CorePlay Tetra: Why Analog Way’s New Media Server Caught My Attention

George E. Kennedy, Jr. • June 17, 2026

Insights: My Take on Analog Way’s New Quad-Output Playback Platform



At InfoComm 2026, Analog Way introduced the CorePlay Tetra, a new quad-output media server designed for multi-screen playback environments.

While new playback platforms are introduced regularly, Tetra immediately caught my attention because it appears to address a challenge many of us face in live production: delivering more outputs without adding more complexity.


As display environments continue to expand, we’re routinely supporting combinations of LED walls, side screens, confidence monitors, breakout spaces, overflow rooms, and digital signage displays. As these environments grow, so do the demands placed on playback systems.

Historically, scaling playback often meant scaling hardware. More outputs typically required more playback devices, additional signal paths, more synchronization considerations, and ultimately more points of potential failure.

CorePlay Tetra appears to take a different approach.



Less Hardware, More Possibilities


What interests me most is the potential to consolidate multiple playback requirements into a single platform.

From an engineering perspective, every device added to a system introduces additional considerations:


  • Power
  • Network connectivity
  • Signal distribution
  • Monitoring
  • Redundancy planning
  • Troubleshooting


Reducing the number of playback devices while maintaining flexibility can simplify an entire production workflow.

That’s particularly valuable in environments where rack space, setup time, technical resources, and operational efficiency are critical factors.



Designed for Modern Display Environments


Over the last several years, event design has evolved beyond the traditional single-screen presentation format.

Today, it’s common to see productions utilizing:


  • Large-format LED canvases
  • Multiple scenic displays
  • Dedicated confidence systems
  • Overflow and breakout room distribution
  • Hybrid audience experiences
  • Simultaneous content destinations


Playback systems are expected to support all of these requirements while remaining reliable and easy to operate.

If CorePlay Tetra delivers on its intended design goals, it could become a practical solution for production teams looking to simplify multi-screen content delivery without sacrificing capability.


Where I See Potential

Several applications immediately come to mind.


Corporate General Sessions

Supporting multiple presentation destinations from a centralized playback platform can simplify system design and operational management.


Breakout Environments

Content can potentially be distributed across multiple spaces without requiring separate playback systems for each room.


Houses of Worship

Main screens, side screens, lobby displays, and confidence monitors often require coordinated content delivery. A centralized playback platform could simplify that workflow.


Museums and Experience Centers

Permanent installations frequently require synchronized playback across multiple displays while minimizing equipment footprint and maintenance requirements.


LED-Centric Productions

As LED deployments continue to grow in size and complexity, the ability to manage multiple outputs from a single platform becomes increasingly attractive.


A Reflection of a Larger Trend

The introduction of CorePlay Tetra reflects a broader shift taking place across the industry.

Clients continue to request larger canvases, more displays, and richer visual experiences. At the same time, technical teams are expected to deliver those experiences with greater efficiency, reliability, and flexibility.

Success is no longer measured solely by how much technology we can deploy. Increasingly, it’s about how effectively we can simplify systems while maintaining performance.

The platforms that stand out are often the ones that help operators accomplish more with fewer moving parts.


Final Thoughts

I’m looking forward to getting hands-on time with CorePlay Tetra and seeing how it performs in real-world production environments.

As display systems continue to evolve, the challenge isn’t simply delivering more outputs—it’s doing so while maintaining reliability, efficiency, and operational simplicity. Solutions that help reduce system complexity without sacrificing capability are always worth paying attention to.

CorePlay Tetra appears to be designed with that goal in mind. If it delivers on its promise, it could provide production teams with a practical way to streamline multi-screen playback workflows while supporting the growing demands of modern visual experiences.

For engineers, operators, and technical teams working in increasingly complex environments, that’s a development worth watching.

A Toxic Start to 2026: What the ProAV Industry Needs to Address

By George E. Kennedy, Jr. • January 15, 2026
Kicking off 2026 with some honest reflection on workplace culture in the ProAV industry

Navigating Show Callers: Effective Communication for Video Engineers

By george • July 19, 2023
Introduction: In the world of live events and productions, working with show callers can sometimes be a challenging task for video engineers. Show callers come from diverse backgrounds, such as theater, concerts, or other disciplines, resulting in variations in terminology and approaches. To ensure smooth operations and avoid confusion, it is crucial for video engineers to establish clear communication and understanding with show callers beforehand. This post provides valuable insights and tips for video engineers to enhance collaboration and efficiency when working with show callers. 1. Clear Labeling: To facilitate effective communication, it is essential to label the audio-visual backstage elements comprehensively. Multiview screens, cameras, media servers, and playout systems should be labeled using simple and universally understandable names. For example, labels like GFX 1, GFX 2, PB-A, PB-B, CAM 1, CAM 2, PB-C ( Mitti 1), and PB-D (Mitti 2)can help everyone easily identify and locate the required components. 2. Adapt to Present Language: Different AV systems employ various methods for managing presets, such as Barco E2 uses presets, and Blackmagic Design relies on macros. Show callers often use the term “preset” regardless of the underlying system. If you are working with an ATEM switcher that uses macros, be prepared to make the mental switch and understand that when the show caller asks for “preset 1,” they may be referring to “macro 1.” Familiarize yourself with the terminology preferred by the show caller, inform them ahead of time what system is being used to avoid any confusion or delays during live events. 3. Pre-Show Communication: To ensure a successful production, have detailed discussions and rehearsals with the show caller before the event. This pre-show communication helps align everyone’s expectations, clarify terminologies, and identify specific requirements or preferences. By proactively discussing the show’s flow, cues, and technical aspects, video engineers can anticipate the show caller’s needs and be better prepared to provide a smooth experience. Conclusion: Working with show callers as a video engineers can present unique challenges due to varying backgrounds and terminologies. Video engineers can foster better collaboration and deliver successful productions by establishing clear labeling, understanding the distinction between presets and macros, grasping cue-based workflows, and engaging in effective pre-show communication. Embracing these strategies will lead to smoother operations, enhanced teamwork, and a more enjoyable experience for both the show callers and the entire production team. 

Get ready for the iOgrapher iPad Video Rig

By George E. Kennedy, Jr. • January 25, 2020
With iPhones and iPads more powerful than ever for mobile filmmaking and live streaming, @iOgrapher maker of cases for mobile devices geared towards content creators has a new astonishing case for the new generation of iPads. You can back it on @Indiegogo.

BirdDog Release Sony 1" Sensor NDI PTZ Camera

By Website Editor • September 15, 2019
Sony 1” Sensor. Size does matter. The best images come from the best sensors and the P4K is built exclusively around the best sensor in its category. The massive 1” Sony Exmor R CMOS backlit sensor delivers truly stunning pictures in all shoot modes and frame rates whether in HD or 4K. Full NDI. No compromises. In the world of NDI® there are two flavours, NDI® and NDI|HX. NDI® is a variable bit rate, I-Frame codec that is reaches around 140Mbits at 1080p60 and is visually lossless. NDI|HX is a compressed, long-GOP, H.264 variant that reaches around 12Mbits at 1080p60. P4K is a Full NDI® camera.

What's in my Kit?

By George E. Kennedy, Jr. • February 1, 2019
Like many creatives, I'm tasked with a different project every day. And every job requires a different kit. Here's a little break down of the tools I use. Y