Advanced Amplifier Control Software | SharkWare Overview
This video walks you through SharkWare, our first advanced amplifier control software. Free to download and available for both Windows and Mac, SharkWare includes features such as amplifier grouping, offline design, granular user access control levels, locked speaker tunings, and a graphical EQ.
Let’s Dive in! 
Following significant upgrades to the Great Oak Stage in 2022, American Express presents BST Hyde Park relaxed comfortably into its new setting this year. The iconic stage dominates the Royal Park—now firmly established, after once being considered ‘unworkable’ as a concert site, surrounded as it is by the well-heeled residents of Mayfair and Knightsbridge.
Much of this is because Martin Audio’s tightly controllable MLA PA array—the result of its advanced DISPLAY optimisation software—has been ever-present since AEG Presents took over the Park lease in 2013, making offsite noise pollution largely a thing of the past.
With system engineering back in the capable hands of Toby Donovan, who aside from last year has worked every BST, the site sound provided its usual exemplary experience for audiences. This time the tech team presided over a 9-day festival that saw acts like Pink, Guns N’ Roses, Take That, Bruce Springsteen and the E Street Band and Billy Joel headlining. Other than slightly raising the main stage side hang to avoid it obscuring the screen, Solotech UK account manager, Martin Connolly, confirmed that “everything else was exactly the same as last year.”
Nonetheless, prior to the event another BST stalwart—freelance sound consultant (and former Martin Audio R&D Director)—Jason Baird was drafted in for propagation checks, particularly with regard to the 11 delays positions, which comprised many of Martin Audio’s larger format WPL. Working with acoustic consultants Vanguardia, he patrolled the field with a walkie-talkie, providing data to Donovan to ensure the delay levels were set correctly, and that Martin Audio’s DISPLAY optimisation and predictive software was accurate and ready for showtime.
“As a result,” said Baird, “all headliners enjoyed good gigs, and were able to achieve their levels. There were many compliments from visiting engineers, but the main thing was a reduction in complaints.” This despite offsite levels being set at a challenging 75dB (LAeq5).
Two such sound engineers who were voted to have produced memorable sound quality were Gary Bradshaw (Take That) and Simon Thomas (Sabrina Carpenter).
Bradshaw has a long history working with Martin Audio and Solotech UK (then Capital Sound), mixing through many generations of the manufacturer’s frontline PA before moving over to Take That in the early 90s and becoming synonymous with the band’s sound ever since. At Hyde Park, MLA was able to help him solve an unforeseen problem.
Loading in during the night, for an anticipated 9am soundcheck, he was alarmed to discover that a sound curfew was in place until 10am. However, he was equally relieved to find Donovan, who system teched the last Take That tour with Bradshaw, in position.
“I’VE WORKED THROUGH MLA A HANDFUL OF TIMES AND HAVE ALWAYS LIKED ITS EVENNESS. IT’S GOT THAT DEFINED ‘SIGNATURE’ IN THE LOW-MIDS WHICH A LOT OF OTHER PAS DON’T HAVE—MARTIN AUDIO HAS ALWAYS HAD A ‘500HZ’ SIGNATURE”.
“The (44) dancers were onstage at 9.00am, there was a band call at 9.30am and the three Take That lads appeared at 10am,” he reports. “Fortunately, we didn’t need to make any changes to the system. We listened to Gary Barlow’s vocal on A stage and then B stage … and couldn’t get his mic to feed back even when pushed way louder than needed.
“I knew Pink had safely done an A stage and B stage show and so realised I was safe to really push it without the risk of feedback. But that showed the PA was perfectly set up, aligned, and in phase. It was the perfect test of the PA, and there were no EQ changes from me.” In the end the band was able to do almost a full set run through and the result was “the gig went without a hitch,” he said, paying tribute not only to Toby Donovan but Dave Roden, supervising FOH.
Simon Thomas, who only joined American singer-actress Sabrina Carpenter in April, was another who earned plaudits. Supporting Blackpink, he described the Martin Audio system as “amazing” and the FOH support team as “fantastic”.
The combination of his SSL-based control /outboard package and MLA paid dividends. “The only thing to worry about on the day was to ensure the shape of my transfer function matched that of the system engineer’s and as it happens Toby’s transfer function was exactly what I was after, so it worked perfectly.”
Commending the system engineer, he said, “All we had to do was a bit of shaping on the high mids, notching a bit of 3K out for when she stepped off the platform and onto the floor.”
He added, “I’ve worked through MLA a handful of times and have always liked its evenness. It’s got that defined ‘signature’ in the low-mids which a lot of other PAs don’t have—Martin Audio has always had a ‘500Hz’ signature, and with MLA they have managed to make that sound really nice. Thoselow-mid frequenciesarethe power band of a mix—the thump off your kick and snare drum and so oncomes from yourlow-midand not just the subs.”
But it wasn’t all about the Great Oak Stage as far as Martin Audio was concerned. Elsewhere, Solotech UK account manager, David Preston supervised three other stages around the site that carried Martin Audio: Rainbow Stage (MLA Compact, eight boxes per side with 12 SX218 subs and five MLA Compact front fill); Birdcage Stage (WPS, six per side, driven in 1-box resolution with six SX218 and XD12 front fills); and Cuban Garage Stage (WPS, six per side, driven in 2-box resolution, with four SX218 subs).
Summarising the deployment, he said, “MLA Compact on Stage 2 worked well, covering an area of around 35m deep by 30m wide. We really needed to contain audio to that space only as we were right on the edge of the site, and we achieved this really successfully thanks to the use of ‘Hard Avoid’ [in the DISPLAY software] towards the rear of the audience area.” The other stages saw DJs and new acts play through ground stack systems. “But even in 2-box resolution the WPS is very impressive with its SPL output, and its optimisation and coverage.”
This positive assessment was shared by venue director and co-CEO of management company, LS Events, Dave Grindle. He praised the efforts of BST’s technical production director Mark Ward (Proper Productions) and the teams at Solotech [who also provided video and lighting] and Martin Audio “The considerable amount of work they put in previously redesigning the stage PA hangs really paid off, with the result that no further redesigns were required this year.
“I personally walk the site—particularly when the headline act comes on stage—to satisfy myself that we are achieving the best sound coverage possible, and I have no doubt that we delivered an amazing audio experiencefor our audiences.”
He concluded, “Given that we’re working in an urban environment which is surrounded by densely populated residential areas, the numbers of complaints have been remarkably low since AEG first won the contract for theBSTseries 10 years ago. That said the tech teams and Vanguardia work hard to achieve a balance of an incredible experience for the fans while remaining within the licence conditions and minimising the impact on our neighbours.
“LS Events and AEG will always strive to ensure we’re working with the absolute best technology available for this festival. The MLA system together with tech teams from Martin Audio, Solotech and Proper Productions continue to deliver that for us.”
After 10 years can the sound get any better than this? It was left to Martin Connolly to try and answer that. “I couldn’t honestly see any improvement this year … but that’s because I think that would have been an impossibility! It’s always just been so consistent.”
Photo Credit:
Awais Butt – Photo 1,
Gus Stewart – Photo 3, 4, 10
David Preston – Photo 5, 6, 8, 9
In early March, sound designer Simon Honywill used TiMax SoundHub with TiMax TrackerD4 performer stagetracking to spatially enhance an already incredible – and quite unique – immersive performance by the Paraorchestra musical ensemble. The Nature of Why, composed by Will Gregory and choreographed by Caroline Bowditch under the artistic direction of award-winning conductor, Charles Hazelwood, was performed within a 14m circular space on the Lyric Stage at Theatre Royal Plymouth, with 100-120 audience members mingling amongst the players and dancers for each performance.
Though it wasn’t the first performance of The Nature of Why – an interpretation of the famous interview with physicist Richard Feynman which asks in empirical terms why certain physical properties occur, such as magnetic attraction and slippery ice – it was the first time the immersive theatre experience had benefitted from TiMax spatialisation. Simon Honywill described it as, “…categorically, the most mind-blowing spatial audio experience I’ve ever had.”
He explained, “TiMax SoundHub was perfect for the show, especially with TiMax TrackerD4. It added so much to the performance. We realised just how good it was when, in that space full of people, heads turned immediately towards the viola solo at the beginning of the performance. The localisation was so clear and accurate.” Honywill was joined on-site by OutBoard’s Dave Haydon who assisted with TiMax SoundHub and TrackerD4 programming for rehearsals and provided support for the run of the three shows.
Paraorchestra is made up of professional disabled or non-disabled musicians performing a wide repertoire of orchestral music, including new compositions, at venues and locations across the globe. The Nature of Why is one of its most avant-garde productions. Immersive in the theatrical sense, Honywill worked closely with Gregory at the R&D stage of the production’s composition at which point “…a lightbulb moment determined that it needed to take place in a 360-degree space.”
For The Nature of Why, the performance space is defined by a ring of seven flown EM Acoustics R10 speakers supported by four separate sub bass channels, with an 11-piece string section positioned at the downstage point of the circle. A set of drums and two other large percussion rigs form another fixed musical point opposite, with an electronic keyboard as another static, musical fixed point to one side. The rest of the orchestra is almost continuously mobile, comprised of viola, French horn, electric guitarist, electric harp, standard and bass clarinet, double bass and two operatic singers.
Spatialising image definition objects were rendered in TiMax SoundHub for perimeter locations as well as three special bass-heavy zones for the percussion, plus central mono “everywhere” images for vocal and instrumental soloists. The fixed instruments were statically imaged to their actual stage locations, but with some accentuated wide envelopment added to the string section and stereo keyboard images. The roving performers wore TiMax TrackerD4 Tags which continuously morphed their audio images seamlessly between the localisation zones. The marimba – 2 to 3 metres in length – featured multiple tags for the spectacular moment it was physically spun around the stage.
Other sources included stereo reverb returns from the Yamaha CL5 mixing console which TiMax SoundHub spatially mapped independently for separate vocal and band reverbs. An additional series of QLab feeds were mapped onto seven different spatial locations to deliver excerpts from the eponymous interview with rebel physicist, Richard Feynman.
Honywill mixed the show on an iPad from various locations within the action. He said, “It was just stunning – I never imagined it would be as good as it was, TiMax far surpassed my expectations.”
He continued, “This show sounded great before, but the performers often struggled to hear themselves. With TiMax spatialisation, the performers could hear themselves perfectly because the brain can easily and perfectly handle all the sonic information coming from different directions. It’s all clear and precise. It’s just mind blowing and so far ahead of the competition.”
Honywill was so impressed with the audio elevation provided by TiMax that he presented an account of his experience at the spring Martin Audio open days, which featured TiMax demonstrations for the first time.
Click here for original article.
LEA Amps Enhance Audio In Bourbon Country | Maker’s Mark
When Maker’s Mark Distillery decided it was time to enhance their audio system to match their world class facilities, they decided to go with LEA Professional.
Let’s dive in!
LEA AMPS ENHANCE AUDIO IN BOURBON COUNTRY | MAKER’S MARK
Venue: Maker’s Mark Distillery | Loretto, kentucky
Integrator: JCA Media
Audio Spaces: Break room & Innovation Lab
LEA AMPS ENHANCE AUDIO IN BOURBON COUNTRY | MAKER’S MARK
LEA AMPS ENHANCE AUDIO IN BOURBON COUNTRY | MAKER’S MARK
The Maker’s Mark staff wanted to ensure their facilities reflect the world-class quality of the bourbon they produce. When retrofitting an employee break room next to the bottling lines, they contacted Alex Peake, Project Manager for JCA Media, to help equip the room’s AV system. “Their goal was to have background music playing all the time, except during meetings and presentations,” said Peake. “They wanted to be able to walk in, plug in their laptop, hit the presentation preset on the touchscreen, and go. Then hit a different preset at the end of the meeting to reset the room. And that’s exactly what we did.” The background music system switches itself on before the day shift begins and shuts off late in the evening. Eight Martin ceiling loudspeakers were installed in the 30-foot by 60-foot break room, all driven by an LEA Connect Series 704. The 704 is a 4-channel amplifier with 700 watts per channel, perfectly suited for small to medium-scale installations.
With the success of the break room deployment, the distillery staff immediately pivoted to how they could improve the AV for both of the industrial bottling lines directly outside the break room. They wanted to break up the monotony of the repetitive machine sounds and make it more enjoyable for the employees who staff the area. They took advantage of the spare power that the 704 amplifier provided, powering each bottling line and the break room on separate channels, all of which is controlled by an Allen & Heath AHM-32 audio matrix processor.
The positive effect of the improved audio was contagious, resulting in the distillery staff asking JCA Media again to update an AV system, this time in the “innovation lab.” The innovation lab is a separate log cabin-esque building with red shutters the same color as the iconic red wax on their bottles. More than just a secretive area where the next generation of Maker’s Mark products are ideated and refined, the building also includes a VIP tasting area, patio, conference room and more.
The original design called for a 4-channel LEA amplifier paired with another AHM-32. One amplifier channel would drive the tasting room while another fed the patio. The final two channels were used for the conference room: one for the ceiling loudspeakers and the other powered a subwoofer. Peake added, “We were installing that and getting all up and running and they loved it so much, they said, “Okay, add audio to both the offices, the bathroom, and the kitchen. We just want background music everywhere.”
LEA AMPS ENHANCE AUDIO IN BOURBON COUNTRY | MAKER’S MARK
The JCA team swapped out the 4-channel amplifier for the aptly-named Connect Series 168 to support the new system requirements. Offering eight analog inputs, external I/O control for remote on/off and fault monitoring, and eight outputs at 160 watts per channel, the CS168 was more than capable of powering all aspects of the innovation lab.
The staff at Maker’s Mark was delighted with the installation and have plans for renovating other AV systems and new construction to meet the ever-increasing demands of their customers. What better way to spend a summer afternoon than sipping premium bourbon while listening to crystal-clear music in the beautiful rolling hills of Kentucky?
We would like to thank everyone at Maker’s Mark Distillery and JCA Media for choosing our amps for this killer install and we hope to provide quality sound for many years to come.
Tenpin Dudley is one of 51 entertainment centres in the UK run by Tenpin Ltd. Although the popular venue’s primary focus is on its 28 bowling lanes, additional facilities include a licensed bar, arcade machines, live sports TV coverage, soft play area, pool tables, and 2 karaoke rooms which can accommodate up to ten customers each.
Always seeking to improve the experience of its guests, Tenpin wished to upgrade the audio system at the venue with a focus on improving control of distributed background audio across its different zones. Experienced integrator and regular Tenpin supplier Perfect Octave was engaged to deliver a high-quality, best-fit solution that would offer simple, intuitive operation for the venue’s staff.
Perfect Octave’s Peter Sheppard recommended an Optimal Audio solution:
“I discovered Optimal Audio’s products having attended one of their open days not long after the brand launched. Obviously, the connection with Martin Audio as part of the Focusrite group was a good indication that this new commercial audio brand would be of a very high standard, and I wasn’t disappointed. The Optimal Audio Zone 8 controller was the perfect choice for the Dudley site.”
Optimal Audio’s Zone 8 with DSP and WebApp presents users with a full suite of audio controls for up to 8 zones with fully flexible signal routing. With 2 mic, 4 stereo line and 2 HDMI inputs, Zone 8 has all the necessary I/O within a very competitively priced package. It enables easy configuration and everyday operation allowing the user to independently allocate sources across 8 configurable zones. Each zone can be configured for precisely what is required using the intuitive WebApp, including EQs, speaker presets, structured time of day routines and more.
As well as being designed to work seamlessly with products in the Optimal Audio range, Zone 8 can also be conveniently deployed to work with third-party products, and at Tenpin Dudley, Perfect Octave integrated the unit into the venue’s existing infrastructure using OSC. Using WebApp’s simple digital interface which hides any unnecessary information, members of staff were easily able to take control of the system. From a troubleshooting point of view, remote monitoring was important for Perfect Octave, so the Zone 8 was connected via VPN to enable easy maintenance.
Although the greater part of the system at Tenpin Dudley was already catered for in terms of loudspeakers, Perfect Octave recommended replacing the units in the karaoke rooms with Optimal Audio Cuboid 8 loudspeakers to improve the enjoyment of singers and listeners alike. Peter Sheppard comments:
“The Cuboid speakers are conspicuous for how great they sound and look. They’ve significantly elevated the experience in the Karaoke rooms at the venue, and we’re looking forward to using the IP54 rated Cuboid 3 and 5 units on future ventures.
The team at Tenpin Dudley is happy with its upgraded system, finding it to be reliable and easy to use. Underlining the success of the install is the fact that Optimal Audio solutions are currently destined for another 8 Tenpin sites in the hands of Perfect Octave, with more planned. In general, the smaller and medium Tenpin sites will be catered for using just the Zone 8 unit – on larger sites where the control requirements include lights and other elements, Zone and WebApp can be integrated with third party control solutions for seamless application.
Matt Rowe, Engineering Manager at Optimal Audio reflects on a successful installation:
“At Optimal Audio, our aim from the outset was to de-mystify much of the complexity faced by end-users in commercial audio settings. The market was crying out for easy to use, intuitive solutions that could be operated by busy members of staff in retail, hospitality and entertainment settings, such as Tenpin, without the need for extensive technical knowledge or training. Perfect Octave’s deployment of Zone 8 at the Dudley venue amply illustrates just how effective it can be as a control system in this type of environment. We were really pleased to see the Cuboid 8 speakers chosen for the karaoke rooms – Perfect Octave has already expressed an interest in using the full range of Optimal Audio loudspeakers on a number of future installs.”
Introduction
Not content with one tap-house in the city, Brewdog have expanded their offering in Brisbane to encompass a beautiful heritage listed building in the up and coming Brunswick Street area near the main train station. This building could not be more different in appearance from their other location in town – the urban utility styled DogTap bar and restaurant overlooking the river by the Gateway Bridge.
Their latest home in the city is located in Tranberg House, designed for Charles Tranberg by his brother in law, Francis Hall, and constructed in 1928. The Tranbergs had run commercial businesses in and around Brunswick Street from the 1870s, including a fuel depot operating on the site of Tranberg House in the 1910s and early 1920s. The property was constructed during the Valley’s peak period as a commercial hub and was built as an investment property, leased to various tenants.
The refit from its previous incarnation as a trio of smaller businesses, encompasses the entire property, over three floors, with a basement, a large first floor mezzanine level and outdoor terracing.
Building plan
Entering via Brunswick Street into the main bar, this area can cater for up to 130 with additional space on the rear terrace/balcony.
Downstairs there’s the kitchen, staffroom and toilets, plus the expansive beer hall at the rear of the building. This is an extension behind the original building with a high vaulted roof, tying in with the industrial taproom aesthetic.
Upstairs, there’s the level one mezzanine – still a large space in its own right, with room for a further 110, and including its own bar and a smaller balcony that overlooks the rear terrace area.
Customer Brief
The installation was undertaken by BSG (Brisbane Sound Group) – specialists in audio but additionally AV installation and sales.
Engaged by Advent Facilities Management to design an in-house PA system for BrewDog, Josiah Kerridge, BSG’s AV Installation Project Manager, explains the requirements:
“We were essentially tasked with finding an audio solution that would fit the budget and desired coverage area while performing effectively and remaining simple for staff to operate.”
He continues: “I was shown the NST Audio processors at Group Technologies last year and I was quite impressed with their capabilities. Given we had a multi-level space that required individual zone control, I decided the VMX88L would be a great option for straightforward audio routing and management.”
The choice of a VMX88L was due to its ability to act as not only a high quality zone mixer, and an audio matrix but also perform as a crossover and speaker management system. Including powerful features like individual compressors for each input, 8 bands of parametric EQ and up to 1.3 seconds of programmable delay for aligning installed sources plus full crossover filters and two stage limiting on outputs, the VMX88L is an extremely capable tool for integrators and audio professionals.
The processor can be remotely controlled using either D-Net – NST Audio’s software application – running on either a Windows or Mac laptop, or wirelessly on iPad.
Crucially, once the initial configuration has been designed and implemented (which can also be achieved off-line and downloaded during commissioning on site), hands-off remote control can be simply added via VR1 (or new VR2) remote wall panels. These PoE remotes can be individually configured to offer control of any gain point in the system (from matrix levels to input or output faders), scene recalls, or muting and routing changes.
Installation Plan
The input makeup consisted of three Foxtel streaming receivers (with digital audio output which was converted to analogue before the VMX), plus an HDMI audio output from a terrestrial TV source (again, converted externally), plus a background music source (laptop playing Spotify) and a DJ mixer input. All inputs were used as mono sources.
Josiah commented further on the installation process:
“This was my first time using NST’s VMX88, and honestly, it was very simple to set up and get everything connected on the network. The processor covered all our zones with ease – we have Foxtel streaming and local inputs for background music. This install didn’t require network audio so we were able to use the “L” version of the processor and forego the Dante inputs, which pleased the customer.”
The only additional control infrastructure needed is a small 8 port unmanaged switch to supply PoE for the VR1 remote panels. 8 port is sufficient as this will allow for a connection to the VMX88L, three for the VR1s, one for a computer for configuration, and this leaves the future upgrade possibility for connection to a wireless access point so adjustments may be made to the system via D-Net in situ on each floor, perhaps via an iPad.
The three floors of the venue were further divided into six output zones covering a total of 29 speakers – a mix of the MX801 for larger areas and MX601 for more localised coverage. Both models are rated up to IP67 and so may be additionally deployed in exposed outdoor areas.
These inputs and output zones translate directly into the channels used on the VMX88, as can be seen from the channel labelling used on the input and output tabs in the D-Net configuration:
Additionally, the matrix populates controls with the same labels automatically and this tab makes the mix fed to each zone clear and easy to adjust:
Now all the inputs and outputs (or zones) have been configured, the VR1 panels to be used on each floor can be examined in more detail to see how they have been set up.
As mentioned earlier, the VR1 panels can have as many pages of control as required to allow end users to make day-to-day adjustments to the system. These could be gain controls, preset recalls, selection of input sources, or adjustment of mutes.
In this instance, multiple gain control pages were configured for each panel.
Starting with the VR1 on the lower ground floor, two gain controls have been added to adjust the output zones local to this floor. Note that the control names (so what appears on the screen of the VR1) has been chosen to reflect what the control is doing, not just a copy of the zone name. This is very useful if the control is actually adjusting multiple gains at the same time.
The remaining controls are adjusting matrix feeds for these zones, so the user can control the relative mix for this floor.
This demonstrates the ability for a single control to adjust more than one gain – in the instance below, the control is adjusting the matrix gain for both output zones at the same time, but the user sees a single control labelled “BGM”.
Similar configurations are in place for the other two panels on the ground and first floors: two pages of output/zone level controls, and a further selection of matrix mix controls for those zones together.
Note that had there been any gain controls that were common to all three VR1 panels, such as overall input gain for, perhaps, the spare inputs, adjusting these on any panel would automatically be reflected on the other panels readouts in real time.
The VR1s are PoE devices so no wall-wart or external PSU is required and their settings are backed up in flash memory, so the system can be powered down without any risk of loss of configuration settings.
Conclusion
With the VR1s now configured, the set-up is complete.
Josiah added: “The wall controls are user friendly and simple, plus they look so slick and clean in brushed aluminium.”
Josiah sums up his client’s delight in meeting their needs with the power of NST Audio’s ease-of-use:
“The best part of this job was seeing how satisfied the client was with what we achieved. The pairing of the two brands worked seamlessly and gives BrewDog complete control over their sound without being tricky to operate. The quality and output of the speakers is excellent for their size, and being able to show the staff how easy the control plates are to use was great- it was smiles all-round!”
Further Information
Have a look at our VMX88L training video which shows, in just 9 minutes, how to fully configure a unit for a typical installation, including setting up crossovers, labelling and routing, and handy shortcuts to speed up the process.
Occupying the stunning Tudor courtyard, the two-week Hampton Court Palace Music Festivalreturned recently with a top-grade line-up, performing in this spectacular Grade I royal palace setting, dating back to the early 16th century and once home to Henry VIII.
Working within constraints of heritage buildings, and tasked with creating a technical infrastructure for the event in recent years has been SWG Events.
A major investment in the manufacturer’s cutting-edge technology has enabled them to field an end-to-end solution (the latest acquisitions being further TORUS T1215 speakers and SXC118 single 18in cardioid subwoofers). This is in support of their flagship WPL Wavefront Precision line array which was deployed as the main PA hangs.
All of which has this year delighted the many visiting sound engineers accompanying artists ranging from Gladys Knight, Kaiser Chiefs, Soft Cell, Kool & The Gang and Tom Jones, who have been playing to capacity audiences of 3,000 immersed within the Palace surrounds.
“NOT ONLY DID I HAVE A REALLY GOOD EXPERIENCE BUT THE ARTIST HERSELF WAS PARTICULARLY PLEASED AND SAID HOW GREAT THE SHOW SOUNDED.”
Working again for promoters IMG, according to SWG Events Head of Audio, Simon Purse, this product streamlining has made their task a lot easier. “It’s the first time we’ve had a complete flagship Martin Audio system in our inventory and as a result we’ve been able to refine the design,” he confirms. “Everyone has been very complimentary—the FOH guys are loving the system.”
Despite having established a proven design template, rigging this 50ft x 50ft courtyard certainly wasn’t without its challenges. “It’s a massive, cobbled courtyard surrounded by walls and turrets,” he says. “And being a Grade I-listed building you have to be careful not only with cobbles but also shaking the ancient windows.” This required working within specific frequency response curves and managing content within control software. The lower frequencies are most problematic, but the DISPLAY software also needs to be programmed to ‘hard avoid’ the back wall.
Further complications are set from the flat floor stage which rakes upwards, as Purse explains. “We have only used six-box left/right arrays which are flown low because they have to fire up under an awning at the back. Run in one-box resolution [from the iKON amplifiers] this solution works very well.” In previous years we’ve used Blackline X8 as nearfield monitors, but there is no longer any need for this. This is testament to the ability of freelance system tech, Matt Pope, who is on duty at FOH to assist any visiting techs with EQ curves and optimisations refinement.
The L/R hang is boosted by a centre, three-box hang of TORUS, (two T1215 and a single T1230) to give them a 75° coverage. On the stage lip are a further two ground stacked T1215 double cabs, stage left and right. Front fills comprise four pairs of Martin Audio WPM, over the stage apron, while 12 SXH218 2 x 18” subwoofers are set in a broadside cardioid array under the stage. “It’s all about keeping that low-end energy off the rear wall—which is closest to the sub array—and ensuring that more energy is radiated out front,” explains Simon Purse.
SWG Events have also thoughtfully provided a complement of XE500 floor monitors for artists not carrying their own package, while on each side of the stage two SXC118 subs can crossfire with two TORUS T1230 sidefills—a house rig that’s available for any visiting techs to use.
Other SWG personnel on duty at the event were overall project and production manager Ian Williams and Oliver Hayward supervising down in monitor world.
Pat Tunbridge, who has been Grace Jones’ FOH engineer since 2010 was effusive in his praise for WPL. “Considering this gig was an internal courtyard inside a concrete box, what amazed me was that the system boys needed to apply no corrective EQ—and no EQ across the main left and right from the console either; that’s a massive testament to the boxes. Not only did I have a really good experience but the artist herself was particularly pleased and said how great the show sounded.”
All of which has set up SWG Events nicely for a busy summer season This promises to stretch the company’s Martin Audio hire fleet to its very limits, as it not only includes their usual participation on several stages at the Glastonbury Festival, but also a series of Cardiff Castle concerts coinciding the same weekend.
The Dirtybird record label, founded in 2005, is home to a host of renowned house and techhouse artists from all across the world, including the founder Claude VonStroke and is based in San Francisco. Dirtybird hosted the increasingly popular alternative to their CampOut festival, the CampInn festival – in their own words:
“The communal experience of [a] summer camp, Dirtybird Campout, with a luxury hotel vacation. Instead of splashing in a reservoir, you’re splashing around in a huge swimming pool. And instead of building a DIY campsite with all your friends, you have your own room in the hotel with a shower and full-size bed.”
Hosted at the Wyndam Resort in Orlando. Florida, Dan Cartman from NST managed to get a behind the scenes look at the event last month whilst it was in full swing, courtesy of Jason Rault, of Nomad Sound Systems, based in Miami.
“Whilst we were exhibiting at InfoComm, Jason invited me to come and see what was happening at Wyndam, and it’s not like anything we’ve seen in the UK!”
A Vero system was used outside at the pool and was powered by FFA amplifiers with NST processing throughout (FFA amps with DSP, plus discrete processors). The ballroom system was a large scale “Resolution” system with full NST DSP at its heart.
Dan added “Nomad only got the go-ahead to provide the support for this huge event a few days beforehand, but they swung into action and pulled it all together brilliantly. It was incredibly successful and the audio was impeccable – maybe we will see more of this sort of music event become a thing in Europe!”
Facing his third year of providing technical services for Access The Festival (ATF), the three-day EDM dance party in Warwick’s Sherbourne Park, events specialist Sound Access turned for the first time to Martin Audio’s Wavefront Precision (WPS) for the sound reinforcement.
The Festival, organised by DJs Will Darley and Alex Neidhardt, continues to evolve its concept (this year adding a third day). But mindful that with three stages in close proximity, and a lot of low-frequency energy to contain, Sound Access owner Joe Baker’s rationale was simple. “The organisers wanted to upgrade the audio this year because we all felt that the listening experience was the most important.”
In order to mitigate sound spillage, tight control was required. “Last year, noise rejection out the back was quite bad with the system we used,” acknowledged Baker. But there were no such problems this year.
Sound Access have collaborated with Martin Audio partner dBS Solutions on several tours — including Burn The Floor, where they carried a WPS rig. “It was the first time I had used it, and I had the best time. I never had to change my mix even when we dropped boxes for smaller venues, whereas with other systems you have to work hard to get that consistency.”
When ATF came around Baker was back in contact with Chris Bogg at dBS Solutions who was happy to cross-hire his WPS and TORUS systems for the summer party. Sophia Livett from noise consultants Acoustec set site sound thresholds, which Joe Baker knew he could meet by deploying Martin Audio’s ‘Hard Avoid’ feature in the proprietary DISPLAY software.
“IT WAS THE FIRST TIME I HAD USED IT [WPS], AND I HAD THE BEST TIME. I NEVER HAD TO CHANGE MY MIX EVEN WHEN WE DROPPED BOXES FOR SMALLER VENUES, WHEREAS WITH OTHER SYSTEMS YOU HAVE TO WORK HARD TO GET THAT CONSISTENCY”.
The event featured live performance as well as DJ playback from house, disco and techno specialists. The main Daylight Disco stage was bedecked with mirrorballs and set in a Clearspan marquee, with a stage thrust, enabling dance aficionados to experience the extravaganza from all sides. On the opening night French exponents, Session Victim and Bomel starred with live sets which were played out through six WPS elements per side, ground-stacked on 2 x 4 decks, working within the limitations of the marquee structure. With this configuration they could project the sound above the head height but were restricted by the lower-than-expected roof height, and after time alignment they were experiencing bounce back of the roof girders. “With an accumulation of reflections, we used Hard Avoid [in DISPLAY]; this worked extremely well and gave us the coverage we wanted.” They were comfortably able to achieve level at the FOH measurement position, with most of the HF firing down into the arena stage itself.
A pair each of TORUS T1230 on the outside edges of the marquee, where the audience was bleeding out, filled the gap perfectly and sounded “absolutely brilliant”, according to Joe Baker. As for the LF, a broadside array of eight SXC118 single cardioid subs provided tight control and the all-important rear rejection in the 15m x 15m space. “This was necessary because the sound was firing out across a lot of farmers’ fields and towards a noise sensitive country house,” he explained. “We were only talking about notching 2dB at 50Hz, so it was nothing drastic, but without that noise rejection from the main stage we would have had massive problems.” In the event they were able to isolate this area perfectly from the other two stages.
The smaller Groove Garden stage deployed a TORUS constant curvature ground-stacked system, three T1230 elements per side, attached via scaff bars and battens to the estate trees; these were illuminated by LED uplighters to create a great atmosphere.
“TORUS was mounted on chain blocks above head height angled down to prevent any bleed,” continued Baker. “The coverage was fantastic even right down at the front. TORUS did what we wanted 100%—the quality was fantastic and when DJs did big HF sweeps the sound remained really clear without biting.”
Further Martin Audio XD12 were used as biamped DJ booth fills, while a pair of CDD6’s were deployed for front fill duties and a pair of WS218 subs (in stereo) were mounted onstage either side of the booth.
Summing up, Joe Baker said the supreme control and optimisation characteristics of the Martin Audio software had paid dividends both within the sound field and offsite.
Chris Bogg put it all into perspective. “You could have a normal conversation as you walked into the tent but as soon as you crossed the threshold it was pumping. The pattern control once you walked into the tent was amazing.
“Once Joe had done a couple of tours on Martin Audio systems it was a natural step to advance the festival’s sound knowing that we were on hand to provide support if necessary.”
Will Darley agreed that the event had been an unqualified success. “Joe and the team did an awesome job designing, installing and operating the sound systems. Altered stage designs and site layout added to the challenge of meeting strict offsite noise limits while maintaining the energy required for dance music. The Martin Audio PA Joe spec’d this year was especially impressive and was recognised as a good upgrade by our touring guest DJs. I’m already looking forward to planning 2024’s edition with the great groundwork laid this year.”
In multi-purpose venues, such as hotels or event spaces, good sound system design plays a crucial role. It not only enhances the ambiance but also facilitates clear communication, whether it’s music, speeches, or announcements. At Optimal Audio, we recognise the significance of designing products that provide installers the flexibility to meet the unique needs of any venue, ensuring that every sound is delivered with precision and clarity.
When designing a sound system for a multi-purpose venue, ease of use is paramount. Optimal Audio’s WebApp, hosted on a webserver within Zone, provides a user-friendly interface that allow anyone, regardless of technical expertise, to operate the sound system effortlessly. It can be accessed from any device with a web browser and empowers users to control music playback, adjust volume levels, and manage different audio zones with simplicity. By mirroring the familiarity of smartphones and tablets, our web-based control solution provides an intuitive experience for users, reducing the learning curve and giving venue staff a sound system that is easy to use.
One of the standout features of Zone’s WebApp is its powerful routines functionality. Routines serve as a convenient way to store and recall specific settings for regularly occurring events. Whether it’s source selection or volume level, routines play a vital role in ensuring a multi-purpose venue can adapt quickly.
Matt Rowe, Optimal Audio Head Engineer comments:
“We’ve witnessed venues and installers leveraging routines to cater to different event types. For instance, in a multi-purpose venue that offers space rentals for various functions, there may be occasional requests for sports events. By creating a dedicated routine that automatically selects the HDMI source and plays the sound from the TV, staff members can effortlessly fulfil such requests. All they need to do is navigate to the routines section and simply click on a configured routine”.
The design of a commercial audio sound system is often accompanied by budget considerations. Optimal Audio’s product offering is cost-effective without compromising audio quality. Our IP54 rated products, such as the Cuboid 3 and 5, demonstrate how smaller speakers can produce remarkable sound, while larger speakers in the Cuboid range offer exceptional performance at competitive prices. Our simplified offering of carefully selected products helps venues achieve outstanding results without breaking the bank.
Designing sound systems for multi-purpose venues is a complex task that goes beyond selecting amplifiers and speakers. Optimal Audio specialises in creating products that are flexible and excel in variety of multi-purpose applications. With a focus on cost-effectiveness and user-friendliness, our commercial audio eco-system helps create seamless experiences for any multi-purpose venue, without the control headaches of conventional commercial audio systems.
For the first time, our WebApp is available as an offline tool for you to get more familiar with its power and functionality. Download our Desktop Demo for PC and Mac and see for yourself how WebApp is revolutionising commercial audio.
Do you have an upcoming event or project and need assistance on product selection? Or do you need expert advice? Drop us a note, we are ready to help.
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