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REIMAGINING 35 YEARS OF EDDIE IZZARD, REMIXED THROUGH WAVEFRONT PRECISION

Take one artiste, one hyper-cardioid wireless mic and 35 years of comedy history and you have Eddie Izzard’sRemix Tour Live. Take an unimaginably disparate collection of venues and halls, ranging from 2,200-cap down to 840—some with tiered balconies, and some with no flying facilities—add in weird sound effects ranging from dinosaurs to Darth Vader (and a whisper to a scream) …and you potentially have a mighty headache for the production team.

Fortunately Eddie has toured with Martin Audio’s scalable, compact and supremely versatile WPS line array previously, and her production crew are well aware of the system’s adaptability. In fact Solotech senior account manager, Robin Conway, discloses that “the last Eddie Izzard tour [Wunderbar, in 2019] was part of the reasons I bought WPS in the first place. This time around production and I wanted to try and provide the same level of consistency while retaining a single truck.” Hence the inventory was stripped back to a bare minimum.

The sound design was expertly reworked from venue to venue by the experienced FOH team of sound engineer, Scott (Scoobie) Scherban and system tech, Rayne Ramsden—working alongside production manager, Stephen Reeve. They knew to expect the unexpected, and as Rayne put it, “each venue has been a beast of its own.”

Production carried just 24 WPS to enable 12-a-side elements to be flown at the largest venue, Birmingham Symphony Hall (2,200-cap), as well as four SX218, half a dozen DD6 (generally as lipfills) and a pair of XD12 for various balcony delays or sidefills. This scaled down to just a pair of WPS a side ground stacked on a single SX218 at bijou theatres such as the Brighton Theatre Royal and Richmond Theatre. The rig, in whatever configuration, is driven in the optimum 1-box resolution from Martin Audio’s iKON multi-channel amplifiers. Elsewhere, in Glasgow they had a stacked six-a-side WPS on a single SX218, while in Cardiff they reverted to a vertical SX218 with four WPS stacked on top, presenting the potential problem of obscured sightlines. To say WPS had to function as a workhorse is putting it mildly.

“TO BE ABLE TO GROUND STACK LIKE THAT AND MANAGE TO COVER THREE BALCONIES UP IS PURE GENIUS”.
Scott (Scoobie) Scherban, FOH sound engineer

Scoobie was highly complimentary of WPS’ ability to achieve the near impossible, citing one venue which only permitted a single sub with four WPS stacked on top. “It did an incredible job,” he said. “To be able to ground stack like that and manage to cover three balconies up is pure genius.”

He faced the additional challenge of contending with a vast assortment of mic gymnastics (bordering on abuse) as Izzard worked through trademark classic skits. He approached it as a “hybrid rock / theatre show,” explaining … “the thunder and lightning effects make the opening surprisingly big and bold … and so it has to be loud.”

Vocal simulations range from his Darth Vader [Canteen of the Death Star] sketch where she’s cupping the mic, to capturing her imitating dinosaurs eating, notes Scoobie. “There is a lot of mumbling, and the challenge is to capture the sound from the most subtle level right the way through to absolute scream. The gain on the microphone is huge.” Two separate preamps were assigned to the mic—one dedicated to speech, the other for her effects channel to get the level up sufficiently.

Rayne Ramsden also highlighted the challenges of deploying different stacked PA configs in venues without hanging points or low weight bearing capacity.

Getting a single mic to travel with power and clarity into the deepest recesses of small venue was one of Rayne Ramsden’s prime concerns. ”Having the one-box resolution was really useful in being able to move the audio within the space”, he says. But he also needed to minimise the sound coming back off the box that the mic would inevitably pick up “and make sure it is as limited as possible.”

He has been using Martin Audio DISPLAY 2 software to optimise the sound. “It’s much quicker to get a 2D CAD slice out than to draw the whole venue particularly when you don’t have pre-given calculations.” He has also made full use of the Hard Avoid feature in DISPLAY. “There’s been a lot of usage of that onstage,” he admits, “to avoid the rear side of the box. Also, some of the venues had a tiered roof that I had to make sure I didn’t hit.”

Having worked with WPS now in many different modes and deployments, he concludes, “The great thing about WPS is that it’s a big sounding box in a small format, which helped keep the sightlines as clear as possible. You can use it anywhere … as a nice complement to WPL as delays or side hangs.” Or clearly as a stand-alone workhorse PA in its own right.

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Martin Audio

Martin Audio’s O-LINE Micro Array Powers Luzhou Laojiao Command Center

The Luzhou Laojiao Command Center in Sichuan Province, China, now features Martin Audio’s O-LINE microarray, enhancing the venue’s audio and video capabilities following successful integration and commissioning.

Martin Audio’s O-Line™ is a compact, scalable high-definition modular array designed to master architectural and acoustically challenging environments, and comprises multiple array modules seamlessly connected for adaptability.

At the Luzhou Laojiao Command Center, 6 suspended O-Line™ micro arrays on each side serve as the main loudspeakers, offering complete venue coverage. Enhancing the experience, 2 SX112B subwoofers handle low-frequency expansion, and 12 4-inch Ceiling 4.8T speakers in the rear area act as fills for a comprehensive audio experience.

The signal distribution and processing are handled by Martin Audio’s VIA series power amplifier driver and DX0.5 processor.

Following the acceptance test, the command center demonstrated even coverage across all areas, delivering crystal-clear vocals and music with a richness in sound quality and dynamics. The client expressed high praises for the overall sound quality.

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Martin Audio

LONGJIN MIDDLE SCHOOL’S AUDITORIUM (SHENZHEN BAOAN) UPGRADED WITH MARTIN AUDIO SOUND SYSTEM

Longjin Middle School’s auditorium in Shenzhen’s Baoan District now features an upgraded Martin Audio sound system, ensuring an enhanced audio experience.

Shenzhen Longjin Middle School, an esteemed member of the Baozhong Group, excels as a regional education leader. Strategically located in the Guangdong-Hong Kong-Macao Greater Bay Area, it embraces the ‘Three Cities and One Port’ vision, serving as a vital hub in the Airport New City. The school’s vibrant campus features the Longjin Library, a unique haven with over 100,000 books. Lecture and concert halls, equipped for 1,000, cater to diverse student needs. With double-floored teaching and dormitory areas and inviting outdoor rooftops, the school fosters communal spaces for students to relax, enjoy the sea breeze, and envision their future memories.

Martin Audio, a global pioneer in optimized line array technology, stands at the forefront of innovation! The Wavefront Precision line arrays, featuring WPM, WPS, WPC, and WPL, offer a scalable solution for precise control, consistency, and extensive coverage in any event or installation. This revolutionary lineup has become Martin Audio’s fastest-selling range, making waves at major festivals, concerts, corporate events, houses of worship, live venues, and auditoriums.

Longjin School’s auditorium upgrade features the Martin Audio’s WPM line array from the Wavefront Precision Series, with 7 WPM a side flown underneath an SXF115 subwoofer for optimal coverage.  There are 2 WPMs in the center channel that ensures uniform sound distribution across all seats, while 4 DDX118 subwoofers enhance low-frequency energy.  WPM, a versatile two-way passive line array, excels with a peak SPL of 130dB and consistent coverage, making it an ideal choice for live sound reinforcement in various venues.

Revolutionizing Auditorium Acoustics: Longjin School’s auditorium now features Martin Audio’s DDX Series, with DDX15 on stage return, DDX12 as downfill, and DDX8 as lip fill. This strategic setup ensures a uniform and immersive sound experience, setting new standards in live audio technology.

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Martin Audio

FOCUSRITE PLC PURCHASE OUTBOARD ELECTRONICS AND TIMAX IMMERSIVE AUDIO SOLUTIONS

Focusrite plc has announced the acquisition of UK based Sheriff Technology Limited, trading as OutBoard, the company behind both TiMax immersive audio solutions and OutBoard stage rigging motor control products and PAT4 enterprise electrical safety testing.

They will join the Audio Reproduction division of the Focusrite Group alongside Martin Audio, Optimal Audio, and Linea Research.

Founded in 2001 by Robin Whittaker and David Haydon, OutBoard is a UK-based company specialising in innovative entertainment technologies, which it sells globally. Operating under two sub-brands—TiMax and OutBoard—their products are vital for professionals in the audiovisual industry, particularly in live performances, event management, and the rapidly expanding sector of immersive sound experiences.

WE ARE LOOKING FORWARD TO INTEGRATING OUTBOARD’S TECHNOLOGIES AND EXPLORING NEW OPPORTUNITIES IN THIS SEGMENT OF THE RAPIDLY EVOLVING AUDIO INDUSTRY.
Tim Carroll. CEO, Focusrite

TiMax are pioneers in immersive sound, specialising in innovative audio and show control technologies through their Soundhub and Tracker D4 products, catering for a wide range of applications including entertainment, events, branding, themed environments, and exhibition spaces. Their solutions are frequently used for Broadway and West End shows, and together with sister Focusrite brand Martin Audio in particular there will be many opportunities for future collaboration.

Under the OutBoard brand, the business designs, manufactures and sells industry standard rigging control products for live events, together with enterprise-level safety test, preparation and quality management for global rental companies and venues. Their solutions are commonly used across European markets and feature at BST Hyde Park concerts, again alongside Martin Audio.

By extending the Group’s business into new products and markets, which complement its existing offerings within the Audio Reproduction business, the acquisition is strategically aligned with the Group’s previously communicated aims of growing the core customer base, expanding into new markets, and increasing lifetime value for customers.

Tim Carroll, CEO of Focusrite commented:

“The acquisition of OutBoard represents another strategic expansion within our Audio Reproduction business, enhancing our product range and market reach. OutBoard’s innovative products, such as TiMax spatial audio and show control, align perfectly with our mission to deliver exceptional audio experiences within live environments. We are looking forward to integrating OutBoard’s technologies and exploring new opportunities in this segment of the rapidly evolving audio industry.”

Robin Whittaker and Dave Haydon, Founders and Directors of OutBoard added:

“Joining forces with Focusrite marks an exciting new chapter in OutBoard’s story.We are thrilled to see our products reach new markets and benefit from Focusrite’s global presence and brand recognition. Our commitment to innovation and quality remains steadfast, and we look forward to contributing to the Group’s continued success.”

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Martin Audio

Martin Audio’s WPC Takes Center Stage at Westin, Mumbai

ICICI Foundation Day Triumphs with Salman Ali Hosted by Global Production Services!

INDIA: We’re thrilled to share the success of the ICICI Foundation Day, held at the prestigious Westin, Powai. This event was not just a celebration but a sonic experience, thanks to the powerful Martin Audio WPC system and the mesmerizing performance by artist Salman Ali.

Featuring fourteen of Martin Audio Ltd’s WPC Bi-amp Three-way Line Arrays, and ten SXH218 Passive Hybrid®️ Horn/Reflex Subwoofers, the audio quality perfectly complemented Salman’s dynamic vocals.

At the heart of the system, the iK 42 Four-channel Power Amplifier, ensured flawless sound throughout the event. Our appreciation goes out to Saurabh Ayare, Director of Global Production Service, and System Engineer Gautam Sarkar for their expertise in creating an unforgettable auditory experience and for using Martin Audio WPC.

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Mùa Craft Sake – Elevating Ambiance in Ho Chi Minh City

Vietnam : In 2023, Mùa Craft Sake, Vietnam’s first craft sake brewery, in Ho Chi Minh City curated a stellar auditory experience with a combination of Martin Audio and Optimal Audio thanks to Duc Pro Audio. The installation featured 8 ADORN A55T speakers and 1 Zone 4P, ensuring optimal amplification and a high-quality audio backdrop. Specifically designed to enhance the ambiance for background music, the audio experience at Mùa Craft Sake has made it a standout favorite.

Mùa Craft Sake is a casual and fun place to enjoy drinks and a menu designed to be shared with friends. The taproom serves the freshest seasonal sake on tap, including cocktails and craft beers. They offer plenty of indoor and outdoor seating, including a tasting room upstairs for private events.

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Martin Audio

88 Beer Garden’s Sonic Upgrade in Vung Tau City

Vietnam : In 2018, 88 Beer Garden in Vung Tau City underwent an audio upgrade with Martin Audio thanks to Duc Pro Audio. The system comprised 20 CDD15 speakers and 8 SX218 subwoofers, further enhanced with a 2023 system upgrade featuring IK42 and VIA amplifier series. Chosen for their strong and crisp sound, the CDD series and SX subwoofers leaves a lasting impact.

Photos by 88BeerGarden

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Martin Audio

New Ha Long Club Super Universe: Improved Sound in Ha Long City

Vietnam : In 2017, New Ha Long Club Super Universe in Ha Long City embraced audio excellence with a Martin Audio setup thanks to Duc Pro Audio. The setup includes 20 W8LCI Line Array speakers and 16 WS218X subwoofers, paired with IK42 and VIA amplifiers for a recent upgrade in December 2023. Chosen for their high-quality sound, the W8LCI and WS218X speakers have solidified the club’s reputation as one of the biggest in Quang Ngai Province.

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Martin Audio

Bamboo Beer Club Enhances Sound Experience in Quang Ngai City

Vietnam : In December 2023, Bamboo Beer Club in Quang Ngai City improved its sound system with Martin Audio, thanks to Duc Pro Audio. They installed 24 X15B full-range speakers and 12 X218 subwoofers, perfect for DJ sets. The installation went smoothly, creating a great atmosphere for patrons.

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Martin Audio

Martin MLA rocks Clockenflap and keeps residents happy

HONG KONG: 

Hong Kong’s Clockenflap festival returned to Central from 1-3 December with six stages of entertainment, including the main Harbourflap stage backed by the Hong Kong Peak and overlooking over the harbour to Kowloon.

Once again, MSI Japan was appointed as the production partner for the Harbourflap stage, with Bunshiro “Bun” Hote, Yasuhiko “Yasu” Watanbe, and Yukio “Eddie” Tanada handling sound design, with a particular emphasis on noise control. With the rear of the stage backed by government and residential properties, and complaints from residents in the past, the challenge was to limit audio heading in that direction. Accordingly, the team designed a Martin Audio MLA system with a cardioid subwoofer array of 30 MLX subwoofers, achieving close to 30dB rejection at the stage rear.

Two hangs of 15 Martin Audio MLA line array cabinets with one MLD downfill were plugged into the Display prediction software, enabling MSI to control audience coverage using the “hard avoid” feature at the rear to eliminate audio from onstage and from residents behind the stage. Limits were placed at the edges of the audience areas to ensure maximum focus on the crowd and prevent audio travelling across the water to Kowloon.

Clockenflap’s sound director Sem Cigna, who has worked with several different main stage systems on Clockenflap since 2016, had deployed a similar MLA configuration for a 2019 Gwen Stefani concert in Hong Kong. “I was able to experience how MLA could reduce the audio outside of the audience area without losing any impact for the audience,” Cigna explained.

When it comes to noise control for all six stages, the buck stops with Clockenflap’s production manager, Peter Gorton. “When the venue moved from Kowloon to Central several years ago, one of the biggest requests from the government was to manage the noise for the residents,” he says. There followed years of testing possible solutions, from hiring cranes to fly and test different line arrays at the site to situating large sandbags behind the subwoofers, blocking sound from the rear of the stage. MLA’s ability to eliminate noise from the back of the stage has meant that sandbags are a thing of the past. However, noise reduction is a crucial component of the festival, with three monitor stations around the site in Central and one across the water in Kowloon. Gorton is at pains to point out that while residents have adjusted to the annual festival in the city, he and his team don’t take this for granted, constantly striving to put on a great event without disturbing the neighbourhood.

“The MLA system has the punch and impact we were looking for, especially for bands like Japanese pop duo Yoasobi who were playing for the first time in Hong Kong,” said Gorton. “They sold out the Friday night and blew away the excited audience with their energy. Amazing to hear everyone in the crowd singing every word.” Yoasobi FOH engineer Fujita Kengi described the resolution of MLA as “standout”, allowing him to focus on the mix and create an impact for the audience.

Gorton also revealed plans for a Singapore festival in 2024 along with plans for more Hong Kong events.

Other acts to appear on the Harbourflap stage over the weekend included Britpop legends Pulp, hip hop stars De La Soul, Chinese alt rock band Omnipotent Youth Society, Taiwanese indie rockers No Party For Cao Dong, UK’s Idles and Chinese singer-songwriter Leah Dou.