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Martin Audio

22LIVE’S NEW MARTIN AUDIO SUBWOOFER SYSTEM DESIGN PAYS DIVIDENDS FOR CREAMFIELDS NORTH

UK: Sound production company 22live returned to the Creamfields Northsite on Daresbury Estate, in the beautiful Cheshire countryside, where they made their debut last year on one of the stages.

With ten high profile stages set for the huge, four-day dance music festival, the Martin Audio rental partner this year doubled its account. This year they were entrusted with delivering optimum sound for a second stage in a large-scale Big Top—in addition to the 14,000-capacity iconic Steel Yard stage which they also equipped last year. This industrial super structure was described as the largest in Europe when originally designed by Acorn Events.

Boasting a huge overhead video screen, Steel Yard really comes into its own after 1am on the Saturday night, when it runs through to 4am, and this year saw electronic music icon, Eric Prydz, with his unique soundscapes headlining.

22live director Paul Timmins oversaw the sound system installation—both of this and the #3 stage, renewing his long acquaintance with event production company LarMac LIVE.

He could immediately see how he could draw on last year’s successful deployment to create even greater impact by modifying the sub design, knowing the high priority LarMac place on sound. “For our part,” said Timmins, “we are always looking to refine things where possible.”

Noting the natural rake of around 6 metres over the 110m distance to the downstage edge, his concern was fitting a new sub design within the heavily populated tech built into the front of the structure.

“Unlike conventional rock festivals, atCreamfieldsa high SPL is required all the time,” he said. “For this type of event you need high impact, so we changed what had been a broadside sub array to a spaced cardioid array to create greater impact, although I realized we would sacrifice a bit of controllability and risked a bit more low-end offsite. Whereas for certain other outdoor events, controllability and offsite noise is probably top priority you have to design to suit the event, and DJs at this level often ask about the subs. Although there are still noise propagation and offsite considerations, with 10 stages working together it’s a collective responsibility.”

Let’s just say, the SPL was significant.
Paul Timmins, 22live

Having set out their rationale, 22live deployed 24 SXHF 218 subs in eight ground stacks of three, under a flown WPL line array, 16 elements per side as the main hangs. A further four SXHF 218s (two a side) were flown at the top of the delay towers, each comprising eight Martin Audio WPL, set around 70 metres back.

The system was designed by system tech Sam Millen—who operated in the same role last year—and 22live Technical Director, Simon Gladstone.

Paul Timmins’ other concern was working within the parameters of the superstructure—particularly being able to accommodate an extra stratum of subwoofers (last year the broadside design was only two high). “The Acorn structure is like a hangar, containing a lot of production in terms of moving lights and video,” he explained. “Since there are weight restrictions, you have to work with a ground-based sub solution. And since the entire back of the stage is a video screen, effectively everything has to go out wide to avoid obscuring sightlines and detracting from the artistic element.”

Thus 22live worked diligently to be able to recess the spaced sub array under the stage, since the pit was already heavily populated with confetti cannons, pyro and CO2. LarMac LIVE, and their technical production manager Alex Mackie had been extremely accommodating in this regard. “As a result, we managed to squeeze an extra 6- or 8-inches height which was just sufficient to get all the subs, three high under the stage.”

Aside from concerns about sound escape beyond the structure, Sam Millen also had to work assiduously with the DISPLAY software’s ‘Hard Avoid’ feature inside, as Timmins explained. “The room is reflective, with a silvery stage covering, so we had to keep the sound off the side and especially off the back wall.”

TORUS T1230s were designated for nearfield coverage. “But that also provided challenges; because of the increased height of the stage [the audience] was having to look upwards; therefore anything on the front edge of the stage would have obscured the video.” In the event they managed to locate the four TORUS boxes in the pit on stands. Completing the soundscape, 12 WPS enclosures were used as in- and out-fills.

Set in a large Big Top Stage #3 presented less of a challenge for 22live. Here they flew two hangs of 12 WPL, underpinned by a further spaced array of 16 SXHF218 subs, in eight stacks of two—and this time no delays were required.

All main passive PA systems on both stages were powered by Martin Audio iKON multi-channel DSP amplifiers in 1-box resolution, with the delays in Steel Yard run in 2-box res.

Crew boss for both stages was Nick Jackson, with Sam Millen system teching Steel Yard and Neil Winterbottom doing likewise on Stage #3.

Reflecting on the event, Paul Timmins said, “I think we achieved what we set out to achieve and on the evidence of that we wouldn’t be looking to change anything for next year. Let’s just say the SPL was significant!”

Very much like artists speaking about “their difficult second album”, he concluded, “It’s always good to nail an event in its second year.”

Watch the Rigs At Gigs video:https://youtu.be/8E48-g6l2WE

Photography by Geoffrey Hubbel/LarMacLive.

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Martin Audio

MARTIN AUDIO WPL GOES LOUD FOR ‘1000 LIGHTS’ AT UTILITA ARENA

UK: One of the most unlikely gigs Birmingham’s Utilita Arena (The NIA) has ever hosted—and certainly one of the loudest deployments of a Martin Audio line array in the company’s history—was the recent charity concert, dubbed ‘1000 Lights’.

Organised by local promoter and studio owner, Jack Davis, 1000 musicians came together, divided into five categories, to honour the life of Linkin Park’s Chester Bennington, whose final gig had been in Birmingham prior to his suicide in 2017.

By setting up the Uprawr Mental Health Foundation his aim was to bring people together as part of a large-scale event. Thanks to the volunteers, and willing support from service providers—including Martin Audio partners 22live—he did just that, raising £135,000 for the Foundation, offering free mental health counselling (the musicians themselves paying for the privilege of participating).

Among the high-profile musicians who wanted to support the event and be a part of the co-opted band, were members of Creeper, Mallory Knox and Bullet for My Valentine, with the centrepiece being the excellent Linkin Park Experience Tribute Band.

22live managing director Spencer Beard had fielded the speculative phone call from Jack Davis late last year, setting out the original proposition for the show. “Although the whole idea sounded completely insane, I was intrigued and up for the challenge,” he recalled.

The NIA were already onside with the idea, and Spencer helped round up other tech suppliers— DMX Productions for the video, cameras and lighting—and Fly By Nite for the trucking, while ensuring the show would take place on a day when they would have sufficient front-line inventory to support a gig that in view of its scale, was predestined to be LOUD.

WPL performed better than anyone could have expected.
Spencer Beard, 22live

“Although events like this have taken place in the past, it’s never been indoors or with so many musicians,” rationalised the 22live MD.

As the idea gathered momentum the initial projection of an 800-seat sale later required the release of many more—in fact just under 4,000 people eventually swarmed to the venue.

From a technical perspective, an early concern had been that the plan was constantly evolving, and Spencer worked closely with the NIA’s event teams as the show gathered momentum.

Once Adrian Basketfield had been appointed production manager, the event quickly began to take shape, and Jack knew he had an event. Miles Barton handled the FOH mix and record feed, while Ryan Bass was system tech and Chris Wilcock monitor engineer and crew chief.

With a vast fixed channel count at the DiGiCo Q338 FOH console, spot mics on the floor and some ambient seating mics in position, 22live detailed equally generous hangs of 20 Martin Audio large format flagship WPL on each side, upping the original count from 16, and deploying them both as the PA for the audience and the monitor system for the musicians on the arena floor.

“We knew that the extra boxes would only improve the coverage and levels,” Spencer continued. “But we also knew that due to space we couldn’t do a traditional sub array, so we stacked six SXHF218 subs per side. I can honestly say it was the loudest gig I’d ever been to.”

Ryan Bass optimised the sound to the back of the room, avoiding any blow back on stage, and bounce off the roof, with assiduous use of the ‘Hard Avoid’ feature in the DISPLAY software.

A further 16 Martin Audio XE500 wedge monitors provided artist reference sound; a pair each of TORUS T1215 and T1230 a side ensured balanced outfill sound while eight of the smaller footprint Martin Audio WPS provided front fill. The entire rig was powered from Martin Audio iK42 amps, and the event was recorded for YouTube and social platforms.

Chris Wilcock recalled, “When Spencer asked me to work on this gig it did raise an eyebrow. But to be asked to mix monitors and crew chief the show was a challenge I couldn’t turn down. I knew the monitor mix provided to the six drummers and 30 other musicians on stage were critical to the performance. Along with IEM mixes and 16 wedge mixes—plus the backline—the stage was loud! The XE500s delivered enough power and quality to get above the stage levels, and give everyone what they wanted in the mix.”

Spencer Beard added in summary, “No-one had any idea what it was going to sound like … but the whole thing blew my mind. WPL performed better than anyone could have expected, and the coverage from two hangs, and the levels we achieved, were unimaginable. I have never read so many favourable comments about the quality of sound on social forums, as this.”

Reflecting on the entire journey Jack Davis said that at the outset he had grave doubts about being able to pull the event off. “We knew [the event] had to be something big if we were going to make a difference with the charity. Financing the event and getting people to take a chance on us and get involved was a long shot.” But his faith paid off.

As to his personal highlight? “It was hearing the sound check and realising it didn’t sound like a train wreck.We were very prepared to have 100 drummers playing out of time and 350 guitarists playing out of tune. Amazingly it turned out every player was fantastic and took it really seriously. Seeing everyone play in time was a spectacleand the sound matching it was equally impressive.”

In fact the PA had been perfect, he added. “It provided a clear rounded sound across the room … forming an impressive wall of sound that made you feel like you were immersed in the middle of it, rather than just hearing the stage from a distance.”

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Martin Audio

Martin Audio enhances the “pearl” of Panlong Lake

CHINA: Located in the Chengde region of China, Panlong Lake’s performing arts plaza has installed a Martin Audio system to power sound for various events. Situated behind the Great Wall and between picturesque mountains and rivers, the lake is often described as being “like a blue pearl embedded in the earth” and serves as a relaxing destination for visitors and locals alike.

The performing arts centre plays host to a range of events and activities, such as concerts, seminars and sports competitions. All spaces within the centre have been equipped with Martin Audio’s CDD Series loudspeakers, which feature Coaxial Differential Dispersion technology for enhanced performance, fidelity and coverage consistency, as well as the manufacturer’s TORUS constant curvature line arrays. Providing power for the system are iKON IK process-controlled multichannel amplifiers.

The system has been incorporated into the venues’ conference rooms and training halls to provide clear sound for speeches and presentations. It has also been installed for the outdoor areas which play host to live music and sports competitions.

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Martin Audio

MARTIN AUDIO PA PUSHED TO THE MAX AT HYDE PARK

UK: When a formula is deemed to have reached perfection—as is now the case with the technical infrastructure at BST Hyde Park — never assume that it can’t be nuanced, or that an extra bit of power cannot be wrung out of the PA.

Martin Audio and Solotech UK (formerly as Capital Sound) have been permanent incumbents since AEG Presents took over the Hyde Park lease in 2013, and Martin Audio PAs feature site wide.

But this year Solotech were represented by a different system engineer in Rayne Ramsden. And while he was working to the same offsite sound level thresholds (75dBA) as set out by acoustic consultants Vanguardia, he was nevertheless able to squeeze out a couple of extra dB at FOH, giving them a potential of 101dB(A) without breaching offsite limits.

“Rather than simply cut and paste from last year I suggested tilting the delay PAs a degree or two to gain a bit more coverage and an extra 1-2dB out in the field—knowing I could use the ‘Hard Avoid’ [feature in the control software] to shave it off if necessary. Those extra degrees on the top angle gave us an extra 10 metres coverage.

As with last year, independent sound consultant (and former Martin Audio R&D director) Jason Baird was present at set up for the propagation tests on the main Great Oak Stage where the complement of speakers was identical to last year. Solotech UK fielded 19 MLA (plus a single MLD Downfill) on each wing, and a 15-box MLA hang (plus a single MLD Downfill) flanking outwards on each side.

There were 11 delay positions, populated by 35 x MLA and five MLD; 40 x WPL (in hangs of seven and eight); 12 x SXHF 218 subs and 16 x WPC (in two hangs of eight) set down the field.

“[Martin Audio’s] ‘Hard Avoid‘ control feature helped us drive the system hard without giving us problems off site.”

Mark Ward, Proper Productions

One important change this year was how the requirement for different stage thrusts on riders determined how the subwoofers could be configured.

As Rayne Ramsden explained, “Instead of being a full castellated array, where we would start with a double stack, we put two single [boxes] in the middle so that a thrust could be run over the top of the subs—and therefore didn’t have to remove any.

“We put a 400mm gap between the two central subs so that by the time you get to your first cardioid stack the distance between is 2.4m—so you can run a thrust through those speakers without having to change the cardioid every time.”

On top of that each thrust had its own unique design: Kylie Minogue’s was a simple run out, whereas Robbie Williams’ thrust included an extra 100mm on each side for lighting. “So for Robbie we put in a whole bunch of [Martin Audio] DD12 around the thrust that tied into the system,” explained Ramsden.

“Over the course of the three weekends there would have been at least eight different thrusts—including a ramped thrust over the two middle subs and another with steps that needed to beground bolted for the steps to stand on—and that also ran over the subs. We had to remove two of the centre subs for Kylie entirely, because she wanted to run underneath the thrust and come out at the end… but none of this changed the array [parameters] at all.”

Every visiting engineer that came through was “incredibly complimentary” about the PA, reports the system tech. “They gave resounding reviews about how impactful the PA was. Most are now familiar with MLA, but emphasised how really well it was sounding—which was remarkable for a PA that’s over 10 years old. Running at 96k, I couldn’t have been happier.”

Elsewhere, Solotech UK put the ‘Hard Avoid’ function in the proprietary DISPLAY2 software to good effect on the second (Rainbow) stage. As account manager David Preston explained, “We really needed to contain the audio this year because the British Airways sponsorship stand was positioned opposite the Rainbow stage, and midweek they had a couple of private events, involving a DJ and a function band. This meant we had to minimise the audio clash with the Rainbow stage; by bringing in Hard Avoid to 30 metres it meant we were no longer disturbing the BA stage 70 metres away.”

Another stage enhancement was at the popular Cuban Garage Stage where a pair of additional Martin Audio TORUS T1230 were added as outfills. Explaining the reason, Preston said, “We noticed last year that more people were standing round the sides because it’s quite an open area; and with the site opened up, a pair of additional TORUS on pole-mounts worked really nicely.”

Concluded production manager, Mark Ward (of Proper Productions), “Once again the team at Solotech made the very best of the system on Great Oak Stage—ringing every last bit of volume and musicality from the system with artists ranging from orchestras to rock bands.

“[Martin Audio’s] ‘Hard Avoid‘ control feature helped us drive the system hard without giving us problems off site.”

Watch the full video here: https://youtu.be/inP1uKy0Wv0

Photography by Jessica Gilbert.

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Linea Research Martin Audio Optimal Audio TiMax

THE RITE STUFF

The below article, written by Phil Ward, was published in LSi and details the development of Martin Audio and fellow Focusrite Group brands TiMaxOptimal AudioLinea Research and OutBoard.

(A PDF of the original article may be viewed here).

“I’m delighted to be back in the live sound business,” says Focusrite chairman Phil Dudderidge. “It’s where I started.” Such a full circle began with time on the road with Led Zeppelin and others, followed by the establishment of Soundcraft as one of the world’s great live sound mixing console brands. It reaches this fulfilment because Dudderidge’s current enterprise has created a portfolio that now includes Martin Audio, Linea Research, TiMax and panLab, and the live sound business has a new array of challengers for its top prizes.

The name of that current group is Focusrite plc, as floated on the London AIM market almost 10 years ago. It’s one of pro audio’s finest marques, with roots involving names like Rupert Neve and George Martin and some of the best recording studios in the world. But maybe the real focus now is not on the frequency curve, via Neve-inspired equalisation, but on people. The Focusrite mix is as much human as it is sonic, as the story of the latest additions reveals . . .

GROUP DYNAMIC

After over three decades of navigating the bewildering recording market, adding new modules and new acquisitions into a portfolio that somehow captures every angle of entry into perhaps the most fluid music business sector of all, Focusrite flipped. A new trajectory into sound reinforcement was launched, beginning with the acquisition of Martin Audio. After this gear-change, subsequent purchases have fallen into place and made perfect sense. But, at the time, Martin Audio was a revolution.

That was in December 2019, followed 16 months later by the launch of a new brand, Optimal Audio, designed to shake up the world of commercial audio installation. In March 2022, Focusrite acquired amplification market leader Linea Research and then, in quick succession, there was a pincer movement into spatial audio: Out Board, the home of TiMax, was bought at the end of last year; and, just three months ago, Innovate Audio, the home of panLab. These two companies occupy distant but highly complementary corners of this market and, as their founders confirm, dovetail their own plans into those of Martin Audio and Linea Research with uncanny opportunity.

There have been many manufacturing groups before. This time, say all the leaders of this one, it’s different. One question keeps coming up: how do you provide the protection and support of a group while nurturing the independence of each brand – and not just the brand, but each company, and the people within it? You can keep all the different logos, but to avoid that being purely cosmetic, how does the spirit of each business survive in a round table?

Phil Dudderidge begins. “We are the Focusrite Group, and we are different,” he says. “Our culture has evolved over 35 years, at least in my time, and we expand beyond our origins in studio products into broaderbased pro audio activities. There’s a lot of technology that crosses over now, and I don’t see that a live sound company doesn’t belong in the same family as a recording products company.”

This is the first focal point, if you will. The modern stage is edging more and more towards a studio-like environment and can accommodate products and techniques hitherto associated with recording or broadcast: high-quality mic-pres; condenser microphones; digital plug-ins; highly sensitive and personalised monitoring; click tracks . . . and so on. The only real difference is the acoustic environment you’re working in, so the synergies across the Focusrite Group begin to stretch further than might first appear.

Dom Harter, who is Martin Audio’s MD, defines it more closely. “As Martin Audio joined the group,” he recounts, “we spent quite a lot of time planning how the meld would take shape. Myself, Phil, Tim Carroll [Focusrite CEO] . . . we all start from the position that customers care about brands, and we have to protect the things about the brands that they value: engineering; customer-facing staff; support and so on. And in a strong group, these things can be better protected than they would be on their own: the backroom stuff, like warehousing, finance . . . the resources that power a brand. They all get a better service.”

One syndrome that exercises Harter is the one that tries to supercharge an already successful brand by turning it into something that its customers fail to recognise. In fact, many of the key figures in this expanding group have similar tales to share about becoming disillusioned within very large organisations that may, or may not, have achieved this, giving the Focusrite challenge a special edge: the mission of renegades, maybe, anxious not to become the counterrevolutionaries that repeat the cycle.

The special relationship between a brand and its customers is one of professional audio’s greatest achievements. MI has it too, to some extent, and it is noticeable how business leadership gets this wrong if it’s not careful. Music and audio users have an emotional connection to the products they need to buy, and, quite frankly, it’s hard to understand it if you’ve never felt it. They certainly don’t teach it at Harvard Business School.

But there are differences between pro audio and MI, according to Harter – mainly to do with the end user and whether they buy something with which to make music or a ticket to watch it. “But that just means,” he says, “that we have to make sure we’re focused on the right sales solution for what we’re trying to address: we call it either Content Creation or Audio Reproduction, and the market strategies are different. If you tried to fuse them into one, you’d let both sets of customers down.

“It has to come from the top, to be built into the structure, that our organisation will be focused on our customers and receptive to them, and that has to reach all the way back into engineering. We can’t allow the people making the technology at a workstation to become cut off from the outside world.”

There’s a lot of technology that crosses over now, and I don’t see that a live sound company doesn’t belong in the same family as a recording products company . . .
Phil Dudderidge

“Martin Audio has enormous growth potential,” continues Dudderidge. “The market it serves is massive globally, and the greatest opportunities are perhaps outside this country. Other parts of the group already have huge market shares and will grow relative to that market – Focusrite itself being a good example with audio interfaces. You can try to grow by doing other things, but run the risk of losing sight of your core business. Focusrite is the audio interface company, which is something I recognised around 2005-2006. We made a strategic decision to do this, and by making that decision it happened. So, different sections of the business will deal with growth challenges in different ways.”

Adding TiMax to the group will help both TiMax and Martin Audio, and adding panLab will help TiMax. But each is independent: TiMax, for example, is still available for use with other branded loudspeakers, and the relationship with Focusrite is being carefully designed to allow this to continue and prosper. “There are many brands in the group,” says Harter, “some are large, some are small, and the trick is to make sure we help each brand in its own evolution, whatever point it’s at, rather than swallowing any one of them into some monolithic entity.”

UPGRADE PATHS

Perhaps it’s the sheer number of aspiring producers, of one kind or another, that use Focusrite interfaces, but the group has become highly sensitive to newgeneration customers who will shape tomorrow’s industry. Early on, Martin Audio adopted strategies to introduce younger users to its products and take them on a journey towards the high end. Now, panLab seems poised to do the same for TiMax, offering a point of entry to spatial audio that may well begin with solutions based on Optimal Audio speakers and end with Tosca at the Royal Opera House.

Getting these customers from the nursery slopes to the Hahnenkamm Streif Downhill is very high on Harter’s agenda, his own son already on a path towards high-end mixing but with no credible path towards spatial audio for someone of his age. “TiMax was a no-brainer,” he says, recalling time at BSS with Dave Haydon. “But it’s not a cheap endeavour, even though it gets amazing results with relatively few loudspeakers. Talking with Dan Higgott – and, firstly, realising just how many thousands of users he’s got! – we realised how we might be able to start building this journey into spatial audio as we’ve done with Martin Audio and the journey towards large-scale PA. We can get people into this concept early on.”

While protecting the loyalty customers feel towards each brand, the Focusrite Group nevertheless has what are now ‘sister’ companies and doors are open. “There’s lots of R&D collaboration, sometimes informally,” Harter says, “and it’s more successful here than I’ve ever seen anywhere else – I think that’s because everybody knows they’re doing it for their own brand. Even if Linea people are working with Martin Audio people, there’s an invoice from one company to another and everyone benefits. As long as we understand every customer and what they want, whatever happens will be for the right reason. Any of our technology is welcome in any market, if it fits.”

“I see them as symbiotic profit centres,” adds Dudderidge. “Each one is identifiable, but they can all be supportive of each other while having their own primary goals.”

At the high end, the combination of TiMax and Martin Audio’s Multi-cellular Loudspeaker Array (MLA) is a huge, mouthwatering, number-crunching prospect, connecting audience and stage in a cat’s cradle of dispersion and reflection. But there is intentionally no ‘group’ R&D structure, according to Harter. “We did not want a hermetically sealed think-tank,” he says. “What we want is for everyone to carry on where they are and be able to reach out and share when they need to. If you are not able to look at the whole system, you are fundamentally limited by your corner of that system. Ambrose Thompson, one of Martin Audio’s key researchers and the lynchpin of MLA, has immediately begun to look at things in a whole new light. Within about five minutes of a conversation with Robin [Whittaker, co-founder of TiMax], new directions were apparent.”

All the time as we’re talking, even with such riches in the hold, Harter steadies the ship. “We have to keep within the limits of what people need,” he insists, “rather than persuade them they need something else that we’ve just thought of. Everything must be application-specific, and if the engineers together understand the complete set of boundaries, they will be able to make cleverer products and better solutions.”

Associated with TiMax for so long, Robin Whittaker and Dave Haydon will gradually step back from their leading roles as new recruits step forward: Rik Kirby, who takes over as commercial manager; and Dan Roncoroni, who is now product manager. Dan Higgott, who founded Innovate Audio and launched panLab, also joins the team. Whittaker and Haydon will not disappear overnight, with the umbilical cord still unclamped. But it was time for change.

“There is a responsibility towards the community you create, and we realised that more resources were necessary,” says Haydon. “Various people have approached us, it’s no secret, but we wanted the right people. Dan Roncoroni has been working with us as a designer and consultant for several years, and we’ve known Dan Higgott’s work for a while. Dom and I realised we’d need a commercial manager as well, so when Rik became available it was a perfect fit. These are people with imagination and passion.”

“The association with a world-leading loudspeaker brand was important to us,” adds Whittaker. “Essentially, the sale is driven from the loudspeaker sell, and the DSP follows. To be honest, we were lucky that there was one left that we would be happy to put our name to!”

How do TiMax and panLab complement each other? “It’s all about the customer journey,” explains Higgott. “My background has been trying democratise access to spatial audio, and making it possible for those without the time and budget for the original solutions. That’s Dom’s vision, too: how to get people on board, intuitively, with a whole new way of approaching sound design. Both products are now under the TiMax brand, but creative users can select according to their resources, their experience and their individual aims.

“The two software suites will talk to each other and make it easy to switch between panLab projects and TiMax projects, and people will become familiar with the same user interface. My view is that as many sound engineers as possible should be able to work with spatial audio, whether from within the console or elsewhere, and that ties in perfectly with Focusrite’s vision of inclusivity.”

“We’re quite early on the roadmap,” points out Whittaker, “so it will be a while before we can reveal any specific features. But the workflow will be as familiar as possible for everyone.”

Kirby’s inclusion is highly serendipitous: he decided to return to the UK from the US, where he had many successful years at Renkus-Heinz and with his own distribution company Allied ProTech – which included both Linea Research and Optimal Audio – and found an opportunity waiting. “20 years ago, Robin and I were in Canada doing separate seminars at AES on TiMax and SoundWeb,” he recounts, “and I can almost recite his presentation today, it was that impressive. The psychoacoustics of it really made an impression, so to get this chance to work with TiMax so closely is amazing.”

Most likely, the ‘panLab’ name will remain as a version of TiMax, so the many who have already embarked on the journey will find familiar territory. It’s a good strategy, because it protects the spirit of each product while uniting them in a common goal: that goal being the piecemeal transition of the professional AV industry to spatial audio. Which leaves the question: what is the professional AV industry today?

“I’ve been using spatial audio in various sectors: themed entertainment; theatre; retail – all sorts of applications,”says Roncoroni. “When this role came up, I saw it as a way of getting closer to TiMax – which, objectively, is the best hardware renderer for every use case I’ve seen – and a way of giving something back to Robin and Dave. I was a customer of theirs when I was at Autograph, and since then I’ve been specifying and commissioning TiMax as a freelancer.

“There is a growing understanding of the workflow benefits of using a hardware renderer in theatre and concert sound, but the new markets are in areas where the emergence of Dolby Atmos in streaming services has created at least an awareness of spatial audio. The appetite may be growing broadly, but I would say the traditional pro audio markets are coming to terms with it more sensibly. They don’t need the hype, and TiMax has the most educated user base of all.”

RESEARCH & DEVELOPMENT

Linea Research is now the power, as it were, behind the throne. Ben Ver is engineering director and for him, again, the timing was just right. “The size Linea was before acquisition is a difficult size for companies,” he says. “It’s big enough to do many things a start-up cannot, but not enough to break through the glass ceiling and double, or triple, your turnover. You start to need systems and processes that medium-size companies don’t have. We now have a professional HR team with corporate, legal back-up, and while we managed for 20 years without it, it takes that pressure off. The same is true of IT, which covers everything from my PC being faulty to the integration of GitHub and online registration, for example.

“From an R&D and engineering point of view, I no longer have to deal with any licensing renewals. They deal with it all. We’re in the process of migrating some of our systems over to the Focusrite way, and the group already has preferred software for various things: I can ask what the in-house preference is, and I’m free to use that. But it’s still my choice. I’m not told what I must use.”

The expansion path is particularly visible, to Ver, in the ability to develop new sales channels. “We had a strong reach,” he says, “but now our horizons are bigger. Being part of a group gives you more leverage. We’re also part of a sub-group within Focusrite, and we’ve been able to align much of our distribution with Martin Audio – where it makes sense. But, again, it’s not dictatorial. It’s adaptable to the best needs of both Martin Audio and Linea Research in each case. We are stronger together. The support is the main thing. But we haven’t been bought because we needed fixing, and we feel as creatively autonomous as we did before. It’s the best of both worlds, really.”

It’s also significant that the freedom to pursue OEM deals – very much the foundation of the Linea business – remains, while supporting Martin Audio with engineering and R&D resources. “Also, every single Linea-branded amplifier is sold into systems that use other makes of loudspeaker,” Ver adds. “Linea is expected to grow on all these fronts: Martin-plus Linear loudspeakers; Linea amps; OEMs.”

The Focusrite deal has not cost Linea any OEM customers either, Ver reports. “In such supply-constrained times, you might think some people would worry about Martin Audio being favoured,” he says. “But that hasn’t been the case. Both Dom and we at Linea have been at pains to make sure that no one in the industry has any justification for thinking that. We said we’d be fair, and we have. In fact, we’ve gained one or two significant OEMs since acquisition.”

There may also be less product-bending at Linea than you might assume, given the access to both Martin Audio and TiMax R&D. “We were acquired as the experts in amplification,” Ver says, “and no-one else in the group does it. It’s more the other way round: to compete at the top level, a loudspeaker manufacturer has to own its electronics destiny. OEM is not sufficient. We’ve been supplying Martin Audio on that basis for a while, but it doesn’t get Martin Audio precisely what’s necessary to reach the very top – which was part of the reason for the acquisition. To gain extra footing in this sector, there is now the means to create future loudspeaker platforms that will absolutely go toe-to-toe with anyone. With ourselves, Martin Audio and TiMax, Focusrite has deliberately bought technology leaders. It’s a clear statement of intent.”

As is this, from Ver: “I can imagine an amplification platform ideally suited for use with TiMax appearing on my radar – in the same way that designing power modules for active loudspeakers tailored for Martin Audio’s requirements is already on my radar. That’s the advantage of having Linea in the group.”

Again, these are mutual advantages, not mob rule. There is no roadmap for coercing customers into buying a one-stop solution, simply in order to grab market share. The respect for customer choice rules that each brand must be able to continue its presence on the market as before, competing openly and freely, and not be compromised by any kind of centralised control beyond the choice of paperclips. Similarly, each product management decision must be to the benefit of everyone involved, with solid, applicable reasons for it. An ecosystem will evolve, and deliver its own promises, but it won’t be the only reason to buy from the Focusite Group.

It’s a new era. Beautiful as they were, in the 1980s Focusrite only sold – only made – two Forte consoles ever, at a time when the luxury recording market was in decline. Dudderidge stepped in then, and has continued to steer Focusrite to this point, a point at which the industry is about to recalibrate audio output as never before.

In one sense, sound reinforcement is a tight bottleneck of point source and line array exit points, all that clever processing covering a tiny percentage of air space. The rest of it – every nook, cranny and angle where people walk, breathe and listen – is just waiting to be filled. Rite here, rite now, you could say.

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Martin Audio

CHINESE PUBLIC SECURITY BUREAU INSTALLS MARTIN AUDIO

CHINA: Martin Audio speakers have recently been installed in a large conference hall of a Chinese public security bureau. The systems were selected by the bureau to enhance the audio experience during important meetings and events with improved speech clarity, as well as by minimising background noise. The aim was to create an immersive sound environment in which all participants would be able to clearly hear and understand proceedings.

The manufacturer’s TORUS constant curvature line array speakers have been implemented, with a pair of T1215s and a T1230 flown on both sides of the stage as the main speakers. The series features adjustable horizontal coverage which allows the performance of the speakers to differ greatly in terms of tone and coverage efficiency.

Additionally, two double 18-inch PI218 subwoofers from the Martin Audio PI series join forces with four 12-inch PI12 full-range speakers which are used as fill speakers, along with four 12-inch LE100 coaxial monitor speakers at the entrance of the stage. The compact LE series utilises the CDD coaxial differential dispersion technology, which has been designed to deliver penetrating sound and is compatible with traditional monitor speakers.

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Martin Audio

MARTIN AUDIO’S MAJOR STAGE BOOST AT LIQUICITY FOUR-DAY DANCE FEST

NL: Last summer, Dutch drum ‘n’ bass fans were served up a major treat when the four-day Liquicity Festival again took place at the Geestmerambacht Park in the north of the Netherlands. The programme featured a vast roster of international DJ and live dance acts.

The consolidated, multi-stage event—whose roots date back to 2013—attracts daily attendances of up to 20,000. Returning for their second year, Martin Audio rental partner DSL equipped no fewer than seven stages with premium systems over the four days.

Stated DSL Director, Gert-Jan Gomes, “At Liquicity 2023, where we supplied all feature areas with Martin Audio PA, we were able to keep the audience immersed in high quality sound, while at the same time restrict off-site noise to a level within the permit. As a result of this achievement, we were asked to return for the 2024 edition.”

In descending order, the main stage was named Galaxy, followed by Solar, Lunar, Nebula and Temple. “The setup was similar to last year, except the Nebula stage was five times bigger than the last edition,” explained Gomes.

Their hardest task was during the daytime programme when they had to adhere to strict offsite noise regulations. “This was not easy because in terms of measurement, the wide spectrum of Drum & Bass has a differential between dBA and dBC[weighting scales] that can easily reach up to 20dB. But being able to make use of Martin Audio’s WP series provided the ability to project maximum sound to the audience within the field area while keeping off-site noise firmly in control.

We received many compliments from DJ’s and visitors.
Gert-Jan Gomes, DSL

“On top of that, the use of a cardioid sub array provided the rear rejection we needed in the lower frequencies to deliver maximum impact on the audience.”

Thus on the main Galaxy stage they featured two 10-box hangs of the flagship WPL as the main PA, with 24 SXH218 in a cardioid sub array. Two delay hangs were set with six-box WPC and four SXH218, six TORUS T1215 provided frontfill and six Blackline X12 delivered surround sound. On stage, six Martin Audio LE1500 wedges were available for reference monitoring, underpinned by a pair of Blackline X118.

Solar stage featured two six-box WPL hangs as main PA with 28 WS218X in a castellated sub array. Delays comprised two six-box WPCs on a Layer platform; frontfills consisted of four W8LMVDQ and outfills a pair of four-box MLA Mini with MSX subs. For stage monitors a pair of Martin Audio LE1200, four LE1500 and a pair of Blackline X118 subs were provided.

“For the Lunar stage we used the older W8C series, and here we experienced some difficulties,” explained Gert-Jan Gomes, taking up the story. “The permit required us to use a cardioid setup for the subs whereas the promoter thought it was cool to have the audience wrapped around the DJ booth. Therefore we had to make use of the older W8CS to deliver some low end at the back of the booth—which managed to maintain the tonal balance beautifully, with respect to the levels stated in the permit.”

Meanwhile, Nebula featured two stacks of six W8LM, with six SX218 cardioid subs, Blackline X12+ as outfills, and a pair of Blackline X12+ as monitors.

Temple used four Martin Audio FlexPoint FP12 each side, with four SX218 subs and a pair of LE100 for reference monitoring. Four X12 were mounted in the Spiegel Tent, and ancillary areas such as the Food area saw another eight FP12 being deployed, with further Martin Audio Blackline+ sound reinforcement for the campsite, entrance, Yoga space and workshops areas.

For the smaller areas DSL were supported by fellow Martin Audio partner Stairway Productions, who provided additional speakers.

Throughout the event, DSL worked with Westerveld Advies, who were responsible for all off-site noise monitoring. Due to constantly changing wind directions, it was necessary to have frequent communication in order to respond quickly, adjusting levels where necessary to avoid noise pollution.

In conclusion, Gert-Jan Gomes confirmed, “We received many compliments from DJ’s and visitors afterwards, on the even coverage and tonal balance of all the stages. As the echoes of yet another sensational edition fades away, attendees are already aching to experience the next chapter of Liquicity!”

Stated promoter Mark van der Schoot (who also performed in his stage name, DJ Maduk), “As an organisation Liquicity benefits from the best possible experience for the public—and that’s high sound levels with a well-balanced sound across the entire audience. With these sound systems we are able to achieve that.

“It is important for DJs that their performance reaches the audience so that they can enjoy it optimally. And we have received many compliments from DJs and visitors about the sound.”

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Martin Audio

ELEVATING SOUND EXCELLENCE WITH MARTIN AUDIO AT EPIK

UAE: Pulse Middle East has completed a ground-breaking audio-visual installation at the exclusive Epik Club, situated in Dubai’s Meydan Grandstand, setting a new standard for audio excellence in night club venues.

Based in the UAE and serving clients across the MENA region and beyond, Pulse MEspecialises in AVL Integration for nightlife, museums and places of worship.

Pulse’s long-standing relationship with Martin Audio dates back to the team’s touring days. The journey began with the W8L Longbow while the LE1500 wedge monitor, with its unparalleled clarity, further cemented the preference for Martin Audio products.

This extraordinary PA transforms any space into a concert hall, delivering sound just as it was intended to be heard.
Joe Chidiac, Pulse Middle East

This time Pulse’s team chose to work with the Wavefront Precision WPS system at a venue that is set on 25,000sq. ft of space—a decision driven byseveral compelling factors.

The WPS system’s clarity and natural sound quality immediately impressed them. What stood out was the midrange clarity that required no additional EQ adjustments, delivering flawless audio straight out of the box. This capability not only simplifies set-up but also ensures consistent performance across different environments.

“The WPS stands out not only for its technical specifications but also for its ability to reproduce sound with such fidelity and transparency,” said Sammy Bachour, Pulse’s head of audio. “This makes it an ideal choice for high quality audio projects.

The deployment of 12 WPS units per side created a powerful environment at Epik Club, capable of handling the dynamic range and complexity of the performances. The system delivered clear and balanced sound throughout the venue, ensuring that every listener, regardless of their position, enjoyed an exceptional audio experience.

Additionally six WPM units were utilised alongside SX115 subs as DJ monitors. This ensured that the DJ had the same high quality audio experience as the main PA system, providing a consistent and accurate reference. This not only enhanced the DJ’s performance but also elevated the overall sound quality of the events at Epik Club.

“It’s a masterpiece, bringing music to life with perfect authenticity,” concluded Joe Chidiac, managing partner of Pulse Middle East. “This extraordinary PA transforms any space into a concert hall, delivering sound just as it was intended to be heard.”

The installation at Epik—which holds over 1,000 people—not only met, but exceeded expectations, showcasing WPS as a top choice for high quality audio installations.

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Martin Audio

WPM FOR FIJI’S WORLD HARVEST CENTRE

FIJI: Christian Mission Fellowship International (CMFI) is a rapidly growing church headquartered in Suva, Fiji. Established in 1990, its 30,000 members and missionaries serve in 120 countries across 5,000 churches worldwide.

CMFI is headquartered in Suva at The World Harvest Centre (WHC), where an impressive, round church building hosts over 3,500 worshippers, a full band, production, and a 100-member choir.

Since its construction in 1990, the centre has installed numerous sound systems; however, none have been able to overcome the challenges of the large reverberant space and the sound quality requirements of the growing church.

Enter Head Pastor Suliasi Kurulo, who finally decided that the time had arrived to call in the professionals and deliver the dream to its members. After many proposals and CAD models, Suliasi, his production crew and the committee awarded the project to Carey Leghorn from CVAV Australia, based on a Martin Audio solution.

Carey, together with Anthony Russo from Technical Audio Group, Martin Audio’s Australian representative, made several visits to WHC to evaluate the scale of the project and create a design that would meet the brief’s requirements.

From Carey’s viewpoint, “This project was one of the most difficult I had ever worked on. We faced several challenges, from working at 15m heights for PA rigging to custom steel fabrication on site. Additionally, we had to install several kilometres of cables through a complex roof structure. Also, much of the fabrication had to be done in Australia with no room for error once the project was containerised and sea freighted.”

Choosing the final speaker design involved hundreds of hours of modelling, with the final decision to use a Martin Audio Wavefront Precision line array system.

Once I saw it hang together in place, it was a dream moment for me.
Anthony Russo, Technical Audio Group

The services are major concert events with 3,000-plus people singing, supported by a full band and choir. Therefore, the system had to achieve SPLs generally associated with an international touring act. “I believe every seat needs to be the best seat, all while trying to keep an eye on a budget. There is a fine line where you can’t compromise,” says Anthony.

Martin Audio’s DISPLAY prediction software was used to design a 56-cabinet WPM system, which proved the optimal solution. The main hang consists of a 32-cabinet left and right system in two-box resolution, along with a 10-a-side WPM operating in one-box resolution mode.

The system is underpinned with two stacks of six Martin Audio SX218 subwoofers per side—each individually processed.

Despite the challenges posed by the rigging and structural steelwork, the CVAV crew achieved the seemingly impossible feat of hanging a centre cluster and allowing beam steering of the sub-cluster, thereby implementing a textbook solution.

“Once I saw it hang together in place, it was a dream moment for me,” commented Anthony. “It’s extremely rare to get subs in that position in churches, where projectors, sightlines and roof weight loadings often constrain you. This results in compromised split left and right subs and the inevitable power alley and off-axis cancellations.”

The choir stalls are covered with eight individually amplified and processed CDD12 two-way cabinets from Martin’s coaxial CDD range, ensuring maximum coverage and performance. The main console provides a tailored mix send depending on the choir’s requirements.

An eight-cabinet Blackline X12 delay system was installed to complement the main PA. This enhances the overall experience for the rear congregation and optimises the coverage of the main arrays to the main seating area.

Three CDD10 speakers across the stage apron supplement the front rows to complete the main system. The stage is covered by a foldback system comprising six LE100 wedge monitors.

The tech team were able to report wholly successful results after completing the objective measurements and carrying out a subjective analysis.

Anthony Russo points out that only experienced ears could make the final decision on system balance. Pure measurements alone will never suffice. “A half dB here or there, or a fine ratio adjustment on a compressor, can make all the difference. Well-engineered systems, if aligned correctly, respond to even the slightest changes. Even then, you need to keep checking what you think you hear vs what the measurement mic shows you.”

D-Day arrived and culminated in one of the biggest moments for not only the church but also for Fiji, with many island dignitaries in attendance and streaming to thousands online.

Anthony Russo personally addressed thousands on stage and, in an emotional speech, praised the church’s vision. Importantly, he stressed that this project was not about cutting-edge technology and outstanding quality, but the congregation could now truly appreciate the sound of their musicians, choir, and preachers.

In conclusion, he said, “This location had become a place of learning inspired by a team, welcomed like family by its people and, in turn, willing to share their knowledge for future generations. Simply put, The World Harvest Centre ‘University’ had arrived.”

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Martin Audio

FOCUSRITE GROUP OPEN DAYS CONTINUE TO BUILD MOMENTUM

Martin Audio, with sister brands, Optimal Audio, TiMax, Linea Research and OutBoard, are joining forces once again for their successful Open Day programme over three days at their facility in High Wycombe.

Sessions run from September 3-5, from 9.30am-5.30pm on the Tuesday and Wednesday with a half-day programme on Thursday. All brands will feature with either audio demonstrations or presentations and as part of a series of educational modules.

Martin Audio will be running a separate point source demonstration, constant curvature and line array demonstration, as well as a stage monitor demonstration, and will also have in-depth training on DISPLAY 3 prediction software.

TiMax will showcase immersive audio solutions and will also be offering introductory software training, while Optimal Audio will be demonstrating multi-zone commercial audio as well as offering comprehensive training opportunities. Linea Researchwill be presenting an overview of their amplifiers and electronics as well as offering training on their System Engineer 8 control software. Finally, OutBoard will present an overview of their motor control and rigging solutions.

Free parking is on site and refreshments are served throughout the day.

There will also be plenty of opportunity to interact with staff and undertake tours of the factory, while refreshments will be available throughout the day and lunch is available on demand.

Visitors who have not already registered should do so without delay at:https://martin-audio.com/events/september2024opendays

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