Martin Audio


UK: Although only a small, 220-cap venue, the Half Moon in Putney has hosted some of the biggest names in show business over the last 60-plus years. It was the venue for U2’s first ever sell-out show, the place where Kate Bush first performed publicly, hosted KD Lang’s debut, and has had the likes of Bo Diddley, The Who, and The Rolling Stones gracing its stage.

But its sound system had been installed almost a decade previously and was nearing end of life.

The venue’s head engineer James Beck has been working at the venue all of that time and more. It was when Pink Floyd drummer Nick Mason came through back in 2018 carrying Martin Audio’s MLA Mini loudspeaker array that the vast improvement in sound quality arrested his attention.

“I was well aware of the Martin Audio brand, and when I heard this I was super-impressed. It had already been in our mind to upgrade, as I’d never been completely happy with the old system, and I felt this iconic venue deserved a proper system.” So he started looking seriously at Martin Audio.

James Beck, Half Moon

“The first thing we bought was four LE200 wedge monitors—and that blew everyone away compared with what we had. So then we started talking to Martin Audio about upgrading FOH.”

Enter one of the manufacturer’s partner companies, Solotech. Their project manager Louis Williams was happy specifying the brand knowing that “around 60% of our venues” have been equipped with Martin Audio. “We removed an old flare rig and put in a pair of FlexPoint FP15s, left and right of the stage, and a pair of SX218 double 18” subs.

“We’re also using FP8 for the sidefill to give the door area a bit more coverage.” A further three more FP8 can be found outside “to give the smokers some nice sound as well”.

The main system is powered by a pair of Martin Audio VIA5002 amplifiers with all signal routing and EQ managed via a dedicated Martin Audio DX4.0 processor.

Williams is convinced that this was the correct specification. “FlexPoint loudspeakers are a perfect match for the venue,” he says. “They are the right size and at a great price point. It’s a massive improvement to what they had before.”

James Beck agrees. “The new system has been like night and day. Bands have noticed the improvement, customers and engineers have been super happy. The headroom in the system, the size of the boxes and clarity are all absolutely amazing.

“With acts starting out, touring acts, and the odd superstar like Ronnie Wood rolling in it was important for us to have a really good sound system. It also needed something that was durable because we have acts seven nights a week. When people come to a venue that’s been going for 60 years, they expect a good time which is why we needed something that would fulfil that, sound wise.

“FlexPoint sounded great straight out of the box, and fulfils all the criteria.”

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Martin Audio


UK: Having worked in professional audio for a while and attended a variety of festivals, gigs, and raves, I thought I had seen most things. However, stepping onto the grounds of Glastonbury for the first time was an experience like no other. I had the privilege of being there as part of the Martin Audio team, invited by our partners at RG Jones to capture behind the scenes moments and insights. The sheer size of the festival was intimidating – it was a sprawling city of music, art, and people, all buzzing with excitement and anticipation. There was an energy there that wasn’t quite explainable, something that resonated deep within you and added to the magic of the place.

Arriving on site Monday afternoon, I was amazed by the progress at the Pyramid Stage. The crew had already flown 10 of the 11 delay hangs showcasing a pace and efficiency that belied the challenges of working in an undulating field . By Tuesday, the main hangs were up, and Wednesday was dedicated to fine-tuning and adjustments before the propagation process. Over at West Holts, a similar story unfolded: load-in took place on Wednesday, with everything ready to go to trim for propagation by Thursday morning. The stages at IICON followed in a similar manner. My magic carpet failed me in getting to all the stages for load-in, but I understand for SWG Events’ stages; The Park, Woodsies, and BBC Introducing, set up was equally efficient.

Come Friday and amidst the hustle and bustle with Glastonbury festival now in full swing, I received word from the Production team that the Sugababes were scheduled to perform at the West Holts Stage, and it was anticipated to draw an insanely large crowd. Recognising this as a perfect chance to capture photos and videos for social media, I made my way there early to secure a prime vantage point at front of house. As someone who typically listens to drum and bass and techno, I wasn’t sure what to expect from their set. In my mind, I was there for the content.

As the Sugababes took the stage, I found myself smiling ear to ear. I wasn’t a sudden convert to their repertoire but it was the palpable joy and energy radiating from the crowd. Seeing how happy everyone was gave me goosebumps and made me realise just how lucky I was to work in the industry that could help bring such joy and magical moments.

That feeling was further imbued during Coldplay’s headline slot. The overwhelming energy of the crowd created a magical atmosphere that reminded me why live music is so powerful and why we should do everything we can to ensure it continues, especially from a grass roots level. I know that some industry veterans, whether they are rental companies or press, have already realised this, but it took a festival such as Glastonbury to really bring this to the forefront of my mind. The impact of this experience will influence the rest of my career in ways that I can’t put into words.

Reflecting on my first Glastonbury, I am filled with a sense of pride. It reinforced why I love what I do and how important it is to bring exceptional audio experiences to life. While I went to Glastonbury expecting to be immersed in music of all kinds, it was experiencing the joy that the Sugababes and Coldplay’s performances gave to the crowds that truly became my festival highlight.

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Martin Audio


US: One of the premier roots festivals in the US, DelFest has steadily evolved the technical infrastructure at its Allegany County Fairgrounds site in Cumberland, MD, since the event was originally established 17 years ago.

Supporting the multi-stage event with sound reinforcement from the very beginning has been Martin Audio partner Southard Audio. This year they fielded three Wavefront Precision systems—a WPL rig and two WPS hangs.

“We only switched to WPL and other Martin Audio systems at DelFest post-Covid (from 2022) and it really shines for these applications,” notes Southard managing partner, Jason Misterka.

Their three-stage Martin Audio deployment was headed by the large-format WPL line array. The Grandstand system used 24 WPL for main PA (12 a-side) with eight WPL outfill stage right (to cover the grandstands), four XD15 frontfills, two CDD15 for outfills at the VIP tents, SXH218 subs, iK42 amps, THS sidefills, LE200 wedges and Linea Research monitor amps.

The large, covered Grandstand, set at an odd angle along one side of the 750ft flat field, provided the real challenge. According to Misterka, “We need to rig to a tall stage in order to cover the field, and when we do, the Martin Audio rig really does an amazing job. We also use an 8-box outfill array to cover the Grandstand, hung on our Applied LA12-25 towers. That also does a surprisingly excellent job, sounding like nearfield monitors in a space 500-plus feet away and at an angle!”

Meanwhile, the Potomac stage was populated with 16 WPS (for main PA), four SXH218 subs, iK42 amps and a pair of CDD15 frontfills. This stage, in particular, has developed over the years into a full music stage (from little more than a band competition stage).


Key Chang, FOH Engineer, Del McCoury Band

Unlike the other two stages, The Music Hall was set indoors, featuring a main PA comprising 16 WPS (eight per side) on lifts, with eight SXC118 subwoofers, four Martin Audio FlexPoint FP12 as frontfills, driven by Martin Audio iK42 amps.

Being a roots festival, focused on Old Time, bluegrass and string band music, the McCoury family are one of the main partners. The Del McCoury Band themselves are led by the bluegrass legend, reappearing, and as the Travelin’ McCourys (along with guest musicians).

The quest for supreme sound control and optimisation took high priority. Southard Audio’s Matt Hudson spent considerable time on the prediction for the large field as well as the outfill prediction for the Grandstand itself. “When dealing with an audience area as large as that, part of the magic is making it sound great at 500ft, and not like an AM radio,” observes Misterka.

The ‘Hard Avoid’ function was used on the stages of all three venues to keep it as quiet as possible for the string bands, while the SXH218 at the Grandstand stage was used in a in a L/R cardioid configuration.

In the Music Hall, the tech team again activated ‘Hard Avoid’ for the stage but also put more emphasis on avoiding ‘Non-Audience’ areas and focusing the PA away from the back wall of the room given the reflection concerns. “We also used SXC118 and really enjoyed their inherent cardioid characteristics at Music Hall,” reported Jason Misterka.

But above all, it was about respecting the authenticity of the music. “Our company has had a long history with acoustic music,” he said, emphasising their credentials. “Mixing bluegrass and Old Time music in the traditional style typically involves a number of hot microphones used to amplify mostly fairly quiet acoustic instruments. The less bleed there is from the main PA system, the cleaner the microphones sound and the more gain-before-feedback you have to work with.

“It takes more experience and skill than most people understand to mix acoustic music without the instruments utilising pickup systems. We are still seen as one of the premier provider of production services for acoustic music festivals on the Eastern side of the US.”

This was endorsed by Key Chang, who mixed the Del McCoury Band and the Travelin’ McCourysamong others, “At DelFest we cater to lots of acoustic / string bands as well as large scale rock bands. Mixing a string band, throughmultiple large diaphragm condenser mics, at concert level, can be a daunting task; but the extremely focused WPL made this almost effortless and handled it all with ease.”

“I’ve never heard a PA sound as full at the back of the listening area (200+ feet).The low-mids in particular were very impressive.This frequency range can be especially challenging with miked string bands, and often needs to be cut out due to stage bleed. My main EQ was hardly touched.”

The event’s production manager, William Kesler, agreed that DelFest is a challenging setup for audio reinforcement, with music ranging from traditional bluegrass around a single condenser mic to full bands. “This year, with Martin Audio rigs deployed on all stages, I was impressed with the smooth and even coverage across the entire site.I received several positive reviews from touring engineers who had never mixed on the WPL system before.I look forward to using Southard and Martin Audio for this and other projects in the future.”

Southard Audio’s crew included Matthew Hudson, Chad Wyatt, Tim Reckley, David Pelikan, Bob McNichols, Phil Speiss, Michael Stover, Sven Giersmann, Tim Turner, Eric Shy, and Slim Prescott.

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UK: Tunes in the Dunesis the apt name given to an annual three-day festival on Perranporth Beach in Cornwall.

The festival has been running on the golden sands for 11 years, having sprung up from the live music events at the beachside Watering Hole—which is actually the UK’s only bar on a beach.

Based nearby in Plymouth, Martin Audio partner Nub Sound this year provided the technical infrastructure, deploying their Wavefront Precision Compact (WPC), eight elements a side, which ensured headliners McFly (Friday), Craig David (Saturday) and Ocean Colour Scene (Sunday) could be heard to the max by crowds assembling on the beach as their music drifted out towards the Atlantic Ocean.

On duty was Nub Sound Director of Operations and sound engineer Josh Small. He explained that in addition to the eight WPC per side, a cardioid sub array of eight SXH218 in a castellated format, ensured rear rejection and stage spillage. Three WPS enclosures provided nearfill coverage, with the main hangs driven in 2-box resolution from Martin Audio iKON multi-channel process-control amplifiers, and the front fills individually amplified.

Small explained the challenges. “We were in a very long arena, not particularly wide and needing to get consistent audience coverage from in front of the pit to right out to 55-60 metres behind the FOH position. That’s something we can achieve really well with the Wavefront series.”

He also spoke of the environmental requirements, which his sound team were able to meet thanks to the close control offered by Martin Audio’s proprietary DISPLAY software.

“We were aware that we were in in a really residential area. Although Perranporth is only a small town, there are a number of high-quality hotels and residences on the cliff-top which we were pointing towards, and our neighbours naturally have concerns about being disturbed by events happening on this site.

“Therefore, we have to be really considerate about our offsite noise and we have to be really thoughtful about how we are going to impact the local populous.”

His solution was to use the strict Hard Avoid setting in DISPLAY at the back of the arena …”really pushing the priority in the optimisations to get as much offsite noise control as possible,” he said. “We specifically aimed the PA acoustically to avoid sending anything offsite.”

Finally, Josh Small also spoke of the logistics of getting the tech down to the beach from the cliff top. “It was a case of getting everything to the nearest hard standing car park, forking it off a lorry onto tractor trailers, bringing it to stage and then forking it off again.”

In this instance the tractor trailers took on more the role of dune buggies, while the event itself gave a whole new meaning to building sand castellations!

Watch the #RigsAtGigs video here.

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Martin Audio


FRANCE: The latest edition of ibis RockCorps returned recently with a major gig at Paris’s Accor Arena, featuring the triple bill of Macklemore, Franglish and Rosinia.

The concept of the event is unique in that anyone giving four hours of their time as a civic project volunteer in the French capital is eligible for tickets to this free concert.

Martin Audio partner, experienced production company 22live, tendered and won the contract, having worked for the show’s producers CC-Lab in the past.

However, 22live director Paul Timmins was aware that to service a gig economically within the Eurozone would require a marriage of careful logistics and high-octane sound—knowing that working in Europe post-Brexit poses a bureaucratic nightmare of Kafkaesque proportions.

He rationalised that by flying Martin Audio’s large format Wavefront Precision WPL line array in 20-box hangs either side of the stage, with a further 16 WPL as outfills on each flank, he could project some 90 metres to the rear of the auditorium without the need for delays—thus enabling the inventory to be confined to a two-truck haul.

He also realised that to make sense of the accounting this would need to do this with a four-man crew, so picked a senior team comprising crew chief Nick Jackson, monitor engineer Sam Cook, system tech Ryan Bass and Jack Davis.

With a 13,000-strong, highly charged, young demographic audience rushing in to grab the best seats, the 22live team knew they would need to deliver sound to a level close to the maximum threshold for American rapper Macklemore and the two huge French acts,Franglish and Rosinia.

Explained Timmins, “I knew we would require a big PA system, and when I picked up the spec, I was pleased to see Martin Audio on the rider—so it was an easy decision to quote WPL.


Paul Timmins, 22live

“WPL is a bit of a beast and like MLA it tends to be able to handle these big arenas without delays,” reflected Paul Timmins. “I believed that by going deeper with the system we could dispense with the delays, and it absolutely nailed it.”

Aside from the main and peripheral PA hangs, production had 18 Martin Audio SXHF218 subwoofers on the ground in a castellated split broadside configuration … split largely because there was a catwalk thrust down the middle.

The system was powered by a total of 42 iK42 DSP amplifiers in 1-box resolution—which afforded greater DSP power and ensured consistent coverage front to back.

Fills were required for the front rows and 22live turned to the trusty TORUS, deploying T1215s while for a VIP breakout room the sound was relayed via TORUS T1230s.

Aside from Timmins’ careful logistics the show’s success owed much to Ryan Bass’s adept system engineering—and his ability to suddenly pivot.

For having done his visualisation and calculations on the day of arrival, based on a full arena, he suddenly had to reoptimize on show day after discovering an area in the upper balcony had now been draped off.

But he was undeterred. “Reoptimising within DISPLAY allowedfor a quick and easy change of the coverage,” Bass confirmed. Changing the area at the back that was now draped off from ‘Audience’to ‘Non-Audience’ ensuredthere was no wasted energy directed at an empty space whilst also helping to reduce slapback from the back of the arena. With a traditionalsystem this would have required a full re-deployment of the PA.”

He, too, was confident the main PA would throw consistently across the 90m distance. “By adjusting the weighting of the prediction to prioritisethe audience over non-audience or ‘Hard Avoid’, this allocatedmore DSP power to ensure consistent SPL and frequency response from front to back.”

The use of ‘Hard Avoid’ at the back of the arena “helped massively”in calming the room, making the task easier for sound engineers in what is a notoriously challenging environment to mix in.

‘Hard Avoid’ was further deployed onstage to avoid unnecessary levels bleeding back. “Some of the audio crew working on stage expressed how impressed they were by the reductions compared to out front,” noted Bass. “Making use of the cardioid presets within VU-Net [software] further allowed for a good reduction on stage.”

Both Paul Timmins and Ryan Bass can look back on the show with pride—the former because with the right degree of planning it showed that an experienced UK production company can work competitively in Europe—even for one-off shows, with a quick turn-around, and despite the amount of carnet and manifest prep involved.

As for Ryan Bass he was delighted with the sound delivery. “The technology Martin Audio has developed in DISPLAY, with its optimisations, allowed for a quickand easy deployment as well as responding to sudden changes such as the late addition of drapes.

“Overall the system, and all the acts,sounded great with all guest engineers leaving the show happy. The audiencecertainly seemed to be enjoying it too!”

And Stephen Greene, CEO of RockCorps, added, “When you’re putting on a show for more than 13,000 people who’ve all volunteered four hours of their time to earn their ticket, you want to be sure that it’s the concert of a lifetime.

“The look and sound of the production are key and thanks to Paul and his crew at 22live, they always deliver.From pre-show planning and sourcing equipment to working with the creative team,ibis RockCorpswas always in safe hands.

“Dealing with three big name artists in one show has its technical challenges but the changeovers at the event were seamless, ensuring the crowd stayed in the vibe while keeping the artists confident and set to light up the stage … in this case, literally, with Macklemore’s crew clear to deliver off-the-scale pyrotechnics. Theibis RockCorpsproduction was next level, delivering a huge celebration that this crowd of volunteers justly deserved.And it just sounded great!”

Photography © Chang Martin, Laurent Attias and Roxane Montaron

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BELGIUM: The newly-completed, multifunctionalSiltcomplex—an architecturally sophisticated ‘landscaper’ completed earlier this year—forms a dominant, wood-latticed landmark on the Belgian coast, overlooking the North Sea at Middelkerke.

Essentially a multipurpose event venue, built and operated by Middelkerke’s municipality as part of its restoration programme for the area, it also hosts a restaurant, hotel and casino run by different operators. All are set within an artificial dune, each with spectacular views across the beach and sea.

For advice on sound reinforcement in the Event Hall, the City Council brought in Stephan Bohez of SBE—a loyal partner of Martin Audio for the past 25 years, who also co-owns StarTechnics with partner, Danny Debock. Stated Bohez, who has staged events for the client over a number of years, “They already knew the quality of our service and the fact we are always ready to solve any kind of programme,” he said. “I was asked what they would need for an event hall that could perform a number of functions—not merely operate as a concert hall, but something that would work in 90% of cases.”

Awarded the contract, StarTechnics report that the design went through many iterations “as they were initially unsure in what direction they would be going with the venue, whether concerts, seminars, conferences, awards shows or banquets.” Eventually they decided on WPM as being the best solution to cater for dynamic events.

His solution was to equip this empty white box with a modular set-up that could be brought in and reconfigured at will. The only items permanently rigged would be eight elements of Martin Audio’s small footprint, scalable Wavefront Precision WPM a side, with four SXP218 (2 x 18” active subwoofers) which can be deployed and designed as required.

Complementing this is a delay of four TORUS T820 8” constant curvature speakers, providing defined 100° by 20° coverage pattern in the meeting areas at the mezzanine level, while four auxiliary CDD-LIVE 12 can be used as infills or outfills as required. Martin Audio’s ADORN 5.25” ACS-55T ceiling speakers are set underneath the mezzanine to provide main system delays, or for independent use when this space is separated from the main hall—providing immense versatility.

The mezzanine area space can also become a dedicated single room hall, whose orientation is then rotated through 90°. In this set up two further delayed TORUS T820 are rigged under which is a Martin Audio SX115 subwoofer. This small, dedicated area has already hosted DJ-run events and a live concert.

The entire set-up is run by a pair of Martin Audio iKON iK81 DSP amps supporting VU-NET, in 2-box resolution. These take care of all the processing other than the CDD-LIVE 12, which is under the management of a dedicated DX4.0 processor.

Stephan Bohez was assisted in the installation by Jimmy Koninckx, Audio Solutions Advisorat FACE, Martin Audio’s Belgian distributor who supplied the equipment. He ensured the order was fulfilled and later provided technical support, including optimisation and programming.

“Most of the work was in getting the delays set correctly,” he said, “but we are fortunate in that TORUS sounds similar to the WPM.”

Further adjustments, such as system presets will wait until a routine trading pattern has been established. “We want to see what settings are likely to be most common,” says the installer.

Following the opening, Stephan Bohez has been retained as onsite technician and sound engineer. Meanwhile, the operators are said to be delighted with the quality of the sound system, and the flexibility it affords, which can be tailored to each event. And with a heavy programme of events in prospect, they have already safely overcome the first hurdle.

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UK: Based in London’s West End, The Twist Museum is an immersive, interactive, multi-sensory attraction, set on a 15,000 sq. ft site.

Challenging the visitor to explore the world of illusion, Twist—which stands forThe Way I See Things—is a collaborative work of leading artists, psychologists, and neuroscientists.

The audio-visual integration was entrusted to London-based Crossover, who specified, installed, programmed and commissioned essential audio-visual equipment, for management and routing over a digital backbone.

Developed by multimedia artist Aristotle Roufanis, the Digital Mirror exhibit uses a camera and large format display to create an interactive ‘mirror’, distorting peoples’ reflections in real time. The Crossover team provided the displays, the audio system, and the back-end processing hardware, that manipulates the captured images to display the illusions and distortions to the viewer.

Crossover helped the Museum’s project team build another of Roufanis’ creations, the Digital Kaleidoscope, with audio looping in real time on Ableton Live. The Kaleidoscope is a mirrored hexagonal tube—people entering it immerse themselves in a stunning display of colours and patterns and their reflections which are influenced by their movements and interactions. Crossover supplied and installed the projection systems, camera, processing hardware and audio system for this interactive marvel.

Martin Audio loudspeakers were specified in the Audio Interactive Space and Mind Hub where distortion free, phase coherent output was paramount. The former is a large octagonal acoustically treated 360-degree surround-sound room that immerses the visitor in soundscapes created by artist and composer Antoine Bertin. Custom-programmed LED lighting synchronises with the audio to enhance the sensory impact, with LF rumble provided by a Martin Audio SX110 1 x 10in slimline subwoofer.

This was chosen “for its super compact form factor, and the fact it could be easily flown without taking up valuable floorspace,” according to Crossover Senior Systems Designer, Juan Garcia. “In addition, we are very familiar with Martin Audio and love the sound of their speakers and their reliability. The fact that the space was small, and the sub is so powerful, we only needed one SX110, to avoid hotspots and dips.” It was installed towards the side of the room—rather than the centre—in order to maximise bass coverage.

About halfway through the journey, the visitors enter the Mind Hub. Crossover installed the lighting and supplied the lighting control hardware and audio system for this spectacle, at the centre of which is a huge cube of 1,000 individually controllable LED spheres hanging from the ceiling, creating mesmerising patterns and shapes.

Here and in the events area, Crossover have specified eight Martin Audio ADORN A55T, focused on background music and small events within that space, chosen for their output within a discreet footprint. These are powered by a Martin Audio VIA2004 4-channel, 2000W Class D amplifier.

Elsewhere, the Upside-Down Room and the Ames Room provide further treats for visitors, the former featuring a further Martin Audio music system with the option for a DJ to play for parties and events.

A digital back end, with local touch panel interfaces allows staff to monitor the exhibits and to maintain uptime.

Crossover director, David Sacks, said: “This was a brilliant project to have worked on. It was particularly rewarding because of the close collaboration with international artists to bring their visions to life with some of the best audio-visual technology around.”

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GERMANY: Vortex, the new electronic music festival, made its debut at Göppingen’s EWS Arena—pumping techno, trance and hardcore through the bodies of devotes, continuously over 12 hours, through Martin Audio’s flagship Wavefront Precision line array series. To quote the words of the organisers, “Vortexis not just a festival, it’s a transcendent experience, a sonic adventure that you won’t want to miss.“ Such was the challenge that the Martin Audio PA and its advance control software were set.

It was a far cry from EWS Arena’s normal sphere of activity, which is hosting the Bundesliga handball club FRISCH AUF! But since the venue is located in the centre of the town, surrounded by shops and flats, the requirements with regard to noise escape were predictably stringent. As a debut event, it was particularly important for the organisers not to provoke complaints from local residents in order to preserve the future of the event. With its legendary tight offsite control, the Martin Audio Wavefront Precision systems deployed absolutely met these high requirements.

Jürgen Schuster, from event technology specialist Skyeline Live, who provided the technical equipment for theVortexFestival, confirms: “There were no noise complaints and zero problems with the volume for the audience.”


Jürgen Schuster, Skyeline Live

Martin Audio’s advanced DISPLAY software had been essential in controlling the WPS and WPC line arrays deployed. “It was a real blessing,” he explains. “I was able to calculate the entire system cleanly and deploy it accordingly. This made it possible to predict in advance exactly how the system would behave in terms of sound levels.” He added that during the event, a colleague checked the volume on the street, enabling him to confirm: “Ambient noise from the street was louder than the sound coming from the festival, while inside the venue the sound was characterised by the evenness of distribution across the entire event area.”

To achieve this Jürgen Schuster deployed 24 Martin Audio WPC as the main system (12 boxes a side), with eight WPS as front- and sidefill. The all-important sub frequencies were pumped out through six towers of three SX218, designed in cardioid (two front facing and a single rear facing), with a further four SX218 provided for DJ monitoring. The rig was powered by 12 of Martin Audio‘s iK42 multi-channel, process-controlled power amplifiers in three-box resolution.

Schuster attributed the success of the event to two key Martin Audio technologies: the scalable resolution of the Wavefront Precision loudspeakers and the acoustic optimisation using the DISPLAY simulation software. “The combination of these two aspects made it possible to calculate the sound solution for the event so precisely that sound emissions were minimised [offsite] while still providing uncompromising sound for the 4,000 dance fans.”

But the real success of the event, he emphasises, was the reaction of the artists themselves. “They didn’t want to leave at all,” he affirms. “It’s normal for an act to come, deliver their set and then go … but at the Vortex Festival, the acts enjoyed it so much that they stayed for hours after their performance and simply enjoyed it.”

This says much for the quality of the sound system, which had been subjected to an enormous continuous load. “The Vortex Festival runs for 12 hours through the night—from 7pm until 7am—and the system has to work reliably.” Fortunately, due to his many years of experience with Martin Audio systems he was confident this requirement would be absolutely fulfilled.

In conclusion he praises the sonic coherence across the different series and how easily they can be combined. “WPC and WPS are different size formats but they fit together perfectly in all technical respects—phase response and so on. With many manufacturers this provides problems as the speakers don’t fit together in terms of sound. This is certainly not an issue with Martin Audio, as the different series work wonderfully together.”

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MY: Based in the Malaysian state of Selangor, full-service provider Psychoacoustic Productions recently invested in a Martin Audio BlacklineX Powered loudspeaker system, comprising 16 XP12, eight XP15 and six XP118 subs.

Founded in 2006 by Haary Roshaahn Yograi, under the original name of Pyschoacoustics Sound & Lights the company has grown steadily from humble beginnings.

Stated the owner, “We were comparing several active point source systems in a similar price range, and among all that we tested, Martin Audio really stood out in terms of delivering a sweeter sound—particularly on the higher frequencies. It was the system that best suited our indoor venues.”

The portable BlacklineX Powered series integrates Martin Audio’s renowned engineering expertise into an easy-to-use, quick-to-deploy, high-powered solution for a range of professional applications, ranging from use by musicians and mobile DJ’s, to corporate AV, House of Worship installations and all types of music venue.

With optional Bluetooth control, streaming and a built-in three channel mixer, BlacklineX Powered was a logical move for the company. The equipment was supplied by Kuala Lumpur dealer, Wavefront Culture.

As they enter their second year of distributing the brand, managing director, Ahmad Syafiqbin Yaacob says that although Martin Audio was already well established in the AV market, with its rapidly increasing portfolio it has required an extended push to make the client base fully aware of its solutions. He confirmed that while Psychoacoustic Productions already knew about the brand, they had never previously listened to the product, adding that in comparative testing they preferredthe XP12 and XP118.

He says that as a result, Mr. Roshaahn is now keen to audition the TORUS series.

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Martin Audio has announced the introduction of iK41, an advanced 4-channel power amplifier, to further strengthen the existing iKON series and portfolio offering.

The iK41 combines high power density with rich and accurate audio performance, state-of-the-art DSP and network control, and is designed as a dedicated controller amplifier for Martin Audio WPM optimised line arrays, TORUS 8 constant curvature loudspeakers, as well as multi-channel amplification for select Martin Audio loudspeakers.

This latest iKON amplifier can deliver a full 1500 watts per channel into 4 ohm, and its high efficiency reduces the energy drawn from the mains supply and ensures the power reserves needed to deliver signature sound under arduous conditions.

Dom Harter, Martin Audio

Ethernet is used for system remote control and monitoring via Martin Audio’s VU-NET software application, while a user-friendly front panel interface allows full local control of all features. Dante digital audio network inputs are also provided for digital audio distribution and control.

Powerful DSP is fully integrated into the iK41 to provide a multitude of features that ensure maximum performance of select loudspeaker systems. It also provides up to 1000 FIR filter taps at 48kHz on each output channel, which is essential to implement DISPLAY’s wide bandwidth optimisation process in WPM line array systems.

The iK41 employs comprehensive protection functions to maintain safe operating conditions of both the amplifier and the loudspeakers driven—including a sophisticated loudspeaker limiter suite which incorporates peak, RMS and excursion limiting, as well as multiband limiting for passive 2-way systems.

Dom Harter, Managing Director, commented, “The success of iKON amplifiers has been undeniable and with this less expensive model being introduced it will allow for more efficient installations of WPM, TORUS 8 and FlexPoint systems. While we expect rental partners to continue their inventory of iK42, we also expect that some will see the benefit of holding additional iK41 inventory for their smaller events.”

The iK41 will be on display at InfoComm 2024 in Las Vegas, booth C9601, and will start shipping globally from July.

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