Author: ContentAdmin

HK: As Hong Kong’s biggest and longest running outdoor music and arts festival, Clockenflap was again held over three days recently at the Central Harbourfront, overlooking Kowloon. Operating over six stages, it featured an all-star line-up including Pulp, Joji, Yoasobi, Caroline Polachek, IDLES and many others.

MSI Japan were appointed as the production partner for the event’s largest Harbourflap stage, where they deployed a Martin Audio MLA array.

Responsible for the sound system design were MSI’s Bunshiro ‘Bun’ Hote, Yasuhiko ‘Yasu’ Watanabe and Yukio ‘Eddie’ Tanada, who explained that one of the biggest challenges faced at the event is noise control. It is not so much about controlling the noise out the front of the stage as limiting the audio coming out the back of the stage.For at the rear of the stage are several government buildings, residential properties and hotels.In past years there have been complaints from residents and so MSI needed to focus on rear rejection.

It immediately became apparent that in order to control the sound across the entire frequency waveband, their only choice was to deploy Martin Audio MLA, with its advanced DISPLAY control and optimisation software.

And by further adding a full cardioid subwoofer array, using 30 x MLX, they could achieve close to 30dB rejection at the rear of the stage.

The two hangs of 15 x Martin Audio MLA and a single MLD downfill box were addressed by DISPLAY, the software enabling MSI to control the coverage for the audience. At the same time, by utilising the ‘Hard Avoid’ feature at the rear they could eliminate audio from on the stage, and therefore also from the residents behind the stage. Limits were also placed at the edges of the audience areas to ensure maximum focus on the audio where it needed to be, without escaping across the water to the Kowloon side.

Clockenflap sound director, Sem Cigna, has been working on the event since 2016, and has seen several sound systems on the main stage over this time. Sem used MLA for the Gwen Stefani concert in Hong Kong in 2019 as well as the Rugby Sevens, and familiarised himself with MLA in a similar configuration to this show (although with slightly fewer subs).There were similar demands back then and after that show Sem commented, “I was able to experience just how MLA could reduce the audio outside the audience area without losing any impact for the audience itself.”They experienced the same thing at Clockenflap this year.

Sem has worked alongside the event’s production manager, Peter Gorton, since 2019—and it is the latter who is ultimately responsible for managing the noise thresholds, which all six stages have to conform to.

He explained, “When the venue moved from Kowloon to Central [Hong Kong] several years ago, one of the biggest requests from the Government was to manage the noise for the residents.They subsequently endured several years of trial and error, testing different options, from hiring cranes to fly and evaluate different line arrays on site, to craning in large sandbags to sit behind the subwoofers in order to block sound from the rear of the stage.

Over the years various solutions were evolved without using sandbags, and this year they selected Martin Audio’s award-winning MLA to eliminate the noise at the back of the stage area entirely.

Noise levels are monitored at four points around the city, three in Central and one across the water in Kowloon.Residents may have adapted to having the Clockenflap Festival in the city; however Peter and the team never take this for granted, particularly as Clockenflap continues to expand. “In 2024 there will be a festival in Singapore, in addition to the original one in Hong Kong,” he explains.“We also have plans for other shows and festivals in HK.”

Having worked with MSI over the years they were delighted with the deployment and performance of MLA, which delivered the punch and impact they were hoping for, especially for bands like Yoasobi, the Japanese J-Pop band who were playing for the first time in Hong Kong.They sold out the Friday night and blew away the excited audience with their energy.

The final word came from Fujita Kengi, Yoasobi’s FOH engineer, who has mixed on MLA many times. He described the resolution of MLA as being a “standout feature” making it easier for him to focus on the mix, and thereby create maximum impact for the audience.

UK: In a repeat of their successful deployment at OVO Arena Wembley for the 25th MOBO Awards, SWG Events this time headed north with their flagship Martin Audio WPL Line Array to the Utilita Arena, Sheffield for this year’s event

They had to overcome the challenges of providing balanced sound reinforcement for the live audience inside the 12,500-cap arena, while preserving the integrity of the set and striking a balance between the presenters’ mics and the live showcases, in a fast-paced show.

These live performances ranged from UK rap to Afrobeats, Dancehall to Pop/R&B and Garage, with back-to-back performances from Soul II Soul, Ghetts, Sugababes, Cristale, Byron Messia, King Promise and Camidoh, plus a Garage set from DJ Spoony. The event was hosted by Babtunde Aleshe,IndiyahPolack andZezeMills.

It required SWG Events to increase the WPL box count from 16 to 18 elements for each of the main L/R hangs, compared with last time; but more significantly, was the increased number of outhangs, comprising 12-a-side WPC—all driven in 2-box resolution from iKON iK42s.

Explaining the rationale SWG Events’ Head of Audio, Simon Purse stated, “It was a fairly standard arena set up, and [Sheffield] is a very pleasant-sounding space as far as arenas go. But the additional outhangs enabled us to better cover the raked seating in the nearfield. That was a massive benefit as the tonal response from WPC and WPL is really similar, so when you walk around the rig it just really works well.

“There’s the additional benefit of being able to use the same amp racks in the same configuration, in terms of the LK connectors, breakouts and big multicores that Martin Audio can provide. All of that worked brilliantly at the stage end.”

WE GOT THE VOCAL PRESENCE RIGHT OUT OF THE PA, AT AN EVENT WHERE INTELLIGIBILITY WAS THE NAME OF THE GAME.

As with the previous MOBO Awards, which took place in November 2022, they chose an 18-box SXH218 sub array in end fire configuration, with three rows of six subwoofers delayed to a central point. That works well in these arenas because you can achieve the broadside array coverage without intruding on the set design—it can sometimes be quite challenging with such a visually oriented set.”

To avoid interference with the LED screen the PA was trimmed at little higher than normal. Below, there was just a single stage but with a catwalk thrust on stage left, while on stage right there was a smaller thrust for the guest presenters.

SWG Events turned their attention to the stage, providing a number of Martin Audio’s top-of-the-range dedicated XE500 monitors for foldback and adding stage sidefills on each flank in the shape of TORUS T1215 stacked on a pair of SXC118 cardioid subwoofers on each side.

Purse formed an effective tag team with colleague, freelance engineer Matt Pope, who handled system tech and alternated FOH duties. “Matt focused on the musical performance elements while I handled presenter mics and guests,” he explained.

“There were a lot of different intricacies, and the infrastructure behind the show was complex compared with a standard headline arena show. We had our stage system, which was split to FOH and monitors, and another split to an OB truck, which is handling the live broadcast mix. Finally, there were further split heads to a TV truck that was dealing with the presenter microphones and presenter IEM units as well as a separate broadcast mix for presentation later in the week.”

And then there was the speed of turn-around to contend with and imponderables encountered when one merges a live show with an awards presentation. “But the PA element helps tremendously. If it goes in easily—which this did—we can focus on the job in hand.”

Other challenges included striving for good gain before feedback, and trying to adequately project a quietly spoken vocal.

To meet these obstacles requires a highly skilled crew. And these included Will Fisher(monitors); Ian Williams (Playback/Comms); Phil Hughes (RF Tech); Fraser Wilks, Sam Jones, Laura Evans (Stage Patch & general Audio engineering); Mark Bott (SWG Operations Manager) and Henry Roper (SWG Production assistant. All worked under overall production manager Rob Smalldon (of Marvellous Incorporated Ltd), as last year.

Having Martin Audio’s flagship WPL as their front-line PA has enabled SWG Events to push ever further into the world of arena shows. However, Simon Purse knows that fastidious prep now becomes ever more important.

For the MOBOs, having received the CAD files from the venue the SWG Head of Audio was able to plan ahead, arriving on site with all presets stored and ready to go. “For due diligence I then always take additional measurements. You never know exactly what you will find so I was able to fine tune it and utilise the array snapshot feature to update my array optimisations.

Summing up, Simon Purse said, “I was extremely happy with the sound. We got the vocal presence right out of the PA, at an event where intelligibility was the name of the game.”

Rob Smalldon agreed. “The team worked tirelessly to make sure we had a great sounding show especially with a few curve balls thrown in during the weeks leading up to the event,” he said.

“The support pre-event was magnificent, ensuring all the acts got what they needed audio wise, and the system sounded great in the arena. A show like this only works when the experts in their particular field bring their A game and work together with the rest of the production teams to deliver. It felt very calm on site, and everyone did a magnificent job.”

US: A sensitive installation of Martin Audio’s ADORN ACP-55T pendant speakers has been undertaken at the North Carolina Museum of Art (NCMA) West Building Gallery in Raleigh, NC, by RMB Audio.

Knowing that the installation required multiple architectural and art curator approvals, the integrators knew instinctively that the stylish pendants would provide the most aesthetically discreet, yet consummately effective means of sound distribution.

According to RMB Audio owner, Cooper Cannady, 16 of the shallow pendant speakers were selected for their 150° conical coverage (117 Hz to 20 KHz ± 3dB, -10db @73 Hz) and off-white finish which matched the ceiling. These were approved by the architectural committee after careful review.

The speakers are paired to cover the wall-to-wall open space. Three areas of the gallery were zoned for audio isolation to control the social gathering adjacent to the art exhibitions. The ACP-55T pendants were hung at 15ft height across three selected zones in the gallery to mitigate sound leakage into other areas.

THE ADORN PENDANT DESIGN BLENDS INTO THE GALLERY CEILING.

“Well-articulated speech is the most critical parameter for the sound system application,” notes Cannady, “and Martin Audio ACP-55T pendants deliver high sound pressure level for speech and background music for daily operation.”

The Martin Audio partners had reviewed there options carefully. But according to Cooper Cannady the choice was obvious. “I knew the project needed a 150° cabinet spaced symmetrically across the gallery,” he said. “Ceiling units could not be considered in these circumstances.”

The installation coincides with the 12th anniversary of NCMA’s Thomas Phifer–designed West Building—home of the ‘People’s Collection.’ It is the first sound system to be permanently installed in the gallery. Previously, mobile carts would be delivered to the space, and without the ceiling elevation, clarity was lost.

The building’s 2010 completion marked not only an award-winning architectural achievement in museum design but also a breakout project for New York City-based Thomas Phifer and Partners.

The continuous ceiling sky light design brings natural light to the exhibits. The continual skylight introduced the challenge to examine how sound can be introduced into the space that is intelligible coverage for the gallery and blending into the ceiling vaulted lighting.

Martin Audio’s compact two-way ADORN ACP-55T were specifically designed for background and foreground applications requiring premium performance and cost competitiveness in spaces with open ceiling architecture such as this.

Stated Martin Audio’s director of marketing, James King, “Adding these pendant speakers to our popular ADORN range has proved to be a winner. In retail spaces and venues with open ceiling architecture specifiers are coming to realise that not only do they meet the aesthetic requirement, but sonically they also provide consistent all-round coverage with absolute clarity, due to their wide-dispersion pattern.”

Summing up the installation, Cooper Cannady also confirms their discreet profile. “If you didn’t know where to look for [the speakers] you simply wouldn’t see them.

“The ADORN pendant design blends into the gallery ceiling; it does not distract the museum attendees and most significantly, spoken word is highly intelligible in the large space.”

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