Category: Martin Audio

Based in Auckland, New Zealand, the independent Kristin School recently upgraded the sound system in its main 1000-seat auditorium, with a Martin Audio TORUS solution.

With a student body of 1,800, the demand for impeccable sound quality was paramount. This need was even more pronounced given Kristin School’s esteemed reputation for performing arts, where it regularly stages four full-scale productions each year, many of which are based on illustrious West End and Broadway productions. As a result, the school understood that their audio system specifications need to meet the exacting standards of a professional musical.

Following a recommendation from within the theatre world they brought in the highly experienced touring systems engineer Ratu Gordon to design the system. This was supplied by Jansen Professional Audio, Martin Audio’s New Zealand distributor.

Ratu Gordon already had a strong relationship with Jansen, having earlier supplied two other sizeable Martin Audio systems, commissioned by the designer, prior to this. “At Kristin School I was initially asked to advise and consult based on my experience and what was most important to the client,” he explained.

“I OPTED FOR TORUS IN PARTICULAR FOR ITS COVERAGE AND THROW CAPABILITIES”.

At the same time, according to Jansen director, Simon Adams, the timing coincided with his company conducting a demo of TORUS, at which Ratu was present. “He was able to have time to listen, and the sound of the TORUS boxes was very interesting to him. We gave him a quick rundown on TORUS and DISPLAY [dedicated software] and he went off to model it.”

The designer’s task had been to commission a system that “would have all the character and functionality of a professional audio system, with full frequency and even SPL coverage through the entire audience area.”

He explained, “Initially I listened to their existing system to make an assessment. From there, and knowing Martin Audio’s capabilities, it was very clear that this was the way forward. Many hours were spent in DISPLAY software running different scenarios and best outcomes. This definitely had a large hand in understanding how the whole system would behave.”

The solution was for a flown L/C/R system, comprising a combination of TORUS T1215 and T1230 for the Left and Right hangs and a Wavefront Precision (WPM) centre cluster (all in 3-box hangs). CDD6s provided infills. Because the orchestra occupied the space immediately in front of the stage, ruling out an arced array, four Martin Audio SX218 subs were deployed, in stacked positions left and right of the stage.

Explaining his choice, Ratu Gordon said, “I opted for TORUS in particular for its coverage and throw capabilities, size-to-weight ratio and high output. No matter where you are in the room, and in front of any element—whether CDD6 or main TORUS—the coverage and voicing are exactly the same.”

The six CDD6 infills were complemented by a further six CDD6 under-balcony—both set up to recall snapshots for the main Left and Right hangs. Meanwhile stage monitors comprise six Blackline X10 and six Blackline X15.

However, getting the new rig up in the air was far from a straightforward process, as Ratu Gordon explained. “The roof rigging had to be strengthened, not because of weight loading, but for the reason of hanging the PA where it actually needed to be to achieve the best design result. I had explained to the client that flown speaker placement was of high priority to achieving the design result.”

Thanks to his fastidious prep work, and the quality of the products themselves, the system required very little processing once installed. “I loaded the predefined box presets and then launched into taking trace files of the room. The software had modelled the system response brilliantly as expected. From there I timed the system and attenuated only the low mid elements (which was based on the rooms existing standing waves).”

At handover, his attention to detail extended to a week-long operator training for the audio department, leaving no-one in any doubt that the TORUS solution would meet all requirements. “It’s absolutely 100%,” states the designer. “Put simply it’s a proper system.”

Manzi’s was a landmark London West End fish restaurant, which originally closed in 2006. Now, inspired by its legacy, The Wolseley Hospitality Group has added this upmarket brand to its estate in the centre of Soho.

Opened at the end of June, the operators turned to one of their regular suppliers, Marquee AV, to enhance the atmosphere by providing an advanced music system. This needed to be capable of delivering DJ levels within a restaurant environment, situated on two floors.

”THE SOUND SYSTEM DELIVERS EXCELLENT QUALITY AUDIO WHILST REMAINING DISCREET AND MATCHING TO THE INTERIOR OF THE RESTAURANT”.

Project Director Stacey Tough turned to Martin Audio’s highly popular CDD range knowing they would meet the key criteria: as the smallest in the range, the CDD5 specified was ultra-compact, the white versions would blend seamlessly into the general designer’s aesthetic and they would deliver the required levels, at both the top and lower ends of the spectrum.

To meet the purpose, 28 wall-mounted CDD5WTX-WR, have been distributed throughout the venue; these are fed from a variety of sources, including PC, background music player and DJ.

This much-specified micro-speaker is purpose designed for discreet architectural installation in luxurious bars and restaurants such as this. At the same time its use of coaxial differential dispersion (CDD) technology ensures deceptively high output from such a small enclosure.

Tough also weighed up other advantages such as value-for money, clarity and intelligibility and consistent coverage pattern. “The CDD5 was a clear choice based on previous experience using this product,” he said. “The client trusted our abilities and there was an obvious understanding as to the standard we needed to meet. Having worked with the client previously, I knew precisely what was needed.”

In summary, the Marquee AV Project Director confirms, “The sound system delivers excellent quality audio whilst remaining discreet and matching to the interior of the restaurant.”

Ryogoku Kokugikan, also known as Ryogoku Sumo Hall or Kokugikan Arena, is the only building dedicated to Sumo, Japan’s national sport, and has been home to many historic initiatives.

The origins of Sumo began some 2000 years ago but in its modern form it only took hold around 300 years ago. Once established in Japan, it passed down from generation to generation.

Such is its iconic status, there is no-one in Japan who has not heard of the Tokyo-based Ryogoku Kokugikan. Sumo wrestlers practice here daily, dreaming of winning the Gift Cup, and since Sumo is Japan’s national sport, His Majesty The Emperor sometimes comes to watch, and has seats reserved for him.

But Ryogoku Kokugikan also hosts various other events during periods when sumo is not being held, including wrestling, concerts and corporate events.

Sumio Akashio, sound engineer at the Ryogoku Kokugikan, said the arena therefore required a PA that could reproduce, intelligibly, everything from quiet to loud sound reproduction for wrestling in the ring. It also needed to be heard right up to the last row of seats on the second level balcony. “In such a way we can create a realistic atmosphere and overcome all the challenges.”

In planning the system upgrade Takahisa Ota from Audiobrains conducted a simulation, using Martin Audio’s proprietary DISPLAY 3 modelling software, and found that the manufacturer’s WPS line array, in the correct configuration, would be best suited to accommodate the various events hosted in Kokugikan—in terms of size, weight, clarity, and SPL. In addition to WPS they added an SXCF118 cardioid subwoofer to provide the deep bass that had been requested. Some 80 WPS cabinets and eight SXCF118 subs were deployed in total.

Martin Audio’s TORUS also features in the shape of eight T1215 (four pairs per side) for nearfill. By being directed downwards they are able to deliver sound without reflections to the VIP areas, where it had previously been difficult to achieve clarity due to the influence of the roof, suspended above the ring. No other satellite speakers are now required, and each pair can be used to control the SPL within its specific area as required.

Takahisa Ota, who carried out the installation, made the necessary system adjustments to ensure coverage, consistency and control throughout the stadium. “In the vertical pattern I managed to maintain clarity at the rear while at the same time suppressing any reflections.”

INDIA:  Rapper Raftaar recently performed at IIM Indore, amplified by Martin Audio’s WPL Line Array. Hardia Sound & Light, under the direction of Mahesh Hardia and the technical expertise of mix engineer, Akash Shivakumar, was responsible for the audio, eager to ensure a memorable experience for attendees.

“Utilising the Martin Audio WPL system significantly propelled our event’s audio experience into a league of its own. The clarity and consistency in sound across the venue were unparalleled, reflecting positively on our business. Our collaboration with VMT has not only enriched our events but has also opened avenues for future endeavours,” said Hardia.

“The Martin Audio setup, especially the WPL line array and SXH218 subwoofers, provided a robust and crystal-clear sound. The technical nuances were easily maneuvered with the iK42 amplifier, making the mix extremely responsive. The inclusion of waves plugins further enhanced the auditory texture, making the sound engineering process a dream,” said Sonu Choudhary, mix engineer.

Martin Audio rental partners VME have announced a major commitment to the company. In making a heavy investment in the company’s multi-award-winning MLA platform, they have at a stroke become the manufacturer’s largest global rental partner of the award-winning systems.

Based in the north of England VME, run by brothers Dion and Andre Davie, recognised that after lockdown, the live events industry rebounded at such pace and velocity that inventories were quickly running dry. As a vital part of the MLA network, and sensing the heavy demand on stock, especially in peak season, they took a dynamic approach by repositioning themselves as dry hire specialists, as well as giving them a new cutting edge and marketing outreach for their own productions.

The latest order for 475 cabinets is split into the following products: 179 x MLA; 24 x MLD; 80 x MLX; 40 x DSX and 152 x MLA Compact.

Confirming that they now hold in excess of 600 Martin Audio enclosures in total, VME Operations Manager, Aaron Harvey-Holt, agreed that “dry hire has gone massive across the UK with everyone being short of kit.” He said the company had already been deliberating over acquiring another system. “It needed to be something that would fit with what we already had and be used on our own gigs but at the same time it needed to have a dry hire value—because there are some systems out there that people don’t really dry hire.”

THERE ISN’T A SYSTEM ON THE MARKET THAT DOES WHAT MLA DOES—IT’S UNTOUCHABLE AND NOTHING COMES NEAR IT”.

A meeting in London with Martin Audio Managing Director, Dom Harter, moved the scenario forward, and following some constructive machinations the deal was done—much to the relief of Harvey-Holt. “We had been desperately short of kit for dry hire this summer,” he revealed. “This will not only ensure we don’t run short of stock again but will enable us to look at new sectors we can get into over the coming years. The long-term plan is to get back on the touring scene.”

One of the doors he predicts may open is the corporate world—largely due to the fact that part of the consignment is more than 150 of the smaller, more versatile MLA Compact enclosures.

“This is strategically designed to place us in the market for small, medium and large-scale gigs.”

As for moving into the dry hire market, Aaron Harvey-Holt is fairly relaxed. “We have a good team in the warehouse for testing MLA, prepping it and deprepping it, and we’ve got some experienced system techs who know the system really well.

“In fact I don’t see a gig we couldn’t do now with the power of MLA behind us.”

Dion Davie goes further, believing that the size and scope of their Martin Audio inventory will set VME off on a global path. “There isn’t a system on the market that does what MLA does—it’s untouchable and nothing comes near it. As for the MLA Compact it really packs a punch for such a small box,” he says.

Davie adds that VME have also invested in TORUS and are now in the process of becoming a uniquely Martin Audio house “right across the range.”

VME received their new stock in the early Autumn. After monitoring the success of this bold venture, they plan to invest further in the future, adding other pro audio components.

During what has proved to be a non-stop summer of activity for SWG Events, the production company has honed its Martin Audio PA rig into something nearing perfection.

By the time they arrived at Blur bass guitarist Alex James’ farm near Kingham in Oxfordshire, where each year the three-day Big Feastival takes place, they were able to offer visiting sound engineers—who accompanied most of the acts—a deluxe set-up at front-of-house.

With a combination of food and music spread over some 10 fringe stages, SWG Events supply audio, lighting, video and staging solutions alongside artist services, whilst deploying their class-leading audio inventory on the extraordinary width of the main stage.

According to Simon Purse, SWG Events Head of Audio, special care had been needed to ensure the VIP area, set off axis, was still within the coverage area of the outfills. Fully satisfied with the combination of 12-a-side WPL (main hangs) and 12-a-side W8LC (outfills) it was the elegant networking, subwoofer arrangement and overall control that brought most satisfaction to the service providers and promoters IMG.

Purse said this fully validated the event introducing Martin Audio’s flagship WPL for the first time. The key was to avoid projecting sound beyond the rear perimeter boundary, butting onto a second venue called the Cheese Hub—a double decker disco. “In previous years we’ve had problems in being able to avoid hitting this venue and disrupting the live music; we’ve used delays to aid in control, but this has never been a perfect solution and had led to compromises with audience and non-audience areas” states Purse.

“THIS WAS MY FIRST TIME ON THIS NEW MARTIN AUDIO SYSTEM, AND I HAD A GREAT TIME MIXING ON IT”.

WPL, which they were able to run without delays, offered a different approach entirely and enabled simple system adjustment. “It provided all the advantages of being able to avoid [the Cheese Hub] while enabling us to use fewer boxes than in previous years. Had there been an issue we’d have been able to deal with it because of the workflow, with a ready solution in place before any potential problem was experienced, rather than relying on a knee jerk reaction. In this instance we used an optimisation profile in the DISPLAY software that transitioned the area from ‘non-audience’ to ‘Hard Avoid’ and as a result the sound dropped off significantly.”

WPL was driven in 2-box resolution from Martin Audio’s process-controlled multi-channel iKON amps, and by using Martin Audio’s new DX4.0 dedicated system controller, they were able to place the legacy W8LC on the same network, allowing full system control from a single point.

A further eight W8LM along the stage lip provided front fills and 12 x XE500 wedges were available to provide additional stage energy. Also providing premium stage fills on each side were a pair of TORUS T1230 point source boxes on top of two SXC118 cardioid subwoofers.

LF design provided a further success for SWG Events. Their solution was to deploy 14 x SXH218 enclosures as a castellated cardioid system—nine forward facing, five rear facing. “We have used DISPLAY to draw that out with the software’s new Subwoofer Calculator tool because of the width of the venue. This provides the delay times and enables us to design an arc shaped array of subs in time, rather than space. There is also a gain shading element where the volume of each of the subs is alternated to give a very rounded dispersion pattern. It works really well, and I’ve had great results with that all summer.”

It brought the best out of an all-star line-up that included Sigrid, Tom Grennan, Blossoms, Vaccines, Rick Astley, Everything Everything, Example, Hot Chip, Melanie C, Faithless, Natalie Imbruglia, Lightning Seeds, Faithless, Mae Muller, Katy B, Jake Shears, and their respective sound engineers were generally delighted.

Sigrid’s long term sound engineer, Jan Halsvik was particularly complimentary. “This was my first time on this new Martin Audio system, and I had a great time mixing on it,” he said.

“[The PA] seemed very well tuned for the site, and being able to blend the older boxes with the new made it sound likea seamless transition when walking the area. This worked well with the festival being a very family friendly one.

“The whole system kept a tight and consistent output over the whole perimeter, and also stayed true between sound check and show. In fact it was extremely pleasurable having it sound as I had intended during sound check, providing me with ample headroom and solid low end.”

As ever the event’s success owed much to the extensive SWG Events team. Mark Bott was SWG’s operations manager and long-term event production manager; Joe Bailey was his production assistant; Matt Pope was both system engineer and FOH tech (Pope, in particular, was tasked with taking Simon Purse’s CAD design template and making any specific adjustments and fine tuning once on site). Other techs involved were Oliver Haward (monitors); Sam Jones and Daniel Wooles (patch).

Singapore, known for its innovation and cutting-edge advancements, is the proud host of this year’s FIRST Global Challenge, marking the seventh edition of this remarkable international robotics competition. From 7th to 10th October, at the Singapore EXPO, this groundbreaking event represents a significant milestone as it ventures into Asia for the very first time.

With the unique Olympic-style setting demanding a discreet yet powerful solution with even coverage, it was a challenge to find the right sound system for this occasion. Traditional bulky speakers were out of the question, as they could obstruct the audience’s view and the watchful eyes of the press.

Working closely with Generation AV, N-Live found the perfect solution with Martin Audio’s FlexPoint FP4 sound system. Generation AV recommended the FP4 for its portability and remarkable power, despite its compact size. The FP4 is a point-source loudspeaker tailored for short-throw distributed systems, ensuring premium sound quality from a compact enclosure. It astoundingly delivers exceptional output and performance while taking up minimal space, making it the perfect fit for installations that require precise spot and fill coverage.

At first, there was some skepticism about whether these speakers, due to their compact dimensions, would be loud enough for the grand occasion. However, System Engineer Sher Mohamed’s doubts were swiftly put to rest as he was astonished by the sheer power of the FP4. Its wide and smooth frequency response effortlessly reproduced both speech and music, making it an impeccable choice for the grand stage of the 2023 FIRST Global Challenge in Singapore.

The FlexPoint FP4’s are powered using Martin Audio’s VIA amplifiers, and the new DX0.4 loudspeaker processors utilising the latest FIR presets.

As the world’s young innovators gather to compete and inspire, the technology behind the scenes plays a crucial role in ensuring their success. With Generation AV’s expert guidance and the FlexPoint FP4 as the sound system of choice, the event was a harmonious symphony of technology and talent, embracing the future of youth robotics with resounding success. This collaboration between N-Live and Generation AV has proven to be the ideal solution for this remarkable event, showcasing the power of innovative partnerships in the world of event technology.

Following a successful stint in North America, the Australian Pink Floyd Show (TAPFS) tribute band has returned to the UK for its #DarkSide50 Tour 2023. This celebrates 50 years since Pink Floyd’s original Dark Side Of The Moon tour.

Significantly, the tour will also marry Martin Audio’s latest state-of-the-art Wavefront Precision line array technology, as fielded by 22live—who handle all audio production for TAPFS—and the original rig conceived by Martin Audio founder, Dave Martin and Bill Kelsey for that 1973 tour.

The idea of recreating this for arguably the greatest cover band on the road today, came from Chris Hewitt (of CH Vintage) who floated the idea back in April.

Hewitt is known for having salvaged and curated much of the iconic equipment that toured concert halls and festivals in the 1960s and 70s, and selected items from his emporium can frequently be seen on show, lovingly restored, at major trade conventions.

He had already created Pink Floyd’sLive at Pompeiirig for that momentous event’s 50^thAnniversary in 2021 (which appeared at the 2022 PLASA Show in London). But in April this year he decided to take it further. Having discussed the idea of revisiting the Dark Side concept with Focusrite chairman, Phil Dudderidge, it was a later conversation at this year’s PLASA Show, in the depths of Olympia, that sealed the deal.

Of course, it also needed approval from the band, who in any case have long used Chris Hewitt’s resource for authentic components for the band’s guitar cabs (in order to capture Dave Gilmour’s precise original tone). He wasted no time in getting back in contact with Australian Pink Floyd founders, Stephen McElroy (aka Steve Mac), Jason Sawford and Lee Smith — who had themselves witnessed some of Hewitt’s Pompeii recreation. They were in favour of the idea, as were promoters SJM and the band’s management.

As a result, the 1973 rig will be on static display inside the venue foyers. But what does it comprise? Centrepiece is the legendary Kelsey / Martin 2 x 15 bins, (two 15” drivers vertically stacked rear facing) which were the firstproduction cabs Dave Martin ever made (after earlier attempting, but failing, to develop a 4 x 15).

Notes Chris Hewitt, “The Martin 2 x 15 Mk1 is the bin that launched the legendary Martin 1 x 15 W bin which became part of the modular system, along with the MH212 Philishave mid. It was realised that 2 x 15 Mk 1 cabs were heavy and didn’t always fit through venue doors, so Martin made a quick design decision to saw it in half horizontally.

“We are taking four of these original Kelsey / Martin bins, loaded with JBL K140s, and the midrangefor Pink Floyd in 1973, which was covered by silver flares with a mixture of Vitavox S2, Electro-Voice 1829 horns and JBL 2402 bullets. We also have those along with Phase Linear 400 amplifiers.”

Also on show are original Sennheiser MD409N vocal mics of the type used at Pompeii and on the DSOTM tour, and some of the original Pink Floyd flight cases in Hewitt’s possession, manufactured by the long-serving CP Cases.

It was hoped that when the doors open at each venue, the general public will be allowed in to view the foyer display only. The exhibit will also be available for an early sneak preview for holders of the special VIP packages, who arrive for soundcheck and ‘meet and greet’ with the band.

22live are happy to be a part of this retrospective, and in particular their hire director (and co-founder Paul Timmins) whose relationship with TAPFS extends back through many tours. “It’s unique that while we are providing the new technology of Wavefront Precision, with all its advantages of scalability and optimisation, in the auditoriums, out in the foyer we are connecting back to the original rig through which fans heard the soundtrack 50 years ago. It just shows how far the technology has come.”

With the unique Olympic-style setting demanding a discreet yet powerful solution with even coverage, it was a challenge to find the right sound system for this occasion. Traditional bulky speakers were out of the question, as they could obstruct the audience’s view and the watchful eyes of the press.

Working closely with Generation AV, N-Live found the perfect solution with Martin Audio’s FlexPoint FP4 sound system. Generation AV recommended the FP4 for its portability and remarkable power, despite its compact size. The FP4 is a point-source loudspeaker tailored for short-throw distributed systems, ensuring premium sound quality from a compact enclosure. It astoundingly delivers exceptional output and performance while taking up minimal space, making it the perfect fit for installations that require precise spot and fill coverage.

At first, there was some skepticism about whether these speakers, due to their compact dimensions, would be loud enough for the grand occasion. However, System Engineer Sher Mohamed’s doubts were swiftly put to rest as he was astonished by the sheer power of the FP4. Its wide and smooth frequency response effortlessly reproduced both speech and music, making it an impeccable choice for the grand stage of the 2023 FIRST Global Challenge in Singapore.

The FlexPoint FP4’s are powered using Martin Audio’s VIA amplifiers, and the new DX0.4 loudspeaker processors utilising the latest FIR presets.

As the world’s young innovators gather to compete and inspire, the technology behind the scenes plays a crucial role in ensuring their success. With Generation AV’s expert guidance and the FlexPoint FP4 as the sound system of choice, the event was a harmonious symphony of technology and talent, embracing the future of youth robotics with resounding success. This collaboration between N-Live and Generation AV has proven to be the ideal solution for this remarkable event, showcasing the power of innovative partnerships in the world of event technology.

Ryogoku Kokugikan stands as the sole dedicated edifice to the revered art of Sumo, Japan’s national sport, steeped in historical significance. The origins of Sumo trace back some 2000 years, with its current form crystallizing around 300 years ago.

This cherished national sport has been passed down through the generations and firmly rooted in Japanese culture. Thus, the name Ryogoku Kokugikan is renowned, resonating with every Japanese, as Sumo wrestlers diligently train here, each harboring dreams of hoisting the prestigious gift cup. Being the very emblem of Japan’s national identity, the revered His Majesty the Emperor himself occasionally graces the arena with his presence, with a special seat reserved for his honor.

Apart from the traditional Sumo tournaments, Ryogoku Kokugikan serves as a versatile venue, hosting a plethora of events, from professional wrestling bouts to musical concerts and corporate gatherings.

Here’s the insight shared by Mr. Akashio regarding the audio system:

“Sumo necessitates an audio system capable of faithfully reproducing a wide range of sounds, from the subtle to the thunderous, resonating within the wrestling ring. Ensuring that even those seated in the farthest reaches of the second floor can distinctly discern the faintest sounds, we aimed to craft an immersive experience. This was no small feat, but we were determined to overcome this challenge.”

Through a meticulous system update, we rigorously experimented with Display3 and discovered that a WPS-centered configuration presented an ideal setup, accommodating the diverse requirements of Kokugikan, including considerations for size, weight, clarity, SPL, and control performance. Additionally, we introduced the much-requested SXCF118 cardioid subwoofer to deliver deep bass notes. Moreover, the installation of TORUS directly above the ring allowed us to distribute sound effortlessly to areas that were hitherto challenged by poor acoustics, owing to the presence of the roof.

Our objective was to engineer a versatile system that could seamlessly cater to a wide array of event requirements.”

Here’s Ota’s perspective from Audio Brains, who executed the adjustments:

“Adapting the traditional Ryogoku Kokugikan arena was a unique experience for me. Instead of relying on measuring instruments, I collaborated closely with Mr. Akashio, relying on our sense of hearing. We strived to maintain sound clarity towards the rear while managing and mitigating any reflections. Surprisingly, we found solutions even in situations where the requirements seemed contradictory.”

After their memorable double header weekend—when they supplied premium Martin Audio PA rigs to both stages at Glastonbury and in support of Queens of the Stone Age at Cardiff Castle—rental partner SWG Events were back in the Castle grounds for shows with Wales’ national treasure, Sir Tom Jones.

The second of three shows saw support by another native son, Stereophonics front man Kelly Jones, this time leading his own spin-off band, Far From Saints.

Cardiff Castle has become a new venue for SWG Events, and so a meticulous design was undertaken for Sir Tom Jones where the optimisation of the system was of paramount importance, as SWG Head of Audio, Simon Purse explained. “The PA had to avoid the walls surrounding the Castle green to avoid any slapback. This was crucial and having DISPLAY [D3 software] really helped. Also since the Castle is in the middle of the City Centre, keeping noise pollution to a minimum was essential—and we had no reported issues offsite at all, as was also the case with Queens of the Stone Age.”

The stage is a permanent fixture at the Castle throughout the summer. “Previously we had left and right hang of 12 WPL and an outhang of 10 WPC on stage right to cover some of the audience and the disabled access platform, but we also deployed a similar outhang on stage left to add to the symmetry of the system.”

“EVERYTHING WORKED SEAMLESSLY AS WPC SOUNDS SO SIMILAR TO THE WPL, YOU DON’T HAVE TO DO A LOT TO IT SINCE IT IS VOICED THE SAME.”