IND – Ashoka University’s Banjaara 7.0 transformed its Sonipat campus into a lively destination for music and cultural celebrations, welcoming students and visitors for one of the university’s most anticipated annual events. The evening’s headline performance by Nikhil D’Souza, supported by OX7GEN and an accomplished lineup of musicians including Aditya Ashok, Zohran Miranda, Beven Fonseca and Nathan Thomas, created an atmosphere that demanded concert-quality sound. Hosted at the university’s open-air Frisbee Field and supported by realme to promote the realme 16 5G, the event required an audio system capable of delivering high intelligibility, powerful dynamics and reliable performance across a large outdoor audience area.
The Front of House audio system was built around Martin Audio WPL line arrays with SXH218 Hybrid Horn/Reflex subwoofers, all driven by Martin Audio iKON iK42 power amplifiers. The system delivered exceptional vocal definition, balanced tonal response and impactful low frequencies while maintaining even coverage throughout the venue, ensuring every member of the audience experienced the concert with remarkable clarity and impact.
Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc
Performing to a capacity crowd at the seafront Hove Lawns location in Brighton, an artist line-up including Groove Armada, Jocelyn Brown, and DJ Todd Terry headlined the Glorious Day festival. Delivering high-quality sound reinforcement alongside optimised noise control in a sensitive residential environment was a Martin Audio WPC system, deployed by dBS Solutions.
The scalable system comprised 10 x Martin Audio WPC array elements per side as the main hangs. Providing significant low-end performance was a castellated array of 10x Martin Audio SX118 subwoofers, configured in a cardioid set-up.
“Hove Lawns on the seafront is a very long, thin area with the beach to the audience’s left and rows of flats and shops along the road to the right,” describes Chris Bogg of dBS Solutions. “The nearest residence is in line with one side of the stage, at a distance of only 60m. Fortunately, the Martin Audio broadside cardioid subwoofer array is fantastic at being able to control noise off to the sides, and we were able to use Hard Avoid features within the software to dramatically reduce noise behind the main array.”
MARTIN AUDIO DELIVERED A FANTASTIC RESULT FOR US AND THE CLIENT, NOT TO MENTION THE FESTIVAL’S NEIGHBOURS!
A greater challenge for the team was a residential and commercial area situated on one side just beyond the far reaches of the 80m-long site, requiring careful placement of the delay systems. “We had two MLAC delay systems along that left-hand side happily firing almost across the audience and out towards the sea,” Chris continues. “The city-facing delay was angled in more than you ordinarily would, specifically to keep those high frequencies from spilling beyond the boundary of the site.”
Across the event, dBS Solutions utilised Martin Audio’s DISPLAY optimisation software to create multiple levels of coverage predictions. By experimenting with different optimisations and collaborating closely with the local noise control team, they delivered a perfect balance of on-site impact within the stringent off-site noise limitations.
Chris praises the performance and accuracy of these Martin Audio processes: “Our journey has always been towards being able to do our biggest work, which is the festival work, and to be able to optimise the systems – and I think Martin Audio do that better than most. They are the originators of that process, level of control, and scalability.”
The scalable nature of the Wavefront Precision platform has proved invaluable to the rental company. “One of the major things for us when comparing Martin Audio against other products on the market was the scalable resolution,” notes Chris. “As a rental company, I can own lots of amplifier racks; one day I can deploy them in a one-box resolution for a premium audio system, and the next event, if we don’t have off-site noise problems, I can deploy it in a two-box resolution and use those amplifiers on another site.”
At Glorious Days, the system performed exactly as expected, with Chris concluding, “Once again, Martin Audio delivered a fantastic result for us and the client, not to mention the festival’s neighbours!”
UK – Goodlife Festival at Harewood House in Leeds built on the sell-out success of its inaugural event last year, returning on Saturday 6 June with an increased capacity to welcome up to 10,000 festival-goers. With a stellar main stage line-up including Armand Van Helden, Groove Armada, Alison Limerick, Roger Sanchez, and Inner City, event production specialist dBS Solutions provided a sound system to match the expanded festival scale with the deployment of a flagship Martin Audio WPL line array system.
Initially slated for a WPC system, the rapid growth in ticket sales prompted dBS Solutions to upgrade the system design. dBS Solutions Director, Chris Bogg, explains: “We won the tender on WPC, but when ticket sales for Leeds started rising and the capacity increased, we re-examined the site. Martin Audio’s DISPLAY software was a fantastic tool because it allowed me to show the client, ‘Look, you’ve opened up this audience area. If you want it to sound consistent, we’re going to need a delay tower, and we might need to look at making the main hang WPL instead of WPC.’ It was an incredibly helpful tool for guiding them through those choices.”
With an audience area approaching 100 metres, the final system comprised front hangs of 10 x Martin Audio WPL array elements per side, paired with a castle-wall cardioid sub-array of 14 x SXH218 subs. To ensure seamless coverage to the back of the site, a single delay tower of 6 x Martin Audio WPC array elements was deployed, including a cardioid-configured stack of 3 x SXH subs. Ground-stacked Martin Audio TORUST1230 outfills covered the sides, while Martin Audio FP12s sat on top of the castle-wall sub-array as front-fills.
THE SCALABILITY OF THE SYSTEM IS BRILLIANT AND IT ALWAYS SOUNDS AMAZING.
On stage, a high-performance monitoring package featured Martin Audio XE300 wedges, with DJ-fills consisting of two SXC subs with an FP15 FlexPoint Series cabinet on each side of the performer.
“We got great coverage from the system and plenty of sub,” confirms Chris, and praises the accuracy of Martin Audio’s DISPLAY software in designing and optimising the system: “What we really like about the Martin Audio software is that it is super accurate. What you are looking at on screen is genuinely what you get on-site.”
Managing noise limits across the site required close cooperation, with Chris describing a highly collaborative approach between artists, engineers, and the on-site noise management team throughout the event. “The noise management team would come back and forth to check on other tents, and if we were approaching the limit, we’d back it down a decibel or two. We would check in before the headliners went on to see what headroom we had left before hitting any off-site noise. While we didn’t have a lot left to give in terms of off-site noise limits, there was tons of headroom in the PA itself. Giving them that extra decibel or two really livened it up and they were very pleased with the sound of the system.”
This year dBS Solutions is celebrating its 20th anniversary in business. Asked about his highlights, Bogg is quick to respond: “The people we get to work with make this a really nice way to make a living – the many incredible artists over the years, and the freelancers, contractors, and site teams we get to collaborate with. We are entirely about our team and working collaboratively with others.”
That collaborative approach extends directly to the company’s long-standing partnership with Martin Audio. “Our journey with Martin Audio has progressed from smaller boxes like WPM and WPS to WPC and WPL, allowing us to scale up to these large-scale festivals,” Chris explains. “What really sealed it for us when we bought our first optimisable array was the scalable resolution. With Martin, you can step toward it. As a rental company, that means I can own a pool of amplifiers and deploy them at one-box resolution on a high-stakes gig where we need absolute off-site noise control, or run them at two-box resolution for a standard gig and use the remaining amplifier channels to run a second system on another site. The scalability of the system is brilliant and it always sounds amazing.”
USA – Set against the scenic backdrop of the Berkshire Hills in Becket, Massachusetts, Jacob’s Pillow Dance Festival is America’s longest-running international dance festival. Founded in 1931 by modern dance pioneer Ted Shawn on a historic 220-acre farm, this National Historic Landmark District welcomes thousands of global visitors each summer. To support its diverse, world-class lineup of international choreographers and artists, the Festival’s Ted Shawn Theatre – originally opened in 1942 as the first performance space in the US designed exclusively for dance – has been equipped with a complete, state-of-the-art Martin Audio sound system.
Designed around Martin Audio’s Wavefront Precision WPM Series line arrays, the system was specified and supplied by New Jersey-based Audio Inc.
“This is the first year we’ve taken on full production in the venue,” begins Stephan Wojtecki, Head of Audio at Audio Inc. “When Edward Tolve, our Operations Manager, and I did the walkthrough, as soon as we walked into the room, we knew: WPM, 100% WPM.”
Audio Inc.’s introduction to the Martin Audio Wavefront Precision line originally began with an installation project. “We had an installation at the time in a high school auditorium. We realized WPM was an incredibly good-sounding product. After that job I immediately knew we had to do more with it.”
Subsequently, the company approached their local Martin Audio representative when they needed a versatile, scalable setup for rental applications. “I approached Martha Callaghan when we were looking to invest in a small-format PA that could scale from small-to-mid-size rental events. After talking with Martha, we looked closer at WPM, which also led to a conversation about WPS, and we made a major purchase of both a couple of years ago.”
Fast-forward to this summer’s Ted Shawn Theatre deployment, where the team performed a complete system redesign, modelling the space top-to-bottom using Martin Audio’s DISPLAY software.
WE’VE BUILT OUR MARTIN AUDIO INVENTORY TO THE POINT WHERE WE HAVE ALMOST THE FULL LINE NOW…
The ultimately specified system comprises six WPM cabinets per side, supplemented with a flown SXC115 cardioid subwoofer in each array. To address a challenging rear mezzanine – where the front-of-house audio mix position is also located – Audio Inc. deployed a pair of Martin Audio TORUST820 constant curvature arrays as delay positions, while ultra-compact FlexPointFP6 cabinets serve as front infills. The entire system is powered by six Martin Audio iKON multi-channel amplifiers running over a Dante network.
“The system sounds so warm and musical, even at a distance,” describes Wojtecki. “That’s often the general description I get when people hear Wavefront Precision or most Martin Audio boxes for the first time. The venue has a clean-sounding, perfectly tailored array that – importantly for dance – is so discreet people hardly notice it is there.”
Christopher Marc, Jacob’s Pillow Audio Supervisor, adds: “People are appreciating the upgrades in clarity and tone without it being overbearing. Our rigs in the past have relied on volume for ‘clarity’, thus eliminating any real dynamics in the room. This system has allowed us a huge improvement in clarity at any level.”
With their system design, Audio Inc. has also been able to solve long-standing coverage issues. “The top of the steeply-raked rear mezzanine is where they had the biggest coverage problems,” Wojtecki explains. “The TORUS T820s filled in very nicely in the software. When we did our final tuning, we watched the Smaart traces as we blended in the delays and they filled in the gaps perfectly. It was very rewarding. They are voiced so well with the WPM that the transition is totally seamless, and overall we have it down to a 3dB variation from front to back.”
The stage monitoring package is designed to fulfil the high-energy demands of the performers. Audio Inc. specified four Martin Audio CDD-LIVE 8 coaxial differential dispersion speakers per side, paired with compact SX212 subwoofers, alongside Martin Audio XE500 floor wedges when “throw-and-go” capabilities are required.
“Everything blends together nicely and creates a highly uniform sound field across both the audience and the stage,” Wojtecki confirms. “The rear-rejection of the WPM array is incredibly helpful for a proper dance monitor setup. Because of that rejection, it feels like you have two separate systems: one for the stage and one for the audience, working together to create a linear field. That was one of the biggest appeals to them – having proper coverage on stage that sounds voiced identically to what the audience hears out front.”
Wojtecki describes the effortless tuning process: “All I had to do was time-align everything and apply a tiny bit of corrective EQ on the delays and front fills. If you measure the room correctly and input the exact data into the DISPLAY software, the results just work – especially in single-box resolution. Nine times out of ten, you don’t have to touch it.”
While the system design setup primarily stays consistent throughout the Festival, the WPM’s flexibility allows the team to adapt to specific rider demands. “The Akram Khan Company have a specific ‘mountain’ scenic element on stage from which the sound needs to be localised,” explains Wojtecki. “We added an additional centre WPM array and delayed the entire PA back to that spot. We also supplemented the low-end with two additional SX118 subwoofers on each side for the immense soundtrack of the production.”
“As Jacob’s Pillow grows as an organisation to facilitate and support all kinds of dance, this investment signifies a huge lift in support for that mission, and the idea that live sound and design is a significant part of dance,” notes Marc, adding, “Audio Inc. has taken the time to truly invest in what we are trying to do. They have provided a huge support system to us by listening to our needs, responding to them, and making the appropriate recommendations.”
Hands-on with the system, engineer Mads Hamilton is also effusive in their praise: “I could not be happier with the system and the team that has worked alongside us to install it. All interactions I have had with Audio Inc. have prioritised the operation of our systems to their fullest capacity and the quality of audio for Jacob’s Pillow patrons. Stephan’s patience, kindness, and availability to our team has made my job as the engineer exponentially easier. I am looking forward to the remaining weeks of the Festival getting to play with this stunning system.”
The final words come from Stephan Wojtecki: “We’ve built our Martin Audio inventory to the point where we have almost the full line now: CDD, FlexPoint, TORUS, and Wavefront Precision. Our clients love the sound quality, the business just keeps growing, and Jacob’s Pillow is a true demonstration of this. It has been an incredibly rewarding experience to see the system and our team deliver so successfully for this world-renowned event.”
Photography: Photos Hannah Murphy; courtesy of Jacob’s Pillow.
NLD – Dutch rock band Van Dik Hout, one of the Netherlands’ most successful and enduring acts, recently brought their acclaimed live show to Amsterdam’s AFAS Live as part of their ongoing touring schedule. Since breaking through in the mid-1990s with iconic songs such as Stil In Mij, the band has earned a reputation for powerful, emotionally charged performances. Long-time audio production partner DSL Geluids- & Lichtverhuur deployed a Martin Audio Wavefront PrecisionWPL system at AFAS Live and throughout the tour, providing consistent, high-performance sound reinforcement.
Due to a long-standing relationship with the band and its production team, DSL has a detailed understanding of their expectations and workflow. “Our scope extends far beyond supplying a PA system,” explains Gert-Jan Gomes, Director and Co-Owner of DSL. “We maintain and prepare the touring package, transport the equipment between shows, manage storage and logistics, and provide technical support throughout the production cycle.”
The sound system must faithfully reproduce the band’s signature sound while providing the flexibility to adapt to everything from intimate theatres to large outdoor festival stages. “The primary requirement for the tour is to deliver a consistent, high-quality production regardless of venue size,” says Gomes.
DSL operates one of the largest Martin Audio rental inventories in the Netherlands, with WPL forming the backbone of their large-scale event and touring systems. “Over a twenty-year period, Martin Audio has become the foundation of our loudspeaker inventory and an integral part of our approach to live sound reinforcement,” explains Gomes.
For the Van Dik Hout tour, Martin Audio WPL arrays were selected for their ability to deliver exceptional vocal clarity, high output capability and consistent coverage across large audience areas. Depending on venue size and audience geometry, the system could be scaled while maintaining the same sonic signature and overall performance. At the AFAS live venue, a total of 32 WPL cabinets were deployed.
THE CORRELATION BETWEEN THE SOFTWARE MODEL AND REAL-WORLD PERFORMANCE IS REMARKABLY ACCURATE
“One of the major advantages of the Wavefront Precision platform is the ability to optimise individual enclosures within an array,” notes Gomes. “We can precisely control how energy is distributed throughout the audience area. This allows us to achieve excellent consistency in both SPL and frequency response from the front row to the rear of the venue. For a touring production such as Van Dik Hout, where every venue is different, this is particularly valuable.”
Low-frequency reinforcement is provided by Martin Audio SXH218 hybrid horn-loaded subwoofers.
“Low-frequency performance plays a major role in any Van Dik Hout production,” Gomes explains. “While the band is known primarily for its strong songs, powerful vocals and guitar-driven sound, the impact and energy of the rhythm section are equally important in creating the live experience audiences expect. At AFAS Live we deployed twenty-four Martin Audio SXH218 hybrid horn-loaded subwoofers, configured as twelve cardioid stacks of two cabinets high. The stacks were positioned across the front of the stage with approximately one metre spacing between each stack, creating a broad and evenly distributed low-frequency source.”
Front-fill coverage was provided using Martin Audio TORUS constant-curvature loudspeakers, ensuring a seamless transition between the front rows and the main arrays. The entire system was powered by Martin Audio iKON amplifiersand managed through the manufacturer’s advanced optimisation platform.
“A key design objective was consistency,” says Gomes. “Whether the band performed in a theatre, concert hall, festival tent or outdoor festival environment, the audience should experience the same powerful, detailed and balanced sound. The combination of WPL, SXH218, TORUS and IKON amplification allowed us to achieve that objective while providing the flexibility required by a modern touring production. The cardioid configuration significantly improved rear rejection, creating a more comfortable working environment for the musicians and reducing unnecessary low-frequency build-up behind the array.”
For DSL, the accuracy of Martin Audio’s DISPLAY software modelling is cited as a major advantage: “The correlation between the software model and real-world performance is remarkably accurate,” Gomes describes. “When we deploy a system based on a Martin Audio prediction model, we know with a high degree of confidence what the outcome will be before the first measurement microphone is connected.”
DSL credits the success of the tour to both the technology and the preparation involved in flagship arena schedules. “Projects of this scale demonstrate that successful deployment is about much more than loudspeaker performance alone,” Gomes says. “It requires a combination of detailed preparation, experienced personnel, efficient logistics and reliable technology. The WPL platform proved to be an important part of that process, delivering both the sonic performance expected from a flagship Martin Audio system and the operational efficiency required for a demanding arena production schedule.”
The feedback from the band’s production team and engineers was extremely positive, noting in particular the headroom and vocal intelligibility of the WPL arrays.
“For us, one of the best indicators of success is when nobody is talking about the sound system during the show,” Gomes concludes. “The audience is focused entirely on the performance, and the technology simply supports the experience. That was certainly the case at AFAS Live.
“The event once again confirmed that WPL is not only a powerful loudspeaker system, but a complete solution. The combination of prediction software, optimisation tools, efficient deployment and outstanding sonic performance allows us to deliver the same high standard whether we are working in a theatre, an arena or on a major festival stage.”
Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc
USA – Moorestown Friends School is a coeducational Quaker day school in Moorestown, New Jersey. Founded in 1785, it serves students from age three through to Grade 12. The school’s 48-acre campus blends historic structures with state-of-the-art facilities, recently bolstered by a newly installed Martin Audio TORUS sound system in its main auditorium.
To facilitate the upgrade, the school turned to New Jersey-based live event and system integration specialists, Starlite.
“We’ve been proud to partner with Moorestown Friends School on multiple projects over the years, providing professional AV, rigging, and lighting solutions tailored to their needs,” explains Starlite’s Nick Minieri. “When it came time to upgrade their ageing sound system, in particular to enhance both sound quality and consistency of coverage, the school once again called on us.”
Starlite immediately recognised the acoustic challenges of the space, which features wide, curved reflective surfaces and cavities along its rear wall. And it was these challenges that led to Starlite’s first deployment of Martin Audio’s TORUS constant curvature line array, a system specifically designed to overcome such difficult acoustic environments.
WE KNEW MARTIN AUDIO WOULD NOT LET US DOWN ON SOUND QUALITY…
“We have used Martin Audio speakers in the past but this was our first deployment of the TORUS Series,” confirms Minieri. “We knew Martin Audio would not let us down on sound quality and that this was the perfect application for the product. We were not disappointed.”
The final system design comprises two flown hangs, each featuring 2 x TORUS T1215 and 1 x TORUS T1230 array elements.
“Having the consistency of a good sounding array we were able to focus on tuning the room and not “correcting” the EQ of the boxes themselves,” notes Minieri.
The main arrays were supplemented with a Martin Audio SX218 dual-18in subwoofer to significantly enhance low-frequency response.
“Sub is often a requirement for the theatre spaces that we work in so the soundscapes that our end users create are immersive and utilize the entire frequency spectrum,” he adds. “It also means that the venues can comfortably support a traveling music group or host events such as their own battle of the bands.”
The entire system is powered by a pair of Martin Audio iKONiK42 amplifiers. “The iKON amps are great because they have heaps of power and, of course, pair perfectly with Martin speakers.”
For this project, the iKON amplifiers were also utilized for their onboard DSP to handle all room tuning. “This was fantastic to eliminate a failure point and have the ability to save our customer the extra cost of a dedicated audio DSP processor that comes with control system features were not needed in this application,” describes Minieri.
The final installation represents a significant, future-proof upgrade that has fundamentally transformed the venue’s audio performance. “We were confident we could deliver a system to support the school’s performances, assemblies, and community gatherings for years to come,” concludes Minieri. “Thanks to the Martin Audio TORUS system, the school now benefits from clear, full-range sound to every seat in the house.”
Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc
UK – James Morrison has embarked on his “20 Years of Undiscovered” UK and Ireland tour, supported by 22Live and a Martin Audio WPC Wavefront Precisionsound system.
The 22-date run celebrates the 20th anniversary of Morrison’s debut album, Undiscovered. The tour features performances of the No. 1 album in full, alongside hits spanning his career. Supporting Morrison and his band, 22Live has deployed a scalable Martin Audio WPC solution.
“I’ve known Yaron Levy – the tour manager and FOH engineer – for around 30 years,” says Paul Timmins of 22Live. “We first met when he was monitor engineer for Simple Minds in the ‘90s. More recently, we’ve worked closely with him in his role as tour manager for UB40.”
Planning for the tour began in October 2025, following a successful short run of dates earlier that Spring. The production required a system capable of delivering the natural, warm tonality essential for Morrison’s vocal- and guitar-led performance.
“Yaron wanted a very natural sound,” Timmins explains. “He has used Martin Audio with Simple Minds and Ocean Colour Scene and likes the warmth it provides, but he wasn’t as familiar with Martin’s newer products.”
THE 100-DEGREE DISPERSION IS FANTASTIC FOR THEATRE SPACES
To evaluate the WPC platform, Levy attended an Australian Pink Floyd show at Birmingham Symphony Hall. “He really liked the audio and the overall package,” continues Timmins. “From there, I designed a rig that would provide the necessary flexibility for the one-truck tour.
The system comprises up to 24 WPC elements (12 per side), flown on single points with four grids to allow for flexibility in smaller venues, enabling boxes to be ground-stacked if required. Low-frequency reinforcement is provided by 12 SXCF 11818” subwoofers, ground-stacked typically in configurations three high and two wide depending on the venue. Fill is provided by Martin Audio’s TORUS constant curvature arrays – with four TORUS T820 for lip fill and four TORUS T1230 elements for in- or out-fill duties.
System Tech on the tour is 22Live’s Chris Wilcock. Having progressed rapidly through the company after starting in the warehouse during his university degree, this tour marks his first full run as lead FOH system tech. Supporting him is Maria Head, who oversees stage operations and supports the monitor engineer.
“My growth into this industry has been really organic and well supported by 22Live and the people running it who trusted me,” begins Wilcock. “There’s a very close team of people on this tour who have been working together for a long time. There’s a good vibe between the crew and artist, everyone looks out for each other. It’s a great tour.”
“The WPC performance is remarkable,” he says, “And it’s versatile enough to fit into venues of varied sizes. The rigging system is fast and smooth; it takes no time to get it in the air and back down on the floor. The 10-degree rigging angles give me the flexibility to design a better system for each room and reach the more challenging audience areas over or under balconies. It’s also a very light box for the power that it has.”
The WPC’s consistent wide dispersion is a huge benefit given the varied nature of the venues. “The 100-degree dispersion is fantastic for theatre spaces where points can be in some very awkward places,” he says.
“The T820 front fills we use are a perfect size to sit aesthetically on the edge of the stage without affecting sightlines,” Wilcock adds. “They produce a very defined sound to bolster James’ vocal on the front rows.”
Martin Audio’s software is deployed to further enhance the performance. “The non-audience and hard avoid functions on DISPLAY work really well,” Wilcock describes, citing Cambridge Corn Exchange with its glass balcony front as a good example. “Hard avoiding that surface successfully reduced reflections in the room and was able to steer HF back into the audience area. I’m impressed by how much the software can do and improve difficult spaces.”
Concluding, Paul Timmins is in no doubt of the Martin Audio WPC’s suitability and performance. “In my opinion, the 12-box WPC hang is ideal for the largest UK theatres,” he says. “You might open the PA up a little more than you would with a deeper hang, but that’s where the Martin Audio system excels – you get superb vertical coverage and consistency.”
Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc
USA – Fellowship Bible Church (FBC), located in Sewell, New Jersey, serves hundreds of families across Gloucester County. Its busy programme of worship services, youth activities and community events has recently been enhanced with the installation of a Martin Audio TORUS sound system in its multi-purpose gymnasium.
The gymnasium is one of the church’s most flexible spaces, regularly hosting church gatherings, youth group events, community wellness programmes and live worship. However, its existing sound system was no longer able to meet the demands of the room, prompting Fellowship Bible Church to turn to local AV integrator Starlite to design and install a modern replacement capable of delivering significantly improved clarity and coverage.
“Large, open gymnasium spaces are known for poor acoustics,” says Starlite’s Nick Minieri. “Hard surfaces, exposed structure and high ceilings create reflections that make speech hard to understand and music difficult to control.”
To achieve the consistent coverage required, Starlite specified a Martin Audio TORUS constant curvature line array system, taking advantage of its ability to direct sound towards the audience while minimising energy directed onto the walls and ceiling, where unwanted reflections occur.
WE WANTED SOMETHING THAT WOULD BE RELATIVELY LIGHTWEIGHT AND EASY TO HANG
“The constant curvature design of the TORUS system allows for even coverage across the listening area, which was critical in this space,” says Minieri.
Acoustic treatment also formed an important part of the installation. Impact-resistant absorption panels were installed along the walls, while additional acoustic hardware was used to minimise reflections from the exposed steel roof structure.
Practical installation considerations also influenced the final specification: “We wanted something that would be relatively lightweight and easy to hang, and we wanted it to be passive so we didn’t need to install new electrical boxes.”
The final system comprises two flown hangs, each array featuring 2 x TORUS T1230and 1 x TORUS T1215 elements, supplemented by a Martin Audio SX218 dual-18in subwoofer. Four Martin Audio CDD15 loudspeakers provide delay coverage while also allowing the space to be configured into multiple audio zones. Power is provided by Martin Audio iKONiK41 amplifiers.
“The CDD paired nicely with the TORUS as delay speakers as their voicing is so similar,” explains Minieri. “But we also used them in a divisible room configuration and a side configuration, giving the space three distinct stereo sound system options depending on how the client wants to use the space.”
The SX218 subwoofer delivers the low-frequency extension required for contemporary worship services and live music performances. “This space is being used as a worship space with a live worship band, so the sub was a must-have to support the bass and kick drum,” Minieri notes.
The completed installation has transformed the gymnasium into a highly capable multi-purpose venue, providing consistent, intelligible audio across a wide variety of applications.
“Fellowship Bible Church now has a gymnasium that functions as a true multi-purpose space,” concludes Minieri. “Speech is clear, music translates well, and events can shift throughout the week without technical limitations getting in the way.”
Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc
UK – The recent Live at Chelsea concert series took place over five nights in June within the courtyard of London’s historic Royal Hospital Chelsea, attracting audiences of more than 4,000 each evening. Providing the sound reinforcement was leading UK rental company 22live, which deployed a comprehensive Martin Audio system comprising WPC main arrays, TORUS front fills and WPS sidefills.
Founded by King Charles II and designed by Sir Christopher Wren, Royal Hospital Chelsea has been home to the Chelsea Pensioners since 1692. With the historic buildings and iconic clock tower forming a striking backdrop, the events were staged in the magnificent Figure Court, a 17th-century courtyard that hosted a diverse line-up of artists, including Holly Johnson, Blue, Sparks, The Proclaimers and The Beach Boys.
MOST OF THE ARTISTS BROUGHT THEIR OWN ENGINEERS, AND THE FEEDBACK WAS CONSISTENTLY POSITIVE.
“It’s unusual because it’s an outdoor event, but the audience is entirely seated,” explains Paul Timmins, Hire Director, 22live. “There was tiered seating around the sides and at the rear, so it felt much more like a purpose-built theatre environment.”
With an audience area measuring approximately 75 metres square, 22live selected Martin Audio’s WPC Wavefront Precision line arrays as the main system, deploying left and right hangs of 12 cabinets per side.
To provide coverage across the relatively wide listening area, four Martin Audio WPS line array elements were ground-stacked on grids as outfills, while six TORUS T1230 constant-curvature array elements delivered front-fill coverage. Low-frequency reinforcement meanwhile came from eight SXH218 dual 18-inch subwoofers, configured in a compact castellated cardioid array, with five cabinets facing forwards and three facing backwards. The entire system was powered by iKON series amplifiers.
“The audience area is bordered by large stone structures, so we wanted to minimise reflections from those surfaces,” says Timmins. “We also wanted to avoid directing unnecessary energy into the surrounding buildings wherever possible. Beyond that, the challenge was simply to achieve consistent coverage across the audience area as efficiently as possible.”
“It was an interesting event because each of the five nights featured a different headline artist, with a wide range of musical styles,” reflects Timmins. “Most of the artists brought their own engineers, and the feedback was consistently positive. Everyone I spoke to had good things to say about the system.”
Photography: Daniel Dobrovszki, Armin Speil, Oliver Toth, MateLeblanc
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.
“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
