Categories
Martin Audio

MARTIN AUDIO’S HAT-TRICK OF SUCCESSES AT MEXICAN INDEPENDENCE DAY CELEBRATIONS

September 15 marks the commemoration of the Grito de Independencia (or Mexican Independence Day)¬—the most important ceremony in the country.This year it was able to resume again in front of an audience at the Zócalo in the centre of Mexico City after two years of being held remotely due to the COVID pandemic. According to official calculations more than 160,000 people celebrated the national holiday out on the streets again.

The vastly experienced Norteño group, Los Tigres del Norte—famed throughout the Latam countries—headlined the event with a show that lasted more than three hours.

The production work was carried out by the company KW, and for the third consecutive year Martin Audio systems were used as the main PA for the Ceremony. They provided audio coverage for a site measuring 46,800 sq.m.

For the presidential protocol, four clusters of MLA were designated, one pair with 11 MLA plus an MLD Downfill, and a further pair of outhangs with eight cabinets and an MLD (providing 120°H x 20°V dispersion).The main hangs covered a distance of 150 metres and the lateral clusters 130 metres.

On monitors and sidefills were Martin Audio’s Blackline F10+ and WPM series—servicing both the Mexican Army Chorus and the speech delivered by the President of the Republic, Mr. Andrés Manuel Lopez Obrador. For the Chorus’s monitoring the four Blackline F10+ were fed from iK42 amps and for the presidential monitoring, four WPM per side, in stereo format, were set in the presidential box.

THIS SYSTEM DELIVERS THE RESULT THAT ANY ENGINEER IS LOOKING FOR IN TERMS OF AUDIO QUALITY, POWER OUTPUT, CONTROL AND DESIGN.

Gabriel Martínez, FOH Engineer
An independent system was set up for Los Tigres del Norte comprising 32 WPL for PA (16 per side), with 32 further WPL for outfills (16 per side) and 24 SXH218 subwoofers, plus 24 MLX set in a gradient. Eight WPM (in four stacks of two) were detailed as front fills. The main system covered the first 135 metres, while four delay towers comprising eight MLA each were set at 90 metres to cover the back of the Zócalo and surrounding streets. Two further delay towers were placed 200 metres from the PA, with 12 WPC elements.

Speaking of the gradient arrangement, Proactive LATAM audio design engineer, Carlos Aldama, said, “In this way and with the help of the iK42’s internal DSP processing and the internal DSP of the MLX, it was possible to make a configuration where the stage area and all the low frequency energy was removed from the side of the attendees.”

The band’s FOH sound engineer, Grammy Award-winning Gabriel Martínez, admitted that having been a fan of MLA he was also pleasantly surprised by the acoustic performance of WPL. “Martin Audio is always a guarantee,” he stated. “I was impressed by the sound pressure we had at almost 100 metres and the audio design for the show in general. I had already worked with WPL previously in Orizaba and Morelia but the difference in adjustment and alignment here gave an additional image as if it were another system.

“This system delivers the result that any engineer is looking for in terms of audio quality, power output, control and design.”

The two systems could not be used simultaneously, since the main stages were adjacent to each other. For the ceremonial presentation, the PA was placed at the National Palace and for the concert, it was placed in front of the Metropolitan Cathedral, with the sound directed towards the Government building.

“For Proactive LATAM, representing Martin Audio, it was important to be chosen again, and recognised for our commitment of support,” stated company founder and CEO Berenice Gutiérrez. “In addition, we were honoured to be trusted, not only by the production manager of Los Tigres del Norte, Luis Antonio V, but also by the managing director of KW to create an audio design that would allow them to be comfortable. We should also give a special mention to KW for their overall production coordination, which was a huge challenge.”

Oscar Tovar, Proactive LATAM technical sales engineer for the region, added: “For the third time, all the equipment used was from Martin Audio, and once again great results were achieved. Returning to the traditional format again this year we were able to integrate two areas, to serve both the Government protocol and the concert.

“It was a big challenge but fortunately everything went as planned, since this is the most important event in the country, commanded by the Mexican President. It was great that more than 160,000 people were able to assemble at the Zócalo and receive the same high-quality experience, and that we had the time and sufficient tools to ensure that it happened.”

And Carlos Aldama concluded, “The incredible result we delivered with Martin Audio, was down to the precision with which the DISPLAY 3 software functions, since the results obtained were practically identical to the prediction. The intelligibility of the equipment was amazing.”

Categories
Optimal Audio

Reflections on winning manufacturer of the year at the AV Awards

When I first submitted our entry, I was well aware that our chances of winning were slim and if I’m honest I did it in the hope of being a finalist and to take that honour.

When we were shortlisted there was genuine excitement in the office and while I thought the judging panel session also went well I was at pains to remind everyone at Optimal Audio that our chances remained small, especially given the size and prowess of our fellow finalists.

This reality check also meant that when the awards night rolled around, I could enjoy the evening as opposed to being on tenterhooks. When our category was eventually called and to our utter surprise we had won, the elation of the team was palpable.

Here was a new brand, barely into its second year of trading, having come through the ravages of covid and the extremities of supply chain challenges, seeing off some of the biggest names in the industry.

For me the rationale for us winning is ultimately based on the origins of what we set out to do as a company. Engineering Head, Matt Rowe’s vision for a simplified, digital based ecosystem of controllers, amplifiers and loudspeakers for multi-zone venues is matched by a quirky, challenger brand outlook that sets us apart from competitors. That freshness of thinking and approach we always felt was powerful and so it has proven to be.

While we wont be resting on any laurels, this award is internationally recognised and helps to validate our standing. We’re excited for our future and will continue to bring an energy and spirit to the commercial audio sector that drives value to our sales channel partners and venues.

I’m thrilled for everyone involved with Optimal Audio and my sincere thanks to the judging panel of AV Awards for recognising their drive and ambition.

James King
Marketing Director

Categories
Martin Audio

SOUNDWORKS’ ALL-WAVEFRONT PRECISION DEPLOYMENT DELIVERS BEST YET FOR FOLK FESTIVA

Martin Audio partner Soundworks of Virginia equipped the five main stages of the long-running Richmond Folk Festival, an annual celebration of American culture and roots music, with the manufacturer’s state-of-the-art optimizable Wavefront Precision line array speakers.

Promoted by Venture Richmond, a non-profit organization, this three-day free festival, with which Soundworks have been involved for more than a decade, is held annually in the city’s downtown Riverfront Plaza area—spanning an area of almost 20 acres. An offshoot of the National Folk Festival, it is one of the largest events in Virginia, drawing around 200,000 visitors from across the country and featuring more than 30 global artists.

Some 130 Martin Audio components were specified across the site, and Soundworks’ founder and CEO, Steve Payne, notes that this exhausted all 124 available channels of their 31 iKON iK42 amplifiers, which were detailed to drive the various PA rigs in 2-box resolution.

For the main Altria amphitheatre stage they turned to Martin Audio’s largest format WP, fielding 12 WPL enclosures per side, over three SXH218 per side. Four WPS were deployed for frontfills, with an additional CDD-LIVE 15 on top of an SXP218 on each stage flank for sidefills.

The smaller Dominion Energy Dance Pavilion (under an 80ft x 160ft tent) saw eight WPC flown per side over two SXH218 subs bridged per side, with CDD-LIVE 15 over an SXP218 on each wing providing sidefills. In addition, 10 Martin Audio XE500s were provided as stage monitors.

The CoStar Group Stage was rigged in an 80ft x 120ft tent with six WPS flown per side over two SXC118 subs. The CarMax Stage was similarly configured but with the addition of four XP12s as outfills and delays. Finally, the smallest of the tents (50ft x 100ft) housed the Virginia Folk Life Stage where four WPC were stacked on top of an SXH218 subwoofer on each side.

HAVING RUN WAVEFRONT PRECISION SYSTEMS FOR OVER TWO YEARS WE HAVE BECOME ACCUSTOMED TO ACHIEVING A HIGH LEVEL OF PERFORMANCE WITH 100% CONSISTENCY. IT IS A VERY GRATIFYING SITUATION.

Steve Payne, Soundworks

Working alongside production manager Colleen Arnerich, from the National Council for the Traditional Arts, and Venture Richmond Festival Manager Stephen Lecky, Steve Payne outlined Soundworks’ approach to a sound design masterminded by the company’s president and senior sound engineer, Grant Howard, and System Tech Bryan Hargrave. They specified the PA systems to meet or exceed the parameters laid out by sound designer, Steve Fisher.

“We were given free rein to deploy the systems as they best saw fit,” remarked Payne. ”In our experience the difference between 1- and 2-box resolution is discernible when listening critically, but not dramatic. Having to run the systems in 2-box resolution due to the available amp channels was only a minor concession.

“Having run Wavefront Precision systems for over two years we have become accustomed to achieving a high level of performance with 100% consistency. It is a very gratifying situation.”

He added that the systems had received positive reviews from every sound engineer on site for their flat response and ability to accurately reproduce the myriad of musical styles and instruments encountered at such a diverse festival.

“While the site is sufficiently sprawling that interference between stages was not an issue, the Hard Avoid feature [in Martin Audio’s DISPLAY software] was used on the four tented stages to keep the sound off the tent roof which dramatically reduced reflections and had a major positive impact on the quality of the sound on those stages. The engineers at all these stages commented positively on the quality of the sound in an environment which often presents sonic challenges and can leave something to be desired in terms of clarity and articulation.”

“It sounded awesome everywhere on site,” chimed in Colleen Arnerich. “The upgrade on the Folklife Stage from CDD-LIVE last year to WPS this year made a huge difference.”

Bruce Gasper, FOH engineer on the Dominion Energy Dance Pavilion stage, also observed that WPC delivered a sound that was “very clean … flat and smooth across the frequency range, with even coverage throughout the venue.”

Meanwhile, Soundworks’ Grant Howardbelieves that “in the 10-plus years of doing the Richmond Folk Festival, hands down this was the best one yet.”

Summarising the success of the event, Steve Payne said, “While we have been proud of the job, we have done every year, we also feel that we have always managed to improve year on year. This year I believe marked a high water point in our efforts—there were virtually no compromises made in our efforts to provide the best sound possible at every stage on the festival site. This was 100% the result of our major push over the past two years to grow our inventory of Wavefront Precision speakers and iKON amplifiers.”

Finally, Stephen Lecky spoke of Soundworks’ enduring presence at the event. “I was fortunate enough to intern with them back in the late 90’s as a high school student, and was able to see first-hand what amazing work and care they provide to their clients. It was a no brainer for me to recommend them professionally when I took on this position.”

Photos: Courtesy of Dave Parrish Photography. Used with permission.

Categories
Martin Audio

MARTIN AUDIO MAINTAINS ITS LONG RELATIONSHIP WITH MIGHTY SZIGET FESTIVAL

The long-standing relationship between Capital Sound (part of the Solotech UK Group) and the major week-long Hungarian Sziget Festival, resumed this year after the two-year hiatus.

This six-day event on the Danube—situated on the remote Hajógyári Island (Óbudai-sziget), north of Budapest—draws between 500,000-600,000 visitors, and always pulls a major list of global superstars across its stages. This year was no exception, with Dua Lipa, Arctic Monkeys, Stromae, Kings of Leon, Lewis Capaldi, Tame Impala, Nina Kravitz and Sam Fender among the many familiar faces.

As befits one of Europe’s largest musical and cultural festivals, the technical infrastructure was first class. This included Martin Audio’s multi award-winning MLA loudspeaker array, which has been a regular and reassuring sight for audiences and visiting sound crews alike on main stage since 2015.

According to Robin Conway, Solotech Senior Technical Advisor, the main stage sound design continues to evolve as the production team strives for increased perfection, once again working alongside Hungarian audio crew chief and system designer, Marci Mezei, and local Martin Audio partners, BG Event.

They were fortunate to be able to benefit once again from the huge experience of Mezei, who has been involved with Sziget since 2001, initially starting on the smallest Pesti Est stage, before working up to main stage since 2004. And he ensured the partnership with Solotech once again produced a slick outcome.

BG Event provided auxiliary support for an inventory which included nearly 200 enclosures deployed on main stage alone, along with rigging, cabling, racks, chain hoists and motor control. BG also provided additional Merlin network management systems (and distro) to support their MLA family boxes.

The main PA comprised 17 MLA per side, with a single MLD Downfill at the base of each hang. Sidefills were an equally symmetrical 15 MLA (plus single MLD Downfill) on each flank—all underpinned by 42 MLX subwoofers (in 14 x 3-high cardioid stacks). Frontfills consisted of six MLA Compact (set on alternative sub stacks) and infill wing coverage was provided by 12 MLA Compact, set in 4 x 3 high stacks.

FOH delays comprised four further MLA Compact (left and right) while four additional delay positions were set further down the field, each populated by hangs of either eight or nine MLA (with an MLD Downfill in all cases), and a pair of MLX to handle the low frequencies. This provided an aggregated cabinet count of 182 units servicing main stage.

In addition, Solotech provided all system drive and control, complete stage systems, console and RF.

Ironically, while Solotech has now perfected the onsite design over the years—and getting inventory on and off the island is a well-drilled procedure—the challenges they faced were mostly logistical in a post-Brexit, post-Covid world, as Robin Conway explained.

“It was always going to be a challenge working in Europe post Brexit and the pandemic, with inflated costs of shipping, carnet etc,” he said. “However the production team were confident in our ability to deliver the festival audio and to deal with any additions. We have a great relationship and hope it will continue beyond 2022.”

MLA again found favour with many of the visiting sound engineers. According to Marci Mezei, many commented directly to him about the quality of the PA and the enjoyable experience it gave them—including Sigrid’s FOH sound man Jan Halsvik and Dua Lipa’s Will Nicholson, while techs from Tame Impala and Stromae voiced similar approval.

Of course Sziget is only one of three major Hungarian festivals serviced by Solotech and BG Event, with Volt and Balaton Festivals, managed by the same production team, taking place earlier in the summer. “The relationship works well and we’re able to limit our shipping to a single Artic trailer from the UK for these shows,” states Conway. “The system rolls from Volt to Balaton and then returns home before re-prep for Sziget later in the summer.”

Solotech personnel supporting Marci Mezei and his team included Mark Cleator (FOH and system) and Kevan Snuggs (monitors and stage). Meanwhile, Marci Mezei commended his own crew, consisting of BG Event’s Gabor Bacskay Mazsi, who looked after system and FOH duties, and Robert Szentesi and Aleksandar Aleksandrovic who were at the stage end.

In addition to main stage, other stages equipped with Martin Audio systems provided by BG Event, included the Samsung Colosseum and TicketSwap Party Arena`.

On the former, this included 12 MLA Compact in two hangs of six, MLA Mini, 16 WSX subs and 10 MLA Compact at the delay position. For DJ monitoring they supplied four XE500 and a pair of Blackline S18+. Artists appearing included Ben Klock, Denis Sulta & Mella Dee, Eelke Kleij, Paula Temple, Honey Dijon, John Talabot, Joris Voorn, Kölsch, La Fleur, Matador, Seth Troxle, Sasha, Zioner and Joone.

For the Party Arena, where Steve Aoki was among a cast of headline DJs, they provided 18 W8L Longbow, in two hangs of nine enclosures, six W8LM, 30 SX218 subwoofers, 12 CDD-Live12 and eight WPS with iKon amps. Delay 1 featured a further 10 W8L Longbow and the second delay point was populated by 12 W8LC. Four XE500 featured among the DJ monitors.

Stated BG Event’s Szentiványi Balázs, “The Party Arena was once again a success this year and we received so much positive feedback. The old Longbow system was ideal for the electronic music genre, and the cabinets’ large format, and the additional speakers deployed, really did their job.”

Categories
Martin Audio

World of Wonder

One of the latest exhibitions to burst onto South Korea’s burgeoning immersive art scene features soundscapes relayed by Martin Audio’s Adorn range. Caroline Moss gets lost in the experience

Most aptly for a country at the cutting edge of technology and creativity, art exhibitions, special events and commercial presentations in South Korea are increasingly drawing on immersive technology to envelop audiences in the experience. In July, the latest creation from SILO Lab. – Ambience – opened at E-Ham Campus, a new multi-room gallery in Yangpyeong-gun on the banks of the Namhangang River.

The gallery, a collection of buildings scattered throughout a landscaped garden, was established by a businessman who acquired the site a number of years ago to create a public space that would benefit the community. Joining forces with a collective of artists who collaborate as SILO Lab., the Ambience immersive exhibition featuring seven installations was commissioned to run across the galleries for a year, from July 2022.

SILO Lab.’s aim is to cross the boundaries between technology and art. “In an attempt to create experiences that have never existed at the intersection of technology and art, we constantly carry out research and express them through art,” a spokesman from the collective comments. “Our work brings interesting experiences by realising our imaginations with technology. SILO Lab.’s work has a strong theme of nature that allows digital media – which used to be distant and difficult – to become emotionally approachable and to communicate with the audience by encouraging active participation.”

Sound follows the light in Pitch Black

It follows, then, that in order to create immersive experiences that don’t appear to rely on technology to evoke an emotional response, a non-negotiable condition was that the speakers were concealed as much as possible in each of the seven installations.

SILO Lab. had decided they wanted to use Martin Audio speakers for this project having already worked with Korean distributor Samasound to install the brand at a new showroom for Kia Motors in Seoul. “They were impressed with Martin Audio

at that installation, feeling that, compared to other speakers, the Martin Audio models were small, powerful and suitable for spaces like this gallery, where they need to perform without being obtrusive,” says Wonjoo Lee, senior manager business planning, Samasound.

The exhibitions – all in separate galleries apart from two which share the same space – consist of Starglow, strands of LED strips that twinkle in the darkness, representing stars pouring their light into the infinite universe. Here, four Martin Audio Adorn A40 ultra compact speakers have been installed in the ceiling to create an aural effect of stars falling in space. These are powered by an Inter-M L800 amplifier with PreSonus HP4 four-channel headphone amplifier with monitor control.

Three Adorn A55 compact speakers and an SX110B slimline subwoofer, powered by an LEA Professional Connect 354 four-channel amplifier, have been installed in the Glowing Clouds gallery which features a huge LED wall segueing from sunsets to clear skies and aurora light displays, with artificial smoke creating a cloud effect. Here, the soundscape is focused as closely to the top of the audience’s heads as possible.

Seven more A55s powered by an LEA Connect 168 provide the soundscape for Pitch Black, which reproduces the sense of floating in a deep, dark space as the sound moves according to the direction of the light. In Horizon, a solitary lighthouse beam sweeps across the room, accompanied by dramatic music with added sound effects including a boat horn, thunder and waves. This is relayed by six Martin Audio A40s and an SX110B sub powered by LEA Connect 168 and 354 amps. 

Ripple features a backdrop of the sun seting behind a pool of water

Ripple features a backdrop of the sun setting behind a still pool of dark water into which a single drop falls intermittently. Lasers discreetly illuminate the ripples created, which are reflected back onto the walls. The accompanying soundscape – a bell tolling clearly above soft music – appears courtesy of two Martin Audio A40s, with a single Genelec 8330 Smart Active Monitor to amplify the bell and a SX110B sub powered by an LEA Connect 354 amp, while a PreSonus AR8c eight-channel audio mixer can adjust the volume according to audience presence.  

Strands of LED strips represent stars in the Starglow gallery

Finally, eight A40s can be found in the Starglow and Sparkling Ripple exhibits which take place in the same gallery, powered by an LEA Connect 168 and a Connect 354. Large water tanks and lights create the effect of ripples reflected in moonlight, while kinetic lighting is set in motion by the accompanying music. There is also a large AV room which displays a video about SILO Lab.’s history; here, Samasound has installed a pair of Genelec 8330 SAM monitors.

With a catalogue of high-end audio brands as well as a new LED department, Samasound is firmly behind the current wave of immersive art, evidenced at this year’s KOBA show where its demo room featured an immersive 7.1.4 demo with an original media art display on an LED videowall. An exciting development, then, for one of Korea’s long-established distributors and the products, tools and expertise it provides.

Categories
HH Electronics

HH Electronics Appoints Koil Corporation as Distributor in South Korea

HH Electronics, UK-based manufacturer of audio systems for the pro, MI and installed markets, and part of the Headstock Group of companies, is pleased to announce the appointment of Koil Corporation as its official distribution partner in South Korea. Koil will work closely with both HH and Generation AV, HH’s appointed sales agency in the region.

Koil’s President, Ms Jo Mi Jung, is enthusiastic about the new partnership:

“Koil Corporation is thrilled to work with HH Electronics, a company with long history and clear passion for the audio industry. HH Electronics’ product line-ups will be optimal choice not only for our sales channels but also for end-users.”

Ian Wright, Headstock’s Director of Global Sales agrees:

“We’re very happy to be embarking on this exciting new partnership with Koil, and look forward to seeing the HH brand continue to grow and thrive within the region. As a highly professional, well-respected company with a very talented and experienced team, Koil is the perfect partner for HH in Korea. We look forward to building a strong, long-term relationship with them.”

James Laney, Headstock CEO, added:

“We are delighted to be working with Koil. We share a mutual goal to fulfil the potential for HH products in Korea, and look forward to a long and successful partnership.”

After more than fifty years in the industry, HH Electronics continues to design and create high-quality, competitively-priced audio products which meet the demands of a wide range of vertical markets across the globe.

Categories
Martin Audio

PILTON PARTY FOLLOWS IN THE FOOTSTEPS OF GLASTONBURY FOR MARTIN AUDIO WPL

With a frequent presence at the Glastonbury Festival site at Worthy Farm, where they service a number of stages, SWG Events also provide technical support for Pilton Party.

Although lesser known, it occupies the same site as the popular John Peel Stage—and features equally prominent headliners.

This year it was the turn of Elbow, supported by Easy Life to take the stage at Pilton Party 2022, where the same PA system that graced the Pyramid stage this year—Martin Audio’s WPL Wavefront Precision line array—was in position again, and Pyramid production manager Emma Reynolds-Taylor repeated her role.

Both bands had turned in stunning performances on Pyramid stage this year, and Pilton Party saw a reprise. Besides that, SWG Events provided sound reinforcement for Easy Life when they played the BBC Music Introducing stage at Glastonbury in 2019.

The confidence the company now has in specifying WPL is borne out by SWG head of audio, Simon Purse’s comment: “We have now done so many shows this summer with WPL that sound engineers have built confidence playing through it, and have got used to the workflow.”

On either side of the stage SWG flew 12 WPL elements, which they ran in 2-box resolution from their iKON iK42 amplifiers. Providing front fills were eight of their W8LM Mini line arrays, while 12 of their powerful Martin Audio SXH218 (2×18”) subs were designed in a monoblock across the front. And for good measure they also provided eight of their new Martin Audio XE500 stage monitors for reference sound.

Appraising the performance of the SXH218 Simon Purse said, “The sub response was brilliant … you could really feel it from the kick drum, and we achieved 100dBa at FOH, with no complaints.”

So powerful was the main system that no delays were required to boost sound at the back. “The field itself extended to 110m and WPL comfortably threw to the 90 metres necessary for the audience coverage area,” he confirmed.

Elbow FOH engineer, Danny Evans, also registered a positive experience aboard the Martin Audio PA. “There was plenty of headroom, with impressive clarity, and the coverage was good with consistent level and even tonality around the whole audience area. This allowed me to focus on, and enjoy mixing Elbow’s show.”

Emma Reynolds-Taylor added her own endorsement. “When we were going over the specs with our supplier, SWG, to sign off on all the tech, I was happy to see they proposed this audio system, as we’re always really pleased with the results on Pyramid. We have a vast variety of acts, of all stages of their career, at Pilton Party, and the for all acts throughout the day was exceptional.”

Summarising his own experience of the event, Simon Purse said, “This was our last green field site of the year, and it was great to go out on a high.”

FOH on systems and support bands was freelancer Dan Wooles, while the stage team was headed by Joe Bailey (monitor engineer) and responsible for patch was Fraser Wilks—both from SWG.

Categories
Company News

Generation AV underlines commitment to APAC with Goldsworthy hire

Generation AV as Regional Sales Director based in Singapore, and will be managing sales in Japan, Korea, Australia and New Zealand, for all the brands Generation AV represents.  

Goldsworthy was previously the Assistant Director of AV at Wynn Palace Cotai Resort in Macau, where he managed the AV operations, including facilities, installations, and events.  Prior to his seven years at Wynn, Goldsworthy worked in sales and technical roles across the AV industry including several years with an AV rental company in Ireland, having started his career as a cinema projectionist.

David McKinney, Managing Director of Generation AV, comments “Over the last year we have seen our business grow rapidly as Asia Pacific markets reopened after the pandemic.  It is the right time for us to expand the team to ensure we continue to offer high quality service and support to our partners and customers across APAC.  I have known Ben since his time at Wynn and am excited to be able to welcome him to Generation AV.  His passion for everything AV, his attention to detail, and his infectious can-do attitude is something that motivates me and the rest of the team.  I am really looking forward to Ben meeting our partners and customers across the region.”

Goldsworthy comments” I’m really excited to join the Generation AV Team!  The brands we represent are truly outstanding and I look forward to getting out into the regional market to create greater awareness and drive growth for our partners. The team and environment that David is developing based here in Singapore is impressive and dynamic.  This is certainly a fantastic opportunity for me and I look forward to seeing all of you out there soon!”

Categories
Martin Audio

WPL MAKES AUSPICIOUS PRESTON PARK DEBUT FOR BRIGHTON AND HOVE PRIDE

Heavily supported by the local City Council, Brighton & Hove Pride—a celebration of Brighton’s LGBTQ+ community, annually attracts crowds of around 250,000 people to the seaside resort.

While the origins of the event date back to 1973 Capital Sound (part of the Solotech UK Group) has provided main stage sound reinforcement for the last three events. Having supplied PA and control for headliners Britney Spears and Kylie Minogue, following a break for COVID they were back in the 63-acre Preston Park site for the 2022 edition which featured Christina Aguilera and Paloma Faith as headliners on the Saturday and Sunday respectively.

After deploying Martin Audio’s award-winning MLA loudspeaker array for Britney Spears back in 2018, the enforced break caused by the pandemic had enabled the British manufacturer to move the ground-breaking control technology further still, now enabling the production company to deploy the new Wavefront Precision (WPL system) that proved such a hit this summer at the UK’s two predominant Glastonbury and BST Hyde Park festivals.

Working alongside production manager Dean Parker, at Wilde Ones International Events, their sound design was based around main 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.

Maintaining continuity with Martin Audio’s Wavefront Precision family, filling the sound at the front of the stage were eight WPS, while providing the all-important low frequency extension were 20 of Martin Audio’s ultra-powerful 2×18” SXHF218 subwoofers, designed in a castellated cardioid broadside array across the front of the stage.

Stage monitoring comprised further Martin Audio systems in the shape of 16 x LE1500 floor wedges, four SXHF218 and six TORUS T1215 constant curvature arrays.

The coverage was completed by three delay masts set 70 metres back from the stage. These comprised a further 24 WPS divided over the three positions, underpinned by three SXHF218 subs on each mast, this contained the sound within the audience area, as a fairground carousel at the rear provided a buffer between this zone and the dance tent behind.

Solotech worked alongside Robert Miller of F1 Acoustics to 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. He was supported by FOH tech, Alistair Hellard.

Miller had taken the precaution of modelling the sound to establish proof of concept although having experienced WPL while carrying out similar duties on the Pyramid stage at Glastonbury, he had no qualms about sanctioning the upgrade from MLA.

As for the new deployment, Solotech senior project manager, Martin Connolly, stated, “Although I have a balanced view, having provided an alternative system in 2019 at the request of Kylie Minogue’s sound engineer, I know wherever there is a sensitive site such as this, which manufacturer will be better! In fact we even managed to achieve superior figures with WPL than we had with MLA!

“Once I had explained to Dean Parker that outstanding results had been achieved at both Hyde Park and Glastonbury with WPL, he was more than happy to run with it.”

For Joseph Pearce this was his first experience driving Wavefront Precision for all hangs on an event of this size. “And it worked really well,” he confirmed. “The software-based techniques we use to reduce offsite noise levels are the same as those we use with MLA … so all the tricks Capital Sound have learnt over the years at events such as BST in Hyde Park and others could be used with the WPL and WPC hangs in Preston Park.”

Stage right was clearly the more noise sensitive area as it was closer to residences and shops, requiring constant level adjustments of both side hangs and delay hangs during the day. “In addition, as part of a site-wide strategy, all speaker hangs utilised the ‘Hard Avoid’ feature of DISPLAY 2,” he confirmed. “This kept both our coverage and non-coverage areas clearly defined and reduces unwanted internal reflections from food and beverage vendors and other structures found at the end of audience areas.”

Following propagation tests, Pearce and Miller agreed to run the earlier acts at lower SPL levels—to obviate any complaints when the event is not at it busiest—before opening the system up to the maximum in the evening. “I knew that if we could achieve 100dB LAeq15 or more in an area as densely populated as Brighton, not only I would happy but sound engineers would be happy too.”

Robert Miller was also unequivocal in his praise for the system. “The performance and configurable options of WPL meant that less time needed to be spent adjusting the system to achieve the offsite music noise 

level limits and more time could be spent focusing on delivering great sound levels at all stages. The WPL line array, and the professional installation and management by Capital Sound, gave us confidence that the off-site music noise level was under control at all times.”

Consequently the event, which generates around £20m for the city economy annually, was once again an unqualified success.

Categories
LEA Professional

LEA Amps Power Dolby Atmos Studio: Nashville, TN

LEA Amps Power Performing Arts Theater : Alfa Theater

When industry veteran and legendary sound engineer, Joe Hellow was looking to build out a brand new Dolby Atmos Studio with ‘the best of the best’ equipment, he chose LEA Professional.

Let’s dive in!

THE SPEC

LEA AMPS POWER DOLBY ATMOS STUDIO: NASHVILLE, TN

🏢 Venue: Dolby Atmos Studio | Nashville, TN

👷‍♂️ Partnership: Joe Hellow &  WJB Media

🎶 Audio Spaces: The Studio

🦈 Product Used: CONNECTSERIES  CS354D (2), CS702 (1), CS164 (1)

THE VENUE

LEA AMPS POWER DOLBY ATMOS STUDIO: NASHVILLE, TN

THE INSTALL

LEA AMPS POWER DOLBY ATMOS STUDIO: NASHVILLE, TN

The studio, which runs on a 7.1.4 Dolby Atmos system with Lipinski speakers and four LEA Professional amplifiers, is already attracting musical talent from far and wide. This was Hellow’s first experience working with LEA Professional amps, but as a veteran of the industry he had already heard great things about the company’s IoT-enabled amplifiers. 

“Everything in this studio is of the highest standard and we could not afford to have any weak links in the chain,” commented Hellow. “Working with LEA Professional we now have the best sounding, best looking amplifier on the market.” 

The team chose two Connect Series 354, one Connect Series 702 and one Connect Series 164 to power the studio. Studio Manager Jeremy Williams said that for him, sound clarity is the reason why LEA Professional amplifiers pair so well with the Dolby Atmos system. 

“What you need to have with Atmos is pinpoint precision,” explained Williams. “In a studio of our size we are dealing with potential phase issues and frequencies bouncing a lot and so between the Lipinski speakers and LEA amps we barely touched our EQ. These are some of the clearest sounding amps on the market.” 

As an experienced sound engineer, Williams explained that one of his biggest worries with amps is having a passerby make unwanted adjustments. So, in a busy studio, frequented by different parties every week, this was not something he wanted to face. With LEA Professional’s clean external interface and lack of visible power button there is no chance of this happening. Not only this, Williams also has full control over amp settings via the LEA Cloud platform.  

All LEA Professional amplifiers leverage the built-in Amazon Web Services (AWS) IoT Core. This cloud platform allows integrators to control and monitor critical operational data points for maintaining system health securely and remotely. Users simply create a cloud account at www.lea professional.cloud, then individual amplifiers or entire amp systems can be accessed and controlled securely, from anywhere in the world, without the need to VPN into a Local Area Network.

“The network interface is beyond anything I have seen, and the fact that I can see all four amps on a single page is a massive time saver,” said Williams

THE CONCLUSION

LEA AMPS POWER DOLBY ATMOS STUDIO: NASHVILLE, TN

The team’s end goal is to ensure more engineers and artists can experience first-hand the immersive effects of Dolby Atmos — including with the opening of their next studio, to be built in Romania over the coming months.

When asked whether they plan to specify LEA Professional for the project, the answer was ‘absolutely’.

We would like to thank both Joe Hellow & WJB Media for choosing our amps for this killer installation and we cannot wait to work with the both of you on future projects!