Category: Martin Audio

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

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

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

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

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

“WHAT CAN I SAY … I LOVE THIS SYSTEM! IT’S GREAT TO BE BACK ON THE MARTIN AUDIO GEAR. IT’S A VERY DETAILED BOX AND MATCHES THE SUBS PERFECTLY. ALL IN ALL, A GREAT CHOICE BY ALL INVOLVED”.

Trevor Gilligan, FOH engineer

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

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

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

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

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

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

“EVERY TIME I USE MARTIN AUDIO I AM IMPRESSED, WITH THE CLARITY OF THE HIGHS, THE DEFINITION OF TRANSIENTS AND THE COVERAGE ARE IMPRESSIVE AND, MY MASTER EQUALISER REMAINS FLAT. SO, IT`S JUST HAPPINESS ALL ROUND.”

Maycon Mendes, Sandy’s engineer

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

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

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

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

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

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

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

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

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

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

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

“THE SUBS ARE LESS UNOBTRUSIVE, AS THEY ARE TUCKED AWAY, TO BECOME PART OF THE FURNITURE”.

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

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

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

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

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

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

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

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

Henley Festival, renowned for its refinement and elegance, made a triumphant return this year, commemorating a significant milestone. RG Jones, as the provider of sound systems, celebrated four decades of collaboration with the festival. The stunning riverside location presented unique audio challenges, especially with the iconic Floating Stage.

Overcoming the technical feat of achieving consistent audio coverage for both the audience inside and outside the auditorium, given the relatively short front-to-back distance and expansive space, RG Jones, under the guidance of designer Simon Honywill, tackled the challenge with the acclaimed MLA Compact system from Martin Audio. The advanced control technology of MLA enabled precise adjustments to meet licence conditions, ensuring optimal sound levels and minimising offsite noise.

The festival showcased an extraordinary line-up featuring Rag’n’Bone Man, Westlife, Nile Rodgers & CHIC, Ministry of Sound Classical and more. Audiences were treated to unforgettable performances without any noise complaints. The closing night featured the exceptional talents of the Kanneh-Mason Trio, Ronnie Scott’s jazz club, Boney M., and a comedy set by Jack Dee.

RG Jones also provided cutting-edge audio solutions for various support and specialist club stages using Martin Audio’s CDD Live, TORUS, and Wavefront Precision systems, with over 140 products deployed throughout the site. However, this year introduced a new addition to the line-up—the Rise Stage.

In honour of the festival’s 40th anniversary, the Rise initiative was launched, and as the festival enters its 41st year, the Rise Stage was introduced to support the next generation of talented performers and technicians in the creative arts industry. The Rise Stage offers paid opportunities for young musicians, comedians, and visual artists, while also providing valuable work experience with leading lighting and sound companies, as well as in marketing and PR, for aspiring backstage staff.

Simon Honywill expressed his enthusiasm, stating, “Henley Festival’s close collaboration with the Rise charity is truly remarkable. When the introduction of the Rise Stage was being discussed, I wholeheartedly supported the initiative and offered to extend the partnership by inviting two LIPA students to run the stage throughout the festival. It’s wonderful to provide these talented students with invaluable on-site experience.”

The thriving partnership between RG Jones and Henley Festival continues to flourish, showcasing innovation, exceptional sound quality, and a deep commitment to nurturing young talent in the industry.

Find the Henley Festival #RigsAtGigs video here: https://youtu.be/Y2chA2wAdNo

Following significant upgrades to the Great Oak Stage in 2022, American Express presents BST Hyde Park relaxed comfortably into its new setting this year. The iconic stage dominates the Royal Park—now firmly established, after once being considered ‘unworkable’ as a concert site, surrounded as it is by the well-heeled residents of Mayfair and Knightsbridge.

Much of this is because Martin Audio’s tightly controllable MLA PA array—the result of its advanced DISPLAY optimisation software—has been ever-present since AEG Presents took over the Park lease in 2013, making offsite noise pollution largely a thing of the past.

With system engineering back in the capable hands of Toby Donovan, who aside from last year has worked every BST, the site sound provided its usual exemplary experience for audiences. This time the tech team presided over a 9-day festival that saw acts like Pink, Guns N’ Roses, Take That, Bruce Springsteen and the E Street Band and Billy Joel headlining. Other than slightly raising the main stage side hang to avoid it obscuring the screen, Solotech UK account manager, Martin Connolly, confirmed that “everything else was exactly the same as last year.”

Nonetheless, prior to the event another BST stalwart—freelance sound consultant (and former Martin Audio R&D Director)—Jason Baird was drafted in for propagation checks, particularly with regard to the 11 delays positions, which comprised many of Martin Audio’s larger format WPL. Working with acoustic consultants Vanguardia, he patrolled the field with a walkie-talkie, providing data to Donovan to ensure the delay levels were set correctly, and that Martin Audio’s DISPLAY optimisation and predictive software was accurate and ready for showtime.

“As a result,” said Baird, “all headliners enjoyed good gigs, and were able to achieve their levels. There were many compliments from visiting engineers, but the main thing was a reduction in complaints.” This despite offsite levels being set at a challenging 75dB (LAeq5).

Two such sound engineers who were voted to have produced memorable sound quality were Gary Bradshaw (Take That) and Simon Thomas (Sabrina Carpenter).

Occupying the stunning Tudor courtyard, the two-week Hampton Court Palace Music Festivalreturned recently with a top-grade line-up, performing in this spectacular Grade I royal palace setting, dating back to the early 16th century and once home to Henry VIII.

Working within constraints of heritage buildings, and tasked with creating a technical infrastructure for the event in recent years has been SWG Events.

A major investment in the manufacturer’s cutting-edge technology has enabled them to field an end-to-end solution (the latest acquisitions being further TORUS T1215 speakers and SXC118 single 18in cardioid subwoofers). This is in support of their flagship WPL Wavefront Precision line array which was deployed as the main PA hangs.

All of which has this year delighted the many visiting sound engineers accompanying artists ranging from Gladys Knight, Kaiser Chiefs, Soft Cell, Kool & The Gang and Tom Jones, who have been playing to capacity audiences of 3,000 immersed within the Palace surrounds.

“NOT ONLY DID I HAVE A REALLY GOOD EXPERIENCE BUT THE ARTIST HERSELF WAS PARTICULARLY PLEASED AND SAID HOW GREAT THE SHOW SOUNDED.”

Working again for promoters IMG, according to SWG Events Head of Audio, Simon Purse, this product streamlining has made their task a lot easier. “It’s the first time we’ve had a complete flagship Martin Audio system in our inventory and as a result we’ve been able to refine the design,” he confirms. “Everyone has been very complimentary—the FOH guys are loving the system.”

Despite having established a proven design template, rigging this 50ft x 50ft courtyard certainly wasn’t without its challenges. “It’s a massive, cobbled courtyard surrounded by walls and turrets,” he says. “And being a Grade I-listed building you have to be careful not only with cobbles but also shaking the ancient windows.” This required working within specific frequency response curves and managing content within control software. The lower frequencies are most problematic, but the DISPLAY software also needs to be programmed to ‘hard avoid’ the back wall.

Facing his third year of providing technical services for Access The Festival (ATF), the three-day EDM dance party in Warwick’s Sherbourne Park, events specialist Sound Access turned for the first time to Martin Audio’s Wavefront Precision (WPS) for the sound reinforcement.

The Festival, organised by DJs Will Darley and Alex Neidhardt, continues to evolve its concept (this year adding a third day). But mindful that with three stages in close proximity, and a lot of low-frequency energy to contain, Sound Access owner Joe Baker’s rationale was simple. “The organisers wanted to upgrade the audio this year because we all felt that the listening experience was the most important.”

In order to mitigate sound spillage, tight control was required. “Last year, noise rejection out the back was quite bad with the system we used,” acknowledged Baker. But there were no such problems this year.

Sound Access have collaborated with Martin Audio partner dBS Solutions on several tours — including Burn The Floor, where they carried a WPS rig. “It was the first time I had used it, and I had the best time. I never had to change my mix even when we dropped boxes for smaller venues, whereas with other systems you have to work hard to get that consistency.”

When ATF came around Baker was back in contact with Chris Bogg at dBS Solutions who was happy to cross-hire his WPS and TORUS systems for the summer party. Sophia Livett from noise consultants Acoustec set site sound thresholds, which Joe Baker knew he could meet by deploying Martin Audio’s ‘Hard Avoid’ feature in the proprietary DISPLAY software.

Due to the spread of the coronavirus, many outdoor festivals have been forced to be canceled or prohibited from speaking out in recent years.

In the past, there were various restrictions such as limiting the number of people and requiring masks to be worn. However, this year, all regulations have been lifted, and large-scale rock festivals have returned to scene.. Voice production including audience chorus and call-and-response became possible.

There are many residential areas and commercial facilities in the neighborhood of Chiba City Soga Sports Park.. This year, when the restrictions of the audience has been lifted, a higher SPL is required. At a venue where it is necessary to place emphasis on noise control, we needed to create a system that was different from the conventional system.

Therefore, a system that followed the “ROCK IN JAPAN FESTIVAL 2022”, which was a great success last year, was used.

Each of the two main stages have eight MLAs at the front. In addition to this, 7 MLA towers were installed at 4 locations each, for a total of 8 locations. Normally, this delay tower is installed on both sides of the audience area, but it is installed only on one side, making it possible to minimize sound leakage outside the venue.

We interviewed Mr. Shuzo Fujii, Chairman of MSI JAPAN, who was in charge of the JAPAN JAM system.

“We had to control sound leakage to the outside of the venue to an unprecedented level, but the results were easy to obtain. Inside the audience area and outside it was a completely different space. It was amazing how much sound pressure and quality was provided that it didn’t leak out.I felt that this outdoor festival was a moment that once again proved the high level of MLA’s controllability.”

This year, MLA will play an active role at three venues: SKY STAGE, SUNSET STAGE, and BUZZ STAGE. Enjoyed Golden Week.

*JAPAN JAM 2023 was held on April 30, 2023/May 3rd, 4th, 5th, and 6th. Unfortunately, the SUNSET STAGE was canceled on the final day due to strong winds, but all five days were held without incident.

Over the years, Soundworks of Virginia has built a reputation for providing advanced sound production for national tours passing through the state. As one of the first live sound production companies in the world to acquire Martin Audio’s large format WPL line array at the beginning of 2019, their early adoption has paid handsome dividends.

Recently they provided sound production for R&B vocal group, Boyz II Men, when the group visited the Atlantic Union Bank Pavilion, a 6,500-cap outdoor amphitheatre in Portsmouth, VA.

It was a venue familiar to the Soundworks team and while load-in and rigging protocols are straightforward there are acoustic challenges to be met, since the venue deploys a tent-like material to cover the first 3,000 seats nearest the stage. Bryan Hargrave, Soundworks’ engineer and system tech for the show commented, “Since we did not have serious noise abatement issues to address, I used the Hard Avoid feature available in [Martin Audio’s proprietary] DISPLAY software to prevent reflections and interaction with the tent cover.

This makes a very positive impact on the sound quality and is appreciated by both band engineer and audience alike.”

Bobby Scherberger is the venue production manager and since Martin Audio was listed on the band’s rider, once he had cleared the WPL rig with the Boyz II Men production team he contacted Soundworks. “We have worked with Bobby for many years and at numerous different venues. He is aware of Soundworks’ equipment and has total confidence in our experience and capability. It’s fair to say he has become a fan of Martin Audio’s Wavefront Precision,” suggested Soundworks president Grant Howard.

“WITH WPL WE BID IN TOTAL CONFIDENCE ON EVERYTHING THAT COMES OUR WAY. WE KNOW THAT WE CAN COMPETE NECK AND NECK WITH ANYTHING OUT THERE. IT’S A GREAT FEELING.”

Boyz II Men’s trio of vocalists, fronting a full backing band, required 56 channel inputs from the stage. And while it was the band production team’s first experience with WPL, according to Bryan Hargrave “it was definitely a two thumbs up situation all around.”