AV.technology: Adamson has always built its own drivers. But this sounds like an even more vertically integrated approach?

Pieter: That’s right. There were some components we used to outsource – connectors, castors for our dollies, things like that. But we’ve now expanded our capabilities, including our own moulding processes. It’s about risk mitigation. If there’s another major disruption in the Far East or elsewhere, we want to be shielded from it.

AV.technology: Historically, Adamson’s known for big touring systems – massive arrays and huge rental inventories. But now we’re seeing more point source and install product. How’s the business split evolving?

Pieter: We’ve always been strong in live touring, which made sense when Adamson launched back in 1984 – there simply wasn’t much of an installation market back then. But that’s changed. The install market is still relatively young and full of opportunity. We’re pursuing that more actively now.

The shift really started with the CS Series – our first powered, networked loudspeakers with onboard DSP and redundant Milan networking. That marked our transition into a full technology company. We’ve since added a dedicated electronics department at our factory and expanded our product line with install-focused models like the IS-5C, IS-7C and larger-format IS-10s. These are purpose-built for fixed installations and are a key part of our growing install vertical.

AV.technology: Let’s talk about spatial and immersive audio. There’s been plenty of hype, but is it still niche or are we seeing more traction?

Pieter: It’s no longer niche, but it’s not fully mainstream yet either. There is a learning curve, even for experienced engineers, especially in live applications. We recently did a concert tour in France featuring the music of ‘Gladiator’, with a full orchestra and choir. We deployed five large front arrays, all spatialised with the Fletcher Machine.

Initially, it was a lot to take in for the crew – more loudspeakers, more complexity. But after a few days, they were finding their sound faster than ever. The system reduces masking, spreads the sound more naturally, and gives every instrument its own space in the mix.

AV.technology: The frontal array method feels like more of an approachable step up and offers most the advantages of spatial.

Pieter: Yes, and there’s a common misconception that immersive or spatial audio is all about special effects flying in from behind. That’s not really the point. It’s about creating a consistent listening experience across the venue, so that everyone hears the same thing, no matter where they’re seated. That’s the real value.