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LEA Professional

LEA Amps Installed At University Of Michigan

LEA Amps Installed At University Of Michigan

When the University of Michigan decided it was time to upgrade its impressive new CCCB building with an equally as impressive audio system, they decided to go with LEA Professional. 

Let’s dive in! 🦈

THE SPEC

LEA AMPS INSTALLED AT UNIVERSITY OF MICHIGAN

🏢 Venue: CCCB Instructional Facility | Ann Arbor, Michigan

👷‍♂️ Installer: AV Engineering team – College of LSA (Literature, Science, and the Arts) – University of Michigan

🎶 Audio Spaces: Multiple flat-floored, team-based-learning classrooms

🦈 Product Used: CONNECTSERIES Mixture of 354D, 704D, 84D and 702D (20)

THE VENUE

LEA AMPS INSTALLED AT UNIVERSITY OF MICHIGAN

The CCCB is a state-of-the-art instructional facility that houses over 1,400 classroom seats and is designed to support large innovative and interactive classes. The building includes multiple flat-floored, team-based-learning classrooms with 132, 150, and 162 seats, a unique 190-seat ‘classroom in the round’ and over 350 informal seats throughout the building for students to study and collaborate with each other.

THE INSTALL

LEA AMPS INSTALLED AT UNIVERSITY OF MICHIGAN

When the AV Engineering team at the College of LSA realized that flexibility was key when deciding which route to go with their audio system they looked back to a familiar project where the University had used industry-leading, high-quality, cloud- and IoT-based pro-audio amplifiers from LEA Professional. After seeing the performance and dynamism of the amplifiers in the relatively new School of Kinesiology Building they knew LEA would be a good fit.

Jeremy Gerick and Christopher Elly, Senior AV Project Engineers on the project, installed 20 LEA Professional Dante Connect Series amplifiers for maximum coverage, a mixture of 354D, 704D, 84D, and 702D. Designing an audio system based on Dante-connected devices offers many benefits, including nearly limitless system flexibility and scalability, allowing a small AV team to operate as a much larger one, as well as the ability to decentralize system processing, set various zones and presets, and easily reconfigure the system as necessary.

“This project was quite expansive so we chose to install only Dante enabled components, including the Dante version of the Connect Series,” said Gerick. “This gave us the utmost flexibility, ensuring all elements of the system could ‘talk’ to each other, avoiding any connectivity issues.”

When it came to the installation of the amplifiers, the LEA Professional Web UI proved extremely useful to the team both as a time saver and a cost saver. The Web UI is LEA Professional’s browser-based interface which allows local monitoring of every amplifier connected to the network from any phone, tablet, or PC. In addition, it allows users to view the status of every channel on any given amp. This allowed Gerick to constantly monitor the system during install so if there was an issue it could be immediately flagged and dealt with.

With safety protocols being front of mind, the build-out of any large audio system at the university needs to incorporate a fire alarm cut-off system. This ensures that when the fire alarm is sounded, the amps power down so announcements can be heard. In this case, a fire inspector needed to evaluate that function on the amps before the rest of the system was installed. To do this the team utilized the Web UI, getting the amplifier toning and then connecting it to the relay control power supply to showcase the fire alarm cut-off capability. This function saved the fire inspector an additional trip to the university after the system was built and saved the team significant time during the installation process.

Outside of the Web UI, the amplifiers, which are used to drive the PA system, as well as the main speakers for lecture content etc., had many features that Gerick and team were very impressed with.

“The amps themselves have a good user interface, the ability to switch between 70 volt and LowZ is extremely valuable to us, as well as the ability to do impedance measurements on the speaker loads,” explained Gerick.

CS702

THE CONCLUSION

LEA AMPS INSTALLED AT UNIVERSITY OF MICHIGAN

The team praised the customer service they received from the amplification technology company and plans to install the Connect Series in the University’s Modern Languages Building Lecture Room 2, which is being designed as a small cinema experience featuring 5.1 surround sound and a 4K DCI projector from Sony.

“The customer support is truly excellent at LEA, anytime I had a question I knew I could contact them and get an answer almost immediately,” explained Gerick. “We have had great feedback on the system so far and having LEA play well with all our other components has made my job that bit easier.”

We would like to thank everyone on the AV Engineering team at the University of Michigan’s College of Literature, Science, and the Arts for choosing our amps on this killer install and we hope to provide quality sound for many years to come.

*Title provided for identification purposes only. The views and opinions expressed are those of the individual only and do not necessarily reflect the positions of the University of Michigan.

Categories
Martin Audio

WPL ENSURES BRIGHTON PRIDE’S PARTY ATMOSPHERE STAYS WITHIN PRESTON PARK

Despite train strikes and inclement weather, Brighton & Hove Pride 2023 enjoyed another successful year, raising money for the Brighton Rainbow Fund supporting LGBTQ+ groups and organisations within the local community, as crowds of around 250,000 people descended on the seaside resort. It is estimated that more than £25m was brought into the city’s economy over the Pride weekend.

With more than 150 LGBTQ+ artists performing across 12 different stages, attention was largely focused on the main ‘Fabuloso’ stage in the 63-acre Preston Park. Here first night headliners Black Eyed Peas were followed by Steps on the Sunday, with Solotech UK for the second year providing their flagship WPL line array.

Working once again alongside production manager Dean Parker, at Wilde Ones International Events, their sound design was based around main PA hangs of 18 WPL per side, with a stage right side hang of six of the smaller WPC, and a larger drop of 12 WPC elements stage left.

According to crew chief and system tech Joseph Pearce this was in response to general site sensitivity, and with the stage pointing parallel to the road, the proximity of the housing on the right side.

Eight of Martin Audio’s smaller WPS enclosures provided near fill coverage while low frequency extension was provided by 20 powerful 2×18 SXHF218 subwoofers, designed in a castellated cardioid broadside array across the front of the stage.

Solotech provided stage monitoring in the shape of 16 of Martin Audio’s popular LE1500 floor wedges, with six TORUS T1215 constant curvature arrays and four SXHF218subs on stage.

“WPL DISPLAYED EXTREMELY EVEN COVERAGE RIGHT ACROSS THE PARK—THE DROP-OFF WAS MINIMAL AND EVEN WITH RATHER HIGH WINDS AND WET CONDITIONS, THE HF WAS STILL EXTREMELY PRESENT”.

Joseph Pearce, Crew Chief

Set some 70 meters back from the stage were three delay towers. These comprised a further 24 WPS set across the three positions, with three SXHF218 subs on each mast providing LF.

Once again Solotech worked alongside Robert Miller of F1 Acoustics to set, and achieve, both the onsite and offsite sound thresholds, with audio crew chief and system tech, Joseph Pearce optimising the sound in Martin Audio’s DISPLAY software. Miller confirmed that the offsite level had been set at 78dB(A) Leq15 at the nearest problematic area.

Following propagation, Joseph Pearce set a firm strategy, setting relatively low SPL caps, rising incrementally to 100dB(A) for the headliners. “You have to give yourself room—you don’t want to experience a noise infraction early in a programme that starts at 2pm,” he explains.

With the presence of fairground carousels and the second stage/dancefloor tent set 300m in front of the main stage, ‘Hard Avoid’ function in the DISPLAY2 software was certainly put to the test, used judiciously and meticulously on all the hangs, even taking the precaution of avoiding potential reflections off vendors’ booths. However, the experienced crew chief—on his fourth outing at Pride—said they were able to call on last year’s measurements …”since we hadn’t moved the PA. The only slight adjustment took into account the fact that the bleachers were slightly smaller.

Martin Audio’s optimised platform, starting with MLA, has proven a real winner on such a sensitive site. “We did [Pride] one year wihout a Martin Audio PA and this showed in the results, which were poor.”

Joseph Pearce was supported at FOH by William Phillips, who confirmed the successful deployment of the various Wavefront Precision line arrays. “WPL displayed extremely even coverage right across the park—the drop-off was minimal and even with rather high winds and wet conditions, the HF was still extremely present.

“The close residential properties meant we needed to be considerate with levels, although no guest engineer found their mix to be limited, due to the sheer impact of the system. All were impressed by the overall sound, and this was helped by Martin Audio’s technology and offsite steering.”

The cardioid broadside set-up for the subs packed punch and impact without overpowering the mix, he said. “The low end was even across the field and a set of three subs in cardioid pattern at each delay tower allowed those at the back to experience a full mix as well. The cardioid array also helped with low end rumble on the stage which meant any wedge mixes were unaffected and allowed the monitor engineers to have a clean stage sound.”

In fact, down in monitor world Miles Jarrett and Alastair Hellard were on hand. Tim Grasse was stage technician along with Dan Holland, who was also patch engineer. Everything ran as smoothly at the stage end as at the FOH position, under the direction of stage production manager, John Pryer.

Solotech senior project manager Martin Connolly had confirmed last year that adoption of WPL at both Glastonbury and Hyde Park had paved the way for its adoption in Brighton.

Robert Miller agreed that this had resulted in a satisfactory outcome, adding that the site sensitivity had been even more profound since the police had closed off the main road running alongside Preston Park. “With no traffic there was nothing to mask the sound [towards the housing],” he said. “On the main stage itself there was no bleed as the sound was very well controlled, whereas with another system it could have been a lot worse. This was definitely the right system for the job.”

As a result Solotech UK were able once again to report highly positive feedback from the army of visiting FOH engineers in support of acts that included Mel C, Zara Larsson, Confidence Man and The Vivienne.
Categories
Martin Audio

22LIVE ADDS ‘TINY’ MARTIN AUDIO FP4 FOR SIGUR RÓS ORCHESTRAL MONITORING

Experimental Icelandic rock band, Sigur Rós recently embarked on a two-and-a-half-week tour of North America, complete with a 41-piece orchestra.

It marks the third phase of support from their audio rental company 22live, who earlier covered their 2022 world shows, followed by European summer dates (where the orchestral idea was first introduced) and now tour dates in the United States and Canada.

Each wave of dates has seen progressive iterations of Martin Audio sound reinforcement, culminating in monitor engineer Throstur Albertsson recently changing his monitor set-up for powerful XE500 wedges (to complement their IEM’s) but more significantly 18 of the manufacturer’s new FlexPoint FP4 for local orchestral monitoring.

Explaining the background, 22live hire director, Paul Timmins, who has a long relationship with Sigur Rós, said “We needed some tiny speakers for the orchestra. I’d got wind about FlexPoint and when I attended the Martin Audio Open Day in April I discovered that Ingvar Jónsson – Sigur Rós FOH engineer – was also planning to visit because of a side project with Martin Audio he was involved with. He was impressed with the FP4 and XE500 wedges and told the monitor engineer how great they were, believing the diminutive FP4s would be ideal for the orchestra.”

His colleague, Throstur Albertsson, duly adopted this solution for the orchestra foldback, but the challenge became one of timing. Martin Audio met the deadline by fast tracking the first production run in order to meet the first six orchestral shows in Europe.

“I WAS IMMEDIATELY IMPRESSED WITH HOW WELL FP4’S SOUNDED, AND THE FACT THEY ARE COAXIAL, WITH 100° DISPERSION, THE TONALITY WAS REALLY EVEN”.

Throstur Albertsson, Monitor Engineer

Throstur admitted to having been disappointed with elements of his traditional tiny monitors and readily acquiesced. “I was immediately impressed with how well FP4’s sounded, and the fact they are coaxial, with 100° dispersion, the tonality was really even. Mounting them was easy as I combined the tilt backet onto a mic stand and they do the job perfectly.”

Driven by his iK42s he is grouping the orchestra into eight sections, applying a separate mix for each of the groups. Asked about the XE500, he said “They are f***ing monsters … really loud, especially on something like the kick drum, albeit for the most part the band are on in-ears.”

For the US and Canada tour, as they have done with the recent Australian Pink Floyd tour, 22live shipped the entire audio inventory Stateside. As well as monitors, this also includes both Martin Audio TORUS and Wavefront Precision, marking a successful progression of the manufacturer with the band’s production team.

Martin Audio had been introduced by 22live for the first time at the Black Island production rehearsals, in 2022, where as part of a control package, a TORUS system was included. When a European run was announced for the same year, 22live were given the

opportunity to provide a full PA, and the band’s production manager, Giles Woodhead, began conversations regarding the Martin Audio Wavefront Precision option.

Said Paul Timmins, “Although their FOH engineer, Ingvar, had been used to working with other audio brands, he trusted us, and the deployment was very successful.” This was also partly due to the fact that the TORUS system had been so well received at the Black Island rehearsals that Ingvar was encouraged that the brand could deliver the result he was looking for, sensing that its underlying technology matched the best in the business.

Timmins also knew that the technical support team needed to be fully conversant with the latest Martin Audio products, and so nominated the experienced Joseph Pearce as system tech and Johnny Buck as PA tech.

The PA needed to cater for venues ranging in size from 2500-16,000 capacity, and so they arranged a combination of the large-format double 12” WPL and smaller double 8” WPS. “This combination meant that for the larger spaces the WPL could be deployed with WPS side hangs, while in the smallest of venues the WPL could remain in the truck entirely. In total, the tour had at its disposal 32 x WPL, 24 x WPS, 12 x SXHF218 subwoofers, six WPM lip fill, and four TORUS T1230 for in and outfill.

Completing the audio package, Martin Audio iK42 rack were built in two double-bay 24U racks, keeping the packaging neat with integral 63A distribution utilising 22live’s new SES power distros.

Following Albertsson’s glowing report, the monitoring package is now also fully ensconced, and Paul Timmins was equally complimentary. “Everything about it feels premium, with a proper connector on the back, decent fittings, two options of how you hold the cabinet, and whether on a mic stand or in a little frame.” But Albertsson is already thinking to the future. Aside from wishing he could have got his hands on more of the formidable FP4s, he said, “I’d love to take a look at the FP12s for some additional monitoring requirements.”
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LEA Professional

LEA Amps Revitalize Australia’s Sydney Showground

LEA Amps Revitalize Australia’s Sydney Showground

After 25 years of nearly continuous operation, the AV system was in need of refurbishment, so they turned to our Connect Series amplifiers to return the AV system to its former glory.

Let’s dive in! 🦈

THE SPEC

LEA AMPS REVITALIZE AUSTRALIA’S SYDNEY SHOWGROUND

🏢 Venue: Sydney Showgrounds | Sydney, Australia

👷‍♂️ Integrator: The P.A. People

🎶 Audio Spaces: Dome, Exhibition Complex, smaller venues

🦈 Product Used: CONNECTSERIES 354 (9) 704D (9), 1504D (13)

THE VENUE

LEA AMPS REVITALIZE AUSTRALIA’S SYDNEY SHOWGROUND

Australia’s Sydney Showground was established in 1998 as a purpose-built home for major events as part of the multi-million dollar development leading up to the Sydney 2000 Olympic Games. Today it’s a world-class venue, hosting nearly 150 national and international events annually, including music festivals, sporting events, exhibitions, trade shows and the Sydney Royal Easter Show, its flagship event and the nation’s largest annual ticketed event. Sydney Showground comprises several buildings, including Giants Stadium, the Dome and Exhibition Complex, Charles Moses Stadium, Howie Complex, the Sydney Royal Stables, and more.

THE INSTALL

LEA AMPS REVITALIZE AUSTRALIA’S SYDNEY SHOWGROUND

Showground staff contacted leading Australian integrator The P.A. People to help overhaul the system. Ross Ford, Project Manager at The P.A. People, was tasked with leading the installation. “From an operational point of view, LEA amplifiers offered us several key features that made them easy to integrate. The ability to bridge channels, ingest Dante inputs, and utilize analog inputs for the fire trip lines, plus they’re a lot smaller and more compact than many competitive offerings.”

Every pavilion has a standalone public address system, with a site-wide system in place for emergency communications. A major element of the AV upgrades was the desire for complete system monitoring and supervision. Because the AV in some of the smaller venues is used infrequently, unbeknownst to the staff, when required the AV systems often performed sub-optimally, an issue only identified immediately prior to an event during testing. LEA’s line-monitoring capabilities were a significant factor in their selection. Now, AV staff receive an email notifying them of device issues or signal path disruptions in real-time, allowing staff to make fixes in many cases before anyone notices a problem.

A mixture of nine LEA Connect Series 354D amplifiers and nine LEA Connect Series 704D amplifiers were deployed in the smaller venues. The CS354D is a Dante-enabled 4-channel amplifier with 350 watts per channel, while the CS704D is a Dante-enabled 4-channel amplifier with 700 watts per channel. Both are perfectly suited for small to medium-scale installations and support high-Z (70V or 100V) and low-Z selectable by channel, giving the Showground excess capabilities for additional loudspeakers in the future.

For the Dome and Exhibition Complex, The P.A. People installed 13 LEA Connect Series 1504D. The CS1504D is LEA Professional’s flagship high-power IoT-enabled amplifier. A 2RU 4-channel amplifier offering 1500 watts per channel, it’s ideal for large concert venues, arenas and stadiums. The CS1504D is Dante-enabled and supports high-Z (70V or 100V) and low-Z selectable by channel, providing capabilities for possible expansion.

 A significant challenge for the installation team was that many venues were in constant use, so finding time to perform the upgrades and swap out the gear had to be very carefully planned. Thankfully, LEA’s Sharkware software made device configuration simple, saving the team significant commissioning time.

“Because of the quality of LEA’s amplifiers and the ease of being able to implement them in the infrastructure, we were able to swap out 15 amplifiers in a few days,” says Ford. “That time included tuning and setting up all the system parameters and making them operational.”

THE CONCLUSION

LEA AMPS REVITALIZE AUSTRALIA’S SYDNEY SHOWGROUND

Sydney Showground staff were pleased with how smoothly the changeovers went. The Royal Easter Show was just around the corner, so there was no room for error — the AV systems had to work flawlessly.

“Sydney Showground is a longstanding client of ours and great to work with,” said Ford. “They are very respectful of our professional capability in making recommendations to them based on product performance. The proof is that all the AV systems worked as intended and, more importantly, RAS received no user complaints during this year’s Royal Easter Show. It’s a good working relationship; having the right products like LEA’s amplifiers is the key.”

We would like to thank everyone at Sydney Showgrounds and The P.A. People for choosing our amps for this killer install and we hope to provide quality sound for many years to come. 

Categories
Martin Audio

DISPLAY 3 for Apple Mac

DISPLAY 3
Beta 6.0

We are pleased to share the latest version of DISPLAY 3, our 3D acoustic prediction and sound system design software, which is now compatible with Apple Mac and includes FlexPoint loudspeakers as well as a number of additional enhancements.

Please read the following Release Notes.

 DISPLAY 3 – Beta 6 – Release Notes

Some help videos can be found on our training page.

New users should use the download link below, whereas existing D3 users can click “Help” on the top navigation bar on the left and click “Check for updates”.

Windows PC:

DOWNLOAD DISPLAY 3

Apple Mac:

DOWNLOAD DISPLAY 3
Categories
Martin Audio

22LIVE SETS OUT ITS STALL AS AUSTRALIAN PINK FLOYD HIT WINNING FORMULA WITH MARTIN AUDIO

Last Autumn Martin Audio partner, 22live, completed its first full production tour, with arguably the greatest cover band on the road today.

The Australian Pink Floyd show, which provides an authentic tribute to the original band, has long used Martin Audio PA on tour.

For the band’s late 2022 UK tour Paul Timmins, now hire director and one of the founders of the recently formed pro-audio service company, 22live, was reunited with the long-term team of band manager Kevin Hopgood, production manager Chris Gadd, and FOH engineer Trevor Gilligan.

There were a number of factors to consider for Timmins, along with 22live technical director, Simon Gladstone, and operations director Stefan Phillips, when they were preparing their bid as a new player in the market. In addition to general touring economics this included the choice of PA.

With regard to the latter, 22live knew they couldn’t offer Gilligan, who has toured with earlier generations of Martin Audio Wavefront, anything other than the latest scalable Wavefront Precision line array solution—but they were also up against timing constraints.

“WHAT CAN I SAY … I LOVE THIS SYSTEM! IT’S GREAT TO BE BACK ON THE MARTIN AUDIO GEAR. IT’S A VERY DETAILED BOX AND MATCHES THE SUBS PERFECTLY. ALL IN ALL, A GREAT CHOICE BY ALL INVOLVED”.

Trevor Gilligan, FOH engineer

“Although Trevor was happy to try out a new PA, the thing that we really had to demonstrate to make the argument was that the Martin Audio SXCF118 cardioid sub would be sufficient to provide the low end the tour required,” stated Timmins. The only way of providing its performance capability was to put it to the test, and a demonstration was organised at Martin Audio HQ in High Wycombe.

The band’s experienced system technician Mark Edwards was among those present at the demo. Timmins observed, “Both Trevor and Mark were extremely familiar with the Martin Audio SX218, and it was therefore easy to demonstrate the capability of the SXCF118 by using the 218 as the benchmark—and in fact the demo concluded with the SXCF118 coming out on top in terms of both performance and flexibility.”

22live were duly offered the tour, which embarked on a 30-date UK run. Among the inventory were 32 Martin Audio WPC (2 x 10in) line array enclosures, 18 WPS (2 x 8in) line array, 16 SXCF118 cardioid subwoofers, six Martin Audio WPM (for lip fills) and four Martin Audio TORUS T1215.

By the end of the first show, Trevor Gilligan had realised the wisdom of this product selection, commenting unreservedly, “What can I say … I love this system! It’s great to be back on the Martin Audio gear. It’s a very detailed box and matches the subs perfectly. All in all, a great choice by all involved.”

Further positive feedback was received from Gilligan as the tour progressed. “I definitely made the right decision with the little subs,” he continued. “The bass guitar and low end of the drum kit is way more musical. Mark [Edwards] did a sub array … in an old theatre in Bath; it’s normally a bit lumpy in there but this time it was great, very solid and punchy.”

As the tour concluded, Mark Edwards was able to offer his own verdict on the 22live delivery with the Martin Audio PA, commending the service company for the overall package they provided. “The system performed flawlessly and was a pleasure to work with.”

The only venue that had required a bigger system was the Glasgow Hydro Arena where 22live topped the PA system up with an additional 24 Martin Audio WPL (2 x 12in) enclosures. This brought the following comment from Trevor Gilligan: “We had a great night in the Hydro; the PA worked perfectly … the best mixing experience I have had there.”

But the final word on the success of the Martin Audio deployment came from Paul Timmins himself. “The fact that we were able to move the production onto Martin Audio, and it delivered beyond the expectations of both the engineer and technicians, I think is a great sign that we made a good decision to back the brand. I’m confident there will be growing demand and opportunity for Wavefront Precision going forward.”

So happy were production that they continued to tour the same setup throughout 2023, with a second European run which commenced in January. From the start of this run monitor engineer, Kevin Smith, also adopted Martin Audio in his stage set-up, switching to their high performance XE500 15” bi-amp coaxial differential dispersion monitors, at 22live’s recommendation. The XE500 was designed to be the ultimate, high SPL stage monitor and Smith admits that the superior performance had taken him somewhat by surprise. “They have delivered way above and beyond my expectation and are definitely a step up from what I was using previously,” he said.

The fact that production wanted the inventory to be shipped across the Ocean in its entirety was a ringing endorsement. “It is the first time they have shipped PA equipment in a long time—and that’s a real testament to their appreciation of the kit,” exclaims 22live commercial director, Alex Penn.
Categories
HH Electronics

HH Electronics Delivers For BASE Culture Live Venue In England

The new HH Electronics TNA line arrays in place at the live venue at BASE Culture Music Group in Yorkshire.

 

CEO Mike Krompass designs system headed by TNA line arrays to support local community-driven events and assist in the development of local independent artists.

BASE Culture Music Group, a record company and music distribution and publishing company in Yorkshire, England that also runs a professional sound recording and mix studio, recently implemented a new audio system in its coffee/wine bar and live music venue that utilizes HH Electronics TNA line arrays.

As a Community Interest Company (CIC), part of BASE Culture’s role is to support local community-driven events and assist in the development of local independent artists. The organization is headed by CEO Mike Krompass, who also works on the installation of sound systems across a range of UK venues.

“When I was first introduced to the new TNA line array, I was blown away,” he says. “We installed the system into several venues and achieved amazing results — every client was thrilled with how it sounded, so naturally, having seen and heard it in action, and be received so positively, we wanted to place it into BASE Culture HQ.”

Launched earlier this year, the TNA line array was designed for small to medium-sized applications and is based around the TNA-2120SA, a multi-channel active subwoofer with integrated class D amplifier that incorporates dual 12-inch woofers, as well as the TNA1800SA single 18-inch active subwoofer. With three channels amplification, the TNA-2120SA houses six built-in DSP presets and as part of a modular system can power up to six satellite TNA-2051 passive, two-way compact line array loudspeakers.

At BASE Culture, Krompass has deployed a ground stacked system comprising (per side) a TNA-1800S, a TNA-2120SA and four TNA 2051. A pair of HH Electronics TRM-1201 compact, active monitors complete the picture.

“It’s a perfect fit for the venue, maintaining all the high quality and sonic characteristics that you’d expect from the HH brand,” Krompass concludes. “The system is amazingly comparable to high-end line array products, whilst being available at a fraction of the price.”

Categories
Martin Audio

Live Sound Company Expands Portfolio with the Acquisition of Martin Audio WPL Line Array System

Live Sound Company

Project ID : #B756

City : Bhubaneswar

State : Odisha

Type : Touring

Brands : Martin Audio

We are thrilled to announce that Live Sound Company, Orissa, has taken a significant leap in its commitment to audio excellence by acquiring the state-of-the-art Martin Audio WPL System, facilitated through VMT. This acquisition is a testament to Live Sound Company’s dedication to delivering unparalleled audio experiences.

 The decision to opt for the Martin Audio WPL System was a no-brainer, given its superior features and unmatched performance capabilities. This system promises exceptional audio clarity, precise coverage, and impressive scalability. Whether it’s for a small intimate gathering or a grand concert, the WPL System ensures an immersive sound experience that leaves an indelible mark on the audience.

Specifically, Live Sound Company Orissa has acquired 12 pieces of the WPL Line array and 6 pieces of the SXH Subwoofer. This acquisition not only amplifies their capability but also showcases their commitment to investing in the best.

With the WPL System now a part of their equipment lineup, Live Sound Company Orissa is poised to redefine standards in live sound production, setting new benchmarks for audio quality and customer satisfaction.

 

Our collaboration with Live Sound Company Orissa and their recent acquisition of the Martin Audio WPL System underscores our mutual dedication to advancing audio technology and setting new standards in the live sound industry. Together, we are committed to delivering unmatched sonic experiences that resonate with audiences and leave them in awe.

Categories
Martin Audio

MLA MAKES ITS MARK WITH MARISA MONTE AND COOLRITIBA

Already recognised for its high-profile appearance at Brazil’s famous Rock in Rio festival, Martin Audio’s MLA multicellular loudspeaker array also provided main stage artists at the annual Festival Coolritibain Curitiba, nearly 500 miles further south, with exemplary sound.

Headliners included Marisa Monte, Sandy, Mano Brown and the legendary Gilberto Gil—but it was the influence of Marisa Monte’s sound engineer, Daniel Carvalho, that brought about the change from the originally specified festival system.

He had been piloting the mix on the famous singer’s Portas tour through an MLA, provided by predominant rental company Gabisom (who also service Rock in Rio). Coolritiba was part of their 100-show tour schedule where Marisa Monte was top of the bill.

Daniel Carvalho reports: “The festival had requested [another brand], but since we were headliners, and they were renting from Gabisom as well, we asked if they could switch to MLA for the festival.” And so, they shipped out the boxes to complement the touring rig.

“EVERY TIME I USE MARTIN AUDIO I AM IMPRESSED, WITH THE CLARITY OF THE HIGHS, THE DEFINITION OF TRANSIENTS AND THE COVERAGE ARE IMPRESSIVE AND, MY MASTER EQUALISER REMAINS FLAT. SO, IT`S JUST HAPPINESS ALL ROUND.”

Maycon Mendes, Sandy’s engineer

The results, he said, were incredible. “For many [engineers] it was their first time with Martin Audio and all techs loved the sound. The Rap guys didn’t ask for additional subs and the promoter himself said he wants the same set-up for next year. Everybody agreed that it was the best sound ever heard at the site, including the Gabisom crew.

Other sound engineers lined up to sing the system’s praises based on their Coolritiba experience. Maycon Mendes, Sandy’s engineer, said, “Every time I use Martin Audio I am impressed, with the clarity of the highs, the definition of transients and the coverage are impressive and, my master equaliser remains flat. So, it`s just happiness all round.”

Gustavo Mendes, Gilberto Gil’s tech added, “Thanks for the opportunity of using the MLA system, which is for sure the best PA we used in this Gilberto Gil tour.”

Daniel Carvalho himself is well qualified to have recommended the system. He has been handling Marisa Monte’s live mix since 2015 and was a studio engineer prior to that during which time he has become an eight times Latin Grammy Award winner as mastering engineer and mixer.

He first encountered MLA when mixing a band at Rock in Rio in 2015. “Someone from Martin Audio showed me the DISPLAY software and introduced me to the system.” From that day on he was sold. “When the Portas tour came around, I told Gabi from Gabisom, that I would love to try the Martin Audio system. It was love at first hear. At a stadium in Belo Horizonte, Marisa`s manager came to front-of-house and asked, ‘What happened today? The voice is so clear”. I told him it was our new PA and he said ok let`s use this one from now on.”

At Coolritiba, where a crowd of around 20,000 fans assembled, the main PA was rigged as an L/C/R system with 15 MLA and a single MLD downfill at the base of each hang. Outfills comprised seven MLA plus an MLD downfill; there was a delay fill of six further MLA, with six MLA Compact as front fills. The rig, which Daniel Carvalho also helped design, incorporated a generous array of 32 MLX subwoofers arranged in castellated broadside configuration.

Asked what he loves in particular about MLA, Daniel is unequivocal. “It is easy to design and deploy. The array processing ensures every position in the house sounds the same. And it’s very forgiving; when we have to make sudden changes at venues without the need to recalculate angles—it’s just a matter of changing the preset of EQ settings and the sound delivers precisely what we need.

“Thanks go to Gabi for placing this much-loved PA in our hands,” he says in conclusion, “and to Josiel Silva and Diego Talasca for rigging everything so expertly.”
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Martin Audio

MOOIJ ALKMAAR MAKES ITS MARK WITH MARTIN AUDIO CDD

The runaway success of Martin Audio’s best-selling CDD series is showing little sign of slowing down.

When the new upmarket Mooij Alkmaar restaurant opened recently, it complemented its South American cuisine with music produced from matched pairings of CDD6s and SX210 loudspeakers from the company’s coaxial differential dispersion series.

The installation in the city of Alkmaar was carried out by lighting and sound rental specialists, Bleeker Group. The Heerhugowaard-based company is a customary Martin Audio user, and it was owner, Jacco Bleeker himself who specified the solution as best fit for purpose.

“THE SUBS ARE LESS UNOBTRUSIVE, AS THEY ARE TUCKED AWAY, TO BECOME PART OF THE FURNITURE”.

Martijn de Jong, Product Manager (Audio), Ampco Flashlight Sales

And that purpose was to reproduce background music during the week and live music to tape at weekends. “It’s an ideal solution for them,” exclaims Martijn de Jong, Product Manager (Audio) at Ampco Flashlight Sales, Martin Audio’s Dutch distributor.

Although the operation is new, the building certainly is not. In fact it is the oldest restaurant building in Alkmaar, and was formerly known as ‘het Gulden Vlies’. The old façade has been completely renovated and restored to its original state and given the name Mooij in acknowledgment that it was originally owned by three generations of the Mooij family. The conversion took two and a half years to realise.

In total, Bleeker have detailed 14 CDD6 and a pair of SX210 subs for the ground floor distribution and on the first floor eight CDD6 and an SX210.

The integrators had again recommended the Martin Audio solution to owners, Remco de Boer and Daan Touw, for its coverage pattern and the amount of SPL it can generate from such a small form factor. This was after the owners had already bought into the CDD6 / SX210 combo at another restaurant—Marktzicht in Broek op Langedijk.

“Partnering the CDD6 with the SX210 is a perfect match, and so they automatically opted for it again,”confirms de Jong. “At Mooij Alkmaar this provides balanced coverage and plenty of SPL. Although aesthetic considerations weren’t a prerequisite, the customer was pleasantly surprised by the looks of the CDD6 and its ceiling bracket. It looks very elegant.”The subs are less unobtrusive, as they are tucked away, to become part of the furniture.

The system was designed and tuned using Smaart, to ensure full optimisation.

Summarising the installation, the owners said, “We are extremely happy with the end result. The system sounds and looks great. In fact visiting sound engineers have been amazed at what this speaker can do … how great it sounds and performs in the restaurant.”

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