Martin Audio


Soundworks of Virginia returned to the familiar 100-acre Maymont Park site in Richmond, VA to help stage the Richmond Jazz and Music Festival, an event for which they have provided sound reinforcement since 2017.

Working for promoter JMI (Johnson Marketing Inc) they fielded their flagship Martin Audio WPL optimised line array on the main stage, deploying hangs of 12 WPL elements on each wing. These were underpinned by 12 SXH218 in cardioid formation—a move largely designed to prevent the stage from vibrating—with a delay tower of eight smaller WPS elements, set around 275ft back and with four WPS deployed along the stage lip as frontfills. Monitors comprised four WPS loudspeakers atop a pair of SXC118 subs, mounted both stage left and right for sidefills, plus 12 of Soundworks’ own SW2 proprietary wedges.

Soundworks also equipped the second stage with 12 WPC per side with eight SXH218 subs in a centre cluster. Monitor provision again consisted of four WPS enclosures above a pair of SXC118 on each wing for sidefills plus 12 of Martin Audio’s powerful XE500 wedges.

Run from iKON multi-channel amplifiers in 2-box resolution, this provided the perfect setting for an all-star line-up headed by Chaka Khan to showcase their art.


Mike Ferguson, Production Manager, Richmond Jazz and Music Festival

Yet although Soundworks’ tech team has worked this site many times in the past, there is still work to be done in advance, and it is far from a case of simply applying existing site measurements, as founder and CEO, Steve Payne, explains.

“Maymont shows use a temporary stage—typically a Stageline SL320—and there are several different locations used within the park for concerts. Additionally, the stage is never placed in exactly the same spot each time which means the spatial definition of the audience area varies each time. We have found that the more accurate the audience area definition is the more accurate the results we achieve … and for that reason, in order to get the best results possible we opt to measure each time.”

He continued, “We go in once the stage is set in place and do our laser measurements. Then we use Martin Audio DISPLAY software to predict and optimise coverage.” Any time alignment adjustments are then carried out in a Lake LM44 processor.

For this event, the Martin Audio PA was required to broadcast evenly across around four acres for the main stage and two acres for the second. It was reported that around 14,000 people attended over the two-day festival.

As usual, Soundworks found they could run the system with minimal EQ. “As a matter of fact we only had one engineer—for Dave Koz—that wanted a small EQ cut,” reported Soundworks president, Grant Howard. “Then when I showed him that nothing else had been done to the EQ he laughed and made a flat line gesture with his hand, and said, ‘Well, that’s Martin Audio’”.

After the event, Mike Ferguson, production manager of Richmond Jazz and Music Festival, complimented the team on a successful deployment of the Martin Audio system. “As a producer of music festivals and concerts for over 30 years one thing is for sure, high-quality audio plays a critical role in delivering an exceptional audience experience. Great audio coverage means you need a system that can ensure the music reaches every corner of your audience.

“Soundworks of Virginia has always done a super great job for our audience when it comes to audio. The range of bands at the Richmond Jazz Festival requires a system that has a broad, flat frequency response and a wide dynamic range. The Martin Audio systems cover all the bases. There’s no area of the audience that isn’t properly covered. Exceptional experience delivered!”

Responsible for the success of the event were Soundworks’ Bryan Hargrave and Grant Howard, who handled the overall system design (Hargrave also took care of all the measurements in advance, as well as running the software and loading the amps. Day of show duties were carried out on the Main Stage by Grant Howard (FOH), Joe Carpenter (monitors), Brett Sipos (patch). Second Stage duties were entrusted to Bob McNichols (FOH), Bryan Hargrave (monitors) and Jay Holland (patch).

Martin Audio


Drum ‘n’ bass fans were given an event to remember when the three-day Liquicity Festival was staged recently in Geestmerambacht Park in the north of the Netherlands.

Begun in 2013 the first multiple day Liquicity took place in 2017 and today the event attracts daily attendances of up to 20,000.

Martin Audio partners DSL and Stairway Productions collectively provided several hundred enclosures, plus amplifiers and accessories, site wide. This notably included a massive deployment of WPL Wavefront Precision line arrays by DSL for the premier two performance stages—and seven separate zones in all (including the food court) spread across a site that was suitably draped and decorated for the occasion.

The main Galaxy stage saw 20x WPL left and right (in two box resolution), with 12x WPC for delays (also in two box resolution)and 21x SXH218 subs in cardioid (14 front-facing and seven back), with a further four W8VDQ for front fill and six Blackline X12 for outfill. These were powered by 17x IK42 multi-channel amps. On stage, six LE1500 were used for monitoring and two further LE1500 and a Blackline X118 were used on stage.

The second (Solar) stage saw 12x WPL stacked, with eight MLA Mini and MSX subs (as outfills). Four TORUS T1215 were used as front fill, with 20 WS218 and six SX218 subs. A further LE1500 and LE1200 wedge monitors, with a pair of X118 were used on stage, with all passive enclosures powered by nine iK42.


Martijn de Jong, Product Manager (Audio) at Ampco Flashlight Sales

On the third (Lunar stage) playback was through 12x Martin Audio W8C, underpinned by 18x WSX subs. Reference monitoring was again provided from a pair of LE1500 and X118.

For the Nebula stage, sound reinforcement turned to Blackline, with a pair ofBlackline H3T+, four WS218 and a pair of X15.

To equip other areas Stairway Productions dipped into several of Martin Audio’s other successful ranges, including CDD-Live 15 (for Temple), FlexPoint FP8 (for Mirror Palace) and TORUS T1215 (for the Mobile stage) … all with complementary subs.

According to Martijn de Jong, Product Manager (Audio) at Ampco Flashlight Sales, Martin Audio’s Dutch distributor, with three tented stages—the largest a circus ‘big top’ pumping out very loud music—noise control over the wider area was the real issue.

“The two largest stages ran in cardioid setup, which worked great and made sure the people living around the festival grounds had no noise pollution. Also, Wavefront Precision was tapered off towards the back of the site so that it was fairly quiet—and this did wonders for the noise control. But the advanced control you have generally with a Martin Audio system helped contain the sound.”

Rental company DSL has wide experience with Martin Audio systems and made a D3 drawing for the main stage (in Martin Audio’s proprietary DISPLAY 3 software) mainly to visualise the performance of the sub array as much as to predict the behaviour of Wavefront Precision. The cardioid set-ups, in combination with a dB(C), calculated by Event Acoustics, ensured that the event was able to stay within the confines of the permit.

For DSL, Gert Jan and Ad Gomes were project managers, and for Stairway Productions, it was Menno Smit.

The weekend, which saw Pendulum, Andy C and Dimension among the headliners, was an unqualified success. According to Martijn de Jong, it had been the first time the event had been staged with Martin Audio rig. “Despite having to build the system from the ground up, the process was pretty quick with the tools we have at our disposal in D3.”

He said both DSL and Stairway Productions received unqualified praise for the sound systems, the Liquicity promoters themselves expressing satisfaction with the sound, while Stairway Productions reported similar feedback from the areas for which they were responsible.

Martin Audio


Enjoying their third year of providing top quality sound at the South Facing Festival, Solotech UK found themselves working with a new production team … but the result was just the same.

The natural contouring of the 10,000-cap Crystal Palace Bowl amphitheater, coupled with the power and ultimate control of Martin Audio’s MLA multicellular array, once again provided a winning formula.

Method Events were the new incumbents this year, and for the production company’s award-winning co-founder Will Holdoway it was a welcome reunion with Solotech account manager David Preston. “It was a pleasure to be working again with David and the Solotech team for the first time since operating shows together at Drumsheds, North London until February 2022,” he reported.

Once again, the programme over the two weeks was top drawer, with—according to Preston—Noel Gallagher’s High Flying Birds providing the highlight. Also featured were Primal Scream and Jesus & Mary Chain, Rudimental Live, James & Happy Mondays, First Aid Kit, Raver Tots, Craig David and Sister Sledge.

Solotech UK fielded L/R hangs of 10 MLA and an MLD Downfill box on each side of the stage, while front fills comprised four MLA Compact and a pair of DD12. Subwoofers this year consisted of 12 MLX—six a side in end fire configuration (two stacks of three either side of the stage). The enforced change of sub design from the previous year was due to space limitations between the edge of the stage and the pontoons.

Nevertheless, stated Preston, this was without compromise. “The system worked really well and provided perfect coverage, with the HF showing its ability to throw to the top of the field more than any other box.”

Working once again with Matthew Baines from acoustic consultants, Vanguardia, they comfortably achieved offsite thresholds while delivering the necessary power for visiting engineers within the main bowl.

The person with the most challenging task of getting the optimum sound from Crystal Palace’s amphitheater contouring was system tech Rayne Ramsden. He set out with the same [Martin Audio] DISPLAY file due to the successful deployment of the MLA last year, adjusting only to take into account the change in subwoofer layout.

“A challenge faced in a natural amphitheater is the fact that the venue itself is shaped in a way that amplifies the audio coming from the stage, creating additional reflections both on and off-site,” he said. “Therefore, we needed to monitor how the PA was interacting with the venue and how that affected the level off-site very closely, In addition, there was a steel shield running the entire boundary length of the venue, creating additional direct reflections back towards stage.”

Hard Avoid had been great at mitigating all these reflections and was a very useful tool, he said, “particularly with the ability to reduce the level of audio offsite, since there are residents that back directly onto the boundary line.” He added, “The ability to control the offsite level without losing quality or intelligibility withing the coverage area, is always impressive with MLA.”

Method Events’ Will Holdoway agreed with the general wisdom of this deployment. “MLA is clearly still the system to beat for this venue with its combination of tight control yet significant high-end throw, filling the natural amphitheater with ease.

“We had a broader array of programming this year, with more electronic music shows, meaning that tight control was even more pertinent than in previous years.”

Other tech personnel involved in the Festival’s success included crew chief, Harry Garcia, stage tech, Isabella Di Biase and monitor engineer, Sam Cunningham.

Photo credit: Noel Gallagher.

Martin Audio


Despite train strikes and inclement weather, Brighton & Hove Pride 2023 enjoyed another successful year, raising money for the Brighton Rainbow Fund supporting LGBTQ+ groups and organisations within the local community, as crowds of around 250,000 people descended on the seaside resort. It is estimated that more than £25m was brought into the city’s economy over the Pride weekend.

With more than 150 LGBTQ+ artists performing across 12 different stages, attention was largely focused on the main ‘Fabuloso’ stage in the 63-acre Preston Park. Here first night headliners Black Eyed Peas were followed by Steps on the Sunday, with Solotech UK for the second year providing their flagship WPL line array.

Working once again alongside production manager Dean Parker, at Wilde Ones International Events, their sound design was based around main PA hangs of 18 WPL per side, with a stage right side hang of six of the smaller WPC, and a larger drop of 12 WPC elements stage left.

According to crew chief and system tech Joseph Pearce this was in response to general site sensitivity, and with the stage pointing parallel to the road, the proximity of the housing on the right side.

Eight of Martin Audio’s smaller WPS enclosures provided near fill coverage while low frequency extension was provided by 20 powerful 2×18 SXHF218 subwoofers, designed in a castellated cardioid broadside array across the front of the stage.

Solotech provided stage monitoring in the shape of 16 of Martin Audio’s popular LE1500 floor wedges, with six TORUS T1215 constant curvature arrays and four SXHF218subs on stage.


Joseph Pearce, Crew Chief

Set some 70 meters back from the stage were three delay towers. These comprised a further 24 WPS set across the three positions, with three SXHF218 subs on each mast providing LF.

Once again Solotech worked alongside Robert Miller of F1 Acoustics to set, and achieve, both the onsite and offsite sound thresholds, with audio crew chief and system tech, Joseph Pearce optimising the sound in Martin Audio’s DISPLAY software. Miller confirmed that the offsite level had been set at 78dB(A) Leq15 at the nearest problematic area.

Following propagation, Joseph Pearce set a firm strategy, setting relatively low SPL caps, rising incrementally to 100dB(A) for the headliners. “You have to give yourself room—you don’t want to experience a noise infraction early in a programme that starts at 2pm,” he explains.

With the presence of fairground carousels and the second stage/dancefloor tent set 300m in front of the main stage, ‘Hard Avoid’ function in the DISPLAY2 software was certainly put to the test, used judiciously and meticulously on all the hangs, even taking the precaution of avoiding potential reflections off vendors’ booths. However, the experienced crew chief—on his fourth outing at Pride—said they were able to call on last year’s measurements …”since we hadn’t moved the PA. The only slight adjustment took into account the fact that the bleachers were slightly smaller.

Martin Audio’s optimised platform, starting with MLA, has proven a real winner on such a sensitive site. “We did [Pride] one year wihout a Martin Audio PA and this showed in the results, which were poor.”

Joseph Pearce was supported at FOH by William Phillips, who confirmed the successful deployment of the various Wavefront Precision line arrays. “WPL displayed extremely even coverage right across the park—the drop-off was minimal and even with rather high winds and wet conditions, the HF was still extremely present.

“The close residential properties meant we needed to be considerate with levels, although no guest engineer found their mix to be limited, due to the sheer impact of the system. All were impressed by the overall sound, and this was helped by Martin Audio’s technology and offsite steering.”

The cardioid broadside set-up for the subs packed punch and impact without overpowering the mix, he said. “The low end was even across the field and a set of three subs in cardioid pattern at each delay tower allowed those at the back to experience a full mix as well. The cardioid array also helped with low end rumble on the stage which meant any wedge mixes were unaffected and allowed the monitor engineers to have a clean stage sound.”

In fact, down in monitor world Miles Jarrett and Alastair Hellard were on hand. Tim Grasse was stage technician along with Dan Holland, who was also patch engineer. Everything ran as smoothly at the stage end as at the FOH position, under the direction of stage production manager, John Pryer.

Solotech senior project manager Martin Connolly had confirmed last year that adoption of WPL at both Glastonbury and Hyde Park had paved the way for its adoption in Brighton.

Robert Miller agreed that this had resulted in a satisfactory outcome, adding that the site sensitivity had been even more profound since the police had closed off the main road running alongside Preston Park. “With no traffic there was nothing to mask the sound [towards the housing],” he said. “On the main stage itself there was no bleed as the sound was very well controlled, whereas with another system it could have been a lot worse. This was definitely the right system for the job.”

As a result Solotech UK were able once again to report highly positive feedback from the army of visiting FOH engineers in support of acts that included Mel C, Zara Larsson, Confidence Man and The Vivienne.

Martin Audio


Experimental Icelandic rock band, Sigur Rós recently embarked on a two-and-a-half-week tour of North America, complete with a 41-piece orchestra.

It marks the third phase of support from their audio rental company 22live, who earlier covered their 2022 world shows, followed by European summer dates (where the orchestral idea was first introduced) and now tour dates in the United States and Canada.

Each wave of dates has seen progressive iterations of Martin Audio sound reinforcement, culminating in monitor engineer Throstur Albertsson recently changing his monitor set-up for powerful XE500 wedges (to complement their IEM’s) but more significantly 18 of the manufacturer’s new FlexPoint FP4 for local orchestral monitoring.

Explaining the background, 22live hire director, Paul Timmins, who has a long relationship with Sigur Rós, said “We needed some tiny speakers for the orchestra. I’d got wind about FlexPoint and when I attended the Martin Audio Open Day in April I discovered that Ingvar Jónsson – Sigur Rós FOH engineer – was also planning to visit because of a side project with Martin Audio he was involved with. He was impressed with the FP4 and XE500 wedges and told the monitor engineer how great they were, believing the diminutive FP4s would be ideal for the orchestra.”

His colleague, Throstur Albertsson, duly adopted this solution for the orchestra foldback, but the challenge became one of timing. Martin Audio met the deadline by fast tracking the first production run in order to meet the first six orchestral shows in Europe.


Throstur Albertsson, Monitor Engineer

Throstur admitted to having been disappointed with elements of his traditional tiny monitors and readily acquiesced. “I was immediately impressed with how well FP4’s sounded, and the fact they are coaxial, with 100° dispersion, the tonality was really even. Mounting them was easy as I combined the tilt backet onto a mic stand and they do the job perfectly.”

Driven by his iK42s he is grouping the orchestra into eight sections, applying a separate mix for each of the groups. Asked about the XE500, he said “They are f***ing monsters … really loud, especially on something like the kick drum, albeit for the most part the band are on in-ears.”

For the US and Canada tour, as they have done with the recent Australian Pink Floyd tour, 22live shipped the entire audio inventory Stateside. As well as monitors, this also includes both Martin Audio TORUS and Wavefront Precision, marking a successful progression of the manufacturer with the band’s production team.

Martin Audio had been introduced by 22live for the first time at the Black Island production rehearsals, in 2022, where as part of a control package, a TORUS system was included. When a European run was announced for the same year, 22live were given the

opportunity to provide a full PA, and the band’s production manager, Giles Woodhead, began conversations regarding the Martin Audio Wavefront Precision option.

Said Paul Timmins, “Although their FOH engineer, Ingvar, had been used to working with other audio brands, he trusted us, and the deployment was very successful.” This was also partly due to the fact that the TORUS system had been so well received at the Black Island rehearsals that Ingvar was encouraged that the brand could deliver the result he was looking for, sensing that its underlying technology matched the best in the business.

Timmins also knew that the technical support team needed to be fully conversant with the latest Martin Audio products, and so nominated the experienced Joseph Pearce as system tech and Johnny Buck as PA tech.

The PA needed to cater for venues ranging in size from 2500-16,000 capacity, and so they arranged a combination of the large-format double 12” WPL and smaller double 8” WPS. “This combination meant that for the larger spaces the WPL could be deployed with WPS side hangs, while in the smallest of venues the WPL could remain in the truck entirely. In total, the tour had at its disposal 32 x WPL, 24 x WPS, 12 x SXHF218 subwoofers, six WPM lip fill, and four TORUS T1230 for in and outfill.

Completing the audio package, Martin Audio iK42 rack were built in two double-bay 24U racks, keeping the packaging neat with integral 63A distribution utilising 22live’s new SES power distros.

Following Albertsson’s glowing report, the monitoring package is now also fully ensconced, and Paul Timmins was equally complimentary. “Everything about it feels premium, with a proper connector on the back, decent fittings, two options of how you hold the cabinet, and whether on a mic stand or in a little frame.” But Albertsson is already thinking to the future. Aside from wishing he could have got his hands on more of the formidable FP4s, he said, “I’d love to take a look at the FP12s for some additional monitoring requirements.”

Martin Audio

DISPLAY 3 for Apple Mac

Beta 6.0

We are pleased to share the latest version of DISPLAY 3, our 3D acoustic prediction and sound system design software, which is now compatible with Apple Mac and includes FlexPoint loudspeakers as well as a number of additional enhancements.

Please read the following Release Notes.

 DISPLAY 3 – Beta 6 – Release Notes

Some help videos can be found on our training page.

New users should use the download link below, whereas existing D3 users can click “Help” on the top navigation bar on the left and click “Check for updates”.

Windows PC:

Apple Mac:

Martin Audio


Last Autumn Martin Audio partner, 22live, completed its first full production tour, with arguably the greatest cover band on the road today.

The Australian Pink Floyd show, which provides an authentic tribute to the original band, has long used Martin Audio PA on tour.

For the band’s late 2022 UK tour Paul Timmins, now hire director and one of the founders of the recently formed pro-audio service company, 22live, was reunited with the long-term team of band manager Kevin Hopgood, production manager Chris Gadd, and FOH engineer Trevor Gilligan.

There were a number of factors to consider for Timmins, along with 22live technical director, Simon Gladstone, and operations director Stefan Phillips, when they were preparing their bid as a new player in the market. In addition to general touring economics this included the choice of PA.

With regard to the latter, 22live knew they couldn’t offer Gilligan, who has toured with earlier generations of Martin Audio Wavefront, anything other than the latest scalable Wavefront Precision line array solution—but they were also up against timing constraints.


Trevor Gilligan, FOH engineer

“Although Trevor was happy to try out a new PA, the thing that we really had to demonstrate to make the argument was that the Martin Audio SXCF118 cardioid sub would be sufficient to provide the low end the tour required,” stated Timmins. The only way of providing its performance capability was to put it to the test, and a demonstration was organised at Martin Audio HQ in High Wycombe.

The band’s experienced system technician Mark Edwards was among those present at the demo. Timmins observed, “Both Trevor and Mark were extremely familiar with the Martin Audio SX218, and it was therefore easy to demonstrate the capability of the SXCF118 by using the 218 as the benchmark—and in fact the demo concluded with the SXCF118 coming out on top in terms of both performance and flexibility.”

22live were duly offered the tour, which embarked on a 30-date UK run. Among the inventory were 32 Martin Audio WPC (2 x 10in) line array enclosures, 18 WPS (2 x 8in) line array, 16 SXCF118 cardioid subwoofers, six Martin Audio WPM (for lip fills) and four Martin Audio TORUS T1215.

By the end of the first show, Trevor Gilligan had realised the wisdom of this product selection, commenting unreservedly, “What can I say … I love this system! It’s great to be back on the Martin Audio gear. It’s a very detailed box and matches the subs perfectly. All in all, a great choice by all involved.”

Further positive feedback was received from Gilligan as the tour progressed. “I definitely made the right decision with the little subs,” he continued. “The bass guitar and low end of the drum kit is way more musical. Mark [Edwards] did a sub array … in an old theatre in Bath; it’s normally a bit lumpy in there but this time it was great, very solid and punchy.”

As the tour concluded, Mark Edwards was able to offer his own verdict on the 22live delivery with the Martin Audio PA, commending the service company for the overall package they provided. “The system performed flawlessly and was a pleasure to work with.”

The only venue that had required a bigger system was the Glasgow Hydro Arena where 22live topped the PA system up with an additional 24 Martin Audio WPL (2 x 12in) enclosures. This brought the following comment from Trevor Gilligan: “We had a great night in the Hydro; the PA worked perfectly … the best mixing experience I have had there.”

But the final word on the success of the Martin Audio deployment came from Paul Timmins himself. “The fact that we were able to move the production onto Martin Audio, and it delivered beyond the expectations of both the engineer and technicians, I think is a great sign that we made a good decision to back the brand. I’m confident there will be growing demand and opportunity for Wavefront Precision going forward.”

So happy were production that they continued to tour the same setup throughout 2023, with a second European run which commenced in January. From the start of this run monitor engineer, Kevin Smith, also adopted Martin Audio in his stage set-up, switching to their high performance XE500 15” bi-amp coaxial differential dispersion monitors, at 22live’s recommendation. The XE500 was designed to be the ultimate, high SPL stage monitor and Smith admits that the superior performance had taken him somewhat by surprise. “They have delivered way above and beyond my expectation and are definitely a step up from what I was using previously,” he said.

The fact that production wanted the inventory to be shipped across the Ocean in its entirety was a ringing endorsement. “It is the first time they have shipped PA equipment in a long time—and that’s a real testament to their appreciation of the kit,” exclaims 22live commercial director, Alex Penn.

Martin Audio

Live Sound Company Expands Portfolio with the Acquisition of Martin Audio WPL Line Array System

Live Sound Company

Project ID : #B756

City : Bhubaneswar

State : Odisha

Type : Touring

Brands : Martin Audio

We are thrilled to announce that Live Sound Company, Orissa, has taken a significant leap in its commitment to audio excellence by acquiring the state-of-the-art Martin Audio WPL System, facilitated through VMT. This acquisition is a testament to Live Sound Company’s dedication to delivering unparalleled audio experiences.

 The decision to opt for the Martin Audio WPL System was a no-brainer, given its superior features and unmatched performance capabilities. This system promises exceptional audio clarity, precise coverage, and impressive scalability. Whether it’s for a small intimate gathering or a grand concert, the WPL System ensures an immersive sound experience that leaves an indelible mark on the audience.

Specifically, Live Sound Company Orissa has acquired 12 pieces of the WPL Line array and 6 pieces of the SXH Subwoofer. This acquisition not only amplifies their capability but also showcases their commitment to investing in the best.

With the WPL System now a part of their equipment lineup, Live Sound Company Orissa is poised to redefine standards in live sound production, setting new benchmarks for audio quality and customer satisfaction.


Our collaboration with Live Sound Company Orissa and their recent acquisition of the Martin Audio WPL System underscores our mutual dedication to advancing audio technology and setting new standards in the live sound industry. Together, we are committed to delivering unmatched sonic experiences that resonate with audiences and leave them in awe.

Martin Audio


Already recognised for its high-profile appearance at Brazil’s famous Rock in Rio festival, Martin Audio’s MLA multicellular loudspeaker array also provided main stage artists at the annual Festival Coolritibain Curitiba, nearly 500 miles further south, with exemplary sound.

Headliners included Marisa Monte, Sandy, Mano Brown and the legendary Gilberto Gil—but it was the influence of Marisa Monte’s sound engineer, Daniel Carvalho, that brought about the change from the originally specified festival system.

He had been piloting the mix on the famous singer’s Portas tour through an MLA, provided by predominant rental company Gabisom (who also service Rock in Rio). Coolritiba was part of their 100-show tour schedule where Marisa Monte was top of the bill.

Daniel Carvalho reports: “The festival had requested [another brand], but since we were headliners, and they were renting from Gabisom as well, we asked if they could switch to MLA for the festival.” And so, they shipped out the boxes to complement the touring rig.


Maycon Mendes, Sandy’s engineer

The results, he said, were incredible. “For many [engineers] it was their first time with Martin Audio and all techs loved the sound. The Rap guys didn’t ask for additional subs and the promoter himself said he wants the same set-up for next year. Everybody agreed that it was the best sound ever heard at the site, including the Gabisom crew.

Other sound engineers lined up to sing the system’s praises based on their Coolritiba experience. Maycon Mendes, Sandy’s engineer, said, “Every time I use Martin Audio I am impressed, with the clarity of the highs, the definition of transients and the coverage are impressive and, my master equaliser remains flat. So, it`s just happiness all round.”

Gustavo Mendes, Gilberto Gil’s tech added, “Thanks for the opportunity of using the MLA system, which is for sure the best PA we used in this Gilberto Gil tour.”

Daniel Carvalho himself is well qualified to have recommended the system. He has been handling Marisa Monte’s live mix since 2015 and was a studio engineer prior to that during which time he has become an eight times Latin Grammy Award winner as mastering engineer and mixer.

He first encountered MLA when mixing a band at Rock in Rio in 2015. “Someone from Martin Audio showed me the DISPLAY software and introduced me to the system.” From that day on he was sold. “When the Portas tour came around, I told Gabi from Gabisom, that I would love to try the Martin Audio system. It was love at first hear. At a stadium in Belo Horizonte, Marisa`s manager came to front-of-house and asked, ‘What happened today? The voice is so clear”. I told him it was our new PA and he said ok let`s use this one from now on.”

At Coolritiba, where a crowd of around 20,000 fans assembled, the main PA was rigged as an L/C/R system with 15 MLA and a single MLD downfill at the base of each hang. Outfills comprised seven MLA plus an MLD downfill; there was a delay fill of six further MLA, with six MLA Compact as front fills. The rig, which Daniel Carvalho also helped design, incorporated a generous array of 32 MLX subwoofers arranged in castellated broadside configuration.

Asked what he loves in particular about MLA, Daniel is unequivocal. “It is easy to design and deploy. The array processing ensures every position in the house sounds the same. And it’s very forgiving; when we have to make sudden changes at venues without the need to recalculate angles—it’s just a matter of changing the preset of EQ settings and the sound delivers precisely what we need.

“Thanks go to Gabi for placing this much-loved PA in our hands,” he says in conclusion, “and to Josiel Silva and Diego Talasca for rigging everything so expertly.”

Martin Audio


The runaway success of Martin Audio’s best-selling CDD series is showing little sign of slowing down.

When the new upmarket Mooij Alkmaar restaurant opened recently, it complemented its South American cuisine with music produced from matched pairings of CDD6s and SX210 loudspeakers from the company’s coaxial differential dispersion series.

The installation in the city of Alkmaar was carried out by lighting and sound rental specialists, Bleeker Group. The Heerhugowaard-based company is a customary Martin Audio user, and it was owner, Jacco Bleeker himself who specified the solution as best fit for purpose.


Martijn de Jong, Product Manager (Audio), Ampco Flashlight Sales

And that purpose was to reproduce background music during the week and live music to tape at weekends. “It’s an ideal solution for them,” exclaims Martijn de Jong, Product Manager (Audio) at Ampco Flashlight Sales, Martin Audio’s Dutch distributor.

Although the operation is new, the building certainly is not. In fact it is the oldest restaurant building in Alkmaar, and was formerly known as ‘het Gulden Vlies’. The old façade has been completely renovated and restored to its original state and given the name Mooij in acknowledgment that it was originally owned by three generations of the Mooij family. The conversion took two and a half years to realise.

In total, Bleeker have detailed 14 CDD6 and a pair of SX210 subs for the ground floor distribution and on the first floor eight CDD6 and an SX210.

The integrators had again recommended the Martin Audio solution to owners, Remco de Boer and Daan Touw, for its coverage pattern and the amount of SPL it can generate from such a small form factor. This was after the owners had already bought into the CDD6 / SX210 combo at another restaurant—Marktzicht in Broek op Langedijk.

“Partnering the CDD6 with the SX210 is a perfect match, and so they automatically opted for it again,”confirms de Jong. “At Mooij Alkmaar this provides balanced coverage and plenty of SPL. Although aesthetic considerations weren’t a prerequisite, the customer was pleasantly surprised by the looks of the CDD6 and its ceiling bracket. It looks very elegant.”The subs are less unobtrusive, as they are tucked away, to become part of the furniture.

The system was designed and tuned using Smaart, to ensure full optimisation.

Summarising the installation, the owners said, “We are extremely happy with the end result. The system sounds and looks great. In fact visiting sound engineers have been amazed at what this speaker can do … how great it sounds and performs in the restaurant.”