Category: Martin Audio

CCCP had previously worked with Martin Audio point source systems for a couple of years with the WPM installation marking their first Martin Audio line array experience. They too offered several alternative, rider friendly brands for evaluation prior to the Martin Audio solution being adopted. But the operators were in no doubt. “We had done our own research, both online and talking to FOH engineers we know, and received a lot of positive feedback,” continued Jan Oettinger, who has been at CupOJoy virtually since the beginning.

“Besides, having experienced other sound systems in the room with touring artists’ own production we felt like the Martin Audio sound was superior to anything we had heard in the room previously.”

CCCP’s Steve Littlepage was tech head and system designer. He detailed two WPS line array hangs, seven elements per side, driven in single box resolution from two Martin Audio iKON iK81 amplifiers (with channel 8 of each iK81 used to drive DD6 front fills). These are set either at the edge of the stage, or operate on a thrust with a different system preset. Four SX218 subwoofers, driven by the iK42, are flown in an end-fire configuration and aligned with the arrays.

Mark Berg pointed out further advantages of reduced real estate in having the iKON multi-channel, process-controlled amps. “It means we can run the entire system off just three amps instead of many more required in the rack with the other two systems [we reviewed]. It was one of the main selling points of the system.”

But given present supply problems, the fact that all this ordinance was delivered to site for the opening benefit concert, said Littlepage, had been due to the efforts of Martin Audio’s Martha Callaghan. “She was amazing—she went above and beyond to get everything to us in time.”

In terms of system set-up and optimisation, the CCCP engineer said this couldn’t have been easier using Martin Audio’s DISPLAY 2 and 3 software (for 3D modelling of the space). This was backed up by EASE plots, which lined up perfectly with Martin Audio’s modelling, he said.

As part of the requirement, CCCP also provided new projector, screen and PTZ cameras, and created a flexible infrastructure for touring productions to patch into the system with their control. Crucially, this will also be networked to CupOJoy’s smaller 200-cap venue across the hall, where an appropriate PA is installed. A Q-SYS backbone provides system flexibility between Performance mode for concerts and a Presentation mode via touch panel or iPad app, for corporate events.

Reflecting on the installation, Mark Berg summarises as follows: “Anyone that’s already heard [WPS] loves it. I can’t imagine anyone not being enamoured.”

This sentiment is endorsed by Jan Oettinger. In conclusion she says, “The new sound system means the world to us and will make a huge difference to our programming, as I can now plan bigger. When [acts] walk into the room now, they know they can leave their production on the bus!”

Photo credit: Scott Eastman (Great Scott Images).

The two hangs of 16 WPL elements per side were run in 2-box resolution from Martin Audio’s 4-channel process control iK42s “which more than covered the arena,” according to Purse. Two further hangs of six WPS provided outfill coverage, again run from iK42s. Four W8LM were provided as front fills but placed on a specially built trough to bring them up to stage level to comply with camera requirements.

Subwoofers comprised 18 SXH218, set in three columns of six, in end fire configuration. Recessed under the stage, they provided “really good coverage and high impact and fit within the footprint,” continued Purse. This approach was necessitated not only by camera tracking requirements but also an inordinately large monitor world, given the number of acts. The set also incorporated a stage thrust and a large thoroughfare on both stage wings … stage right for celebrities and presenters, stage left for artists.

To keep the energy revolving on stage, particularly for the dancers, SWG placed three of the new Martin Audio TORUS 15° T1215 constant curvature arrays on either side of the stage. The auditorium sound, meanwhile, was optimised in Martin Audio’s proprietary DISPLAY software, ‘hard avoiding’ the back wall.

In addition to the live feed SWG provided splits to the main broadcast truck.

This year’s ceremony was hosted by Chunkz and Yung Filly, and performing live were Kojey Radical, Cat Burns, Flo, Fireboy DML and many more.

Nile Rodgers, Craig David, Little Simz were among the main winners, while the late music entrepreneur, Jamal Edwards, was awarded posthumously.

Simon Purse had strong praise for his team. In addition to their own highly professional crew of Joe Bailey, Fraser Wilks, Dan Jenkins and Mark Bott, also assisting on RF coordination and management, playback, OB truck liaison, comms and patch were Ian Williams and Will Fisher.

But he was relieved, in particular, to have been able to draw on the vast experience of Simon Honywill at FOH as well as Mark Sunderland, who looked after everything in monitor world. “The whole team really nailed it,” concluded Purse, reflecting on a truly satisfying event.

Rob Smalldon agreed. “For a show of this complexity I needed someone I could trust to understand the show, find a solution to various elements and deliver it seamlessly. Their choice of equipment was second to none, and the show went really well.”

Photo credit: Filiz Moore

So what makes TORUS so ideal for a flared space such as this? The constant curvature array is designed for applications that typically require an optimum throw between 15-30 metres, and where a full-blown line array or point source solution may not be appropriate. The T1230 offers a vertical pattern of 30° while T1215 offers 15° but both then have a flexible horizontal pattern that can be manually adjusted between 90°, 60° or 75° (asymmetrically).”

Although Tim Wright has long been a fan of Martin Audio, he admits that CTI have only become recent converts to Martin Audio. “Although I have installed the brand previously this was the first big chance to do something of this calibre and size.”

However, the Grace Church fit-out was not without its installation challenges included locating the three hang points, with a confined workspace above a hard-deck ceiling. But an L/C/R system was duly implemented, with a combination of two TORUS T1215 with a T1230 underneath, backed by a pair of SXCF118 18in cardioid subs, on each hang, driven by four iKON iK42 4 x 2500W Dante-supporting process-controlled amplifiers. A further pair of Martin Audio’s high-powered XD12 12in point source speakers were deployed as corner fills and seven of the ultra-compact DD6 6.5in speakers placed around the perimeter of the stage for close front fills. “It was having fill speakers around the lip that the old system really lacked,” believes Tim Wright.

In addition to providing exemplary coverage, the new fit-out also meets the aesthetic requirement, since the ceiling is now painted black, and the speakers blend in seamlessly. Michael Hoskinson is also delighted to have the subs up in the air, noting that while the trim height of the hang is now lower than previously it does not intrude on the two-screen projection set up. “The whole thing looks really sleek now,” he says.

When Martin Audio’s Will Harris came to commission it, “as soon as it was physically turned on it sounded great,” according to Wright. “It soundedexactly like it looked on the engineering document. Any DSP that was needed was built into the amps. [iKON] is a complete process-controlled amp for a good reason because it is designed to work together [with TORUS].”

And Michael Hoskinson shares his enthusiasm, particularly since congregants are reporting widespread satisfaction and enjoyment of the new array. And with the fast turn-around of activity within the church he knows that in the coming months they will be throwing a lot at TORUS. “These speakers can expect to be getting pumped harder than they would normally expect,” he exclaims.