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Located outside Philadelphia, PA, Sesame Place is a theme park and water park based entirely on the Sesame Street TV series. It is one of 12 theme parks operated in the US by SeaWorld Parks & Entertainment.

One of the main attractions, popular for hosting a variety of shows, including meet and greets with the characters, is Abby’s Paradise Theatre.

It is here that system integrators Illuminated Integration—based across the State in Harrisburg—recently installed a Martin Audio CDD solution to meet the request for a comprehensive upgrade to the theatre’s aging PA that was failing to meet the requirements for either coverage, output or clarity. At the same time, Sesame Place asked the integrators to carry out an assessment of the audio in other event spaces and theatres, as well as a parade route.

At Abby’s Paradise Theatre the client required a solution that would not only provide uniform sound coverage throughout the 850-seat, clam-shaped auditorium, but also support future park integration and immersive sound elements. The installation itself was not without its challenges, as the venue is situated outside, under a covered metal roof with metal bleachers, and a ‘Lazy River’ and waterfall running immediately behind it.

Although the integrators are independent when it comes to product specification, Cody Toms, Illuminated Integration’s Audio / Video Systems Creative, knew that CDD had all the attributes to counter any obstacles. “We love how good Martin Audio boxes sound and the fact that the sound remains consistent throughout the line,” he noted.

“WE LOVE HOW GOOD MARTIN AUDIO BOXES SOUND AND THE FACT THAT THE SOUND REMAINS CONSISTENT THROUGHOUT THE LINE”.

“We also knew we could get the space modelled well and that we weren’t going to need to spend a lot of time at the back end tuning, especially to get the vocal clarity of the Martin Audio boxes … as they already sound just phenomenal.” In this instance they used EASE Focus for modelling.

As a result, the company specified three CDD12 (in white), spaced and suspended as a conventional L/C/R system from the overhead beams, with an SX112 (single 12” sub) also flown behind each of the left and right hangs. This solution worked out perfectly for the company’s lead AV designer, Bobby Dengler.

“With the noise of Lazy River and the waterfall behind, we also had to achieve some rear rejection and keep the audio contained where it’s supposed to be,” continued Toms. “Neither we nor Sesame Place wanted audio to be spilling out, and it was important to be able to boost performers’ live mics on stage without getting feedback, while at the same time achieving the required SPL and even coverage across the seating. It was a delicate balance.”

He also notes that Abby’s Paradise Theatre had been struggling with low end coverage “and while it’s not a rock concert, we wanted to cover the full spectrum.” They used the recommended tuning parameters from Martin Audio within a Q-SYS environment, as this provides the existing digital backbone.

Cody Toms anticipates CDD will be a brand for the future. “The way Martin Audio translates vocals throughout the line is a huge win for us, particularly as many of our clients are churches, theatres or school performance spaces. With CDD I love the large number of models in the range and the fact that the coaxial source does not have the comb filtering of traditionally designed boxes. That all makes it easier for me as a designer because I know I’m not going to have to fight the box.”

The company has now enjoyed Martin Audio dealership status for more than 18 months, coming at it in a round-about way. Company owner Tyler Hoffman already had a relationship with the British manufacturer from his previous company, the catalyst being an interesting church project involving TORUS T12. “So when he arrived here it was a perfect opportunity to build the relationship again,” stated Toms. He was soon in contact with Martha Callaghan, Martin Audio’s Northeast Regional Sales Manager, and a team from Illuminated Integration attended the manufacturer’s recent Open Day at Merriweather in Maryland to apprise themselves of all products, including arena systems.

In summary Cody Toms couldn’t be happier with their first project with Martin Audio. “We’re thrilled that the park is thrilled!” he exclaimed. “It’s far better than what they had before and has exceeded their expectations. Consequently, it is establishing a footprint.

“As for Martin Audio, Martha, Will and the team have been right there for us.”

Nick Manna, Vice President of Entertainment, Sesame Place, added his endorsement. “The Sesame Place entertainment team had a great time partnering with Illuminated Integration on the audio upgrade for Abby’s Paradise Theatre. The team was knowledgeable and offered their professional advice to provide us with the best quality sound system for our space. The Martin Audio speakers allow our audience to feel like they are part of the show, and the sound perfectly enhances the overall show quality. I would recommend both companies to any professional in the business.”

Vietnam : In November 2023, Bling Bling Club in Ho Chi Minh City turned up the volume with an impactful Martin Audio installation thanks to Duc Pro Audio. The setup featured 8 X15B and 4 SX215 speakers, providing the signature sound that patrons love about Martin Audio. The installation aimed to deliver an incredible experience for DJs, singers, and the audience. The owners were extremely pleased, saying, “With Martin Audio products, we will be able to provide an elevated sonic experience for DJs, singers, and most importantly, the audience. I can’t wait for everyone to hear it!”.

Based in Auckland, New Zealand, the independent Kristin School recently upgraded the sound system in its main 1000-seat auditorium, with a Martin Audio TORUS solution.

With a student body of 1,800, the demand for impeccable sound quality was paramount. This need was even more pronounced given Kristin School’s esteemed reputation for performing arts, where it regularly stages four full-scale productions each year, many of which are based on illustrious West End and Broadway productions. As a result, the school understood that their audio system specifications need to meet the exacting standards of a professional musical.

Following a recommendation from within the theatre world they brought in the highly experienced touring systems engineer Ratu Gordon to design the system. This was supplied by Jansen Professional Audio, Martin Audio’s New Zealand distributor.

Ratu Gordon already had a strong relationship with Jansen, having earlier supplied two other sizeable Martin Audio systems, commissioned by the designer, prior to this. “At Kristin School I was initially asked to advise and consult based on my experience and what was most important to the client,” he explained.

“I OPTED FOR TORUS IN PARTICULAR FOR ITS COVERAGE AND THROW CAPABILITIES”.

At the same time, according to Jansen director, Simon Adams, the timing coincided with his company conducting a demo of TORUS, at which Ratu was present. “He was able to have time to listen, and the sound of the TORUS boxes was very interesting to him. We gave him a quick rundown on TORUS and DISPLAY [dedicated software] and he went off to model it.”

The designer’s task had been to commission a system that “would have all the character and functionality of a professional audio system, with full frequency and even SPL coverage through the entire audience area.”

He explained, “Initially I listened to their existing system to make an assessment. From there, and knowing Martin Audio’s capabilities, it was very clear that this was the way forward. Many hours were spent in DISPLAY software running different scenarios and best outcomes. This definitely had a large hand in understanding how the whole system would behave.”

The solution was for a flown L/C/R system, comprising a combination of TORUS T1215 and T1230 for the Left and Right hangs and a Wavefront Precision (WPM) centre cluster (all in 3-box hangs). CDD6s provided infills. Because the orchestra occupied the space immediately in front of the stage, ruling out an arced array, four Martin Audio SX218 subs were deployed, in stacked positions left and right of the stage.

Explaining his choice, Ratu Gordon said, “I opted for TORUS in particular for its coverage and throw capabilities, size-to-weight ratio and high output. No matter where you are in the room, and in front of any element—whether CDD6 or main TORUS—the coverage and voicing are exactly the same.”

The six CDD6 infills were complemented by a further six CDD6 under-balcony—both set up to recall snapshots for the main Left and Right hangs. Meanwhile stage monitors comprise six Blackline X10 and six Blackline X15.

However, getting the new rig up in the air was far from a straightforward process, as Ratu Gordon explained. “The roof rigging had to be strengthened, not because of weight loading, but for the reason of hanging the PA where it actually needed to be to achieve the best design result. I had explained to the client that flown speaker placement was of high priority to achieving the design result.”

Thanks to his fastidious prep work, and the quality of the products themselves, the system required very little processing once installed. “I loaded the predefined box presets and then launched into taking trace files of the room. The software had modelled the system response brilliantly as expected. From there I timed the system and attenuated only the low mid elements (which was based on the rooms existing standing waves).”

At handover, his attention to detail extended to a week-long operator training for the audio department, leaving no-one in any doubt that the TORUS solution would meet all requirements. “It’s absolutely 100%,” states the designer. “Put simply it’s a proper system.”

Manzi’s was a landmark London West End fish restaurant, which originally closed in 2006. Now, inspired by its legacy, The Wolseley Hospitality Group has added this upmarket brand to its estate in the centre of Soho.

Opened at the end of June, the operators turned to one of their regular suppliers, Marquee AV, to enhance the atmosphere by providing an advanced music system. This needed to be capable of delivering DJ levels within a restaurant environment, situated on two floors.

”THE SOUND SYSTEM DELIVERS EXCELLENT QUALITY AUDIO WHILST REMAINING DISCREET AND MATCHING TO THE INTERIOR OF THE RESTAURANT”.

Project Director Stacey Tough turned to Martin Audio’s highly popular CDD range knowing they would meet the key criteria: as the smallest in the range, the CDD5 specified was ultra-compact, the white versions would blend seamlessly into the general designer’s aesthetic and they would deliver the required levels, at both the top and lower ends of the spectrum.

To meet the purpose, 28 wall-mounted CDD5WTX-WR, have been distributed throughout the venue; these are fed from a variety of sources, including PC, background music player and DJ.

This much-specified micro-speaker is purpose designed for discreet architectural installation in luxurious bars and restaurants such as this. At the same time its use of coaxial differential dispersion (CDD) technology ensures deceptively high output from such a small enclosure.

Tough also weighed up other advantages such as value-for money, clarity and intelligibility and consistent coverage pattern. “The CDD5 was a clear choice based on previous experience using this product,” he said. “The client trusted our abilities and there was an obvious understanding as to the standard we needed to meet. Having worked with the client previously, I knew precisely what was needed.”

In summary, the Marquee AV Project Director confirms, “The sound system delivers excellent quality audio whilst remaining discreet and matching to the interior of the restaurant.”

Ryogoku Kokugikan, also known as Ryogoku Sumo Hall or Kokugikan Arena, is the only building dedicated to Sumo, Japan’s national sport, and has been home to many historic initiatives.

The origins of Sumo began some 2000 years ago but in its modern form it only took hold around 300 years ago. Once established in Japan, it passed down from generation to generation.

Such is its iconic status, there is no-one in Japan who has not heard of the Tokyo-based Ryogoku Kokugikan. Sumo wrestlers practice here daily, dreaming of winning the Gift Cup, and since Sumo is Japan’s national sport, His Majesty The Emperor sometimes comes to watch, and has seats reserved for him.

But Ryogoku Kokugikan also hosts various other events during periods when sumo is not being held, including wrestling, concerts and corporate events.

Sumio Akashio, sound engineer at the Ryogoku Kokugikan, said the arena therefore required a PA that could reproduce, intelligibly, everything from quiet to loud sound reproduction for wrestling in the ring. It also needed to be heard right up to the last row of seats on the second level balcony. “In such a way we can create a realistic atmosphere and overcome all the challenges.”

In planning the system upgrade Takahisa Ota from Audiobrains conducted a simulation, using Martin Audio’s proprietary DISPLAY 3 modelling software, and found that the manufacturer’s WPS line array, in the correct configuration, would be best suited to accommodate the various events hosted in Kokugikan—in terms of size, weight, clarity, and SPL. In addition to WPS they added an SXCF118 cardioid subwoofer to provide the deep bass that had been requested. Some 80 WPS cabinets and eight SXCF118 subs were deployed in total.

Martin Audio’s TORUS also features in the shape of eight T1215 (four pairs per side) for nearfill. By being directed downwards they are able to deliver sound without reflections to the VIP areas, where it had previously been difficult to achieve clarity due to the influence of the roof, suspended above the ring. No other satellite speakers are now required, and each pair can be used to control the SPL within its specific area as required.

Takahisa Ota, who carried out the installation, made the necessary system adjustments to ensure coverage, consistency and control throughout the stadium. “In the vertical pattern I managed to maintain clarity at the rear while at the same time suppressing any reflections.”

INDIA:  Rapper Raftaar recently performed at IIM Indore, amplified by Martin Audio’s WPL Line Array. Hardia Sound & Light, under the direction of Mahesh Hardia and the technical expertise of mix engineer, Akash Shivakumar, was responsible for the audio, eager to ensure a memorable experience for attendees.

“Utilising the Martin Audio WPL system significantly propelled our event’s audio experience into a league of its own. The clarity and consistency in sound across the venue were unparalleled, reflecting positively on our business. Our collaboration with VMT has not only enriched our events but has also opened avenues for future endeavours,” said Hardia.

“The Martin Audio setup, especially the WPL line array and SXH218 subwoofers, provided a robust and crystal-clear sound. The technical nuances were easily maneuvered with the iK42 amplifier, making the mix extremely responsive. The inclusion of waves plugins further enhanced the auditory texture, making the sound engineering process a dream,” said Sonu Choudhary, mix engineer.

Martin Audio rental partners VME have announced a major commitment to the company. In making a heavy investment in the company’s multi-award-winning MLA platform, they have at a stroke become the manufacturer’s largest global rental partner of the award-winning systems.

Based in the north of England VME, run by brothers Dion and Andre Davie, recognised that after lockdown, the live events industry rebounded at such pace and velocity that inventories were quickly running dry. As a vital part of the MLA network, and sensing the heavy demand on stock, especially in peak season, they took a dynamic approach by repositioning themselves as dry hire specialists, as well as giving them a new cutting edge and marketing outreach for their own productions.

The latest order for 475 cabinets is split into the following products: 179 x MLA; 24 x MLD; 80 x MLX; 40 x DSX and 152 x MLA Compact.

Confirming that they now hold in excess of 600 Martin Audio enclosures in total, VME Operations Manager, Aaron Harvey-Holt, agreed that “dry hire has gone massive across the UK with everyone being short of kit.” He said the company had already been deliberating over acquiring another system. “It needed to be something that would fit with what we already had and be used on our own gigs but at the same time it needed to have a dry hire value—because there are some systems out there that people don’t really dry hire.”

THERE ISN’T A SYSTEM ON THE MARKET THAT DOES WHAT MLA DOES—IT’S UNTOUCHABLE AND NOTHING COMES NEAR IT”.

A meeting in London with Martin Audio Managing Director, Dom Harter, moved the scenario forward, and following some constructive machinations the deal was done—much to the relief of Harvey-Holt. “We had been desperately short of kit for dry hire this summer,” he revealed. “This will not only ensure we don’t run short of stock again but will enable us to look at new sectors we can get into over the coming years. The long-term plan is to get back on the touring scene.”

One of the doors he predicts may open is the corporate world—largely due to the fact that part of the consignment is more than 150 of the smaller, more versatile MLA Compact enclosures.

“This is strategically designed to place us in the market for small, medium and large-scale gigs.”

As for moving into the dry hire market, Aaron Harvey-Holt is fairly relaxed. “We have a good team in the warehouse for testing MLA, prepping it and deprepping it, and we’ve got some experienced system techs who know the system really well.

“In fact I don’t see a gig we couldn’t do now with the power of MLA behind us.”

Dion Davie goes further, believing that the size and scope of their Martin Audio inventory will set VME off on a global path. “There isn’t a system on the market that does what MLA does—it’s untouchable and nothing comes near it. As for the MLA Compact it really packs a punch for such a small box,” he says.

Davie adds that VME have also invested in TORUS and are now in the process of becoming a uniquely Martin Audio house “right across the range.”

VME received their new stock in the early Autumn. After monitoring the success of this bold venture, they plan to invest further in the future, adding other pro audio components.

During what has proved to be a non-stop summer of activity for SWG Events, the production company has honed its Martin Audio PA rig into something nearing perfection.

By the time they arrived at Blur bass guitarist Alex James’ farm near Kingham in Oxfordshire, where each year the three-day Big Feastival takes place, they were able to offer visiting sound engineers—who accompanied most of the acts—a deluxe set-up at front-of-house.

With a combination of food and music spread over some 10 fringe stages, SWG Events supply audio, lighting, video and staging solutions alongside artist services, whilst deploying their class-leading audio inventory on the extraordinary width of the main stage.

According to Simon Purse, SWG Events Head of Audio, special care had been needed to ensure the VIP area, set off axis, was still within the coverage area of the outfills. Fully satisfied with the combination of 12-a-side WPL (main hangs) and 12-a-side W8LC (outfills) it was the elegant networking, subwoofer arrangement and overall control that brought most satisfaction to the service providers and promoters IMG.

Purse said this fully validated the event introducing Martin Audio’s flagship WPL for the first time. The key was to avoid projecting sound beyond the rear perimeter boundary, butting onto a second venue called the Cheese Hub—a double decker disco. “In previous years we’ve had problems in being able to avoid hitting this venue and disrupting the live music; we’ve used delays to aid in control, but this has never been a perfect solution and had led to compromises with audience and non-audience areas” states Purse.

“THIS WAS MY FIRST TIME ON THIS NEW MARTIN AUDIO SYSTEM, AND I HAD A GREAT TIME MIXING ON IT”.

WPL, which they were able to run without delays, offered a different approach entirely and enabled simple system adjustment. “It provided all the advantages of being able to avoid [the Cheese Hub] while enabling us to use fewer boxes than in previous years. Had there been an issue we’d have been able to deal with it because of the workflow, with a ready solution in place before any potential problem was experienced, rather than relying on a knee jerk reaction. In this instance we used an optimisation profile in the DISPLAY software that transitioned the area from ‘non-audience’ to ‘Hard Avoid’ and as a result the sound dropped off significantly.”

WPL was driven in 2-box resolution from Martin Audio’s process-controlled multi-channel iKON amps, and by using Martin Audio’s new DX4.0 dedicated system controller, they were able to place the legacy W8LC on the same network, allowing full system control from a single point.

A further eight W8LM along the stage lip provided front fills and 12 x XE500 wedges were available to provide additional stage energy. Also providing premium stage fills on each side were a pair of TORUS T1230 point source boxes on top of two SXC118 cardioid subwoofers.

LF design provided a further success for SWG Events. Their solution was to deploy 14 x SXH218 enclosures as a castellated cardioid system—nine forward facing, five rear facing. “We have used DISPLAY to draw that out with the software’s new Subwoofer Calculator tool because of the width of the venue. This provides the delay times and enables us to design an arc shaped array of subs in time, rather than space. There is also a gain shading element where the volume of each of the subs is alternated to give a very rounded dispersion pattern. It works really well, and I’ve had great results with that all summer.”

It brought the best out of an all-star line-up that included Sigrid, Tom Grennan, Blossoms, Vaccines, Rick Astley, Everything Everything, Example, Hot Chip, Melanie C, Faithless, Natalie Imbruglia, Lightning Seeds, Faithless, Mae Muller, Katy B, Jake Shears, and their respective sound engineers were generally delighted.

Sigrid’s long term sound engineer, Jan Halsvik was particularly complimentary. “This was my first time on this new Martin Audio system, and I had a great time mixing on it,” he said.

“[The PA] seemed very well tuned for the site, and being able to blend the older boxes with the new made it sound likea seamless transition when walking the area. This worked well with the festival being a very family friendly one.

“The whole system kept a tight and consistent output over the whole perimeter, and also stayed true between sound check and show. In fact it was extremely pleasurable having it sound as I had intended during sound check, providing me with ample headroom and solid low end.”

As ever the event’s success owed much to the extensive SWG Events team. Mark Bott was SWG’s operations manager and long-term event production manager; Joe Bailey was his production assistant; Matt Pope was both system engineer and FOH tech (Pope, in particular, was tasked with taking Simon Purse’s CAD design template and making any specific adjustments and fine tuning once on site). Other techs involved were Oliver Haward (monitors); Sam Jones and Daniel Wooles (patch).