of the key updates in version 10.12 is the new Strip Assign page, which streamlines channel management.

The page offers a modern, intuitive interface that makes assigning channels to fader strips quick and easy, Lawo said. Users can assign single or multiple channels in one step and effortlessly reassign, duplicate or swap channels between strips. The page also allows for the direct customization of channel labels and fader strip colors, making it simple to tailor the console layout to the user’s preferences, Lawo said.

A clear, visual representation of the console banks ensures the number of sections matches the number of physical bays, offering an organized view that supports fast navigation. This update saves valuable setup time and ensures operators can navigate their systems more efficiently during both live and studio operations, Lawo said.

Version 10.12 also brings substantial improvements to the integration between mc² consoles and Waves systems through the new ProLink protocol. This update replaces the older RFC protocol and enhances communication between mc² consoles and Waves SuperRack 14 systems. Label synchronization is now automatic, reducing manual entry errors. Additionally, the new access channel linking feature allows engineers to open a connected Waves Rack with a single button press on the mc² console. This provides quick access to plug-in adjustments and streamlines the workflow, making it easier for engineers to focus on delivering high-quality sound without navigating between systems, Lawo reported.

The user interface and workflow have also been improved with version 10.12. The Signal List now includes new visual indicators that clearly show the status of Aliases, Waves, and Loopback connections, simplifying the management of signal paths. These updates enhance the clarity of signal health and connectivity, providing immediate feedback on the status of each signal. The new icons and updates to the signal list help operators manage complex, multi-console setups with greater ease, Lawo said.

Version 10.12 also strengthens system security with advanced features aligned with EBU R.143 cybersecurity guidelines. It introduces new password policies, including enforced expiration, complexity requirements and the elimination of default passwords, ensuring a higher level of protection. Private/public key authentication is now available for secure access, minimizing risks associated with password management. The update also includes simple, guided procedures for password resets, making the process straightforward while maintaining robust security measures for the system, Lawo reported.

Software version 10.12 is available now for all compatible mc² audio systems, offering audio professionals enhanced control, security, and operational efficiency.

For more information or to download the update, go to mc² Release Notes - 10.12.0 .

VIENNA—Lawo and the University of Music and Performing Arts Vienna (MDW), one of the world’s most renowned music universities and a leader in audiovisual education, said the school has installed a Lawo mc²36 MkII all-in-one mixing console at its Institute of Composition, Sound, and Music Production, which trains audio engineering students.

The recent upgrade of Studio B, used for teaching classical music production, with the mc²36 MkII all-in-one mixing console follows the installation of a Lawo mc²56 MkIII in Studio Control Room 1 (Tonregie 1) in August 2023.

In announcing the update, Lawo and the school said classical music recording and postproduction demand a mixing console that can be flexibly and precisely configured to meet specific requirements. This capability allows engineers to manage a vast number of channels simultaneously, capturing the intricate sonic textures of orchestras and vocals with precision.

“The introduction of the mc²36 MkII enables us to train students at the highest technical level while preparing them for the unique challenges of classical music production,” Hans Döllinger, studio director at the Future Art Lab in the Institute, said. “The console’s powerful DSP capabilities and flexible configuration options offer the precision and adaptability required for our projects. Additionally, the widespread use of Lawo’s mc² consoles in public broadcasting, opera houses, and theaters significantly eases the transition for our graduates into professional careers.”

The high-performance mc²36 MkII provides 256 processing channels at 48 and 96 kHz, alongside an I/O capacity of 864 channels, delivering exceptional flexibility for concert and opera mixing. Its versatility makes it an ideal solution for students learning both music recording and postproduction across diverse scenarios, Lawo said.

With its IP-based architecture and native support for IP Easy/HOME plug-and-play management, the mc²36 MkII integrates seamlessly into MDW’s existing network infrastructure. The console enables straightforward audio-over-IP workflows, including point-to-point stagebox connections, without requiring additional network hardware. Studio B supplements the console’s robust local I/O with a DirectOut Prodigy for expanded connectivity.

“This combination ensures superior sound quality,” said professor Pauline Heister, who oversees the classical audio engineering program.

The mc²36 MkII not only delivers high-quality audio processing for classical music but also offers innovative features vital for education, Lawo said.

Its intuitive interface, featuring color-coded TFT fader strips and touch-sensitive rotary controls, makes it easy for students to navigate, enhancing their learning experience. Full-HD touchscreens provide precise visual feedback, offering a clear overview of audio channels and levels. Additionally, all DAWs can be seamlessly integrated via a secondary monitor.

“With the mc²36 MkII, we provide students with hands-on experience on a state-of-the-art console that equips them for professional audio production while preparing them for the demands of modern theater, music, and broadcast environments,” Döllinger said.

“We observe that our students quickly adapt to operating the mc²36 MkII while also developing critical problem-solving skills as they configure complex routings or network connections in applying logical thinking. This provides ideal preparation for future challenges in their careers,” added Professor Heister.

Configured at Lawo’s facility in Rastatt, Germany, the mc²36 MkII was delivered in June, installed in July and fully integrated into MDW’s infrastructure by August through a collaborative effort.

The Lawo mc²36 console completes the Institute of Composition, Sound, and Music Production’s comprehensive educational offerings. While Studio C features an analog console and Studio A employs a controller-based setup, Studio B now fulfills the goal of training students on a high-end digital console with Lawo’s technology.

Lawo has named John Palma as senior sales manager for media infrastructure in the U.S.

Palma brings more than 35 years of experience in strategic sales and business development within the broadcast industry, where he has built longstanding customer relationships, created strategic sales plans and executed projects from initial concept through to final installation, Lawo said.

Prior to joining Lawo, Palma held roles at EVS Broadcast Systems, Grass Valley, Tektronix and Diversified, where he managed large-scale sales operations across the Northeast and Midwest, partnering with key broadcasters such as NBCUniversal and Fox Networks Group.

“We are delighted to welcome John to our North American sales team,” Lawo Senior Vice President, North American Sales Forrest Sussman said. “His extensive experience in the broadcast industry, coupled with his genuine commitment to his customers’ success, aligns perfectly with Lawo’s dedication to providing outstanding service and support. John’s insight and depth of knowledge will be invaluable as we continue expanding Lawo’s footprint in the U.S..”

In a statement regarding his new position at Lawo, Palma said: “I’m thrilled to be part of an organization that combines cutting-edge technology with a genuine dedication to customer success. Lawo’s solutions are not only innovative but also designed with the real-world needs of our industry in mind. I look forward to working closely with our clients and helping them achieve new levels of excellence.”

More information on Lawo is available at lawo.com.

HANNOVER, Germany—TVN Live Production is using a variety of solutions and technologies from Lawo in its new TVN-Ü8UHD OB truck, which it unveiled at this year’s IBC Show.

Equipped with cutting-edge Lawo AoIP (audio-over-IP) technology, the TVN-Ü8UHD is designed to meet the demands of the most complex Ultra High Definition (UHD)/High Dynamic Range (HDR) and 3D audio live productions.

“The TVN-Ü8UHD represents a new milestone in outside broadcasting,“ TVN Live Production CEO Markus Osthaus said. “Thanks to our partnership with Lawo, we can offer a solution that delivers unparalleled flexibility and scalability while maintaining the highest standards in UHD/HDR video and 3D audio production. For audio, Lawo’s IP technology is at the heart of this capability, enabling us to meet the growing demands of complex, large-scale productions.”

Central to the TVN-Ü8UHD is Lawo’s IP infrastructure, including VSM (Virtual Studio Manager), Lawo’s IP Broadcast Control and Workflow Solution. The OB van’s audio capabilities are anchored by two Lawo mc² mixing consoles: the Lawo mc²56 MkIII with a redundantly designed A__UHD core audio engine, and the Lawo mc²36 MkII All-in-One console with internal A__UHD core technology, guaranteeing seamless and fail-safe operation even during the most demanding productions.

The two companies said includingLawo’s mc²56 MkIII and mc²36 MkII consoles allows for precise and flexible handling of 3D audio, Dolby Atmos and other advanced audio formats. This capability is vital for large-scale sports and entertainment events where the highest audio quality is required. The mc²56 MkIII, with its fully redundant A__UHD core, provides an unmatched processing power of 1,024 DSP (digital signal processor) channels, offering reliable, ultra-low latency signal routing and real-time monitoring. Combined with the mc²36 MkII’s compact-yet-powerful design, the TVN-Ü8UHD delivers exceptional audio mixing flexibility and quality, from pre-production to the final broadcast.

The Lawo IP infrastructure offers complete networked audio solutions, ensuring that multiple independent signals can be processed simultaneously. This is crucial for events requiring diverse parallel workflows, enabling HD and UHD production in tandem. Additionally, Lawo’s IP technology allows for full redundancy, providing the reliability essential for live broadcasting environments, Lawo said.

Designed for flexibility, the TVN-Ü8UHD also features an innovative multifunctional workspace. With 39 workstations across 120 m², the OB van is fully equipped to handle the complexities of today’s most challenging broadcasts. The integration of Lawo’s networked systems ensures every broadcast workflow, from signal acquisition to distribution, is efficient, scalable and tailored to the production’s specific needs. The vendor-agnostic Lawo VSM broadcast-control system integrates with the OB truck’s broadcast equipment and can orchestrate and control the entire production network, simplifying workflows and minimizing setup time.

The TVN-Ü8UHD has also been designed to meet the heightened standards needed for more immersive audio experiences, the two companies said. Lawo’s mc²56 MkIII is optimized for Dolby Atmos and 3D audio workflows, providing full support for the 5.1.4 monitoring setup used in the truck. With acoustically calibrated audio spaces and Lawo’s state-of-the-art processing, TVN’s production teams can deliver the most immersive audio experiences to audiences worldwide, whether for sports, concerts or large-scale live events, Lawo said.

RASTATT, Germany—Lawo said it hired Nick Pemberton as global partner, business development director, responsible for leading the strategic and commercial development of the broadcast and media technology company’s global partner ecosystem.

“This role is strategically important and is a testament to Lawo’s commitment to strengthening our partnerships across the globe,” Lawo Deputy CEO Jamie Dunn said. “Nick brings a wealth of experience in building successful alliances and driving partner-focused growth strategies. His leadership will be vital as we continue to expand and optimize our partner ecosystem.”

Pemberton comes from Avid Technology, where he led the EMEA channel partner management team, according to Lawo. He also held international leadership posts with Sennheiser and Harman.

A 20-year industry veteran, Pemberton earned a bachelor’s degree in sound technology from the Liverpool Institute of Performing Arts. He began his career as a sound engineer.

“I’m very excited to join Lawo and lead the development and drive the success of our global partnerships,” Pemberton said. “I am highly motivated by the role, culture and Lawo’s dedication to innovation which encompass my personal and professional values and passions.”

More information is available on the company’s website.

Lawo, the German manufacturer of pioneering IP audio, video, and control infrastructure solutions, has announced the appointment of Bryce Boynton as the new sales manager for audio production within the Lawo U.S. Sales Team.

“We are thrilled to have Bryce support our U.S. sales team with a dedicated focus on audio production,” said Forrest Sussman, Lawo’s senior vice president sales North America and head of sales Americas. “His deep understanding of audio technology and industry trends will be instrumental in driving our growth and success in the North American market.”

Boynton brings nearly two decades of experience in the audio technology industry, having held various significant roles throughout his career. He holds a diploma in audio recording, several industry certifications, and a Bachelor of Arts in Music with a focus on music performance. 

Boynton began his career recording classical music as a Senior Audio Recording Engineer at the Aspen Music Festival and School, which laid the foundation for his subsequent sales roles at DPA Microphones and Redding Audio. At Flatirons Community Church, he served as Audio and Production Director, where he oversaw all audio and production operations. Subsequently, he took on the post as a Senior AV Project Manager for ME Engineers, where he managed large-scale AV system designs for major sports facilities, including clients in MLS and the NHL. Throughout his career, Bryce has enjoyed freelance mixing, training, and performing as a pianist and bassist.

“I am passionate about helping artists and engineers who leverage technology to efficiently and effectively align creative vision and create amazing content”, explained Boynton. “I really enjoy the mixing process using such precise and powerful tools, and I am thrilled to be able to share my experience with others.”

In his new role at Lawo, Boynton will focus on enhancing the company’s presence in the audio production market across the U.S. He will be responsible for developing and executing sales strategies tailored to the unique needs of audio professionals, ensuring that Lawo’s innovative solutions reach a broader audience. His experience in systems integration and market knowledge will be crucial in helping Lawo’s audio customers achieve their goals with cutting-edge technology.

“I’m proud to be a part of the Lawo US Team, and I see this as an opportunity to make a meaningful impact in the audio industry,” said Boynton. “Lawo has always been synonymous with high-quality products and innovative solutions, and I am excited to contribute to the company’s growth. I believe my experience and insights will help our audio community thrive and succeed with Lawo’s state-of-the-art offerings.”

Bryce will be based in Denver, Colorado and can be reached via email at bryce.boynton@lawo.com. 

Remote production has helped improve media companies’ bottom line ever since it went from being a “want to have” before 2020 to a “need to have” in this post-pandemic world. By now, many of us have become more aware of the advantages of producing live events remotely but they bear repeating: cost savings, flexibility and scalability, access to a wider pool of talent and improved collaboration that leads to more seamless productions that can, in turn lead to increased viewership.

In our latest Guide to Remote Production, we offer insight and case studies that will help you better understand the trends and management techniques that are making remote media production a reality for more broadcasters than ever before.

Click here to download your free copy.

Lawo has announced that its HOME Apps platform now hosts nine essential processing apps, effectively doubling the previous offering—with more apps to follow in a few weeks. 

All run on the same HOME Apps platform and offer the convenience that they can be configured and shared among locations using Lawo’s HOME management platform. The current line-up reads as follows: HOME Multiviewer, HOME UDX Converter with HDR processing, HOME Stream Transcoder and HOME Graphic Inserter are joined by the first audio app, HOME mc² DSP, HOME Test Pattern/Test Tone Generator (TPG), a powerful HOME Color Corrector with HDR Processing, a must-have HOME Timecode Generator, and HOME Delay for alignment purposes, the company reported. 

“Lawo’s HOME Apps platform exemplifies the inherent value of the Second Wave of the broadcast industry’s IP journey,” says Phil Myers, Lawo’s CTO. “Decoupling container-based processing from the hardware that computes it offers next-generation benefits.”  

These include the ability to seamlessly scale to different and/or more powerful generic compute platforms and architectures, to expand the feature set of existing apps at short notice, to instantly start and stop HOME Apps, and to intuitively “assemble” cutting-edge processing blocks with a choice of microservice-based components. The underlying agility of this highly modular process is abstracted by HOME’s intuitive user interface. It allows users to make a number of straightforward choices regarding transport formats (SMPTE ST2110, SRT, NDI, Dante), inputs and outputs, and more, for the HOME App processing functionality they are configuring, Lawo said.  

Lawo also stressed that enhancements and changes to existing building blocks are easy to implement. This built-in agility furthermore allows Lawo to release new system versions at intervals that would be unsustainable for traditional monolithic hardware-based systems. 

“To fully leverage the value that is being added to the HOME Apps platform on an almost weekly basis, Lawo recommends licensing HOME Apps through Lawo Flex Subscriptions,” adds Jamie Dunn, Lawo’s deputy CEO. “Users of Flex Subscriptions enjoy the flexibility to use all existing and future HOME Apps for frequently changing production requirements on a fixed budget.” 

Lawo’s Flex Subscriptions even go beyond the HOME Apps platform: they can also be used to unlock optional functionality on .edge and within HOME itself. 

Lawo made the announcement at IBC 2024.  

For additional information, visit www.lawo.com. 

PORTLAND, Ore.—Audinate Group has announced that cloud-based solutions from Calrec, Gallery Sienna, LAMA, Lawo, and Telos Alliance have been added to the growing list of applications that support native Dante audio in cloud-based production workflows. 

The recently released SDK for Dante Connect enables software developers to build Dante audio transmission and reception natively into their cloud-based applications, Audinate reported. 

Calrec, Gallery Sienna, LAMA, Lawo, and Telos Alliance join the expanding ecosystem of cloud-based software applications to choose direct integration of Dante into their applications. Integrating Dante directly into cloud-based applications enables end customers to connect any existing Dante hardware or software to cloud-based software applications using Dante Connect, the companies said. 

These new Dante integrations give broadcasters and audio engineers a vast array of new products to choose from when building cloud-based Dante audio production workflows. 

The new integrations join existing Dante-native cloud-based tools from Solid State Logic and Waves, as well as solutions connected by Dante Virtual Soundcard from Grass Valley, Harrison, Riedel, and Vizrt. The ecosystem now includes eleven professional tools that broadcasters can selectively integrate into their workflows, Audinate reported. 

Following its development preview at NAB 2024, Calrec joins Audiotonix’s sister company, Solid State Logic, with the integration of a cloud-based DSP mixing engine and software on demand, which will make its debut at IBC 2024 in Amsterdam. Calrec’s ImPulseV, hosted entirely in a public cloud environment like AWS can be accessed from anywhere in the world and is suitable for all broadcast audio production workflows. It delivers the same audio quality and feature set as Calrec’s hardware-based ImPulse processing cores.

“By using Dante Connect, we give customers maximum flexibility for audio production with an on-premise Calrec hardware and cloud-based audio DSP mixing engine,” says Henry Goodman, director of product management at Calrec. “As new cloud functionality and flexibility is adopted by our customers, Calrec continues to develop and deploy new audio equipment and software designed to exceed customer demands.”

Gallery Sienna has integrated Dante into the Sienna ND Processing Engine. Dante support enables broadcasters using a variety of video protocols, including NDI and SRT to seamlessly bridge embedded audio streams to Dante Native systems in their workflow.

"As we see the growth of cloud-based workflows, dedicated audio mixing platforms are increasingly required, and many of these are native Dante", says Mark Gilbert, chief technology officer of Gallery Sienna. "Adding Dante support to the industry standard infrastructure platform, Sienna ND Processing Engine connects the embedded audio in video streams with Dante-based mixing platforms and also adds new mechanisms for remote contribution of Dante audio from the ground to the cloud, along with remote monitoring of cloud-based Dante streams."

LAMA, Lean And Mean Audio BV, brings Dante integration to their software-based audio solutions to enable new options for audio mixing in broadcast productions. 

“Audio production and orchestration is critical to broadcast productions and cloud-based software solutions give engineers and A1s new options for additional flexibility,” says Ewan Cameron, co-founder and chief commercial officer of LAMA. “Adding native Dante connectivity within LAMA Connect enables broadcasters to quickly connect existing Dante hardware to the cloud-based software toolset.”

Lawo brings Dante integration to their HOME Apps platform to support productions, including television broadcast and on-air radio, performing arts, houses of worship, and professional AV. 

“The integration of Dante into HOME Apps is an important milestone for Lawo’s open, unified HOME platform,” states Jamie Dunn, Lawo’s Deputy CEO. “Providing Dante integration on a server-based microservice level yields a vast range of creative benefits for operators as it helps them navigate the transition to future-proof hardware-abstracted processing.”

Telos Alliance adds Dante into the cloud-based Telos Infinity VIP intercom system, the first professional intercom system to support cloud-based Dante workflows.

“Adding Dante to the Telos Infinity VIP intercom system enables customers to expand the integration of additional audio signals from any Dante device into the Telos Infinity intercom network,” says John Schur, president of Media Solutions. “This provides customers the flexibility and scalability of intercom systems without the requirement of additional hardware costs.” 

Using the Dante SDK, software developers get free access to send and receive Dante audio to any Dante-enabled hardware and software. This enables end users to send audio from existing on-premises Dante hardware to cloud-based mixers, DSPs, and orchestration software, providing maximum flexibility in configuration. 

Licensing for Dante audio support is managed by Dante Connect, freeing developers to add functionality without additional costs. End customers license Dante Connect, enabling native Dante connections and cloud-based Dante Virtual Soundcard integrations. 

To learn more about Dante Connect, visit IBC Booth 8.A95 or go to www.getdante.com/DanteConnect.  

NEW SOUTH WALES, Australia, and RASTATT, Germany—Audinate and Lawo announced they have signed a Memorandum of Understanding (MoU) to integrate Dante audio and video technologies into Lawo’s HOME Apps.

The integration includes the provision of native discovery and management mechanisms for Dante devices and software as well as access to Dante audio and video within Lawo’s HOME management platform, Lawo said.

Lawo intends to integrate Dante APIs and SDKs for access to control, management and media signals for Dante networks directly into HOME. To this end, Lawo will also introduce new Dante Importer (southbound) and Dante Exporter (northbound) services into and out of HOME, which will be similar to the approach Lawo developed for the interaction between HOME-native and NMOS-compatible devices, it said.

The MoU underscores the importance of the Dante network protocol in the studio, install and live-sound sectors and will enable the powerful coexistence of the Dante and RAVENNA protocols on a microservice-based application level, it said.

Already available for audio hardware by means of Dante cards installed in a Lawo Power Core modular I/O and DSP gateway, the envisaged integration will now be extended to HOME Apps and also include Dante AV video signals.

The collaboration will enable mixing a diverse pool of audio sources, such as Dante, SMPTE ST 2110, NDI, SRT and RAVENNA, with Lawo’s HOME mc² DSP app controlled from an mc² audio or crystal broadcast console or a headless mixer setup.

HOME Apps’ Dante integration is expected to provide seamless interoperability and agility for a diverse range of Dante-enabled sources and destinations, such as power amplifiers, immersive audio speaker and arrays, it said.

“The integration of Dante into HOME Apps is an important milestone for Lawo’s open, unified HOME platform,” said Lawo deputy CEO Jamie Dunn. “Providing Dante integration on a server-based microservice level is bound to yield a vast range of creative benefits for operators as it helps them navigate the transition to future-proof hardware-abstracted processing.”

“The industry is rapidly transitioning to software-based IP media infrastructure, and Lawo is at the forefront of that transformation” said Aidan Williams, co-founder and CEO of Audinate. “We are excited to partner with Lawo to incorporate Dante into that vision. The integration of Dante into HOME Apps will provide Lawo customers with seamless access to Dante control, management and media signals, enabling entirely new, innovative workflows.”

Audinate and Lawo expect to unveil the result of their collaboration for software running on generic compute in early 2025.

More information is available on the Lawo and Audinate websites.

Video over IP, in the sense that’s used in film and television, sometimes feels like a newer idea than it really is. That might be because the high-end, uncompressed ST 2110 standard took a while to finalize, or because of its rather forward-looking demands on IT infrastructure, both of which made a quick uptake less feasible than many might have preferred. The compressed alternatives might be a reaction to that—but alternatives inevitably mean choices with profound implications.

“I think the original promise was that if you go IP, you save money” says Axel Kern, senior director, Cloud and Infrastructure Solutions at Lawo. “Pretty quickly the industry confirmed the opposite. Investing in switches is definitely not saving you money [and] you have to deal with the complexity and abstraction of IP.”

More Options Now Available
With that in mind, Kern contends, considering ST 2110 to be a direct replacement for SDI is missing the point. “That wasn’t the original promise—it [offers] higher agility and significantly higher flexibility of doing things. Now, with IBC 2024 coming, there are many options where you can really see flexibility that’s not possible on an SDI backbone.”

Kern suggests that the circumstances of specific installations tend to suggest an approach. “if you’re a truck owner, there is a decision between baseband and IP. If you’re a facility, you have this option to go IP and if it’s a ‘brownfield’ approach, where you take part of your facility… brownfield would allow you to go IP and test it out. Greenfield approaches would go IP full stop. The other topic you have to consider is how much of the gear you’re putting in your truck can be found with purely SDI capabilities.”

Somewhat-compressed alternatives allow facilities to sidestep the need for extremely expensive networks, as Kern says. “We see this when people use NDI or even SRT [Secure Reliable Transport] over the wild internet to connect facilities and do remote production,” he said. “This is the logical consequence of things like NDI, which are still high quality but for a fraction of the bandwidth.”

Involving the public internet makes cloud resources more available, though there’s recently been caution over the sheer bandwidth of video in circumstances where cloud providers charge per unit data leaving the network.

“The egress costs on cloud are sometimes outweighing the inventory cost you would have going your own way,” Kern adds. “Doing a like-for-like in the cloud is not the way forward. What we look for is whether we can make use of the technology the cloud brings us, microservices and software-as-a-service applications which you can spin up on commercial, off the shelf IT gear.”

“We introduced video over IP a long, long, long time before it became a standard,” says Edgar Shane, general manager, Engineering and Product Development for JVC. “We integrated [it] into video cameras well before the infrastructure was ready. Most of the stuff I see on a daily basis today is stuff we’ve been doing for years.”

JVC’s Connected Cam architecture handles video at modest bandwidths, making wireless and public networks a plausible alternative to costlier modes of transport. The software-definability of the camera’s encoder also offered a degree of future-proofing.

“It used to be that you had to have your camera and an IP encoder separately,” Shane says. “So, we integrated IP encoders into the cameras… enabling NDI in those cameras is easy, because we already have the encoder built in. On our cameras today you can select NDI or SRT, which is still needed when you send video over the internet.”

The explosive success of NDI might suggest an industry still cautious about the bandwidth demands of ST 2110, though Shane is clear about the different intent. “[2110] is pretty demanding of IP infrastructure,” he said. “You need to have minimum latency and precise switching… but it’s for a different audience. If you’re routing the whole house for broadcast it absolutely makes sense.”

At the higher end, though, even NDI can begin to demand more than an average office network. “NDI exists in two formats,” Shane says. “There’s full NDI, which is 180 Mbps, then there’s NDI HX2 and HX3 which is only 20-30 Mbps. This is important because customers are using standard gigabit Ethernet and people are saying they can have several cameras. [But ] for full NDI, people are putting in 10-gigabit networks.”

Economies of scale in the IT market seem likely to make ST 2110 steadily easier. But as Shane relates, the brute force approach of more bandwidth is just one solution in a world with ever more CPU horsepower.

“Cameras evolve,” Shane says. “The front end with the lens and sensor evolves less because it’s traditional. Newer sensors have more sensitivity and 4K and beyond, but we’re exploring better codecs. HEVC allows us to send video with lower bitrate and higher quality. We’re also exploring AI, because our latest PTZ cameras feature object tracking. They can recognize human beings and you can select which person out of three, four, five people.”

Sony, too, describes a combined approach. “In broad strokes, IP and 2110 have become pretty common within broadcast, live production,” says Deon LeCointe, director of Networked Solutions at Sony Electronics’ Imaging Products & Solutions. “And that’s not just 2110—we find a lot of our customers are using 2110, NDI... some people have started using SRT.”

LeCointe concurs that costs remain a bugbear at the high end. “From where I sit, 2110 is being sold as a premium over SDI. SDI has been around for decades. The cost to build the chips is lower, the cost to build a product that can support 2110 is higher.” Even so, he predicts, the finances seem likely to ease naturally. “The cost of COTS equipment is coming down… we’re in a space that moves forward much faster than the broadcast industry does.”

“What’s new,” LeCointe says, “is people focusing on how to leverage IP. We can add 5G live production, private 5G or even in the future public IP… there’s a potential for 5G to be leveraged by smaller networks and vendors as well to get from camera to a control room to a broadcast head end.”

Sony’s approach combines purpose-built hardware with software-based solutions—something video over IP was always intended to facilitate. “From a hardware perspective,” LeCointe concludes, “cameras, switchers, and monitors all have 2110. We have been really pushing the envelope on 5G, we introduced our new RPU-7 with the NXL-ME80, which is a little box that can do eight channels of video. Nevion is a software solution that has visibility across your entire media environment, to ensure that media flows get from sources to their destinations.”

Craig Heffernan, UK technical sales director, describes a considered approach. “We looked at how everything had settled in the IP market… and decided that 2110 was the route we wanted to go, in comparison to NDI or an alternative. It lets us do what we do best, which is to put some customization into it. We can have Blackmagic connected technologies but also be open enough to bring in third parties.”

The company’s key innovation is a codec that handles high-resolution, high-frame-rate material on 10-gigabit networks. “We’re compliant in terms of how 2110 works, but within that is the Blackmagic IP10 codec, which for us replaces TICO… we needed to get 2160p at 50 and 60 frames into a 10-gigabit space, with headroom. We wanted it to be entirely lossless and we wanted to keep the Ethernet network costs down.”

Attractive as that is, the advantage of IP has often been manufacturer agnosticism. Heffernan assures us that the company intends to make IP10 a standard. “We’ve released the whitepaper. The nature of the world is we’re happy to be part of the portfolio but we’re not everything to everyone. We want to create a network of OEM and developer support so the interaction between Blackmagic and non-Blackmagic is there for the customer. It’s being discussed with SMPTE.”

Blackmagic’s approach summarizes the ambitions of the industry: Economies of scale are making video over IP more affordable. Task-specific hardware seem on the way out. Flexibility is a watchword.

“Our cameras’ ability to stream back to control via SRT means we get a high quality, reliable connection into the bonded 5G at very low latency and very high quality,” Heffernan concludes. “The cost of satcom, private uplinks and all of those environments could be done away with.” Video over IP, in all its forms, is probably closer than ever to fulfilling its promise. “It’s quicker to deploy, faster to set up, easier to manage.”

RASTATT, Germany—Lawo will make the official launch of HOME mc² DSP app, first announced at the NAB Show in April, at IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center.

Already in use at global sporting events, the HOME mc² DSP app is a server-based, agile audio engine that combines the flexibility of the HOME Apps platform in terms of connectivity and scalability with the company’s reputation for audio processing and low latency. The HOME mc² DSP app will become available in Q4 2024, the company said.

Like all HOME apps, the mc² DSP app is built on cloud-native technology using micro-services and containers. It can be used together with mc² mixing consoles or as a headless mixing system providing server-based audio processing in situations where no A__UHD Core is available or where remaining within the HOME Apps realm is more practical, it said.

Lawo also will showcase its new VSC app, due for an August release. Lawo VSC is a virtual audio device designed for macOS 14 and later on Apple desktops and laptops, sending local computer audio sources as RAVENNA/AES67 streams for network sharing, and receiving audio streams from the network, it said.

Designed for modern broadcasting, the full version of Lawo VSC supports up to 128 audio devices per instance and up to 128 uncompressed, bi-directional audio channels per virtual audio device in multicast or unicast mode, with sampling rates up to 96kHz, supporting open Audio-over-IP standards. The free Lawo VSC version supports one virtual audio device with up to two-channel senders and receivers on a single network interface. Both the free and standard version will be available in August 2024.

The company will feature an enhanced .edge gateway platform with enhanced audio and video capabilities as well as new optional licenses that can be activated and stops via the Lawo Flex commercial scheme, it said.

The .edge Hyper-Density SDI/IP conversion and routing platform offers increased processing functionality for SDI gateway and IP-to-IP workflows, providing more capability in the same footprint and additional options for audio and video processing increasing the power.

The company also will spotlight its new crystal IP-native broadcast mixing system built on the open RAVENNA/AES67 audio-over-IP networking standards and complies with SMPTE ST 2110-30/31 for audio and ST 2022-7 for redundancy, it said.

Powered by the Lawo Power Core Engine, crystal supports expandable I/O, accommodating AES67, MADI, analog, AES3 as well as Dante audio sources and destinations. The mixing system offers two distinct modes of operation: Power Core and Controller. This versatility caters to a wide range of audio production workflows, the company said. 

See Lawo at IBC 2024 Stand 8.B90.

More information is available on the company’s website.

Lawo has announced that for the 12th edition of the ‘Concert de Paris’, Lawo’s IP audio infrastructure including mc²96 and mc²56 consoles, was once again used for the live sound and broadcast requirements of the French public broadcasters and the Eurovision network, bringing high quality audio to the large crowd on site and millions of listeners and viewers worldwide.

France’s National Day on 14th July is celebrated with numerous events throughout the nation. In the year of the Paris Olympic and Paralympic Games, the traditional Concert de Paris took place on the forecourt of the Hôtel de Ville, featuring the arrival of the Olympic flame in the city and the lighting of a cauldron.

For the audio coverage of the Concert de Paris, Lawo's advanced audio infrastructure was handled by a crew of Radio France professionals. At the front-of-house (FOH) position, Nadège Antonini managed the orchestra mix and FOH output using a 48-fader mc²96 console, while Stéphane Thouvenin took charge of the soloists and choirs mix on a 32-fader mc²56. Overseeing the overall production at FOH was Alice Legros, serving as the producer. Stage monitoring was skillfully managed by Stéphane Desmons and Charles Bouticourt, Lawo reported. 

They operated a 32-fader mc²56 with a 16-fader extender in a two-operator configuration with two separate control surfaces, ensuring precise monitoring throughout the performance. The setup included a redundant pair of A__UHD Core audio engines shared among the three consoles, with a redundant RAVENNA network integrating FOH and stage. A central HOME management cluster connected, managed, and secured all aspects of this live production environment.

Radio France also utilized an OB truck equipped with a mc²66 MkII console to produce the audio clean feed for broadcast on French radio and TV, as well as the Eurovision feed. Laurent Fracchia was responsible for the broadcast mix in the OB truck (Régie 5), with Arnaud Moral ensuring seamless production as the producer, Lawo reported. 

The evening was broadcast live on France 2 and france.tv, and simulcast by EBU-Eurovision in over ten countries, making it one of the world's biggest classical music events. A large crowd gathered on the city hall square to attend the performances by the Orchestre National de France, the Chœur and Maîtrise de Radio France, conducted by Cristian Măcelaru, and the internationally renowned opera singers and soloists including Lang Lang (piano), Nadine Sierra (soprano), Pene Pati (tenor), Gaëlle Arquez (mezzo-soprano), Khatia Buniatishvili (piano), Fatma Said (soprano), Gautier Capuçon (cello), and Renaud Capuçon (violin), with a special participation of the duo Thibault Cauvin & -M- (guitars). 

The concert concluded with the arrival of the Olympic Flame at the Parvis de l'Hôtel de Ville and the lighting of a cauldron, just before the traditional fireworks display from the Eiffel Tower and Trocadero gardens.

Like in the previous years, the event reached around 3 million viewers on France 2 and many more listeners on France Inter radio. It was broadcast live in many countries worldwide via the Euroradio and Eurovision networks. The ‘Concert de Paris’ was recorded and can be watched e. g. in Germany on 22nd July (ARD) and on 3rd August (3Sat).

Lawo has announced that it worked with Talpa Network, a leading television and radio broadcaster in the Netherlands, to upgrade Talpa’s broadcast infrastructure. 

As part of the project, the broadcaster, which produces content at two main locations in Hilversum and Amsterdam with distributed buildings, upgraded its technical facilities, including the implementation of video gateways to transport uncompressed signals between locations over its private network. 

Talpa is the owner of prominent TV channels such as SBS6, Net5, and Veronica, as well as popular radio channels including Radio 10, 538 and Sky Radio. Talpa Network is owned by John de Mol, is a multimedia company known for broadcasting shows like ‘The Tribute: Battle of the Bands’ and ‘Marble Mania’.

“We want to establish an ‘Audio, Video and Communication Network’, or AVC for short, to enable a joint efficient use of our external connections, infrastructure, and resources by leveraging cutting-edge IP technologies”, states Mark de Jong, technology architect lead at Talpa Network, working on this project. “With this new infrastructure, we aim to integrate various production environments of previously independent companies under the roof of Talpa Network to meet production demands, and facilitate the sharing of technical resources. At a certain point, we encountered integration issues where signals available in only one production environment had to be transferred to another, sometimes via an intermediate environment. As a result, multiple tie-lines were required to transmit a single signal. This led us to the conclusion that we needed to establish an IP network.”

After market research and a POC with various vendors, two vendors emerged as winners, one of which was Lawo. 

Talpa Network's ambitious project utilizes Lawo's cutting-edge IP technology, including the HOME Management Platform for IP Infrastructures and the .edge Hyper-Density SDI/IP Conversion and Routing Platform for converting video signals to raw ST2110 streams, to optimize its broadcast operations. 

A long-time Lawo user, Talpa Network has a lot of experience with the German manufacturer’s audio technology and is using Lawo’s overarching, vendor-agnostic IP Broadcast Control and Workflow Solution. 

This system easily integrates with the majority of broadcast equipment on the market and allows for custom workflows that meet the most complex project demands, all devices being controlled from a single, highly automated and intuitive user interface, Lawo reported. 

Talpa Network's installation leverages various technologies, including Lawo's .edge technology and HOME Management Platform for IP Infrastructures. By incorporating these solutions, Talpa Network aims to enhance operational efficiency and scalability across its broadcast infrastructure. To maximize efficiency, Talpa Network has strategically deployed Lawo's .edge SDI matrix bundle across its facilities. This approach enables efficient resource utilization while meeting the demands of its broadcast operations.

“We have a data center and a production hub in different locations in Hilversum and in Amsterdam,” de Jong said. “There we installed Lawo .edge, to integrate with equipment of other vendors. Besides video and audio transfer, we aim to establish an n-1 IP communication network. With our central management systems, VSM and HOME, we can route signals such as ST2110 streams, giving users easy access to the signals they need for their production without worrying about the underlying technology.”

By leveraging Lawo's HOME Apps for agile broadcast and AV operations, Talpa Network will further establish innovative, efficient, and flexible workflows. Part of the installation are three standalone HOME App multiviewers with 16 PiPs each running on one server. They offer pixel-perfect mosaics and ultra-low latency, ensuring seamless monitoring of UHD, 3G, HD, and SD video as well as audio sources for global events and broadcast operations. De Jong: “Our Lawo HOME Apps allow us to efficiently utilize our resources by enabling us to spin up an app when needed and stop it once the production is complete, freeing up processing power for other tasks.”

Lawo Project Manager Rudi Antonissen added that “We are proud to collaborate with Talpa Network on this transformative project. By combining Lawo's cutting-edge technology with Talpa Network's vision, we have created a broadcast infrastructure that sets new standards for efficiency and scalability.” 

“With our move to integrate all our production environments in Hilversum and Amsterdam using a Lawo IP infrastructure, we are on the path to achieving centralized control and resource management, as well as optimizing workflows at a higher level,” de Jong concluded. “All of this will bring more efficiency and help us meet the growing demands for modern, quality production for our audience. Talpa Network has worked with Lawo products for many years, valuing their reliability in live media production workflows. This makes Lawo a trusted technology partner for our mission-critical operations”, de Jong closes.

RASTATT, Germany—Lawo has announced that Jamie Dunn is taking on additional responsibility as “Vorstand” (member of the executive board) and deputy CEO sharing in legal responsibility for the company.

Dunn joined Lawo in 2011. Since 2019, he held the position of chief commercial officer. The promotion means he assumes legal responsibility alongside CEO Philipp Lawo and Claus Gärtner, who joined the company as chief financial officer (CFO) and Vorstand last November. 

“With Claudia Nowak's retirement in September of this year, it was important to bring a strong representation of the customer and market perspective to the Vorstand role,” said Gärtner.

Lawo’s management board consists of Dunn, Gärtner (CFO and Vorstand), Andreas Hilmer (chief marketing officer [CMO]), Christian Lukic (chief supply chain officer [CSCO]), Phil Myers (chief technology officer [CTO]), Ulrich Schnabl (chief operating officer [COO]) and Claudia Nowak (CFO and Vorstand), who will retire at the end of September 2024 and join the company’s supervisory board.

“It has been an incredible experience over the past 13 years to contribute to the strong growth and transformation of this market-leading company. During this time, our global brand has been a leading advocate for the industry’s shift to IP. The longevity of Lawo rests on many pillars, but talented and passionate people remain the key element to our continued success and loyal customer base,” said
Dunn.

“Innovation has always been at the core of our development philosophy, and the story of our media infrastructure solutions is resonating strongly in the marketplace, putting us in prime position to address the commercial and workflow challenges our customers face today. I am honored to continue to play a key leadership role and represent the company in the next chapter of Lawo’s growth and development.”

More information is available on the company’s website.

Lawo and Waves Audio have announced that the Waves SuperRack LiveBox hardware server being displayed at the 2024 NAB Show is fully compatible with Lawo’s mc² audio mixing consoles.

The integration of LiveBox with Lawo consoles empowers audio professionals with unparalleled control and flexibility, which includes access to, and control of, just about any studio grade VST3 plug in on the market—whether developed by Waves or by other vendors.

Subsequently, audio engineers are now free to spice up their console’s pristine audio quality with a host of creative possibilities. The long standing partnership between Waves and Lawo means that all effects plugins hosted on the new SuperRack LiveBox can be controlled directly from a Lawo console with Snapshot specific parameter saves and recalls. This further streamlines the live mixing process, enabling engineers to intuitively craft their soundscapes based on the convenience of AES67 based AoIP connections for seamless networking.

“We are proud to collaborate with Lawo once again to deliver innovative solutions that empower audio professionals,” says Noam Raz, general manager, Live Division, at Waves.

“With Waves’ LiveBox and Lawo mc² audio consoles, users enjoy the result of Lawo’s commitment to taking our excellent partnership with Waves to the next level,” explains Christian Struck, senior product manager, Audio Infrastructure, at Lawo. “Audio engineers can look forward to unbridled artistic license thanks to the ability to choose from an unlimited pool of effects. We can’t wait to hear the first results of this bold foray into uncharted territory.”

Lawo has appointed Adil Syed Business Development Manager for Media Infrastructures in North America. In this role, Adil will spearhead Lawo’s sales efforts across the region, advocating for the adoption of Lawo’s innovative solutions, the company said.

Syed has a Bachelor of Arts in Broadcasting and Film from Boston University and has been involved in professional broadcast since the early 2000s. He was most recently Director of Sales US at TAG Video Systems, where he achieved notable milestones in promoting integrated monitoring, probing, and multiviewing solutions tailored to the needs of live broadcast and streaming organizations, according to Lawo.

“I’m very proud that Lawo has given me the responsibility for this task,” Adil remarked. “It feels great to be a part of the Lawo family.”

“Adil is a perfect fit for this newly created position,” said Forrest Sussman, Senior Vice President of Sales for North America at Lawo. “His comprehensive expertise in broadcast, coupled with his customer-oriented strategies and unwavering commitment to finding the best solutions, will make him an invaluable asset to our team.”

At a special online event on April 9, Lawo introduced the HOME mc² DSP app, the microservice-based equivalent of Lawo’s unrivaled A__UHD Core. A new member of the HOME Apps family, the ultra-low-latency HOME mc² DSP app is a server-based, agile audio engine.

Lawo reported the app is designed to combine the superior flexibility of the HOME Apps platform in terms of connectivity and scalability with Lawo’s legendary audio processing quality. 

“HOME mc² DSP leverages the unique granularity and flexibility of the HOME Apps platform regarding input and output media transport protocols,” said Christian Struck, Lawo’s senior product manager, Audio Infrastructure. “It will support mixed-format SMPTE ST2110, NDI, and SRT production environments, and newer formats that may become relevant further down the line. There are no plans to discontinue the A__UHD Core as it remains the processing tool of choice for audio-only workflows in a live-sound context.”

Lucas Zwicker, senior director, workflow and integration, CTO Office at Lawo, added that “the introduction of the HOME mc² DSP app is the next milestone in Lawo’s audio history. This is not a lift-and-shift implementation of an existing product: HOME mc² DSP has been carefully reengineered from scratch to cope with tomorrow’s requirements regarding converged audio, video and commodity-based processing infrastructures. Of course, we deliver the sonic performance our customers have come to expect from mc² mixers.”The HOME mc² DSP app can be used together with mc² mixing consoles or to instantiate a (virtual) mixing system at the press of a button wherever audio processing is required at short notice, the company said. 

HOME mc² DSP is the audio processing companion of choice for converging video/audio production environments. With all features known from the A__UHD Core FPGA processing platform in a CPU-based package, it allows operators to spin up mc²-grade DSP processing with hitherto unthinkable granularity, Lawo explained during the product launch.

As a member of the HOME Apps platform, the HOME mc² DSP app benefits from the agility afforded by the abstraction of processing functionality from the hardware: it leverages Lawo’s Flex licensing and subscription model, allowing users to reallocate subscription credits to any available HOME App, whether audio or video, for tight budget control. It is also easy to “move” from one location—the production hub, say—to another, such as an OB truck or a remote location.

Lawo noted that the HOME mc² DSP’s primary purpose is to provide audio processing in situations where no A__UHD Core is available or where remaining within the HOME Apps realm is more practical. With this app, spinning up a processing core with the required number of DSP channels for a variety of use cases becomes a breeze.

Despite its CPU-based technology, the HOME mc² DSP app performs at the same ultra-low latency as its hardware companion. All capabilities and characteristics are so similar that operators are unable tell whether their console surface or headless mixer controls a hardware-based A__UHD Core or the mc² DSP app. Switching between the two—and back—is possible at the push of a button in the HOME UI, Lawo said. 

In addition, the HOME mc² DSP app is designed to automatically scale with future CPU developments and can provide several thousand DSP channels where needed. With support for mono, stereo, 5.1, and NGA Immersive Mixing formats; a flexible number of AUX, GRP, and SUM busses; and much more, HOME mc² DSP is the app-based alter-ego of the A__UHD Core. Any HOME App can be stopped at any time, freeing up server capacity, Flex Subscription credits, and reducing power consumption in the process.

For additional information, visit www.lawo.com.

During the 2024 NAB Show, Lawo will be demonstrating this and other technologies. 

It will come as no surprise that artificial intelligence (AI), virtualization and the cloud will be the major trends dominating the agenda at this year’s NAB Show. This applies as much to audio as it does to the visually oriented contingent that will be at the exhibition but the sound side is seeing some very different or specific applications of these shared technologies.

When it comes to audio mixing consoles, virtualization and cloud processing are “weekly conversations,” according to Henry Goodman, director of product management at Calrec Audio. “The majority of people want to talk about what will happen in the future with those technologies and how they might benefit from those kinds of workflows,” he says.

Another hot topic, Goodman adds, is, almost inevitably, AI. “It’s an area we’re all  looking at with a great deal of interest,” he comments, “and we’re looking at it to see how it can provide benefits for us.

“On the console side, the area that would interest us is providing facilities that offer some kind of assistive mechanisms for the operators. It could be for balancing external feeds coming in or providing standardized EQ for certain types of microphones. It’s not something that is at the forefront of our development programme right now but we’re definitely keeping a close eye on it.”

AI and cloud processing were highlighted by other manufacturers in TV Tech’s focus on audio mixing consoles in the January edition of TV Tech ("Audio Mixing in the Age of Remote Production") As with many technologies, virtualized mixing and processing is not an entirely new technology; it is now being used increasingly in radio, with Telos Alliance company Axia supplying consoles for one of the first implementations, the BBC ViLOR project, completed in 2019.

‘Headless Mixing’
Martin Dyster, vice president of business development for TV at Telos Alliance, highlights another trend that, although it first appeared elsewhere in the world decades ago, is now gaining traction in the U.S.

 “Audio follow Video [AFV] is becoming increasingly prevalent, particularly in live news at local stations,” he says. (The AFV concept  involves automatically adjusting the timing of audio signals to match the timing of corresponding video signals.)

“In some instances the consoles aren’t even a surface, they’re completely under the automation control of the orchestration layer managing the show,” Dyster adds. “This kind of ‘headless’ mixing is not new but the U.S. has caught up with it and it’s becoming widespread there.”

Similarly, Dyster continues, Europe is ahead of the U.S. when it comes to immersive audio, although NBC has broadcast Olympics in some form of immersive audio for the past decades. 

Christian Struck, senior product manager for audio production at Lawo, comments that broadcasters are currently demanding “intuitive and comprehensive immersive audio features,” with the ability to mix over wide area networks plus support for decentralized mixing involving several consoles.

“Just when immersive audio looked all set to take the world by storm, it was put on the back burner by the pandemic,” Struck says. “But it is back in full force, thanks to the ready availability of playback devices, including smartphones and binaural headphones.”

The IP Network
The last few NAB Shows have seen the growth in products that conform to SMPTE ST 2110 for the transport of media streams over IP networks. But, as Phil Owens, senior sales engineer at Wheatstone, outlines, the cloud is the next challenge for the standard.

“We have seen the whole issue of 2110 environments, where a physical installation has two distinct networks, with audio and video on each,” he says. “The audio goes to both simultaneously, so if there is a drop-out on one, it picks up from the other instantly within a frame of audio. But there is now the issue of how a 2110 environment will work in the cloud, which is still in its early stages.”

Wheatstone is also devoting what Owens calls “a great deal of R&D” in its Layers cloud/server software platform for mixing, streaming and processing either at cloud data centers or local servers. However, he also sees more emphasis being put on voice processing, particularly for news and sports coverage.

“Broadcasters can get away with less acoustic treatment or design in the studio and report from environments that they might not have broadcast from in the past because the mic processor can cover a multitude of sins,” Owens said.

Larry Schindel, product manager at Telos Alliance, agrees that processing is “quickly moving” into the virtualized space. “Cloud processing is gaining in popularity as more workflows migrate to the cloud,” he says. “But there is still a large base of customers who prefer to keep everything ‘on prem’ or at least use a bit of a hybrid approach.

“Some of the more common types of processing in use today are loudness control and upmixing but processes like Object-based Audio with Serial ADM [a metadata format for use with Dolby Atmos] and automatic voice-over mixing are also starting to emerge in the marketplace,” Schindel adds.

Software-Driven Processing
Loudness will again be a focus for NUGEN Audio during the NAB Show, with previews of the latest version of its VisLM3 metering plug-in. New features include user-defined program segments, which can be used where multiple integrated measurements are required, such as between ad breaks; support for up to 22.2 audio channels; stem monitoring; and loudness measuring for individual deliverables.

Professional audio is definitely seeing a “shift towards software-driven processing,” according to Will Waters, principal product manager at Audinate. This, he says, “underlines the industry’s commitment to leveraging advanced technology” to meet the evolving demands of broadcast production.

Waters also sees software processors having an increasing role on the intercom side of broadcast production. “This offers broadcasters even more versatility and efficiency in managing their intercom solutions,” he explains. “The evolution of broadcast technology, especially with digital and IP-based systems, has significantly impacted intercom.

“We’re now seeing Dante as part of intercom communications by being integrated into the networked audio infrastructure, enabling any number of audio mixes or routes to exist from the production equipment,” Waters added.

Staying Connected
IP-based intercoms are now well established but, as Martin Dyster at Telos observes, the sector continues to evolve.

“We’ve found an increasing number of customers moving towards either full Live Cloud Production (LCP) or a hybrid of on prem and cloud,” Dyster said. “From the finance angle, and perhaps surprisingly, we’ve witnessed most of our customers adopt the Infinity VIP system via a one-time buyout capital purchase route. But we have also seen increasing interest in subscription models, especially where the intercom is associated with a cloud-driven video production system like Grass Valley AMPP or Viz.”

Some intercom manufacturers were quicker to offer IP systems than others but now all the major brands have at least one system based on the technology.

“I think IP is now firmly in place,” comments Marco Lopez, vice president of engineering at Clear-Com. “There was a natural progression of first standardizing the way we were distributing audio signals across the various infrastructures and now those are being used for digital audio that could be wired but is also a means of achieving wireless audio connectivity where, typically, you would have had to build a network of antennas, especially for very large scale events with many users connecting to that environment.

“From a technology point of view it’s all about the standards now, ensuring we have good connectivity and integration using ST 2110, along with NMOS support. as well as AES67 and Dante,” Lopez added.

With such a variety of technologies and applications to investigate and discuss, it could be that audio is something of a trendsetter in Las Vegas this year (again). 

Register for the 2024 NAB Show, April 14-17 in Las Vegas at https://nabshow.com/2024/

SYDNEY—Event production and OB solution provider Innovative Production Services has acquired a state-of-the-art Lawo mc²36 audio production console for their 4K ONE Outside Broadcasting (OB) Truck. 

“We're thrilled to partner with Lawo to enhance our audio production capabilities,” said Jeremy Koch, director of Innovative Production Services. “The Lawo mc²36 console is a game-changer for us, offering unparalleled flexibility and sonic precision. It's the perfect fit for our mission to deliver flawless audio experiences to our diverse range of clients.”

After extensive market research, Koch said that they had identified Lawo as the premier choice to fulfill the audio production needs of their 4K ONE OB truck. The Lawo mc²36 is an all-in-one console at heart, boasting 256 DSP channels, both at 48kHz and 96kHz. It delivers the same superb convenience as its larger siblings: all industry-standard audio inputs and outputs are built-in, with native IP connectivity at its center, the company said. 

Powered by Lawo’s A__UHD Core software-defined processing technology, the console delivers  the flexibility offered by IP technology combined with intuitive tools that make setup and management as simple as baseband. The console is fully geared to manage any kind of remote application and provides easy deployment for on-site scenarios, including effortless point-to-point connectivity for A__stage IP stageboxes.

“We're honoured to be selected by Innovative Production Services to provide the audio production backbone for their OB truck,” said Keith Prestidge, APAC Sales Director at Lawo. “The mc²36 console is engineered to meet the rigorous demands of live event production, offering unmatched reliability, scalability, and sonic performance. We're confident that it will elevate the audio production capabilities of Innovative Production Services to new heights.”

Professional Audio & Television, Lawo’s exclusive distribution partner in Australia and New Zealand, supported and facilitated the acquisition of the Lawo mc²36 console for Innovative Production Services. Providing their own Lawo mc²36 console for testing and various demo sessions, Professional Audio & Television ensured a seamless procurement process and supported Innovative Production Services comprehensive research to evaluate their investment prior to purchase.

Innovative Production Services will showcase their 4K ONE OB Truck, including the new Lawo mc²36 console at MET Expo 2024 from March the 5th to March the 7th at Royal Randwick, Sydney. To register visit metexpo.com.au.  

More information is available at www.lawo.com.

RASTATT, Germany—Lawo will focus a large portion of its exhibit activities at the 2024 NAB Show, April 13-17, in Las Vegas, on providing operators with a unified platform addressing the requirements of users today and in the future.

All Lawo hardware and software products gravitate towards its HOME management platform for IP infrastructures, and the company also is welcoming third-party vendors to join in, it said.

Centralizing all processes from discovery and registration, stream routing and parameter tweaks to configuration changes, user management and allocating license credits where they are needed next provides operators with the flexibility, agility and speedy execution required in today’s hectic and budget-aware environment, it said.

Specifically, Lawo will feature:

• HOME Apps: Taking center stage at the Lawo NAB Show booth, the company’s HOME Apps include: HOME Multiviewer, HOME UDX Converter, HOME Stream Transcoder, HOME Graphic Inserter and the free Test Pattern/Test Tone Generator apps, each leveraging a flexible microservices architecture. They deliver exceptional processing capabilities with minimal compute power and energy consumption. The apps support SMPTE ST 2110, SRT, JPEG XS and NDI and operate seamlessly on standard servers on-premise, in remote data centers or in the public cloud.
• .edge Hyper-Density SDI/IP Conversion and Routing Platform: Lawo will show the significant evolution of its .edge platform with proven ability to handle 8K workflows and licensable options, such as proxy generation and JPEG XS compression—both addressing bandwidth constraints, streamlining IP pipeline use and optimizing workflows at the source with edge computing. The company recognizes the importance of standard or add-on SDI input functionality to ensure seamless integration of baseband tools into a network built on an IP backbone. All .edge add-on licenses can now be leveraged via Lawo’s Flex scheme. This includes allocating free subscription credits originally purchased for HOME Apps to functionality that may be required for .edge units.
• mc2/A_UHD Core/Power Core Platform: The latest software release for the platform will be featured at the NAB Show. Offering flexible bus routing, expanded AUX count (up to 256 busses), QSC Q-Sys proxy integration in HOME and Remote Show Control via OSC, Lawo’s mc2/A_UHD Core/Power Core Platform supports live performances as well as broadcast and AV applications. Additionally, NMOS support for the mc² Gateserver enhances device compatibility, facilitating seamless integration of third-party products into Lawo's ecosystem.

See Lawo at NAB Show booth C4110.

More information is available on the company’s website.