Holoplot. We delivered a critical piece of software for the MSG Sphere in Las Vegas, while reworking the design system ops and improving team's output quality and velocity.
The MSG Sphere in Las Vegas, whose sound system runs on CONTROL: a product meant to be part of our software suite but that first required serious 0-to-1 design innovation to fit the unique requirements of the Sphere.
I directed the team's work on the design system redesign, strengthening our visual language, our brand and overall usability in a dark sound engineering room.
Buttons and icons from CONTROL's design system, built for operators working live, with little time to take a creative or maintenance decision.
Workspaces and box-plot meters: we experimented with many patterns new to the industry.
I ran the initial research and most of the user tests with three groups: the Sphere's sound engineers and artistic directors; Holoplot's own field engineers, who help venues set up and use our products; and U2's sound engineers, as U2 was the opening act at the Sphere. It showed us what actually solved pain points, what created noise, and how to strike the balance between existing processes and the learning curve.
Modelling the sound beams: a clear visual language for Holoplot's storytelling on web and sales pitches.
Holoplot's hardware, taken apart: the software had to make this complexity manageable.
The team also improved open-source projects, such as this digital signal routing feature, with adaptive presets for climate conditions in the room.
Sneak peek into the MSG Sphere's sound command center, CONTROL's Operation, for which I handled the design end-to-end.