Mainline Reps

10/13/2026

"Audio is half of the experience. Viewers might tolerate imperfect video, but poor audio immediately impacts how professional and engaging content feels."

Shure Solutions Engineer Mario Ponce said this in a recent interview with Cubed3. The conversation covers Shure's engineering philosophy, what reliability looks like in live production, and how the company builds products where failure isn't an option.

Good context for anyone who works with Shure gear.

Full interview here: https://www.cubed3.com/features/interviews/shure-interview

10/12/2026

Here's a useful reference from Draper if you specify LED video walls: a clear breakdown of when OEM mounts, off-the-shelf solutions, and custom structures are each the right call.

OEM mounts cover basic flat-wall rectangular installs. Draper's Foundation ONE and Foundation ORIGIN add Z-axis adjustment for slightly uneven surfaces. Custom structures are needed for curved or non-rectangular configurations, ADA compliance, small pixel pitch requiring precision alignment, or high-seismic installations that require structural engineer signoff.

Knowing which path your project needs before you start saves time and rework down the line. 💡

There are three general options for LED cabinet mounting: How do you know which type you need? When do you require an OEM or off-the-shelf mount versus a custom mount? That depends on what features you need, and how the LED structure will be mounted. LED Video Wall Mounting Considerations There are....

10/09/2026

When a production goes outdoors or a tour hits a run of challenging venues, the fixtures have to hold up.

The Elation Lighting Proteus lineup is built for exactly that. IP65 and IP66 rated, marine-grade coating, and 360-degree continuous pan and tilt across 16 models spanning beam, wash, and profile applications. Proven in concert touring, festivals, large-scale events, and permanent outdoor installations.

Whether you're specifying for a single outdoor stage or a full touring rig, there's a Proteus fixture built for it.

Contact your Mainline rep to explore the lineup.

10/08/2026

The new EVENT-30A from DAS Audio brings intelligent self-tuning to compact line array deployment.

Two 10-inch neodymium transducers, M-60 compression drivers, 2000 W peak power, and FIR filtering, with a maximum SPL of 142 dB. Smart Self-Tuning technology uses infrared sensors to detect your array configuration and automatically apply the right presets. Deploy six or more cabinets and the system handles Downfill and Long Throw zone optimization without manual input.

Faster setup. Predictable results. Less room for error at the end of a long load-in day. Contact us today to learn more!

10/07/2026

Good news for anyone working with Allen & Heath AHM: the third-party control library just expanded.

ALLEN & HEATH has added new integration options for commonly used control system platforms, with updated documentation on supported protocols, drivers, and control profiles.

If you're specifying AHM for a commercial project, this is the page to bookmark. Knowing what plays well with your DSP before you finalize a design saves time and keeps installs running smoothly.

Visit the AHM control library page to see the full current list of supported integrations.

https://www.allen-heath.com/hardware/ahm/control-library/

10/05/2026

Shure Wavetool 4 is here!

With 50% more monitoring capacity and up to 30 minutes of replay, you can hear any channel instantly, catch issues as they happen, and replay what you missed before it becomes a problem.

Intelligent SCP Alerts. Scales to 192 channels. Built for productions where there's no stopping to figure out what went wrong.

Contact your Mainline rep to schedule a demo!

10/02/2026

LED wall installs have enough variables. The mount shouldn't be one of them.

The Draper Foundation ONE handles uneven walls with 20mm Z-axis adjustment, includes a complete magnetic trim solution, and uses easy-to-stock components for faster lead times.

Contact us to learn more.

09/30/2026

Fulcrum One's newest release adds something useful: you can hear your system before it's built!

Room Auralization renders your loudspeaker design binaurally through headphones from a mapped probe position, incorporating the room's actual reverberation. Mix Auralization extends this to object-based mixes, so you can audition spatial imaging and panning before committing to speaker positions. STI mapping, expanded time alignment tools, and head tracking for natural headphone listening round out the new feature set.

Contact your Mainline rep to learn more about Fulcrum Acoustic solutions.

09/30/2026

Behind the scenes at a stadium show with one of the biggest touring productions in the world. Clear-Com keeps every moving part connected from soundcheck to showtime. Great look at what professional communications infrastructure looks like at this scale!

09/30/2026

A touring engineer who trusts the desk over outboard gear and mixes monitors from FOH ... Ross Rothero-Bourge's breakdown of why he chose dLive for a 20-country tour is worth a few minutes of your time if you work in live sound! 💡🎵

We recently caught up with experienced FOH engineer Ross Rothero-Bourge, who toured 20 countries with Phil Campbell and the Bastard Sons last year, mixing on a dLive system.

The band featured the legendary Motörhead guitarist and his sons, who have continued performing following Phil's unfortunate passing earlier this year. They've spent the summer playing festivals and shows across Europe alongside Judas Priest.

When asked why he chose dLive over anything else, Ross had plenty to say.

“There's nothing else this size with this much power,” he says. “The band trust me to do monitors from FOH, no matter how big the show or production. I've got all the buses I need to group my inputs down to fewer faders for FOH, while still leaving enough for wedges and IEMs for both band and crew. I also love the Allen & Heath FX, the spare guitar can now just be a DI box with amp sims.”

“Coming from a studio background,” Ross continues, “I like being able to use all the analogue emulations. I don't like little numbers everywhere. I want to feel like I'm mixing a show, not sat at a computer.”

The engineer also explained why he prefers to stick with onboard processing rather than external plug-ins.

“I've heard bad-sounding shows with lots of outboard gear and great-sounding shows with none, which tells me it's not the answer. Unless it's something that's specific to the record, the desk has everything you need. My favourite mix engineer is Andy Wallace and he mixes almost everything on the board in front of him.”

Ross is also something of a drum expert, so we couldn't resist asking him to walk us through his approach.

“I love being able to have dynamic processing on as many channels as I like,” he explains. “Drums can change in tone dramatically depending on how they're played. For example, hitting kick drums and toms harder gives you more top end. Faster notes aren't usually hit as hard as slower ones. If you're aiming for consistency throughout a show, dynamic processing is golden!”