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Martin Audio

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

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

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

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

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

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

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

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

Vytautas Stasiukaitis

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

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

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

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

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

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

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

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

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

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

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

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

Thanks to

Distribution Partner: Audiotonas
Integration/Installation Partner: Audiotonas

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Martin Audio

DIANJIANG PEONY FESTIVAL CONCERT BLOOMS WITH MARTIN AUDIO WPL

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

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

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

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

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

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

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

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

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

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

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Martin Audio

SWG EVENTS EXPANDS MARTIN AUDIO WPL INVENTORY WITH IMMEDIATE MOBO AWARDS DEBUT

NLD – Bristol-based event production company SWG Events has continued its investment in Martin Audio with the addition of a further 24 WPL large-format line array elements, bolstering an already extensive inventory that spans WPL, WPC, WPS and TORUS systems.

SWG’s relationship with Martin Audio stretches back many years, with a large-format journey that began with Martin W8LC, and then in 2022 – driven by post-COVID demand – a significant investment in 24 WPL, alongside XE500 wedges and SXH218 subwoofers.

Since then, the company has continued to deepen its commitment to the Martin Audio portfolio, adding Wavefront Precision WPC and WPS compact and sub-compact systems, as well as the TORUS Series.

“When demand ramped up very quickly, it was a no-brainer to invest,” explains SWG’s Head of Audio, Simon Purse. “We would have been hiring all year, so it just made sense to invest in the company and let us scale up.”

For Purse the rationale of ownership is clear, providing multiple operational advantages to the company and its clients: “Owning the inventory gives us far greater control. We’re not tied to availability, prep time or additional hire costs, and it allows us to be more competitive and flexible for clients.”

WAVEFRONT PRECISION IS A VERY FLEXIBLE SYSTEM THAT SCALES TO ANY APPLICATION

Simon Purse, SWG Events

The latest addition of a further 24 WPL elements was, again, demand-led. “Looking at the calendar and the way the year was shaping up, we really needed to do this to manage the workload coming in,” he says. “We’re still hiring additional stock where needed – but we’re now able to run multiple large-format stages simultaneously, and we can combine all the WPL, WPC and WPS systems for even larger events.”

The scalability of the Martin Wavefront Precision ecosystem allows for deployments that can be tailored to any venue size. “Wavefront Precision is a very flexible system that scales to any application,” says Purse. “In terms of voicing, they just get bigger, louder and a little lower, but they’re very consistent. If you use WPC on outhangs for WPL, for example, when you walk across the stage you get a very even response. They work extremely well together.”

Outside the summer season, SWG maintains rental relationships with various partners for term-time installations. “The WPS goes into Cardiff Students’ Union during term-time, for example, and comes out to join the other systems for the summer,” Purse explains.

SWG’s amplifier inventory has also grown in parallel, with around 30 iKON amplifiers now in stock. “The optimisation, networking and control all work exactly as we need,” he describes. “And support from Martin Audio is excellent – on the rare occasions something does go wrong, it’s how it’s handled that matters, and they always deliver.”

The expanded WPL rig was put to work almost immediately, deployed just a week after arrival, at the MOBO Awards at Manchester’s Co-op Live Arena.

The system at the MOBOs comprised 16 WPL per side as main hangs, with a further 12 per side on outhangs, 20 Blackline X12s handling front fill along the thrust, 18 SXH218 subwoofers in a broadside array – nine wide, double-stacked – with TORUS providing stage side-fills and XE500s on wedge duties.

Reviewing the event, Purse praises WPL’s pattern control and effective rear-rejection. “Even in the Co-op Arena – a very modern but acoustically dry space – when you stand behind the array you’re listening to the room, not the array directly.”

As Production Manager for the event, Rob Smalldon, Production Director at Marvellous Incorporated Ltd, noted the dynamic power of the WPL system. “The performance in the arena was fantastic,” he says. “It delivered an incredible physical presence – like being massaged and slapped in the face at the same time.”

SWG’s diary is filled with festivals throughout the summer, many at historic sites where Martin’s noise control tools become essential. “At certain historic venues we have to be very specific about how we set the system up – there are listed artefacts, windows and structures we need to be very careful of,” Purse explains. “Setting Hard Avoid in Martin Audio’s DISPLAY software means we’re able to satisfy noise consultants and councils while still delivering great results in the venue. It’s about the skill of our technicians, but it’s also thanks to Martin Audio’s hardware and software combination.”

Deployment efficiency is another key advantage. “It goes up really quickly and comes out really quickly,” he says. “We can pre-rig angles if we have the system design in advance, and while we always tweak things on site, it’s very fast and very safe. It’s a very elegant solution.”

For SWG Events, the focus remains firmly on growth. “The trend for us is more large-format, bigger shows,” concludes Purse. “We’re always pushing to deliver high-quality, high-end production, that’s our expertise. It’s just about managing how many of those shows we can run simultaneously in house and with this latest Martin WPL investment we’re able to do more.”

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

Thanks to

Distribution Partner: Ampco Flashlight Sales
Integration/Installation Partner: Bremer Media and Events

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Linea Research Martin Audio Optimal Audio TiMax

MARTIN AUDIO JOINED BY TIMAX, LINEA RESEARCH AND OPTIMAL AUDIO AT INFOCOMM 2026 WITH EXPANDED DEMO ROOM EXPERIENCE

USA – Martin Audio returns to InfoComm 2026 in Las Vegas (16–19 June) alongside sister brands TiMax, Linea Research and Optimal Audio, with an optimised presence on Booth N6833 and a curated showcase in Demo Room N112.

The Demo Room takes attendees through four real-world applications – Hospitality, Sports Venues, Auditoria and Worship – demonstrating how Martin Audio delivers coverage, consistency, and control to address venue challenges. These applications are brought to life by projection mapping and immersive audio from TiMax, while also showcasing how spatial audio can bring a further dimension to the audience experience in a venue.

On the booth and in the demo room, Martin Audio presents the US tradeshow debut of the award winning BlacklineQ, the first in its class to offer differential dispersion, helping to deliver controlled coverage in multiple deployments. Similarly, the evolution of the flagship Wavefront Precision optimised line array series is also showcased. The upgraded enclosures offer full IP54 rating with corrosion-resistant coatings and UV stability, while new in-grille LED indicators – popularised on TORUS – make individual cabinets identifiable via VU-NET.

INFOCOMM 2026 WILL SHOWCASE THE INDIVIDUAL STRENGTH OF THE FOUR BRANDS

James King, Marketing Director

Back by popular demand, theFlexPoint Pitstop Challenge returns across all four show days with daily prizes. This lively competition complements the wider series of FlexPoint enclosures on the booth, highlighting the speed and ease of set up, and FlexPoint will also feature in the demo room.

Linea Research debuts its newly launched NSC Series of compact network system processors to the US audio Market. Linea Research is the heartbeat of an audio system and this three-model range – NSC24, NSC46 and NSC48 – delivers exceptional sonic transparency at a 96 kHz input sample rate, with analogue, AES and Dante connectivity. Visitors can also get hands-on with System Engineer 8, the intuitive control software bringing expanded control across the wider Linea range.

TiMax demonstrates its full spatial audio and show control ecosystem in a dedicated immersive setup on N6833, taking visitors into TiMax panLab for fast, effective and low cost immersive audio design while TiMax SoundHub delivers the ultimate in powerful and flexible spatial processing and show control, supported by TiMaxTrackerD4for real-time performer and object tracking. The booth showcase will also highlight the latest third party OSC integrations available to TiMax SoundHub users, including SpatAI.

Optimal Audio, meanwhile, will showcase their recently announced Column speakers, Column 8 and Column 16, designed for indoors and outdoors with everything needed for an install included in the box. Both Column models integrate natively with Optimal Audio’s Zone controllers and the recently announced WebApp 1.6, and the whole booth is designed as an operational venue so that integrators can experience first-hand the full strength of the Optimal Audio ecosystem.

Summing up, Marketing Director James King says, “Across the booth and in the demo room, InfoComm 2026 will showcase the individual strength of the four brands but also highlight how in combination they can provide powerful integrated solutions for venues.”

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

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Martin Audio

BREMER MEDIA AND EVENTS STEPS UP WITH MARTIN AUDIO TORUS

NLD – Bremer Media and Events, a leading AV rental company based in Rotterdam, has significantly bolstered its high-end audio inventory with the acquisition of a flexible Martin Audio TORUS sound system. As technical experts for a diverse range of large-scale events and co-managers of the Onderzeebootloods venue in Rotterdam – a former submarine wharf – Bremer required a solution that could meet the demands of a colossal industrial venue while remaining agile enough for more intimate deployments.

Bremer is not a traditional rental house. Since their recent acquisition of FrameWave, the company has shifted focus to provide comprehensive creative event design and technical support – offering a complete service from idea to technical execution.

“We offer a very broad range of services, where AV is an essential part of the bigger picture,” explains Bremer Media and Events Operations Director, Rick van der Vegt. “Our ambition with the Martin Audio investment was to guarantee consistent quality and be less dependent on the rental market. We were looking for a scalable sound system, capable of handling large-scale events with ease.”

The search for the ideal solution for their needs began two years ago, through a referral to Ampco Flashlight Rental, Martin Audio’s distributor in The Netherlands.

THE BEAUTY OF TORUS IS ITS INCREDIBLE SCALABILITY

Rick van der Vegt, Bremer Media and Events Operations Director

Martijn de Jong of Ampco Flashlight Sales picks up the story: “Bremer decided it was time for the next step. Previously, they often had to rent equipment for larger jobs but wanted their own scalable, high-end audio under their management.”

Rick van der Vegt attended several demo events at Ampco Flashlight’s studio in Utrecht to put the TORUS system through its paces, and impressed by its sonic signature and versatility, subsequently invested in a comprehensive package.

Bremer’s inventory now comprises 6x T1215 and 2x T1230 constant curvature array elements, 8x SXC118 cardioid subwoofers, and 6x FP12 FlexPoint loudspeakers, all powered by 5x iKON IK42 4-channel amplifiers.

“The beauty of TORUS is its incredible scalability,” notes van der Vegt. “One day you are deploying a small sub-top set for a seminar; the next, everything is rigged together for a major production. That is exactly the flexibility we were looking for. Depending on the brief, TORUS allows for a powerful front-facing array or a distributed system across a wide area.”

In addition, rider acceptance was a decisive factor. “The price-performance ratio is excellent, and it is a system that is widely accepted by visiting engineers,” he adds. “We can now facilitate small festivals with absolute confidence.”

The system has seen immediate action, ranging from events as diverse as high-profile corporate meetings at the Onderzeebootloods, to the high-energy environment of the Rotterdam Marathon.

Martijn de Jong concludes, “Whether it’s a high-impact DJ set, a live band, or a business conference, the combination of TORUS T1215 and T1230 cabinets ensures dispersion and impact are always exactly as desired.”

Reflecting on the successful investment, Rick van der Vegt praises the collaboration: “The process with Ampco Flashlight was exactly the way we like it – approachable and down-to-earth. Martijn speaks our language, and his advice helped us find the perfect match for our needs. Now we are proving it in practice.”

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

Thanks to

Distribution Partner: Ampco Flashlight Sales
Integration/Installation Partner: Bremer Media and Events

Click here for original article.

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Martin Audio

KIIT Bhubaneswar Hosts 61st Femina Miss India Grand Finale with Beauty, Brilliance, and Martin Audio WPL Sound!

IND – KIIT Bhubaneswar presented the 61st Femina Miss India at KIIT Cricket Ground, Bhubaneswar, bringing one of India’s most prestigious pageant platforms to Odisha with grandeur, elegance, and national attention. The event celebrated talent, confidence, personality, and stage presence, creating a memorable evening for the audience and participants. Sadhvi S. from Goa was crowned Femina Miss India World 2026 and will represent India on the global stage at Miss World. Rajnandini Pawar from Maharashtra was named Femina Miss India 2026 – 1st Runner Up, while Advaita from Jammu & Kashmir was crowned Femina Miss India 2026 – 2nd Runner Up.

For a production of this scale, Foress Sound and Light Professionals deployed a Martin Audio FOH system featuring WPL line array elements and SXH218 Hybrid® horn/reflex subwoofers. The WPL system delivered long-throw clarity, strong vocal intelligibility, and consistent coverage across the cricket ground, while the SXH218 subwoofers provided powerful low-frequency depth for music, walk-ins, stage sequences, and high-impact moments. Together, the system ensured that every announcement, performance, and celebratory moment was presented with the clarity, energy, and professional sound quality required for a landmark event like the 61st Femina Miss India.

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

Thanks to

Distribution Partner: VMT Enterprise
Integration/Installation Partner: Foress Sound and Light Professionals

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Martin Audio TiMax

Breaking barriers in 360°

A dancer supports the upright bass, played by Patrick Phillip
Image courtesy of No Limits, Hong Kong

When the UK-based Paraorchestra performed at Hong Kong’s No Limits festival, it transcended the realms of a conventional touring production. Caroline Moss reports on the boundary-defying concerts

The Paraorchestra was founded in 2011 by British conductor and musical polymath Charles Hazelwood to improve the integration of disabled people into music and the performing arts. He felt that while talented musicians with disabilities existed in abundance, including his own daughter, they lacked meaningful professional opportunities. Just a year after Hazelwood announced the formation of the Paraorchestra at a TED conference, it participated in the London 2012 Paralympics Games ceremonies, playing alongside Coldplay at the closing event. Since then, the orchestra has evolved into an ensemble which commissions original works and explores unconventional formats while breaking down barriers.

A defining piece in the Paraorchestra’s repertoire is The Nature of Why, composed by Goldfrapp’s Will Gregory. The composition draws inspiration from Richard Feynman, the Nobel prize-winning physicist whose interviews explored the deeper meaning of questioning itself. Gregory structured the work into nine movements, each responding to fragments of Feynman’s reflections on the nature of “why”. Front of house engineer Simon Honywill, who’s worked with the orchestra since 2018, has been advancing the sound design for The Nature of Why for each outing.

“Even though we might not have seen each other for several years, when everybody comes together it’s just joyous,” says Honywill. “I feel very much a part of the ensemble, and it was particularly exciting being involved from the start. I would sit with Will as he was literally composing it on the spot, while the choreographer was working with the musicians, and it evolved before my eyes. And I had a lightbulb moment when I was struggling with how I was going to come up with a sound design that worked, because almost all the performers were going to be mobile.”

DPA miniature mics mounted on the wrists of marimba player Harriet Riley
Image courtesy of No Limits, Hong Kong

Honywill’s idea was to present the performers in the round in the same space as the audience members, who would be free to move between musicians and interact with them or simply stand back to take in the ever-changing performance. However, this came with its own set of challenges, namely, how to reinforce singers and musicians who are constantly on the move and deliver a sense of direction to help the audience locate a soloist or singer. Early iterations of the show attempted to solve these using overhead microphone grids and zoned reinforcement, effectively creating an “acoustic bubble”. While functional, Honywill felt that the result lacked precision and clarity; the mix felt diffuse and performers struggled to hear their performances clearly via a monitoring system which was also the PA.

“As the show developed, it became apparent that it was very special as it was so connected to the audience, because they’re up close and personal to all the action,” he continues. “You might be standing there watching somebody dance and a massive marimba is suddenly wheeled past you, and Harriet Riley, who’s playing it, is lifted up in the air. The idea behind the sound system wasn’t necessarily to make it big and loud, it was about giving people directional clues as to where the action was.”

So, when the Paraorchestra was booked to play at Hong Kong’s No Limits festival in March, Honywill decided to up the ante by adopting TiMax spatial audio technology to track the performers as they moved around the space. Every year, from February to March, No Limits showcases music, dance, theatre and film programmes by international and local artists of different abilities. This was an ideal platform for showcasing the Paraorchestra’s mission of reimagining the relationship between artist and audience.

“Charlie Hazelwood was determined to give the show a bit more spatial information, so I went away and did some research, realising that the only way to go, really, was to use a TiMax immersive sound solution,” Honywill continues.

For the five performances of The Nature of Why, staged at Hong Kong’s Kwai Tsing Theatre in Kowloon, a 15m-diameter, circular performance area was surrounded by a ring of seven Martin Audio FP12 loudspeakers at a height of 2.5m, augmented by an SXCF118 cardioid subwoofer. Above, six TiMax Tracker D4 tracking sensors in the grid triangulated the real-time positions of performers and key instruments. Using the TiMax SoundHub alongside TiMax Tracker, the production team transformed the show’s sonic architecture. Around 20 mobile sound sources were fitted with trackers, with some performers equipped with multiple units; the marimba alone required three to reflect its physical scale. Signals from Honywill’s microphones of choice – DPA 4061 and 4099 miniatures – were routed individually to the TiMax system via Dante, bypassing conventional subgroup mixing. This was appreciated not just by the audience but by the musicians, who reported being able to hear themselves clearly within the ensemble despite constant movement, improving confidence and musical precision and enhancing performances.

The audience inhabits the same space as the Paraorchestra performers
Image courtesy of No Limits, Hong Kong
L–R: Viola player Siobhan Clough and electric harpist Steph West
Image courtesy of No Limits, Hong Kong

“While the audience members were free to walk outside of the performance area, all the action took place within the circle,” explains Honywill. “Using TiMax to track the performers did one of several things: it provided really good directional information, but the musicians could hear themselves really clearly. Using a system like TiMax, every source has its own unique amplitude and phase relationship to the sound system. There’s no problematic phase interaction between sources, so the clarity is exceptional, and gives that positional information within the space. The show is an intense, emotional experience and the music is a very unusual combination of instruments.”

The ensemble encompasses an 11-piece string section, solo viola, upright bass, marimba, French horn, electric guitar, two percussionists, two singers, clarinet, keyboard and electric harp. The percussionists play an array of instruments from temple bells and chimes through to bongos and bass drums. Shure Axient radio microphone systems, together with additional infrastructure, were provided by the venue, with local crew adapting to unconventional deployment methods, including DPA 4061 microphones mounted on the wrists of percussionists to maintain proximity across multiple instruments.

The local crew did a good job of understanding the accuracy required in loudspeaker and microphone placement, providing all the radio equipment and managing the radio mics,” says Honywill.

A Yamaha Rivage PM5 console positioned outside the performance circle was used to mix the five shows. During rehearsals, Honywill made adjustments on an iPad from within the space itself. While the TiMax equipment travelled with the production, the Martin Audio loudspeaker system was supplied by the British manufacturer’s APAC sales agency, Generation AV. As well as providing the speakers, Generation AV also provided local expertise in the shape of technical manager Jeremiah Joseph. “Jeremiah acted as my system tech and TiMax engineer; he was a valuable addition to the team and very talented,” says Honywill.

“TiMax has given the performance a new dimension – it’s made the sound such an essential part of it, enabling me to elevate the whole thing sonically to a new level and giving it a bigger energy. It’s not devastatingly loud, but the difference between being within the loudspeaker system and outside it, from an energy point of view, is very marked. You’re either in the show or you’re out of it.

A visually impaired attendee explores a bass clarinet played by Lloyd Coleman

“It’s taught me a lot about spatial mixing – it just gives everything its own space in the mix. Having a unique phase and amplitude pathway from each source to the loudspeaker makes a huge difference to what actually comes out of the speakers. And, from an audience point of view, it’s actually a lot easier to listen to.”

This was borne out across the five shows spanning three days, plus an open dress rehearsal, where audience reactions were consistently intense, according to Honywill. Generation AV’s director David McKinney invited 15 regional clients to one of the shows. “I did a presentation afterwards and they were, to a person, completely blown away,” recalls Honywill. “One veteran consultant was actually moved to tears.”

Up to 250 audience members per performance inhabited the same 15m-diameter circular space as the performers, free to roam within the performance circle.

The crowd were free to move between musicians, dancing and interacting with them, or standing back to take in the ever-changing performance. Moments of spontaneous intimacy were common, including one when a young child followed viola player Siobhan Clough through the space, eventually becoming the sole audience for a personal rendition. In another, a visually impaired attendee explored a bass clarinet through touch while it was being played by Lloyd Coleman, experiencing its vibrations physically.

“Every show is different, and that is largely down to the way people react,” Honywill explains. “The audience don’t know what to expect but, when they realise what they’re involved in, it generates an amazing buzz.”

Ultimately, The Nature of Why demonstrates that when barriers fall away, something extraordinary becomes possible. It functions as a lesson in how technology can deepen human connection rather than distract from it by the seemingly simple method of removing barriers, whether between differently abled musicians or between performers and audiences.

Click here for original article.

Categories
Linea Research Martin Audio

RADIO RIOT BRINGS BIG GIG SOUND TO THE PUB CIRCUIT WITH NEW MARTIN AUDIO BLACKLINEQ SERIES

UK – Radio Riot are a three-piece pub and function band delivering Britpop and guitar-driven covers spanning five decades. Like the best function acts, they bring the same energy and ambition to every show regardless of venue size. And in choosing a truly portable sound system capable of consistently delivering a big gig sound, lead singer and guitarist David Preston turned to Martin Audio’s new Blackline Q Series of loudspeakers.

Preston has been playing with bassist Luke Stephens and drummer Dean Fowler since the age of 19. “We did originals, covers, and an Oasis tribute band over the last 25 years together but around 9 years ago stopped because life got busy,” he explains. “We all missed it, so we got back into it last year with Radio Riot.”

For Preston, who brings a professional audio background to the project, production standards are non-negotiable regardless of the venue. “We want to create a big gig feel,” he says. “Everything is mic’d up no matter what the venue, whether it’s a small function room, a cricket club or a pub. We want the full show, every time.”

That ambition extends to the backing tracks, which incorporate keyboards, strings and synths. “When we’re doing songs like ‘Bittersweet Symphony’ or ‘Town Called Malice,’ we need those strings and keyboards to land properly,” he notes. “We spent a year and a half building the show before we played our first gig.”

In search of a PA capable of delivering that big-gig impact from a system that could also fit in the boot of a car, Preston turned to Martin Audio’s BlacklineQ – a new series of passive loudspeakers driven by a Linea Research 44M06 amplifier.

EVERY VENUE WE’VE PLAYED, THE BLACKLINEQ COVERS THE SPACE EXACTLY AS WE NEED IT TO

David Preston, Radio Riot

“With self-powered systems, you sometimes hit limiters too early,” he explains. “Stepping up to external amplification gives you much more headroom and quality and allows us to control the PA far better.”

The portable rig comprises a pair of Blackline Q15 tops and a pair of Blackline Q118 subwoofers.

The Q15 is capable of a peak SPL of 133dB, featuring a 15-inch LF driver with a 4-inch voice coil and a 1.4-inch exit HF compression driver with a 3-inch dome. Its 70°– 90° horizontal × 50° vertical Differential Dispersion horn ensures wide, consistent coverage across the audience area.

Completing the system, the Q118 is an 18” compact, high-performance subwoofer extending low-frequency response down to 38Hz, with a peak SPL of 136dB.

“I love the top-end clarity that the Q15 delivers,” says Preston. “And because we always mic up the full backline, the subs handle whatever we throw at them. The PA handles the whole band even when we have all the synths, keys, or full-range horn parts on the track as well, and we can still break the system down easily and load it into our cars.”

That portability and handling are important for a band loading in and out of venues quickly. “It’s a system we can put up and power on quickly,” he says. “The subs are light enough to lift into a car on your own, and even the 15s aren’t unreasonably heavy—it’s essentially a one-man operation. What we’re running now is smaller than we had before but delivers the same power with considerably more clarity.

For system control, Preston runs Martin Audio’s System Engineer 8 software on a tablet, using the Linea Research amplifier’s onboard DSP for system EQ. “I do my main overall PA EQ within the amp rather than the mixer. The quality is more accurate and simply sounds better,” he explains.

Ultimately, it is the sound that defines the system’s success. “Every venue we’ve played, the BlacklineQ covers the space exactly as we need it to,” says Preston. “They’re really good-sounding speakers with great definition.”

For Preston, the investment speaks for itself. “If you’re willing to spend a little more over a mid-range self-powered system, it really makes a difference,” he concludes.

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

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Martin Audio

ARC COMMUNITY ELEVATES WELLNESS WITH MARTIN AUDIO CDD SOUND EXPERIENCE

UK – Arc Community is redefining the wellness club in the heart of London’s Canary Wharf, combining relaxation and contrast therapy within a vibrant, social setting. To create a soundscape capable of moving seamlessly from calm, unobtrusive daytime ambience to DJ-driven evening sessions, Arc turned to integrator Evolve Install and Martin Audio’s CDD Series loudspeakers.

“It’s a very fresh concept, there hasn’t really been anything like it in the UK on this scale,” says Elliot Patterson of Evolve Install. “It’s quite an amazing space.”

Focussing on contrast therapy – the alternation between intense heat and cold exposure to activate the body’s natural stress and relaxation responses – the venue features a vast communal sauna seating up to 65 people, multiple ice baths, and a beautifully designed lounge area for relaxation and socialising.

Music plays an essential role throughout the venue, but it was in the Lounge that Patterson’s team faced their most specific acoustic challenge: designing a sound system capable of shifting seamlessly between gentle background music for wellness sessions and the powerful output demanded by DJ sets.

“It’s a multi-functional area that needs to be calm and relaxing during the day but capable of a big, immersive sound at night,” he explains. “They have sessions called ‘Arc After Dark’, which are evening socials where DJs come in on certain nights.”

The Arc After Dark events – “blending the invigorating power of contrast therapy with immersive soundscapes and aromatherapy” – transform the venue into a sauna party for up to 95 people.

To meet the audio demands, Evolve Install specified a combination of four Martin Audio CDD6 loudspeakers, supported by a compact Martin Audio SX210 subwoofer.

“The CDD6 is such a versatile box; it’s a six-inch driver but it’s incredibly punchy for its size,” continues Patterson. “The cabinet design just works.”

The Lounge itself is a square room, with seating arranged in a circle for breathing exercises and meditation, and maintaining a clean aesthetic was essential.

“We didn’t want anything to take away from the aesthetic of the space,” says Patterson. “The CDD6s are very discreet – you can walk in and you won’t even notice them – but when you turn the system up, it sounds massive.”

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

Thanks to

Integration/Installation Partner: Evolve Install

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BG EVENTS DEPLOYS HUGE MARTIN AUDIO WAVEFRONT PRECISION SYSTEM FOR BSW ARENA SHOW

HUN – Budapest-based production company BG Events recently deployed what is believed to be the largest total hang for a single event of Martin Audio’s Wavefront Precision series. A total of 120 line array elements from the WPL, WPC and WPS series, together with 36 SXH218 subs, were specified for BSW at the Papp László Arena.

Celebrating two decades since BSW first formed in 2006, the #BSW20 tour marks a defining moment for the group, charting their journey from the underground hip-hop scene to the summit of Hungary’s live music industry as one of the country’s premier stadium-level performers.

It was BG Events’ extensive experience of working at the Papp László Arena – Hungary’s premier venue for international touring artists – that helped secure their involvement.

Bácskay Gábor Mazsi, System Tech at BG Events, begins the story. “We hadn’t worked with the band before, but the production team were aware that we had delivered numerous shows at the arena and were very familiar with the venue.”

Having deployed Martin Audio MLA for many years, the company upgraded its inventory to Martin Audio’s latest-generation Wavefront Precision Series in May 2025.

“When we talked with the BSW team about using WPL rather than MLA, they were very happy with it,” notes Mazsi. “The Martin Audio WPL is very similar in character, and also has zero feedback to the stage. This makes bands and sound engineers happy because when they come from rehearsal and start sound checking, nothing sounds different in their ears. I’m personally also very happy with the WPL sound image.”

ALL THE BOXES IN THE WAVEFRONT FAMILY WORK SO WELL TOGETHER

Bácskay Gábor Mazsi, BG Events

The Papp László Arena presents a formidable acoustic challenge, not only in terms of throw lengths but also due to an unusual asymmetric design.

“The first challenge is definitely distance,” Mazsi explains. “The arena is 120m long from the stage front to the last seats. But oddly the building is also asymmetrical, with two seating tiers on the left and three on the right.”

BG Events knew the Wavefront Precision solution would deliver the extensive and uniform coverage required. The final system design comprised 18 WPL array elements per side as main hangs, all driven at one-box resolution. To address the venue’s differing tier heights, the outfills comprised 12 WPL on the left and 14 WPL on the right.

First delays featured a further eight WPL per side, whilst second delays comprised eight WPC Series array elements per side to reach the far end points. Fourteen WPS models acted as front fills, configured in 4 x 3 and 1 x 2 box stacks, with a further six WPS per side deployed as flown sidefills.

“All the boxes in the Wavefront family work so well together – the filters, amplifiers and DSPs are the same, and the characters are all the same,” Mazsi confirms.

Low-frequency reinforcement – critical for the hip-hop performance -was provided by a total of 32 Martin SXH218 subwoofers. Two arrays of six were flown 1m behind the main PA, with a further 20 ground-stacked in ten pairs, with the bottom unit reversed in cardioid configuration.

“We used the ’40ms left-right cancellation’ for the flown subs. It worked really well in this venue,” describes Mazsi. “The ground-stacked ones had 70cm spacing and opened 60 degrees by time. The flown subs were powered by amps in bridge mode, whilst the ground stacks used one amp channel per box.”

The entire system was powered by iKON iK42 amplifiers. “The iK42s have a separate DSP for each amplifier channel, which is very convenient – you can set any sub timing or front fills,” says Mazsi. “The large hangs work well with six to nine amps, and if you were to have any issues, you can just hot-swap any of them, so you don’t lose the whole array.”

On-site, the WPL’s new faster rigging method and simplified cabling proved invaluable for the crew: “We prepared the correct length of breakouts in advance, then it was very simple to hang four WPLs cart by cart. We configured the setup and loaded the presets to the iK42s in the warehouse.”

Ultimately, the WP system delivered on all fronts. “FOH engineer Péter Agárdi was very happy with the result,” Mazsi confirms. “The show ran from 94 dB up to 100 dB, with excellent consistency and clarity throughout.”

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

Thanks to

Integration/Installation Partner: BG Events

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