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
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.
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
“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 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
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
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
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
UK – In its 15th anniversary year, London-based event production company Hire Frequencies made its debut at the TCS London Marathon 2026, supplying all-Martin solutions across the Finish Line, Fan Zone and TCS London Mini Marathon at this year’s record-breaking event.
“We first met the Marathon events team two years ago,” explains Will Smith, Founder and MD of Hire Frequencies. “We were convinced we could take the production values to a new level with high-quality sound systems and were delighted to win the project this year.”
The company drew on its expanding Martin Audio inventory – built up over the past two years – to deliver an all-Martin deployment across the three zones. This included FlexPoint Series, TORUS and Wavefront Precision (WPS), all powered by iKON iK42 4-channel amplifiers.
“Our technical director Ritchie Nicola and technical manager Kieran Hall were key to the specification and deployment,” continues Smith. “We worked closely with the Marathon events team to ensure everything was right first time.”
EVERYTHING PERFORMED PERFECTLY…
Prior to the main event, the TCS London Mini Marathon saw schools invited to run, jog, walk or wheel either one mile or 2.6K through central London, culminating in a finish-line crossing and medal presentation. Here, Hire Frequencies deployed a Martin Audio system comprising four TORUS T1230 array elements and a pair of SXC115 subwoofers, together with a distributed system of eight FlexPoint FP8 loudspeakers.
“TORUS was ideal for this site thanks to its quick deployment and high output,” says Smith. “It delivers exceptional clarity with strong mid-range throw, perfect for the application. The SXC115 is compact and fast to deploy, while the FP8s worked perfectly as infills across the wide crowd area. They didn’t have subs at the Mini Marathon previously, so we were really able to elevate the experience—we had lots of positive feedback.”
For the TCS London Marathon itself, Hire Frequencies deployed a Martin Audio WPS Wavefront Precision super-compact line array for the Fan Zone, which hosted music playback and live performances throughout the day. The ground-stacked system featured four WPS array elements per side, supported by two SXCF118 subwoofers per side.
“The Fan Zone was effectively a mini festival stage,” says Smith. “WPS was the ideal solution. With the help of Martin Audio’s DISPLAY software, we set the throw length to 50m and used the Hard Avoid feature to assist with noise control on stage.”
Meanwhile, along the finishing straight, 16 Martin Audio FlexPoint FP12 loudspeakers were distributed across the final 300 metres, delivering commentators’ encouragement and motivational music to runners approaching the line.
“The FP Series are compact and punchy, making them ideal for the finish line where space was limited between hospitality areas,” notes Smith. “Even the commentators remarked on the difference, describing the improvement on last year as ‘chalk and cheese’ in terms of both impact and sound quality.”
The system was deployed over two days while coordinating with other contractors across the busy site, and fully de-rigged within just two hours post-event.
“Everything performed perfectly – that’s why most of our inventory is now Martin Audio,” concludes Smith. “The marathon broke the Guinness World Record for the most finishers, as well as world records in both the men’s and women’s races. For me, it was an incredibly proud moment to have our team supporting such a globally recognised event.”
Photographer: Eric Menard
Thanks to
Integration/Installation Partner: Hire Frequencies
AUS – The Australian Pink Floyd Show has officially launched its 2026 global tour across Europe, the US, and the UK, backed by a comprehensive Martin Audio WPC system provided by technical partners 22live.
With over five million tickets sold worldwide, The Australian Pink Floyd Show is widely regarded as the premier tribute to the legendary rock band – a reputation so formidable that David Gilmour famously booked them for his own 50th birthday celebration.
To maintain this standard across a regular annual schedule that encompasses a spring European tour, summer US tour and Autumn/Winter UK tour, the production requires a sound system that delivers sonic excellence, venue flexibility and operational efficiency.
The relationship between the tour and its technical providers is built on decades of trust. Paul Timmins, Hire Director at 22live, has worked with the band for over fifteen years and has known Kevin Hopgood, one of the band’s management team, for nearly forty.
“Kevin and I were both working in the industry with Malcolm Hill back during the Live Aid period,” recalls Timmins. “In 2015, when they needed a new Front of House engineer, I suggested Trevor Gilligan, whom I’d worked with on Kasabian and Starsailor. He’s been mixing the show for over a decade now and has a particular affinity for the Martin Audio sound.”
I’M CONSISTENTLY IMPRESSED BY HOW SEAMLESS THE TRANSITION IS BETWEEN THE WPC AND WPS HANGS.
When the band approached 22live in 2022 to overhaul their touring rig, the transition to Martin Audio’s Wavefront Precision (WPC) system was the natural choice. For a production of this scale, balancing “big show” sonics with “smart business” logistics was essential.
“Space is always crucial,” Timmins explains. “Because 22live started fresh, we developed our flight casing and cable systems without the burden of legacy gear. Our standard cases are two-thirds the size of traditional four-foot cases. When we ran the truck packs, we discovered the Martin WPC system with 22live packaging actually saved three feet of truck space—a massive commercial advantage.”
The touring system is robust and versatile, featuring 16-deep WPC main hangs complemented by 10-deep WPS out-hangs for larger venues. The low-end is handled by a combination of three SX218 2 x 18” and sixteen cardioid SXCF118 1 x 18” subs, a setup Mark Edwards, system engineer refined after A/B testing at Martin Audio’s headquarters.
To ensure consistency in the wide range of touring venues, the team also carries the Martin Audio TORUS T820s as lip fills, TORUS T1215/30s for additional in-fills and a pair of FlexPoint FP12s as utility speakers.
The entire system is powered by IKON iK42 amplifiers over a Dante network, driving the full system in two-box resolution. This allows Gilligan to use Martin Audio’s Hard Avoid technology to keep sound off reflective surfaces and focused entirely on the audience.
“The warmth and vocal tonality of Martin Audio lends itself perfectly to the Pink Floyd catalogue,” says Timmins. “I’m consistently impressed by how seamless the transition is between the WPC and WPS hangs. For a rental company, that consistency and the ability to deploy the most compact boxes is exactly what you want.”
The results speak for themselves. Following a recent performance in Berlin, FOH engineer Gilligan reported, “Berlin last night was great! The system sounded like a hi-fi in the back row, and the venue measured SPL at the barrier 0.4dB louder than FOH, so a pretty good result!”
The partnership recently celebrated a major milestone, with 22live presenting the band with an award to mark the completion of 10 full tours and already over 365 shows together – all since 2022.
As the 2026 tour continues, the combination of 22live’s expertise and Martin Audio’s technology ensures that the “Pink Floyd experience” remains as immersive as ever.
IND – Rourkela Divas 2026, the 10th edition of the city’s annual celebration, was held on April 11 and 12, 2026 at Sector-13 Melan Ground, Rourkela, Odisha. Organised by the Canvas Rourkela group, the two-day festival marked the foundation of Rourkela and celebrated the city’s cultural identity, public spirit, and shared pride. The event drew huge public participation and created a vibrant festive atmosphere, making it a significant gathering for the local community. The first day concluded on a rocking note with electrifying performances by Shraddha Mishra, Soujanya Rath, and SK Jitu.
For an event of this scale in an open-ground environment, FSL deployed a Martin Audio WPL system for FOH, supported by SXH218 subwoofers. The system delivered the projection, clarity, and low-frequency impact required to serve a large audience with consistency. WPL brought strong vocal presence and musical definition across the venue, while SXH218 added the depth and authority needed to match the energy of the performances, helping create a polished and engaging sound experience throughout the celebration.
Photos: Adam Firman/Lina Stores
Thanks to
Distribution Partner: VMT Enterprise Integration/Installation Partner: FSL Pro
IND – Fusing a vibrant restaurant experience with an exhilarating nightclub atmosphere, Club Roadies in Udaipur has selected a Martin Audio Blackline X audio solution to deliver high-output performance for night-time DJ sets whilst retaining clarity and listener comfort for diners.
Club Roadies is a bold new extension of the MTV Roadies brand – India’s legendary and longest-running reality TV show spanning 19 years. A collaboration between Viacom 18 and Work With Fun LLP, the Club and Café Roadies concept introduces energetic destinations where guests can eat, drink, and celebrate in a high-octane environment.
With a ‘Wall of Fame’ of previous winners, and an interior design that delivers iconic imagery from the long-running series, the venues combine nostalgic vibes alongside music and DJ performances.
EVEN UNDER DEMANDING CONDITIONS, THE SYSTEM PERFORMS SMOOTHLY AND RELIABLY.
The audio brief for integrator Securetech AV Designs was uncompromising: deliver a sound system that combined power, precision, and long-term reliability in a demanding club setting. The venue needed an audio solution capable of supporting extended operating hours, adapting to varying crowd densities, and delivering the high-output demands of live DJ performances – all whilst maintaining clarity for the dining experience.
Securetech AV Designs immediately turned to Martin Audio’s Blackline X Series, a proven range of two-way passive loudspeakers, combining excellent sound quality, dispersion control and reliability for fixed installations.
The system design features a carefully selected mix of Blackline X8, X10, and X12 models, with the loudspeakers’ accurately controlled dispersion delivering precise coverage across the venue’s layout. Paired with Blackline X118 18″ subwoofers, the system delivers the low-frequency authority essential for the true club sound experience.
“The Blackline X series offers excellent value and serious performance,” says Ashish Khanna of Securetech AV Designs. “The combination of full-range loudspeakers and subwoofers delivers real impact and clarity. Even under demanding conditions, the system performs smoothly and reliably.”
With comprehensive system alignment and tuning ensuring phase accuracy and a smooth frequency response, the system is optimised for performance for both the daytime dining experience and after-dark club nights.
“We are honoured to have partnered on this exciting new concept of venue,” says Jeff Mandot, Director of Sales of VMT, Martin Audio’s distributor in India. “Securetech AV Designs have expertly deployed a combination of Martin Audio Blackline X Series models to precisely meet the client’s requirements for both high-energy performances and refined dining experiences. It is the ultimate Roadie sound system!”
Photos: Adam Firman/Lina Stores
Thanks to
Distribution Partner: VMT Enterprise Integration/Installation Partner: Securetech AV Designs
USA – One of the world’s most celebrated cultural institutions, the Metropolitan Museum of Art in New York City, has transformed the sonic experience of its historic Grace Rainey Rogers Auditorium with a sophisticated Martin Audio upgrade. This modular installation overcomes the venue’s long-standing acoustic challenges while providing a high-fidelity portable system for performances across the museum’s iconic gallery spaces.
Opened in 1954 as a purely acoustic hall—designed primarily to showcase instruments from the Met’s own collection with no amplification intended—the 700-capacity Grace Rainey Rogers Auditorium has remained largely unchanged in appearance. The original Korina woodwork endures, as does the Steinway piano gifted by the company upon the venue’s opening. Writing in The Met’s own Bulletin upon its opening, Robert B. Newman describes, “The virtues of the Rogers Auditorium are inescapable and many. Its intimacy is warming. Its seats are built on the wise assumption that nature has not done the upholsterer’s work for him. Its sight lines are perfect and its acoustics so good that no amplifiers are needed, and a person talking in conversational tones on the stage can be heard with ease in the balcony.”
Yet, as the auditorium’s programming evolved, so too did its audio demands. The legacy sound system previously installed – early-generation powered column speakers positioned only on the left and right sides of the room – delivered severely uneven coverage, with significant gaps across both the floor and balcony. It was barely adequate for lectures and simply unsuitable for contemporary musical performances.
Sebastian Hurtado joined The Met as Senior Technical Manager AVMS Production, in 2024. As a seasoned audio engineer who has worked across multiple countries and throughout the US, the sound in the auditorium became an immediate focus.“I think I identified the need for an upgrade within three days of arriving,” he recalls.
Once a business case had been authorised and budgetary approval came, Sebastian wasted no time. His brief was clear: replace the legacy system with a single, unified solution capable of handling everything from intimate lectures to full live bands – all while preserving the visual and architectural integrity of the historic space.
THE EVEN COVERAGE IS THE MOST SIGNIFICANT IMPROVEMENT; THERE’S NOT A DEAD SPOT IN THE ENTIRE ROOM.
After consulting with several top-tier manufacturers, Sebastian and his team selected Martin Audio, citing both the product fit and the quality of communication with the Martin Audio team throughout the process. “We sent an initial concept, and they mapped it out and made recommendations. It made us feel confident it was being done correctly.”
The final installed system is anchored by three Martin Audio TORUS Series T1230 and one T1215 constant curvature array elements, configured as a centre cluster and rigged from a truss at the front of the stage. “We didn’t want to change the essence of the space, and with no positions possible to hang a Left-Right line array, we realised a centre cluster was the way to go,” describes Sebastian. “It covers the lower and upper centre of the house incredibly well. Even without subwoofers, the low end from the TORUS 12s is substantial for video playback and presentations.”
Four Martin Audio FlexPointFP12 12” premium point-source speakers are positioned on the sides to fill outer coverage gaps, while four FP66” models – precisely time-delayed – address the notoriously difficult under-balcony zone. “The FP6s have provided one of the biggest improvements. They sound fantastic and are delayed so well that it almost seems like they’re not doing anything, which is perfect,” he notes.
For larger performances, a ground-stacked system comprising three per side TORUS T820 8” tops and two per side SXC115 15” cardioid subwoofers, is designed to handle any production required in the space. Ten Martin Audio LE100 stage monitors round out the rig: “We’ve had guest engineers ask what they were because they want some; they sound great with minimal processing.”
Sebastian describes a massive shift in audio quality. “The response has been noticeable by everyone. The even coverage is the most significant improvement; there’s not a dead spot in the entire room. And we have the full frequency range represented with incredible clarity and fullness. Whether it’s a lecture that keeps the audience engaged, or a full band with brass and strings, everything is represented properly.”
For Sebastian, a key aspect of the system design was modularity and the ability to deploy elements of the system in other areas. “We wanted to kill two birds with one stone and have a modular system we could take into the galleries.” The ground-stacked system therefore doubles as a portable rig for events and performances throughout the museum, allowing The Met to bring consistent, high-quality audio to spaces as acoustically challenging as the all-glass, hard-surfaced Engelhard Court.
“The challenge in many of our rooms, especially with speaking, is intelligibility. But with the Martin Audio system, we’re able to overcome it,” he says. “Its flexibility means we can deploy optimum systems for each event – that may be three tops and two subs per side, or a more distributed system.”
The Martin Audio cardioid subs have proved particularly successful. “They work remarkably well,” he confirms. “You can stand right behind them and not feel a thing. In a big echo chamber like this museum, having subs fire in only one direction really helps.”
The entire system was purchased through dealer ADI, who also handled amplifier programming and final tuning. Physical installation—including routing cables through the building’s complex, century-old infrastructure—was carried out by Sebastian and his in-house team. A helpful discovery during the process: the mounting locations for the FP12s sat behind fabric-covered plywood panels concealing former pipe organ openings, which served as convenient cable pathways.
“I was thrilled to have the opportunity to work with such a prestigious and world-renowned institution. We worked through a number of design options with Sebastian as we considered all possible use case scenarios and the best way for the museum to get the most bang for their buck,” comments Martha Callaghan, Northeastern Regional Sales Manager, North America, Martin Audio USA. “It’s incredibly gratifying to see this work come to fruition. It’s a gorgeous venue, with important work to do, and the combo of TORUS and FlexPoint makes sure that work is coherent and delivered with pristine articulation and clarity. I am looking forward to our ongoing collaboration with The Met and their team.”
Perhaps most tellingly, the upgrade has changed the way the institution programmes its spaces. “It has prompted programmers to start doing more events in the auditorium,” concludes Sebastian. “Before, they preferred the galleries because the auditorium infrastructure wasn’t great. Now, our spec is much more rider-friendly, and we don’t have to rent outside gear.”
Photos: Adam Firman/Lina Stores
Thanks to
Distribution Partner: ADI Integration/Installation Partner: AVMS Production
