Can you tell us about NedAcoustics?
We founded NedAcoustics, having learned over the past 20 years that there is a large demand for temporary acoustical measures. We developed a temporary installation system, suitable for touring timescales, focused on two key areas: improving sound quality within a venue, and reducing noise pollution, particularly in outdoor/festival venues. There are a lot of venues with acoustic issues and blind spots. The sound may be okay immediately in front of the PA, with a full audience, but there are often reflective surfaces that simply can’t deal with the sound levels modern PA systems deliver. The result for the audience can be inconsistent, indistinct sound quality which is not acceptable when fans have paid a lot of money to hear a show.
How long did the process take?
This was about two years from design and manufacture to rolling it out. Results have exceeded expectations, with very positive feedback from the venues, system engineers and audiences. We are almost ready with the next product aiming at sound isolation and acoustic improvement.
How will LT05 benefit touring productions?
The main application will be multipurpose stadiums and venues to temporally adapt the acoustic properties of the building/venue. With the rise of the stadium and arena market, it’s becoming important that audiences have a positive experience and can hear their favourite artists properly.
We are expanding our thoughts around how the system can be deployed and how the Baffles could be part of a touring production, so that tours carry the material themselves to adapt their venues to suit their own touring production. A touring production could use it to adapt to the individual venues’ acoustic characteristics, for example during the setup of the stage.
Why should we take note of NedAcoustics?
We have come from their industry and want to solve their problems. This solution is not only technically effective, but we’ve thought about overall logistics, such as being lightweight, quick to deploy, and remaining compliant with international fire regulations.
How has the product been received?
With 23 concerts in the stadium this year, the most satisfying thing was that there were barely any complaints about audio quality. In the past, comments included: “The artist gave a great show we think but as usual in this “Galm bak” (Dutch for very echoey Hall) the sound quality was bad.” Or: “I will never go to a concert in this hall again.” None of this in 2026. When there were remarks, it was more about the mix, so apparently people were able to hear details.
his story originally appeared in TPi Magazine #296.
