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OSA Stage Arts Uses TiMax SoundHub Immersive Processor to Bring a New Dimension to a Historic Jazz Concert

About OSA Stage Arts

Based primarily in Tokyo and Osaka, OSA Stage Arts provide sound system design and operation services for plays and musicals, offering a wide range of sound production services from small-scale events to arena-class venues.

Products Used

TiMax: SoundHub

Martin Audio: CDD12, LE100, ADORN A55, THS, Blackline X8, SX115, iKON iK42

Overview

The Big Friendly Jazz Orchestra, the jazz band club of Hyogo Prefectural Takasago High School, a prestigious school that served as the model for the movie “Swing Girls,” held its annual youth charity concert on July 13, 2025, at the Takasago City Cultural Hall’s Jotonba Hall. The concert once again concluded with a sold-out audience.

For this performance, we spoke with Mr. Nagai, CEO of OSA Stage Arts, who oversaw the sound system centered around TiMax’s immersive processor, and Mr. Asahara of Soundwork Ashley, the operating company, about their experience using SoundHub and the speakers and power amplifiers they used.

Interview

Could you please explain the circumstances that led to the use of TiMax SoundHub at this event, including the nature and background of the event?

OSA Stage Arts’ Mr. Nagai :

In the past, with the cooperation of various agencies and manufacturers, we have supported the band’s wonderful performances using the latest sound equipment at this event. Personally, I can’t remember exactly, but I’ve been doing it intermittently for about 15 years, and I believe this is our fourth year of support.

Every year, I work with Mr. Asahara of Soundwork Ashley, the operator, to decide on a theme and try something new, and we began experimenting. Last year, we tried using an immersive audio processor from another company for a concert, and it was very well received, so it has become an indispensable part of the production. This time, with the cooperation of Audio Brains, who we work with on a regular basis, we tried using the TiMax SoundHub.

The TiMax SoundHub processes in a very unique way among immersive audio processors, and I think its characteristic feature is that, in addition to the simple sound image localization processing we used this time, it can move the level and delay simultaneously when moving from position to position . It is also characterized by the fact that it uses sensors to track positions in real time, which is rare to see available in Japan today . Unfortunately, this year’s system is very simple, but it can accommodate combinations such as using speakers suspended from above without wavefront synthesis and lip fills with wavefront synthesis .

Please share your impressions of using the TiMax SoundHub.

OSA Stage Arts’ Mr. Nagai :

I think the TiMax SoundHub is a very attractive system. You can choose between analog and digital connections depending on your requirements, and the Dante model, which we used for this event, offers the advantage of seamless integration with Dante-enabled consoles currently available on the market. It seems to have a few quirks when it comes to programming, but the PC screen that was created thanks to the efforts of the Audio Brains engineers was very easy to see and I felt no stress at all.

Another major advantage is that it is not limited to a specific output model , giving you greater flexibility in speaker placement and model. This is especially beneficial in Japanese venues, where speaker locations are often fixed or where the wall-mounted speaker models have already been predetermined.

Immersive audio in live events is not the only thing that will be necessary, and it will undoubtedly be an indispensable system for the professional audio industry going forward.

TiMax SoundHub

In SoundHub, the audio captured by microphones for each instrument is intuitively placed on the user interface as colorful objects. SoundHub calculates the appropriate output level and delay for each speaker in real time, creating an immersive space that makes you feel as though the sound is coming directly from each instrument.

Loudspeakers and Power Amplifiers

All loudspeaker systems used at the event were from Martin Audio. The main system for the audience consisted of five suspended speakers: two CDD12s and three LE100s. Two SX115 subwoofers were installed in the center to cover the entire audience area, all driven by Martin Audio’s iKON iK42. In addition, nine ADORN A55 lip-fill speakers were used.

Each loudspeaker received an independent audio signal processed immersively from a TiMax SoundHub, resulting in a total of 15 speaker systems.

Could you please describe the speaker specifications required for the immersive system and explain your reasons for selecting the LE100, A55, and SX115 for the system?

OSA Stage Arts’ Mr. Nagai :

Regardless of the manufacturer, I believe speakers with relatively wide dispersion are advantageous for immersive audio for live events. However, in most cases, while wide coverage is desirable toward the rear of the hall, it’s often fine if the coverage at the back is slightly narrower than at the front. Martin Audio’s CDD horn is a speaker with an asymmetrical coverage area that perfectly solves this problem. For this project, we set up five CDD12 and LE100 loudspeakers above the stage to match the same horn and driver. Ideally, we would have used five identical loudspeakers. Unfortunately, due to the limitations of our inventory, we opted for a mixed configuration using models with the same horn and driver.

The A55 is a speaker that we have recently introduced in multiple units. Above all, I think it offers excellent performance considering its appearance, size, and cost. 

My encounter with this speaker was during a meeting with the former Audio Brains sales representative. The A55 happened to be next to my ear as a test speaker for initial sound testing. It sounded very good, so I immediately purchased it to use as a background music speaker for our warehouse, which we were looking for at the time, but that project fell through. 

Although I liked the sound quality, opportunities to use a loudspeaker of this size were somewhat limited, so I hesitated to invest further. However, more recently, we introduced about 10 A55s to replace some small speakers from another manufacturer. After using them as front fills for a theatre production, the results were quite good. They have since become our regular choice for front fill in venues where such high power is not required. There are occasions when I would like a little more power handling, so I’m also interested in models higher up the range. 

The monitor speakers on stage are also lined up with Martin Audio speakers. For the soloists who were the stars of the jazz concert, there were two LE100s, one Blackline X8 each for the piano and drums, and two THSs for the brass players.

Could you please explain the reasons for selecting each monitor speaker for each part?

OSA Stage Arts’ Mr. Nagai :

Currently, we mostly use Martin Audio monitor speakers. 

Ideally, we’d like to use something the size of the LE100 for the drums as well. However, because the LE100s were flown above the stage for this production, we reluctantly used the Blackline X8 instead. Even so, I think it still delivered the output we needed. The THS monitors we use for the horn section are more powerful than neceessary, but I think it’s a speaker that can handle even large stages with an opening of about 3.6m. We also used them recently as side fills in an arena, and they had absolutely no issues delivering the required output.

Comments from Soundwork Ashley

Please share your impressions of using this system, as well as your outlook and challenges regarding immersive sound in PA (Public Address) settings in the future.

Soundwork Ashley’s Mr. Asahara :

My relationship with the Takasago High School Jazz Band dates back to when the Japan Audio Engineers Association was supporting their charity concerts, and I’ve now been personally involved for over 20 years. During that time, various manufacturers have supported us with the latest mixers, loudspeakers, and other equipment, allowing us to continually use the newest technology to support the sound of their concerts.

Thanks to the suggestion and support of Mr. Nagai from OSA Stage Arts, we introduced an immersive audio system last year, and I have been responsible for operating it ever since.

Normally, big band performances are well-balanced, with the PA system serving as reinforcement for the acoustic sound. However, since switching to immersive audio, we’ve been able to position the amplified sound to match the performers’ actual locations on stage. This allows us to adjust levels while comparing them with the natural sound, making the mixing process much smoother. In addition, since the sound of each part is reproduced from its position in the audience, we can always deliver an ensemble that is close to the live sound, no matter where you sit. I feel that this has been very well received by the audience.

We intend to continue providing immersive audio support for Takasago High School Jazz Band’s charity concerts whenever possible. To do so, it is crucial to thoroughly explain and ensure that the band’s advisor and members (especially the club president, concertmaster, and section leaders) understand the difference between traditional sound support and support using an immersive audio system. I believe this is true for any concert, but ensuring that the performers understand the system is essential. I also strongly feel that this concert was only possible thanks to the support of Audio Brains and Mr. Nagai from OSA Stage Arts.

Personally, I believe that trying to manage the immersive system while also mixing the show means one of those responsibilities will inevitably receive less attention, making it difficult to fully focus on the performance. Of course, there are many people who are capable of handling both roles, but in my case, I prefer to keep the operation and system management separate.

Thank you very much for your support. I would also like to express my sincere gratitude to everyone in the Takasago High School Jazz Band.

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Categories
Martin Audio

MARTIN AUDIO TORUS SUPPORTS MALWANCHAL UNIVERSITY CONVOCATION

IND – As part of Central India’s largest medical education group, Malwanchal University in Indore, Madhya Pradesh, is a modern 65-acre campus with a vibrant student community of over 11,000.

In April 2026, the University, together with the Index Group of Institutions, hosted its 5th Convocation Ceremony – its flagship graduation event – where degrees are formally conferred and outstanding academic achievements celebrated. With students, faculty, dignitaries and guests in attendance, the sound reinforcement system was required to deliver every speech and ceremonial moment with clarity, balance and authority.

To meet these requirements, locally based Patel DJ Sound deployed a Martin Audio sound system solution comprising TORUS T1215 constant curvature array elements, complemented by Blackline X218 subwoofers.

THE TORUS SYSTEM GAVE US CLARITY, CONTROL AND PROFESSIONAL SOUND ACROSS THE VENUE.

Amit Patel, Patel DJ Sound

“TORUS has proven to be a strong asset for us in Indore.” says Amit Patel, Director of Patel DJ Sound. “Its compact build makes it adaptable, while output and clarity allow it to perform beyond expectations.”

Bridging the gap between line array and point-source technologies, Martin Audio TORUS arrays are engineered to deliver high-output power and uniform coverage with exceptional cost-efficiency.

Hosted in the University’s Central Auditorium – a large-scale venue on campus designed to accommodate up to 2,000 attendees – two flown arrays, each comprising 4 x TORUS T1215 elements, provided controlled coverage, strong vocal intelligibility and a refined sonic character ideally suited to speech-led content, while the Blackline X218 subwoofers added low frequency depth and weight.

Commenting on the performance of the Martin Audio system, Patel DJ Sound engineerAnkit Patel comments, “The TORUS system gave us clarity, control and professional sound across the venue.” Fellow engineer Raj Mane adds, “Working with Martin Audio allows us to deliver a polished sound experience that clients can trust.”

“Martin Audio has strengthened our business by giving us a system we can trust for important events,” concludes Amit Patel. “With TORUS T1215 and Blackline X218, we deliver clear, consistent and professional sound. That reliability builds client confidence, strengthens our market reputation, and helps us take on prestigious assignments with assurance.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Integration/Installation Partner: Patel DJ Sound

Click here for original article.

Categories
Martin Audio

FIRST BAPTIST CHURCH IN CARTHAGE UPGRADES TO MARTIN AUDIO TORUS

USA – First Baptist Church in Carthage, Texas, has transformed its worship experience with a major audio upgrade, replacing a PA system that had remained largely unchanged since the church’s construction in 2003. The new installation centres on Martin Audio’s TORUS constant curvature array technology, delivering significantly improved coverage, clarity and consistency throughout the sanctuary.

Over the years, the church’s worship style and musical programme had evolved beyond the capabilities of its ageing sound system. Uneven coverage, deteriorating loudspeakers and amplifiers, and a lack of intelligibility all contributed to the decision to invest in a modern solution capable of meeting both present and future requirements.

To design and install the new system, the church turned to RP AVL, led by founder Ray Priszner.

“I stepped away from a Technical Director role at a mega-church in the Houston area to found RP AVL in 2022,” begins Ray. “I missed helping churches and working alongside volunteer teams to increase their skill set in serving their local church. This project started because of a relationship with a pastor who felt called back to his home church in Texas. In his prior church I had installed a smaller Martin Audio system which he really loved.”

The church sought a system that would provide natural, clear sound, ensure even coverage across the congregation, and remain scalable as the ministry continued to grow. Speech intelligibility was a particular priority, ensuring voices would remain clear and present within the mix.

Having previously experienced the Martin Audio TORUS system at InfoComm, Ray was confident it would meet the brief: “I was very impressed with the tonality, imaging and HF coverage,” he recalls.

The sanctuary itself presented several acoustic challenges. Wider than it is deep and featuring a stepped ceiling, the room exhibited a number of frequency anomalies. Acoustic treatment formed an important part of the overall project, while Martin Audio’s DISPLAY software played a key role in system design and optimisation.

WITH THE CONSTANT CURVATURE DESIGN, SHADING TO THE FRONT ROWS WITHOUT THE NEED FOR FRONT FILLS WAS A HUGE WIN.

Ray Priszner, RP AVL

“Importing the room rendering and modelling with different Martin boxes made the process seamless – ultimately choosing the TORUS T820 and CDD6 to be the optimal boxes for the space,” says Ray. “I’m very impressed how accurate the DISPLAY modelling was compared to the physical deployment of the system. Using SMAART I measured numerous positions within .2db of DISPLAY’s predictions. This alone has given me additional confidence when designing and implementing Martin Audio solutions.”

The final system comprises two hangs of four TORUS T820 elements per side, supplemented by a pair of SX218 dual-18in subwoofers and a pair of Martin Audio CDD6 loudspeakers for outfill coverage. Power is provided by 2 x Martin Audio iKON IK41 amplifiers.

“Using the TORUS in single box resolution really helped with the coverage throughout the space,” notes Ray. “With the constant curvature design, shading to the front rows without the need for front fills was a huge win.”

He also praised the simplicity of the rigging process.

“Again the DISPLAY 3 configuration was spot on with pick points and angles. It couldn’t have been easier using the provided hardware with no additional need.”

For outfill duties, Ray turned to Martin Audio’s CDD series, which he regards as a proven solution for houses of worship.

“They have a sound that is natural and open with a great form factor. They pair well with the TORUS line giving additional fill where needed giving a smooth tone extension.”

In fact, the performance of the CDD loudspeakers alone made an immediate impression during commissioning.

“I had just finished tuning the CDD6s when the worship pastor walked in and was amazed at the sound. I turned and looked at him to inform him that the only thing on was the outfills. His jaw dropped. He said ‘no way. That can’t be.’ But I said yes, only the small guys!”

Low-frequency extension is provided by the SX218 subwoofers, configured to deliver smooth, even bass response throughout the room. “The SX218 each receive single driver power which gave me the ability to steer the low frequency and create more even coverage,” he says.

The improvement in audio quality has been noticed immediately by both church staff and congregation members: “We had a rehearsal where I dialled in the band and vocalists, and I worked with the volunteers on their console to get things set-up. They pointed out how big and clear the sound was and how natural it all felt. Over the weekend, long term church members made comments about being able to hear all the instruments along with the choir for the first time in their 15 years of attending the church and how the speakers weren’t distracting to the space. It was a huge win.”

Reflecting on the project, Ray believes the installation has achieved exactly what the church set out to accomplish.

“The overall project was a huge success for this client,” he concludes. “They no longer have different areas in their room where the sound is louder or softer, and the clarity and fullness of the system is allowing them to experience worship and the word as never before.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Integration/Installation Partner: RP AVL

Click here for original article.

Categories
Linea Research Martin Audio Optimal Audio TiMax

MARTIN AUDIO, TIMAX, LINEA RESEARCH AND OPTIMAL AUDIO CLAIM MULTIPLE AWARD WINS AT INFOCOMM 2026

Martin Audio, TiMax, Linea Research and Optimal Audio returned from InfoComm 2026 in Las Vegas with three major award wins and an enthusiastic response to theDemo Room approach. BlacklineQtook a Best of Show Award for Martin Audio on the back of its US tradeshow debut, the newly launched Optimal AudioColumn Seriesclaimed a Best of Show Award of its own, and Martin Audio partners Technical Audio Group and Vestec Audio were awarded Best Multipurpose Venue at the Mondo|DR Awards.

At the heart of the showcase was Demo Room N112, where a new application-driven format took attendees through four real-world walkthroughs – Hospitality, Sports Venues, Worship and Auditoria – pairing the right loudspeaker systems with the control and processing technology to bring each one to life. Brought to life by projection mapping and immersive audio from TiMax – showcasing how spatial audio can bring a further dimension to the audience experience in a venue. The sessions were very well received generating in-depth conversations with integrators, consultants and end users that traditional stand demos rarely allow.

On Booth N6833, Martin Audio showcased the evolution of the flagship Wavefront Precision optimised line array series, alongside CDD Series and ADORN, whilst BlacklineQ made its US tradeshow debut, adding Best of Show to its growing roster of awards. As the first series in its class to offer differential dispersion, helping to deliver controlled coverage in multiple deployments, BlacklineQ has moved ahead as the fastest selling edition of the popular Blackline Series.

From its fully operational hospitality environment on stand, which spanned dining room, bar and outdoor terrace, Optimal Audio, launched its ZonePad VL-1 passive wall controller and SmartAmp Custom Configurator. The new products were served alongside the recently launched Column Series – Column 8 and Column 16 – which went on to win its own Best of Show Award.

The growing interest in advanced spatial audio workflows were evidenced at TiMax, where the latest evolution of its spatial audio and show control platform, TiMax SoundHub, was demonstrated with a dedicated immersive setup. New ADM-OSC integrations, native SpatAI v2 integration bringing AI-driven control into TiMax SoundHub, and Scaling Surfaces for portability of showfiles between venues of different sizes all drew consistent interest from performance, presentation and experiential audio professionals throughout the week.

Meanwhile, Linea Research chose InfoComm to introduce its newly launched NSC Series of compact network system processors. Visitors went hands-on with NSC24, NSC46 and NSC48 alongside the latest update to System Engineer 8, with the stand seeing consistent engagement from integrators and system designers across the week.

Marketing Director, James King, concluded, “Our Demo Room concept and booth experience at InfoComm 2026 successfully showcased the individual strength of the four brands and highlighted how in combination they can provide powerful integrated solutions for venues.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Click here for original article.

Categories
LEA Professional

LEA Amplifiers Simplify Stadium Audio Expansion at Yukon High

Yukon High School’s football stadium serves as a central gathering place for one of Oklahoma’s fastest-growing communities. To enhance the fan experience, the district set out to extend clear, consistent audio across the entire stadium complex without engaging in full system overhaul.

The Spec

🏢Venue: Yukon High School | Yukon, Oklahoma

👷Integrator: Chris Tower | Video Reality

🎶Audio Spaces: Stadium concession stands & the wellness center

🦈Product Used: Connect Series 702D, Connect Series 704D

Thirsty lion gastropub

In Yukon, the high school stadium is more than just an athletic venue—it’s where the community comes together. On Friday nights, families, students, and neighbors fill the stands, creating a shared experience that extends beyond the game itself. As the town has grown, so has the need for that experience to reach beyond the main seating area to include every part of the campus where people gather.

Yukon_High_School-Case_Study-4-1080x1080-1
Yukon-High-School-Case-Study-8-1080x1080-1
Yukon-High-School-Case-Study-6-1080x1080-1
Yukon-High-School-Case-Study-4-1080x1080-2
Yukon-High-School-Case-Study-4-1080x1080-1

Recognizing this, Yukon Public Schools looked to expand the reach of its existing audio system to better serve the full stadium environment. Ensuring that announcements and music could be heard clearly across concession areas, visitor seating, and surrounding facilities became a key priority.

Yukon Public Schools partnered with Chris Tower of Video Reality, to expand the stadium’s existing audio system and extend coverage to additional areas across the campus while working within an established infrastructure. To accomplish this, Video Reality deployed Dante-enabled LEA Connect Series amplifiers, integrating them directly into the current setup to create a more flexible and scalable system.

A combination of CS702D and CS704D models allowed the team to efficiently route power and audio where needed, while the amplifiers Dante capabilities simplified signal distribution between multiple zones.

CS702D
CS704

“This was an upgrade and expansion to the current system, so maintaining reliability and simplifying deployment were both important factors,” said Chris Stephens, General Manager at Video Reality. “We needed a solution that could efficiently distribute audio to multiple locations throughout the stadium complex, and I knew LEA amplifiers were well-suited for the job.”

With LEA Cloud providing remote access and control, the team reduced the need for onsite adjustments and ensured long-term manageability for district staff. The result is seamless audio coverage across the stadium complex, delivering a consistent experience for fans, students, and staff alike.

“LEA has long been a go-to amplifier line for us because of the flexibility in options, reliability, and ease of programming,” added Stephens. “Bottom line is that we trust the company and its products.”

The Conclusion

With support from trusted partner Video Reality, Yukon Public Schools now has a solution that enhances the game-day atmosphere for fans while simplifying long-term operation. From kickoff to the final whistle, spectators can stay engaged no matter where they are in the stadium complex.

Click here for the original article

Categories
Martin Audio

MARTIN AUDIO WAVEFRONT PRECISION POWERS SWEDISH HOUSE MAFIA’S HISTORIC BALTIC DEBUT

EST – Electronic supergroup Swedish House Mafia recently made a historic debut appearance in Estonia. At the famous Tallinn Song Festival Grounds, fans enjoyed their first live experience of the legendary band anywhere in the Baltic region. The concert was powered by a Martin Audio Wavefront PrecisionWPL sound system – also marking the first time the flagship line array has been deployed in Estonia.

The Tallinn Song Festival Grounds (Tallinna Lauluväljak) is one of Estonia’s most iconic outdoor event spaces. Completed in 1960 and considered a masterpiece of post-war architecture, it features a unique concrete arch designed by Henno Sepmann to create powerful natural acoustics for thousands of choir singers.

However, as sound system supplier and Martin Audio distributor Audiosky knows from multiple deployments at the venue, what works for natural acoustic choirs can create an immense challenge for high-power amplified concerts.

“This acoustic screen was designed so that the voices of 10,000 singers would reflect beautifully to the audience, and it certainly looks magnificent,” explains Audiosky’s COO, Tiit Terask. “But if you place a high-output amplified sound system in front of it, the reflections off that screen are extremely challenging – a highly uncomfortable delay time.”

For this landmark event, Martin Audio’s Wavefront Precision physical design and electronic optimisation software proved to be a revelation. “To overcome this acoustic obstacle, we took a dual approach,” Tiit continues. “First, we moved the stage further out from the concrete screen. Second, this first-ever deployment of Martin Audio WPL in Estonia delivered the best acoustic results we have ever achieved at this venue.”

Adding to the complexity, the gig was performed in a 270-degree configuration – yet another first in the venue – necessitating a complex, carefully designed and configured system.

THIS PROJECT REPRESENTED NEXT-LEVEL PERFORMANCE AND MARKS A BRAND-NEW BENCHMARK FOR EVENT AUDIO IN ESTONIA.

Tiit Terask, Audiosky’s

The main left/right hangs each comprised 18 Martin Audio WPL line array enclosures. Due to the unique stage design, the outhangs – consisting of 14 WPL cabinets per side – were positioned further upstage than the mains. The delay system comprised 12 WPC elements per side, with nine Martin Audio W8VDQ point source cabinets acting as front fills.

Providing the legendary, physical low-end required for Swedish House Mafia’s performance was a massive sub-bass configuration comprising over 100 subwoofers. This included 16 SXHF218 subwoofers (eight per side) flown directly behind the main hangs, and 16 W8LS subs flown behind the outhangs (eight per side). On the ground, 72 SX218 subwoofers were stacked in three blocks of 24 in a cardioid configuration.

For Ben Tucker, Martin Audio Product Specialist, who was on-site to assist the Audiosky team with the design and deployment, the physical geometry of the venue presented a tricky coverage task.

“The raked seating area had a huge, prominent VIP section right in the centre,” Ben explains. “To cover this strange geometry, we decided to have the main PA system cover the entire area, allowing the delays to gently blend in rather than acting as a completely distinct delay system.”

Using Martin Audio’s DISPLAY software, Tucker was able to optimise the array coverage. “We pointed the top box of the main PA at the absolute furthest listener, and then used the software processing to transition into a ‘Hard Avoid’ area straight up the rear wall and on the entire concrete canopy roof,” he says. “And I gave the audience coverage and the ceiling area equal DSP weighting – a technique we use frequently at major UK festivals to control noise limits and stop sound propagating beyond the audience.”

The specific subwoofer configuration was also a crucial element of the design. “I went back and forth for a couple of weeks to find the best configuration,” Tucker explains. “As soon as you add more than one subwoofer source to a venue, you introduce comb filtering and cancellations. In this case, we were working with seven distinct subwoofer sources.”

“We knew we wanted to get some subwoofers in the air because we had a 105m throw to cover, and Swedish House Mafia’s show is exceptionally low-end heavy,” he continues. “I applied a bit of delay-gain steering to pull the flown energy down into the audience area.”

The stage shape heavily influenced the design of the ground sub array. “We ended up with three arrays of 24 ground subs in three-high blocks, with the centre cabinet in each stack reversed to create a cardioid pattern. It was an overwhelming amount of low-end – the largest subwoofer array I have ever deployed in my career!”

For Tiit the real-world performance exceeded all expectations. “I was incredibly surprised by how smooth and even the total coverage was. Typically, I am sceptical of marketing drawings, but in this case, the predictions matched the real-world results perfectly. One of the biggest difficulties at this venue is ensuring consistent coverage. On this show, whether you stood between the main left/right or shifted over between a main hang and an outhang, the audio profile was absolutely identical. Covering such a wide area with identical, seamless sound is a massive achievement.”

Tiit credits the extensive weeks of planning for the event’s technical success. “It was a major undertaking, but the team’s preparation was flawless. I am incredibly proud of my crew; everyone executed their roles to perfection.”

Ben Tucker agrees: “As a systems engineer and part of the Martin Audio product support team, it was a pleasure to work alongside such a highly competent, professional crew. I have complete confidence in Tiit and his team moving forward. They will deploy this system excellently on any show they take on.”

The ultimate success of the event was reflected in the immediate feedback from the tour production team and local promoters. “We received maximum points from the Swedish House Mafia production team – they told us the sound was a perfect 10 out of 10,” Tiit concludes. “The positive impact was instant. This project represented next-level performance and marks a brand-new benchmark for event audio in Estonia.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Distribution Partner: Audiosky
Integration/Installation Partner: Audiosky

Click here for original article.

Categories
Martin Audio

MARTIN AUDIO STRENGTHENS ENTERPRISE AV MARKET PRESENCE IN CHINA WITH SHANGHAI UNIVISION PARTNERSHIP

Martin Audio is strengthening its enterprise AV market presence in China with the appointment of Shanghai Univision (You Shi Wei Xin) as a new distribution partner. Joining established distributors Sino Huifeng and Guangzhou Guidance, Shanghai Univision will deliver dedicated expertise to the corporate, education and government market, supporting consultants and integrators with application-specific design and deployment.

Under the new agreement, Shanghai Univision has been appointed the sole distributor for Martin Audio’s Wavefront PrecisionWPS series, TORUS 820 constant curvature array and O-Line modular micro line array – solutions ideally suited to corporate, commercial and large-scale integrated environments.

Commenting on the appointment, David Wong, Director of Sales at Generation AV (Martin Audio’s APAC representatives) states, “Shanghai Univision has a proven track record of success in the Enterprise and AV installation market in China. We are excited with our new partnership and look forward to providing our full support to the Univision team.”

WE LOOK FORWARD TO WORKING ALONGSIDE OTHER PARTNERS TO BUILD UPON MARTIN AUDIO’S LEGENDARY SUCCESS

Frank Xiao, Shanghai Univision

Shanghai Univision serves the Chinese market as a specialist AV and IT distributor.From its Shanghai headquarters and regional hubs in Beijing and Shenzhen, the firm provides the high-level pre-sales and after-sales expertise required for complex system deployments.

Frank Xiao, General Manager of Shanghai Univision states, “We are delighted to partner with Martin Audio in China. As a world-renowned UK brand & manufacturer, Martin Audio is dedicated to delivering state-of-the-art products, top-tier performance, and unmatched service.

“Our team is eager to collaborate with Martin Audio and Generation AV. By integrating the Wavefront Precision WPS series, TORUS 820 constant curvature array, and O-Line modular micro line array into our portfolio, we will provide a more comprehensive total solution to vertical markets across China. We look forward to working alongside other partners to build upon Martin Audio’s legendary success and legacy in the region.”

The new partnership was unveiled during a recent customer event in Beijing where over 100 industry professionals – including consultants, system integrators, and dealers – to the latest Martin Audio solutions, and on the Shanghai Univision booth at the recent Pro Light & Sound Guangzhou Show.

Dom Harter, Managing Director of Martin Audio comments, “Over the years Martin Audio has built a strong reputation in China for high performing audio solutions across many vertical markets. The technical expertise within the Shanghai Univision team is second to none, and we are confident they will have many successful Martin Audio installations coming soon across China.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Click here for original article.

Categories
Optimal Audio

Optimal Audio launches SmartAmp Custom Configurator and ZonePad VL1

Optimal Audio has announced two new additions to support SmartAmp based system installs, that provide a meaningful capability upgrade for the company’s commercial amplification line. SmartAmp Custom Configurator is a free desktop application (macOS or Windows) that opens up full DSP configuration for every SmartAmp installation. Alongside it, the new ZonePad VL1 passive wall-mounted volume controller rounds out in-room control when teamed with a SmartAmp. Both are unveiled at InfoComm 2026, Las Vegas, where Optimal Audio is also showcasing its recently announced Column Series on booth N6833.

SmartAmp Custom Configurator 3.0 replaces Optimal Audio’s previous configuration tool with a single application that manages firmware updates and gives installers full per-output control over routing, speaker presets, impedance, EQ, crossover, delay and limiter. Any input can route to any output. Each output can be assigned its own speaker preset – either from Optimal Audio and Martin Audio libraries or built for third-party loudspeakers. Full amplifier configurations save and load as files, simplifying multi-site deployment and service visits.

The configurator runs natively on macOS and Windows, connects over USB and requires no internet connection on-site. The familiar DIP-switch workflow is untouched; Custom Configuration simply unlocks when all DIP switches are set to 0.

The ZonePad VL1 is a passive wall-mounted volume controller that plugs straight into the SmartAmp GPIO port. No power supply, no extra hardware, no configuration. It’s built from painted steel with a clear zone label area, and ships in two variants from launch: UK/EU single-gang and US 1-gang decora, both in white. Pair two VL1s with a SmartAmp 20 or 30 and you get independent volume control across two zones – enough to handle basic multi-zone installations without a dedicated zone processor.

Together, these two releases reshape what a SmartAmp system-based install can be. Custom Configurator unlocks DSP capabilities normally reserved for higher specification commercial amplifiers – notably, per-output processing, custom speaker presets, file-based configuration – and ZonePad VL1 gives end users a matched, properly built wall control to operate the system. The combination covers a wider range of installations, from single-zone retail and hospitality through to basic two-zone systems.

“Out with switches, in with DSP freedom: that’s really what this release is about,” said David Morbey, Product Manager at Optimal Audio. “Custom Configurator gives installers the kind of routing and processing flexibility you’d normally only find on a far more expensive amplifier. And ZonePad VL1 makes sure the wall control feels like part of the same system.”

The Custom Configurator is available immediately as a free download, with ZonePad VL1 shipping from August 2026 in UK/EU and US variants.

For more on SmartAmp Configurator: https://optimal-audio.co.uk/support/software/smartamp-configurator/

For more on ZonePad VL1: https://generationav.net/products/optimal-audio-series/controllers/zonepad/zonepad-vl1/

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

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Martin Audio

AUDIOTONAS OUTFITS NEW LIVE MUSIC VENUE IN HISTORIC DAINA CINEMA WITH MARTIN AUDIO WPC

LTU – The Daina project has transformed a historic interwar cinema in Kaunas, Lithuania, into a world-class culture and live music venue, with a Martin Audio sound reinforcement system at the heart of the redevelopment.

Originally opened in 1936, the Daina is considered an important example of Lithuanian modernist architecture. With renovation work beginning in 2023, the ambitious project has transformed the long-abandoned cinema into a contemporary multifunctional cultural venue, while carefully preserving its architectural identity and historical character.

Audiotonas, Martin Audio’s distributor in Lithuania, was the main audiovisual systems integrator and technology partner, responsible for designing and implementing the venue’s professional sound, stage lighting, and stage infrastructure systems.

The original brief for the venue’s future technical infrastructure and acoustic capabilities was highly ambitious from the very beginning: “A key objective was to ensure that the venue could host concerts, theatre productions, conferences, broadcasts, and other live events at the highest possible technical standard while maintaining maximum operational flexibility,” explains Vytautas Stasiukaitis, CCO at Audiotonas. “The client also placed strong emphasis on future-proof technology, reliability, and rider-friendly specifications that would meet the expectations of international touring productions.”

The project consists of both a main hall and an additional event space, conceived to operate flexibly independently or as a combined venue when needed. From the early stages of the project, the client placed strong trust in Audiotonas’s experience and technical expertise.

“In many ways, the trust was driven by a shared vision for creating an exceptional sounding venue,” says Stasiukaitis. “The client strongly believed in our approach, and our experience and total confidence in the capabilities of the Martin Audio ecosystem helped establish that trust throughout the planning process.”

THE PRIMARY ADVANTAGE OF THE MARTIN AUDIO WPC SYSTEM IN THIS VENUE WAS ITS ABILITY TO PROVIDE EXTREMELY PRECISE PATTERN CONTROL

Vytautas Stasiukaitis

The main hall is equipped with a Martin Audio WPC Wavefront Precision line-array system comprising two hangs of 8 elements per side.

“The primary advantage of the Martin Audio WPC system in this venue was its ability to provide extremely precise pattern control and optimisation within a very acoustically challenging historic environment,” continues Stasiukaitis. “One of the key project goals was to minimise unwanted sound energy on stage and reduce reflections from the large balcony surfaces. Because the building is protected heritage architecture, these surfaces could not be extensively treated with acoustic materials, making loudspeaker directivity and system optimisation critically important.”

The optimised WPC line-array configuration allowed Audiotonas to tightly control vertical coverage and significantly reduce unnecessary excitation of reflective architectural elements, particularly the underside and front surfaces of the balcony. This helped improve clarity, speech intelligibility, and overall mix definition throughout the room, while also creating a cleaner acoustic environment for performers on stage.

The high-resolution amplifier configuration with two dedicated amplifier channels per WPC module, gave the team exceptional precision during system tuning and optimisation, allowing very accurate control of phase alignment, frequency response, and coverage behaviour.

“In a venue like this, where architectural preservation limits traditional acoustic treatment options, advanced software optimisation tools become extremely valuable in achieving professional live sound performance,” adds Stasiukaitis, “We utilised Martin Audio’s Hard Avoid to minimise sound energy directed towards the stage area and to reduce reflections from the balcony surfaces.”

Low-frequency reinforcement is provided by an array of eight Martin Audio SXH218 subwoofers. Due to physical limitations in the venue, a cardioid set-up was not possible. To improve boundary loading and system efficiency, a permanent rear wall was constructed directly behind the subwoofer position. “This effectively created a controlled boundary condition, enhancing low-frequency coupling with both the floor and the rear surface,” notes Stasiukaitis. “While it is not a directional subwoofer array in the strict sense, the system still delivers very strong control within the room due to the architectural reinforcement effects and careful system tuning.”

The main left/right arrays are supported by Martin Audio FlexPoint FP8 front-fill loudspeakers for the first audience rows, while FP15 systems were installed as delays beneath the balcony and within the balcony area itself. Stage monitoring is provided by 8 XE300 stage wedges. The entire system is powered by a total of 14 Martin Audio iKON series multi-channel amplifiers.

In the smaller hall, a Martin Audio THS high-output point source system combines with SXC118 cardioid subwoofers. “This configuration provides a compact but highly controlled solution that delivers excellent musicality,” says Stasiukaitis. “The directional behaviour of the cardioid subs helped mitigate acoustic issues in the tighter space by reducing excitation of problematic reflections and smoothing overall low-frequency distribution.”

The commissioning process was a structured, multi-stage procedure focused on verifying system performance and optimising the venue as a fully integrated system. “The result was a fully aligned and production-ready system tailored exactly to the venue’s acoustic and functional requirements,” confirms Stasiukaitis.

Today, the renewed Daina venue is one of the most technologically advanced mid-size live performance spaces in Lithuania and perhaps across the region.

“In the long term, this flexibility benefits the client by making the venue more attractive to a broader range of organizers and performers, increasing booking potential and revenue streams,” concludes Stasiukaitis. “It supports efficient operations, reduces the need for temporary equipment, and strengthens the venue’s position as a competitive, multifunctional cultural hub. I can say that there is no other space in Lithuania which has everything you need for a live gig with such exceptional sound quality and clarity.”

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

Thanks to

Distribution Partner: Audiotonas
Integration/Installation Partner: Audiotonas

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Martin Audio

DIANJIANG PEONY FESTIVAL CONCERT BLOOMS WITH MARTIN AUDIO WPL

CHN – The Dianjiang Peony Culture Festival is one of Southwest China’s most prominent floral and cultural events. With over 25 years of history, the Festival attracts thousands of visitors annually – and in 2026 added further momentum to its tourist appeal with a star-studded concert at Dianjiang County Stadium, reinforced by a Martin Audio WPL Wavefront Precision sound system.

Dianjiang’s peony story spans nearly 2,000 years, dating back to the Han Dynasty. The region in the Chongqing municipality is famed for its wild landscape peonies, which grow naturally on mountainsides, and the Festival has become a showcase for both the blooms and the local culture surrounding them.

With an expanded programme and a broader “Wellness & Health” focus, the 2026 Festival – entitled “New Charm of Chongqing – Wellness Dianjiang” – ran for three months from March to May. Daytime flower viewing is complemented by a diverse calendar of activity, including sports events such as the Peony Marathon and Triathlon, food festivals, arts exhibitions, and this year’s Peony Festival Concert featuring nationally recognised music stars.

On April 12, artists Zhang Xinzhe (better known internationally as Jeff Chang), Yu Wenwen (Kelly Yu), Huang Pinyuan and Xianzi took to the stage at Dianjiang County Stadium.

For main PA coverage, the concert deployed 36 x Martin Audio WPL Wavefront Precision line array loudspeakers, flown as 18 cabinets per side. Outfill coverage in the stadium was provided by a Martin Audio W8LC system, with left/right hangs comprising 12 units per side.

A further W8LC system was also deployed as delays – optimised using Martin Audio’s software – and configured as two flown hangs of 12 elements, combined with four ground-stacked array elements per side.

For the front-row audience area, a Martin Audio W8LM frontfill system, featuring wide and consistent 120° dispersion, was evenly distributed as six stacks of two elements.

Low-frequency reinforcement came from a total of 44 ground-stacked Martin Audio WS218X dual 18-inch, ultra-long-excursion subwoofers, delivering the physical impact required for a stadium-scale pop concert.

The Martin Audio deployment ensured consistent sound quality across the venue, supporting both the scale of the event and the Festival’s growing ambition.

Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc

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