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Martin Audio

MARTIN AUDIO WPL DELIVERS CONSISTENT TOURING PERFORMANCE FOR DSL AND VAN DIK HOUT

NLD – Dutch rock band Van Dik Hout, one of the Netherlands’ most successful and enduring acts, recently brought their acclaimed live show to Amsterdam’s AFAS Live as part of their ongoing touring schedule. Since breaking through in the mid-1990s with iconic songs such as Stil In Mij, the band has earned a reputation for powerful, emotionally charged performances. Long-time audio production partner DSL Geluids- & Lichtverhuur deployed a Martin Audio Wavefront PrecisionWPL system at AFAS Live and throughout the tour, providing consistent, high-performance sound reinforcement.

Due to a long-standing relationship with the band and its production team, DSL has a detailed understanding of their expectations and workflow. “Our scope extends far beyond supplying a PA system,” explains Gert-Jan Gomes, Director and Co-Owner of DSL. “We maintain and prepare the touring package, transport the equipment between shows, manage storage and logistics, and provide technical support throughout the production cycle.”

The sound system must faithfully reproduce the band’s signature sound while providing the flexibility to adapt to everything from intimate theatres to large outdoor festival stages. “The primary requirement for the tour is to deliver a consistent, high-quality production regardless of venue size,” says Gomes.

DSL operates one of the largest Martin Audio rental inventories in the Netherlands, with WPL forming the backbone of their large-scale event and touring systems. “Over a twenty-year period, Martin Audio has become the foundation of our loudspeaker inventory and an integral part of our approach to live sound reinforcement,” explains Gomes.

For the Van Dik Hout tour, Martin Audio WPL arrays were selected for their ability to deliver exceptional vocal clarity, high output capability and consistent coverage across large audience areas. Depending on venue size and audience geometry, the system could be scaled while maintaining the same sonic signature and overall performance. At the AFAS live venue, a total of 32 WPL cabinets were deployed.

THE CORRELATION BETWEEN THE SOFTWARE MODEL AND REAL-WORLD PERFORMANCE IS REMARKABLY ACCURATE

Gert-Jan Gomes, DSL

“One of the major advantages of the Wavefront Precision platform is the ability to optimise individual enclosures within an array,” notes Gomes. “We can precisely control how energy is distributed throughout the audience area. This allows us to achieve excellent consistency in both SPL and frequency response from the front row to the rear of the venue. For a touring production such as Van Dik Hout, where every venue is different, this is particularly valuable.”

Low-frequency reinforcement is provided by Martin Audio SXH218 hybrid horn-loaded subwoofers.

“Low-frequency performance plays a major role in any Van Dik Hout production,” Gomes explains. “While the band is known primarily for its strong songs, powerful vocals and guitar-driven sound, the impact and energy of the rhythm section are equally important in creating the live experience audiences expect. At AFAS Live we deployed twenty-four Martin Audio SXH218 hybrid horn-loaded subwoofers, configured as twelve cardioid stacks of two cabinets high. The stacks were positioned across the front of the stage with approximately one metre spacing between each stack, creating a broad and evenly distributed low-frequency source.”

Front-fill coverage was provided using Martin Audio TORUS constant-curvature loudspeakers, ensuring a seamless transition between the front rows and the main arrays. The entire system was powered by Martin Audio iKON amplifiersand managed through the manufacturer’s advanced optimisation platform.

“A key design objective was consistency,” says Gomes. “Whether the band performed in a theatre, concert hall, festival tent or outdoor festival environment, the audience should experience the same powerful, detailed and balanced sound. The combination of WPL, SXH218, TORUS and IKON amplification allowed us to achieve that objective while providing the flexibility required by a modern touring production. The cardioid configuration significantly improved rear rejection, creating a more comfortable working environment for the musicians and reducing unnecessary low-frequency build-up behind the array.”

For DSL, the accuracy of Martin Audio’s DISPLAY software modelling is cited as a major advantage: “The correlation between the software model and real-world performance is remarkably accurate,” Gomes describes. “When we deploy a system based on a Martin Audio prediction model, we know with a high degree of confidence what the outcome will be before the first measurement microphone is connected.”

DSL credits the success of the tour to both the technology and the preparation involved in flagship arena schedules. “Projects of this scale demonstrate that successful deployment is about much more than loudspeaker performance alone,” Gomes says. “It requires a combination of detailed preparation, experienced personnel, efficient logistics and reliable technology. The WPL platform proved to be an important part of that process, delivering both the sonic performance expected from a flagship Martin Audio system and the operational efficiency required for a demanding arena production schedule.”

The feedback from the band’s production team and engineers was extremely positive, noting in particular the headroom and vocal intelligibility of the WPL arrays.

“For us, one of the best indicators of success is when nobody is talking about the sound system during the show,” Gomes concludes. “The audience is focused entirely on the performance, and the technology simply supports the experience. That was certainly the case at AFAS Live.

“The event once again confirmed that WPL is not only a powerful loudspeaker system, but a complete solution. The combination of prediction software, optimisation tools, efficient deployment and outstanding sonic performance allows us to deliver the same high standard whether we are working in a theatre, an arena or on a major festival stage.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

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Martin Audio

MOORESTOWN FRIENDS SCHOOL UPGRADES AUDITORIUM AUDIO WITH MARTIN AUDIO TORUS

USA – Moorestown Friends School is a coeducational Quaker day school in Moorestown, New Jersey. Founded in 1785, it serves students from age three through to Grade 12. The school’s 48-acre campus blends historic structures with state-of-the-art facilities, recently bolstered by a newly installed Martin Audio TORUS sound system in its main auditorium.

To facilitate the upgrade, the school turned to New Jersey-based live event and system integration specialists, Starlite.

“We’ve been proud to partner with Moorestown Friends School on multiple projects over the years, providing professional AV, rigging, and lighting solutions tailored to their needs,” explains Starlite’s Nick Minieri. “When it came time to upgrade their ageing sound system, in particular to enhance both sound quality and consistency of coverage, the school once again called on us.”

Starlite immediately recognised the acoustic challenges of the space, which features wide, curved reflective surfaces and cavities along its rear wall. And it was these challenges that led to Starlite’s first deployment of Martin Audio’s TORUS constant curvature line array, a system specifically designed to overcome such difficult acoustic environments.

WE KNEW MARTIN AUDIO WOULD NOT LET US DOWN ON SOUND QUALITY…

Nick Minieri, Starlite

“We have used Martin Audio speakers in the past but this was our first deployment of the TORUS Series,” confirms Minieri. “We knew Martin Audio would not let us down on sound quality and that this was the perfect application for the product. We were not disappointed.”

The final system design comprises two flown hangs, each featuring 2 x TORUS T1215 and 1 x TORUS T1230 array elements.

“Having the consistency of a good sounding array we were able to focus on tuning the room and not “correcting” the EQ of the boxes themselves,” notes Minieri.

The main arrays were supplemented with a Martin Audio SX218 dual-18in subwoofer to significantly enhance low-frequency response.

“Sub is often a requirement for the theatre spaces that we work in so the soundscapes that our end users create are immersive and utilize the entire frequency spectrum,” he adds. “It also means that the venues can comfortably support a traveling music group or host events such as their own battle of the bands.”

The entire system is powered by a pair of Martin Audio iKON iK42 amplifiers. “The iKON amps are great because they have heaps of power and, of course, pair perfectly with Martin speakers.”

For this project, the iKON amplifiers were also utilized for their onboard DSP to handle all room tuning. “This was fantastic to eliminate a failure point and have the ability to save our customer the extra cost of a dedicated audio DSP processor that comes with control system features were not needed in this application,” describes Minieri.

The final installation represents a significant, future-proof upgrade that has fundamentally transformed the venue’s audio performance. “We were confident we could deliver a system to support the school’s performances, assemblies, and community gatherings for years to come,” concludes Minieri. “Thanks to the Martin Audio TORUS system, the school now benefits from clear, full-range sound to every seat in the house.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Integration/Installation Partner: Starlite

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LEA Professional

Sound Check: LEA amplifiers power Sweetwater’s new Audio Audition room in Fort Wayne, IN

LEA amplifiers helped Sweetwater create a level playing field for comparing up to 80 passive loudspeakers in their recent Home Audio Audition room expansion.

The Spec

🏢Venue: Sweetwater | Fort Wayne, Indiana

👷Integrator: David Kars | IT Audio Visual Engineer at Sweetwater

🎶Audio Spaces: Home Audio Audition Room

🦈Product Used: Connect Series 168

Thirsty lion gastropub

Founded in 1979, Sweetwater has grown into one of the most respected retailers of music technology and audio equipment in the United States. As part of its commitment to customer experience, the company recently opened a dedicated Home Audio Room where customers can audition and compare passive loudspeakers in a controlled environment.

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When Sweetwater set out to create its Home Audio Room, the goal was simple: give customers an accurate way to compare loudspeakers without introducing variables that could influence the listening experience. The system needed to support up to 80 passive speakers while delivering consistent amplification and maintaining a compact footprint.

David Kars, IT Audio Visual Engineer at Sweetwater, recognized that the amplification platform would play a critical role in ensuring fair and repeatable listening tests. After evaluating available options, Sweetwater selected LEA Connect Series 168 amplifiers for their combination of channel density, efficiency, and networked control capabilities.

“The amplifier needed to be our ‘constant’ source that never changed to make it a level playing field as customers auditioned one speaker pair at a time,” said David Kars, IT Audio Visual Engineer at Sweetwater. “LEA was right in that sweet spot where we have the power requirements, the channel counts, and the super-efficient architecture.”

When Sweetwater set out to create its Home Audio Room, the goal was simple: give customers an accurate way to compare loudspeakers without introducing variables that could influence the listening experience. The system needed to support up to 80 passive speakers while delivering consistent amplification and maintaining a compact footprint.

David Kars, IT Audio Visual Engineer at Sweetwater, recognized that the amplification platform would play a critical role in ensuring fair and repeatable listening tests. After evaluating available options, Sweetwater selected LEA Connect Series 168 amplifiers for their combination of channel density, efficiency, and networked control capabilities.

Because the room already relied on Q-SYS for audio management and control, seamless integration was equally important. LEA’s network connectivity and Q-SYS plugin allowed amplifier management to become part of Sweetwater’s existing workflow, simplifying setup and ongoing operation.


“Having the ability to manage the amplifiers through the network connection and apply settings across all the amplifiers was incredibly useful and saved us a significant amount of time,” said Kars. “The biggest advantage for us was the Q-SYS integration and the plugin developed specifically to manage and control the amplifiers.”

“The amplifier needed to be our ‘constant’ source that never changed to make it a level playing field as customers auditioned one speaker pair at a time,” said David Kars, IT Audio Visual Engineer at Sweetwater. “LEA was right in that sweet spot where we have the power requirements, the channel counts, and the super-efficient architecture.”

The Conclusion

The completed Home Audio Room gives Sweetwater customers a consistent and reliable environment for evaluating loudspeakers and making informed purchasing decisions. By combining high channel density, efficient operation, and seamless integration, LEA amplifiers helped create a listening experience where the only thing changing is the speaker being auditioned.

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Categories
Martin Audio

JAMES MORRISON TOURS WITH MARTIN AUDIO WPC AND 22LIVE

UK – James Morrison has embarked on his “20 Years of Undiscovered” UK and Ireland tour, supported by 22Live and a Martin Audio WPC Wavefront Precisionsound system.

The 22-date run celebrates the 20th anniversary of Morrison’s debut album, Undiscovered. The tour features performances of the No. 1 album in full, alongside hits spanning his career. Supporting Morrison and his band, 22Live has deployed a scalable Martin Audio WPC solution.

“I’ve known Yaron Levy – the tour manager and FOH engineer – for around 30 years,” says Paul Timmins of 22Live. “We first met when he was monitor engineer for Simple Minds in the ‘90s. More recently, we’ve worked closely with him in his role as tour manager for UB40.”

Planning for the tour began in October 2025, following a successful short run of dates earlier that Spring. The production required a system capable of delivering the natural, warm tonality essential for Morrison’s vocal- and guitar-led performance.

“Yaron wanted a very natural sound,” Timmins explains. “He has used Martin Audio with Simple Minds and Ocean Colour Scene and likes the warmth it provides, but he wasn’t as familiar with Martin’s newer products.”

THE 100-DEGREE DISPERSION IS FANTASTIC FOR THEATRE SPACES

Chris Wilcock, 22Live

To evaluate the WPC platform, Levy attended an Australian Pink Floyd show at Birmingham Symphony Hall. “He really liked the audio and the overall package,” continues Timmins. “From there, I designed a rig that would provide the necessary flexibility for the one-truck tour.

The system comprises up to 24 WPC elements (12 per side), flown on single points with four grids to allow for flexibility in smaller venues, enabling boxes to be ground-stacked if required. Low-frequency reinforcement is provided by 12 SXCF 11818” subwoofers, ground-stacked typically in configurations three high and two wide depending on the venue. Fill is provided by Martin Audio’s TORUS constant curvature arrays – with four TORUS T820 for lip fill and four TORUS T1230 elements for in- or out-fill duties.

System Tech on the tour is 22Live’s Chris Wilcock. Having progressed rapidly through the company after starting in the warehouse during his university degree, this tour marks his first full run as lead FOH system tech. Supporting him is Maria Head, who oversees stage operations and supports the monitor engineer.

“My growth into this industry has been really organic and well supported by 22Live and the people running it who trusted me,” begins Wilcock. “There’s a very close team of people on this tour who have been working together for a long time. There’s a good vibe between the crew and artist, everyone looks out for each other. It’s a great tour.”

“The WPC performance is remarkable,” he says, “And it’s versatile enough to fit into venues of varied sizes. The rigging system is fast and smooth; it takes no time to get it in the air and back down on the floor. The 10-degree rigging angles give me the flexibility to design a better system for each room and reach the more challenging audience areas over or under balconies. It’s also a very light box for the power that it has.”

The WPC’s consistent wide dispersion is a huge benefit given the varied nature of the venues. “The 100-degree dispersion is fantastic for theatre spaces where points can be in some very awkward places,” he says.

“The T820 front fills we use are a perfect size to sit aesthetically on the edge of the stage without affecting sightlines,” Wilcock adds. “They produce a very defined sound to bolster James’ vocal on the front rows.”

Martin Audio’s software is deployed to further enhance the performance. “The non-audience and hard avoid functions on DISPLAY work really well,” Wilcock describes, citing Cambridge Corn Exchange with its glass balcony front as a good example. “Hard avoiding that surface successfully reduced reflections in the room and was able to steer HF back into the audience area. I’m impressed by how much the software can do and improve difficult spaces.”

Concluding, Paul Timmins is in no doubt of the Martin Audio WPC’s suitability and performance. “In my opinion, the 12-box WPC hang is ideal for the largest UK theatres,” he says. “You might open the PA up a little more than you would with a deeper hang, but that’s where the Martin Audio system excels – you get superb vertical coverage and consistency.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

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Categories
Martin Audio

FELLOWSHIP BIBLE CHURCH ENHANCES MULTI-PURPOSE SPACE WITH MARTIN AUDIO TORUS

USA – Fellowship Bible Church (FBC), located in Sewell, New Jersey, serves hundreds of families across Gloucester County. Its busy programme of worship services, youth activities and community events has recently been enhanced with the installation of a Martin Audio TORUS sound system in its multi-purpose gymnasium.

The gymnasium is one of the church’s most flexible spaces, regularly hosting church gatherings, youth group events, community wellness programmes and live worship. However, its existing sound system was no longer able to meet the demands of the room, prompting Fellowship Bible Church to turn to local AV integrator Starlite to design and install a modern replacement capable of delivering significantly improved clarity and coverage.

“Large, open gymnasium spaces are known for poor acoustics,” says Starlite’s Nick Minieri. “Hard surfaces, exposed structure and high ceilings create reflections that make speech hard to understand and music difficult to control.”

To achieve the consistent coverage required, Starlite specified a Martin Audio TORUS constant curvature line array system, taking advantage of its ability to direct sound towards the audience while minimising energy directed onto the walls and ceiling, where unwanted reflections occur.

WE WANTED SOMETHING THAT WOULD BE RELATIVELY LIGHTWEIGHT AND EASY TO HANG

Nick Minieri, Starlite

“The constant curvature design of the TORUS system allows for even coverage across the listening area, which was critical in this space,” says Minieri.

Acoustic treatment also formed an important part of the installation. Impact-resistant absorption panels were installed along the walls, while additional acoustic hardware was used to minimise reflections from the exposed steel roof structure.

Practical installation considerations also influenced the final specification: “We wanted something that would be relatively lightweight and easy to hang, and we wanted it to be passive so we didn’t need to install new electrical boxes.”

The final system comprises two flown hangs, each array featuring 2 x TORUS T1230and 1 x TORUS T1215 elements, supplemented by a Martin Audio SX218 dual-18in subwoofer. Four Martin Audio CDD15 loudspeakers provide delay coverage while also allowing the space to be configured into multiple audio zones. Power is provided by Martin Audio iKONiK41 amplifiers.

“The CDD paired nicely with the TORUS as delay speakers as their voicing is so similar,” explains Minieri. “But we also used them in a divisible room configuration and a side configuration, giving the space three distinct stereo sound system options depending on how the client wants to use the space.”

The SX218 subwoofer delivers the low-frequency extension required for contemporary worship services and live music performances. “This space is being used as a worship space with a live worship band, so the sub was a must-have to support the bass and kick drum,” Minieri notes.

The completed installation has transformed the gymnasium into a highly capable multi-purpose venue, providing consistent, intelligible audio across a wide variety of applications.

“Fellowship Bible Church now has a gymnasium that functions as a true multi-purpose space,” concludes Minieri. “Speech is clear, music translates well, and events can shift throughout the week without technical limitations getting in the way.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Integration/Installation Partner: Starlite

Click here for original article.

Categories
AVPro Edge

Estadio Banorte Stadium Is Now the World’s Largest 10G SDVoE AV over IP Network

Powered by AVPro MXnet, the venue supports ‘the ultimate live sports experience’ for fútbol fans from around the world.

MEX – AVPro Edge together with regional distributor Duoson AV, brand representative Polaris Controls, and systems integrator POP Media Technology, has completed the world’s largest 10G SDVoE AV over IP single network powered by AVPro MXnet at Mexico City’s Estadio Banorte football stadium. Known across Mexico as “El Coloso de Santa Úrsula,” after the neighborhood in which it is located, the venue now features more than 500 video displays and over 20 video walls, creating the ultimate live sports experience for fans. The system delivers live action, replays, wayfinding, and branded content on screens throughout the venue—an engineering achievement made possible by the unmatched performance of AVPro’s 10G SDVoE AV-over-IP ecosystem.

The Estadio Banorte stadium is the largest stadium in Latin America. Opened in 1966 and rising more than 7,000 feet above sea level, the immediate challenge was of immense scale. For tens of thousands of fans in the stands and millions more watching around the world, every one of those screens must come alive at exactly the right instant. So, how do they deliver pristine, perfectly synchronized video to every concourse screen, suite, hospitality space, and giant video wall throughout an enormous concrete bowl, all from a single source?

The answer was a single AVPro MXnet ecosystem. AVPro delivered a complete end-to-end ecosystem engineered to function seamlessly as a unified solution. At the heart of the system are MXnet 10G SDVoE transceivers—compact encoder/decoder endpoints installed behind each display—paired with MXnet 100G core switches, MXnet access switches, and dual CBOX-HA control systems for high-availability management of the entire network. Together, these components route spectacularly clear and detailed live video content to displays and large-format video walls throughout the stadium. Because every endpoint communicates on the same network using the same protocol, any source can be routed to any screen, anywhere in the building, on demand.

“The AVPro design team set up and carefully tested the entire AV system in the factory laboratory before deployment, validating the system architecture prior to delivery to Mexico City,” explained Kevin Wang, VP of product development at AVPro. “This level of preparation ensured a seamless installation once onsite, demonstrating the significant value of combining detailed engineering and design preparation carried out by the entire AVPro team.”

(Image credit: AVPro Edge)

Thanks to

Distribution Partner: Duoson AV
Integration/Installation Partner: POP Media Technology

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Categories
Martin Audio

22LIVE DEPLOYS MARTIN AUDIO FOR ROYAL HOSPITAL CHELSEA EVENTS

UK – The recent Live at Chelsea concert series took place over five nights in June within the courtyard of London’s historic Royal Hospital Chelsea, attracting audiences of more than 4,000 each evening. Providing the sound reinforcement was leading UK rental company 22live, which deployed a comprehensive Martin Audio system comprising WPC main arrays, TORUS front fills and WPS sidefills.

Founded by King Charles II and designed by Sir Christopher Wren, Royal Hospital Chelsea has been home to the Chelsea Pensioners since 1692. With the historic buildings and iconic clock tower forming a striking backdrop, the events were staged in the magnificent Figure Court, a 17th-century courtyard that hosted a diverse line-up of artists, including Holly Johnson, Blue, Sparks, The Proclaimers and The Beach Boys.

MOST OF THE ARTISTS BROUGHT THEIR OWN ENGINEERS, AND THE FEEDBACK WAS CONSISTENTLY POSITIVE.

Paul Timmins, 22live

“It’s unusual because it’s an outdoor event, but the audience is entirely seated,” explains Paul Timmins, Hire Director, 22live. “There was tiered seating around the sides and at the rear, so it felt much more like a purpose-built theatre environment.”

With an audience area measuring approximately 75 metres square, 22live selected Martin Audio’s WPC Wavefront Precision line arrays as the main system, deploying left and right hangs of 12 cabinets per side.

To provide coverage across the relatively wide listening area, four Martin Audio WPS line array elements were ground-stacked on grids as outfills, while six TORUS T1230 constant-curvature array elements delivered front-fill coverage. Low-frequency reinforcement meanwhile came from eight SXH218 dual 18-inch subwoofers, configured in a compact castellated cardioid array, with five cabinets facing forwards and three facing backwards. The entire system was powered by iKON series amplifiers.

“The audience area is bordered by large stone structures, so we wanted to minimise reflections from those surfaces,” says Timmins. “We also wanted to avoid directing unnecessary energy into the surrounding buildings wherever possible. Beyond that, the challenge was simply to achieve consistent coverage across the audience area as efficiently as possible.”

“It was an interesting event because each of the five nights featured a different headline artist, with a wide range of musical styles,” reflects Timmins. “Most of the artists brought their own engineers, and the feedback was consistently positive. Everyone I spoke to had good things to say about the system.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

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Categories
Draft

OSA Stage Arts Uses TiMax SoundHub Immersive Processor to Bring a New Dimension to a Historic Jazz Concert

About OSA Stage Arts

OSA Stage Arts provides sound system design, operation and audio production for theatre, musical and live events, ranging from small-scale productions to arena-class performances, primarily across Tokyo and Osaka.

Products Used

TiMax: SoundHub

Martin Audio: CDD12, LE100, ADORN A55, THS, Blackline X8, SX115, iKON iK42

Overview

The annual Youth Charity Concert presented by the Big Friendly Jazz Orchestra of Hyogo Prefectural Takasago High School—whose jazz band famously inspired the film Swing Girls—was held on 13 July 2025 at Jotonba Hall, Takasago City Cultural Center. As in previous years, the concert concluded to a sold-out audience.

For this year’s performance, OSA Stage Arts, led by President Mr. Cho, oversaw the complete sound system centred around the TiMax SoundHub immersive processor. We also spoke with Mr. Asahara of Sound Work Ashley, the event’s operating company, about their impressions of SoundHub as well as the loudspeakers and amplifiers used during the production.

Interview

What led you to use TiMax SoundHub for this event? Could you explain the background and nature of the concert?

Mr. Cho, OSA Stage Arts:

Over the years, this concert has benefited from the support of various manufacturers and distributors who have allowed us to showcase the latest audio technologies while supporting the band’s outstanding performances. Personally, I’ve lost track of the exact timeline, but I’ve been involved intermittently for around fifteen years, while OSA Stage Arts has supported the event for four years.

Each year, together with Mr. Asahara of Sound Work Ashley, we choose a theme and try something new. Last year we experimented with another manufacturer’s immersive audio processor, and the audience response was overwhelmingly positive—it quickly became an indispensable part of the concert.

This year, with the cooperation of Audiobrains, we decided to use TiMax SoundHub.

Among immersive audio processors, TiMax takes a particularly unique approach to processing. Even with the relatively simple object positioning used for this production, it simultaneously adjusts both level and delay as sounds move from one position to another, creating exceptionally smooth localisation.

Another key feature is that it supports one of the few positioning systems currently available in Japan capable of tracking performers via sensors. Although this year’s setup was relatively simple, SoundHub is also capable of more advanced hybrid configurations—for example, combining conventional loudspeaker arrays overhead with wavefront synthesis for lip-fill speakers.

What were your impressions after using TiMax SoundHub?

Mr. Cho, OSA Stage Arts:

I believe TiMax SoundHub is an extremely attractive system.

It supports both analogue and digital connectivity depending on the application, while the Dante version we used integrates seamlessly with today’s Dante-enabled mixing consoles.

Programming the system has a slight learning curve, but thanks to the engineers at Audiobrains, the finished interface was extremely intuitive and easy to work with. I found it completely stress-free during operation.

Another major advantage is that SoundHub is not tied to specific loudspeaker models. This gives enormous freedom when designing systems—both in terms of loudspeaker placement and model selection. In Japanese venues, where speaker positions are often fixed or existing wall-mounted loudspeakers must be retained, this flexibility is especially valuable.

There is no doubt that immersive audio will become an essential technology not only for live events but for the professional audio industry as a whole.

TiMax SoundHub

Within SoundHub, each instrument captured by individual microphones was represented intuitively as a coloured object in the user interface.

SoundHub continuously calculates the appropriate level and delay for every loudspeaker in real time, creating an immersive sound field that gives listeners the convincing impression that each sound is emanating directly from the performers themselves.

Loudspeakers and Power Amplifiers

The loudspeaker system deployed for the event exclusively featured Martin Audio products. The main audience system comprised a total of five flown loudspeakers—two CDD12 and three LE100 units—along with two SX115 subwoofers in a center-sub configuration, delivering complete coverage across the entire seating area. All of these components were powered by Martin Audio iKON iK42 amplifiers. Additionally, nine ADORN A55 loudspeakers were utilized for lip-fill coverage.

Each speaker received an independent, immersively processed audio signal from a TiMax SoundHub, operating across a total of 15 individual speaker channels.

Why did you select the LE100, A55 and SX115 for this immersive system?

Mr. Cho, OSA Stage Arts:

Regardless of manufacturer, I believe immersive audio loudspeakers for live events benefit from having relatively wide dispersion.

In most halls, wide coverage is beneficial towards the rear of the audience, while slightly narrower coverage is acceptable nearer the stage.

Martin Audio’s CDD horn, with its asymmetric coverage pattern, solves this challenge extremely well.

To maintain consistent horn characteristics and driver voicing, we flew five loudspeakers above the stage using a combination of CDD12 and LE100.

Ideally, all five would have been identical models, but due to inventory limitations we opted for this mixed configuration since both models share the same horn and driver technology.

The A55 is a loudspeaker we have recently added to our inventory in several units.

Its appearance, compact size and price-to-performance ratio make it an outstanding product.

I first encountered the speaker during a meeting with one of Audiobrains’ former sales representatives. It happened to be sitting beside me as a demonstration speaker, and I was immediately impressed by how good it sounded.

We originally purchased it as background music and evaluation speakers for our warehouse. Although that particular project never materialised, I always liked its sound quality.

Initially, opportunities to use such a compact speaker in live events were limited, so I hesitated to invest further. More recently, however, we replaced around ten compact speakers from another manufacturer with A55s and used them as front fills for a theatrical production. The results were excellent.

They have now become our standard front-fill speaker for productions that don’t require extremely high output.

Occasionally I would like a little more power handling, so I’m also interested in the next model up in the range.

On stage, all monitor loudspeakers were also Martin Audio products.

  • 2 × LE100 for soloists
  • 1 × Blackline X8 each for piano and drums
  • 2 × THS for the brass section

Why were these monitor speakers chosen?

Mr. Cho, OSA Stage Arts:

At OSA Stage Arts, we currently use Martin Audio monitor loudspeakers for most of our productions.

Because we rarely work with extremely high-powered rock band environments, passive full-range loudspeakers that don’t require proprietary amplification are very practical for us.

Ideally I would have liked to use an LE100 for the drum monitor as well, but because many LE100s were already flown overhead, we had to use the X8 instead. Even so, it provided more than enough output.

The THS used for the brass section may seem slightly oversized, but I believe it is perfectly capable of handling stages up to around 18 metres wide.

In fact, we recently used THS as arena side-fill loudspeakers, and they delivered more than enough power.

Comments from Sound Work Ashley

What are your impressions of using this system? What do you see as the future and challenges of immersive audio in live sound?

Mr. Asahara, Sound Work Ashley:

I’ve worked with the Takasago High School Jazz Band for more than twenty years, dating back to when the Japan Association of Professional Sound Engineers first supported the charity concert.

Throughout that time, various manufacturers have supplied the latest mixers, loudspeakers and other equipment, allowing us to continually explore new technologies.

Last year, following a proposal from Mr. Cho of OSA Stage Arts, we introduced an immersive audio system, and I’ve been responsible for operating it ever since.

Traditionally, a big band performance relies mainly on natural acoustic sound, with reinforcement simply providing support.

With immersive audio, however, we can position the amplified sound to match the physical location of each performer. This makes balancing the system against the acoustic sound much easier and greatly simplifies operation.

From the audience’s perspective, each instrument is reproduced from its actual position on stage, allowing listeners in every seat to experience an ensemble that feels much closer to the natural performance. Audience reactions have been overwhelmingly positive.

We hope to continue supporting future Takasago High School Jazz Band charity concerts with immersive audio whenever possible.

To do that successfully, however, it is important that the band’s teachers and students—particularly the band leaders, concertmaster and section leaders—fully understand how immersive audio differs from conventional sound reinforcement.

I believe this is true for any production: performers should understand the system they’re working with.

I also feel strongly that this concert succeeded because of the support provided by Audiobrains and Mr. Cho of OSA Stage Arts.

Speaking personally, trying to manage both system engineering and front-of-house operation simultaneously inevitably means one of those responsibilities receives less attention, making it difficult to concentrate fully on the performance.

Many engineers successfully perform both roles, of course, but personally I prefer to separate system engineering from mixing duties whenever possible.

Finally, I would like to thank everyone involved for their support, especially the members of the Takasago High School Jazz Band.

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Martin Audio

MARTIN AUDIO TORUS SUPPORTS MALWANCHAL UNIVERSITY CONVOCATION

IND – As part of Central India’s largest medical education group, Malwanchal University in Indore, Madhya Pradesh, is a modern 65-acre campus with a vibrant student community of over 11,000.

In April 2026, the University, together with the Index Group of Institutions, hosted its 5th Convocation Ceremony – its flagship graduation event – where degrees are formally conferred and outstanding academic achievements celebrated. With students, faculty, dignitaries and guests in attendance, the sound reinforcement system was required to deliver every speech and ceremonial moment with clarity, balance and authority.

To meet these requirements, locally based Patel DJ Sound deployed a Martin Audio sound system solution comprising TORUS T1215 constant curvature array elements, complemented by Blackline X218 subwoofers.

THE TORUS SYSTEM GAVE US CLARITY, CONTROL AND PROFESSIONAL SOUND ACROSS THE VENUE.

Amit Patel, Patel DJ Sound

“TORUS has proven to be a strong asset for us in Indore.” says Amit Patel, Director of Patel DJ Sound. “Its compact build makes it adaptable, while output and clarity allow it to perform beyond expectations.”

Bridging the gap between line array and point-source technologies, Martin Audio TORUS arrays are engineered to deliver high-output power and uniform coverage with exceptional cost-efficiency.

Hosted in the University’s Central Auditorium – a large-scale venue on campus designed to accommodate up to 2,000 attendees – two flown arrays, each comprising 4 x TORUS T1215 elements, provided controlled coverage, strong vocal intelligibility and a refined sonic character ideally suited to speech-led content, while the Blackline X218 subwoofers added low frequency depth and weight.

Commenting on the performance of the Martin Audio system, Patel DJ Sound engineerAnkit Patel comments, “The TORUS system gave us clarity, control and professional sound across the venue.” Fellow engineer Raj Mane adds, “Working with Martin Audio allows us to deliver a polished sound experience that clients can trust.”

“Martin Audio has strengthened our business by giving us a system we can trust for important events,” concludes Amit Patel. “With TORUS T1215 and Blackline X218, we deliver clear, consistent and professional sound. That reliability builds client confidence, strengthens our market reputation, and helps us take on prestigious assignments with assurance.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Integration/Installation Partner: Patel DJ Sound

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Martin Audio

FIRST BAPTIST CHURCH IN CARTHAGE UPGRADES TO MARTIN AUDIO TORUS

USA – First Baptist Church in Carthage, Texas, has transformed its worship experience with a major audio upgrade, replacing a PA system that had remained largely unchanged since the church’s construction in 2003. The new installation centres on Martin Audio’s TORUS constant curvature array technology, delivering significantly improved coverage, clarity and consistency throughout the sanctuary.

Over the years, the church’s worship style and musical programme had evolved beyond the capabilities of its ageing sound system. Uneven coverage, deteriorating loudspeakers and amplifiers, and a lack of intelligibility all contributed to the decision to invest in a modern solution capable of meeting both present and future requirements.

To design and install the new system, the church turned to RP AVL, led by founder Ray Priszner.

“I stepped away from a Technical Director role at a mega-church in the Houston area to found RP AVL in 2022,” begins Ray. “I missed helping churches and working alongside volunteer teams to increase their skill set in serving their local church. This project started because of a relationship with a pastor who felt called back to his home church in Texas. In his prior church I had installed a smaller Martin Audio system which he really loved.”

The church sought a system that would provide natural, clear sound, ensure even coverage across the congregation, and remain scalable as the ministry continued to grow. Speech intelligibility was a particular priority, ensuring voices would remain clear and present within the mix.

Having previously experienced the Martin Audio TORUS system at InfoComm, Ray was confident it would meet the brief: “I was very impressed with the tonality, imaging and HF coverage,” he recalls.

The sanctuary itself presented several acoustic challenges. Wider than it is deep and featuring a stepped ceiling, the room exhibited a number of frequency anomalies. Acoustic treatment formed an important part of the overall project, while Martin Audio’s DISPLAY software played a key role in system design and optimisation.

WITH THE CONSTANT CURVATURE DESIGN, SHADING TO THE FRONT ROWS WITHOUT THE NEED FOR FRONT FILLS WAS A HUGE WIN.

Ray Priszner, RP AVL

“Importing the room rendering and modelling with different Martin boxes made the process seamless – ultimately choosing the TORUS T820 and CDD6 to be the optimal boxes for the space,” says Ray. “I’m very impressed how accurate the DISPLAY modelling was compared to the physical deployment of the system. Using SMAART I measured numerous positions within .2db of DISPLAY’s predictions. This alone has given me additional confidence when designing and implementing Martin Audio solutions.”

The final system comprises two hangs of four TORUS T820 elements per side, supplemented by a pair of SX218 dual-18in subwoofers and a pair of Martin Audio CDD6 loudspeakers for outfill coverage. Power is provided by 2 x Martin Audio iKON IK41 amplifiers.

“Using the TORUS in single box resolution really helped with the coverage throughout the space,” notes Ray. “With the constant curvature design, shading to the front rows without the need for front fills was a huge win.”

He also praised the simplicity of the rigging process.

“Again the DISPLAY 3 configuration was spot on with pick points and angles. It couldn’t have been easier using the provided hardware with no additional need.”

For outfill duties, Ray turned to Martin Audio’s CDD series, which he regards as a proven solution for houses of worship.

“They have a sound that is natural and open with a great form factor. They pair well with the TORUS line giving additional fill where needed giving a smooth tone extension.”

In fact, the performance of the CDD loudspeakers alone made an immediate impression during commissioning.

“I had just finished tuning the CDD6s when the worship pastor walked in and was amazed at the sound. I turned and looked at him to inform him that the only thing on was the outfills. His jaw dropped. He said ‘no way. That can’t be.’ But I said yes, only the small guys!”

Low-frequency extension is provided by the SX218 subwoofers, configured to deliver smooth, even bass response throughout the room. “The SX218 each receive single driver power which gave me the ability to steer the low frequency and create more even coverage,” he says.

The improvement in audio quality has been noticed immediately by both church staff and congregation members: “We had a rehearsal where I dialled in the band and vocalists, and I worked with the volunteers on their console to get things set-up. They pointed out how big and clear the sound was and how natural it all felt. Over the weekend, long term church members made comments about being able to hear all the instruments along with the choir for the first time in their 15 years of attending the church and how the speakers weren’t distracting to the space. It was a huge win.”

Reflecting on the project, Ray believes the installation has achieved exactly what the church set out to accomplish.

“The overall project was a huge success for this client,” he concludes. “They no longer have different areas in their room where the sound is louder or softer, and the clarity and fullness of the system is allowing them to experience worship and the word as never before.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Integration/Installation Partner: RP AVL

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