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Martin Audio

22LIVE ADDS ‘TINY’ MARTIN AUDIO FP4 FOR SIGUR RÓS ORCHESTRAL MONITORING

Experimental Icelandic rock band, Sigur Rós recently embarked on a two-and-a-half-week tour of North America, complete with a 41-piece orchestra.

It marks the third phase of support from their audio rental company 22live, who earlier covered their 2022 world shows, followed by European summer dates (where the orchestral idea was first introduced) and now tour dates in the United States and Canada.

Each wave of dates has seen progressive iterations of Martin Audio sound reinforcement, culminating in monitor engineer Throstur Albertsson recently changing his monitor set-up for powerful XE500 wedges (to complement their IEM’s) but more significantly 18 of the manufacturer’s new FlexPoint FP4 for local orchestral monitoring.

Explaining the background, 22live hire director, Paul Timmins, who has a long relationship with Sigur Rós, said “We needed some tiny speakers for the orchestra. I’d got wind about FlexPoint and when I attended the Martin Audio Open Day in April I discovered that Ingvar Jónsson – Sigur Rós FOH engineer – was also planning to visit because of a side project with Martin Audio he was involved with. He was impressed with the FP4 and XE500 wedges and told the monitor engineer how great they were, believing the diminutive FP4s would be ideal for the orchestra.”

His colleague, Throstur Albertsson, duly adopted this solution for the orchestra foldback, but the challenge became one of timing. Martin Audio met the deadline by fast tracking the first production run in order to meet the first six orchestral shows in Europe.

“I WAS IMMEDIATELY IMPRESSED WITH HOW WELL FP4’S SOUNDED, AND THE FACT THEY ARE COAXIAL, WITH 100° DISPERSION, THE TONALITY WAS REALLY EVEN”.

Throstur Albertsson, Monitor Engineer

Throstur admitted to having been disappointed with elements of his traditional tiny monitors and readily acquiesced. “I was immediately impressed with how well FP4’s sounded, and the fact they are coaxial, with 100° dispersion, the tonality was really even. Mounting them was easy as I combined the tilt backet onto a mic stand and they do the job perfectly.”

Driven by his iK42s he is grouping the orchestra into eight sections, applying a separate mix for each of the groups. Asked about the XE500, he said “They are f***ing monsters … really loud, especially on something like the kick drum, albeit for the most part the band are on in-ears.”

For the US and Canada tour, as they have done with the recent Australian Pink Floyd tour, 22live shipped the entire audio inventory Stateside. As well as monitors, this also includes both Martin Audio TORUS and Wavefront Precision, marking a successful progression of the manufacturer with the band’s production team.

Martin Audio had been introduced by 22live for the first time at the Black Island production rehearsals, in 2022, where as part of a control package, a TORUS system was included. When a European run was announced for the same year, 22live were given the

opportunity to provide a full PA, and the band’s production manager, Giles Woodhead, began conversations regarding the Martin Audio Wavefront Precision option.

Said Paul Timmins, “Although their FOH engineer, Ingvar, had been used to working with other audio brands, he trusted us, and the deployment was very successful.” This was also partly due to the fact that the TORUS system had been so well received at the Black Island rehearsals that Ingvar was encouraged that the brand could deliver the result he was looking for, sensing that its underlying technology matched the best in the business.

Timmins also knew that the technical support team needed to be fully conversant with the latest Martin Audio products, and so nominated the experienced Joseph Pearce as system tech and Johnny Buck as PA tech.

The PA needed to cater for venues ranging in size from 2500-16,000 capacity, and so they arranged a combination of the large-format double 12” WPL and smaller double 8” WPS. “This combination meant that for the larger spaces the WPL could be deployed with WPS side hangs, while in the smallest of venues the WPL could remain in the truck entirely. In total, the tour had at its disposal 32 x WPL, 24 x WPS, 12 x SXHF218 subwoofers, six WPM lip fill, and four TORUS T1230 for in and outfill.

Completing the audio package, Martin Audio iK42 rack were built in two double-bay 24U racks, keeping the packaging neat with integral 63A distribution utilising 22live’s new SES power distros.

Following Albertsson’s glowing report, the monitoring package is now also fully ensconced, and Paul Timmins was equally complimentary. “Everything about it feels premium, with a proper connector on the back, decent fittings, two options of how you hold the cabinet, and whether on a mic stand or in a little frame.” But Albertsson is already thinking to the future. Aside from wishing he could have got his hands on more of the formidable FP4s, he said, “I’d love to take a look at the FP12s for some additional monitoring requirements.”

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Martin Audio

DISPLAY 3 for Apple Mac

DISPLAY 3
Beta 6.0

We are pleased to share the latest version of DISPLAY 3, our 3D acoustic prediction and sound system design software, which is now compatible with Apple Mac and includes FlexPoint loudspeakers as well as a number of additional enhancements.

Please read the following Release Notes.

 DISPLAY 3 – Beta 6 – Release Notes

Some help videos can be found on our training page.

New users should use the download link below, whereas existing D3 users can click “Help” on the top navigation bar on the left and click “Check for updates”.

Windows PC:

Apple Mac:

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Martin Audio

22LIVE SETS OUT ITS STALL AS AUSTRALIAN PINK FLOYD HIT WINNING FORMULA WITH 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.

The band’s experienced system technician Mark Edwards was among those present at the demo. Timmins observed, “Both Trevor and Mark were extremely familiar with the Martin Audio SX218, and it was therefore easy to demonstrate the capability of the SXCF118 by using the 218 as the benchmark—and in fact the demo concluded with the SXCF118 coming out on top in terms of both performance and flexibility.”

22live were duly offered the tour, which embarked on a 30-date UK run. Among the inventory were 32 Martin Audio WPC (2 x 10in) line array enclosures, 18 WPS (2 x 8in) line array, 16 SXCF118 cardioid subwoofers, six Martin Audio WPM (for lip fills) and four Martin Audio TORUS T1215.

By the end of the first show, Trevor Gilligan had realised the wisdom of this product selection, commenting unreservedly, “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.”

Further positive feedback was received from Gilligan as the tour progressed. “I definitely made the right decision with the little subs,” he continued. “The bass guitar and low end of the drum kit is way more musical. Mark [Edwards] did a sub array … in an old theatre in Bath; it’s normally a bit lumpy in there but this time it was great, very solid and punchy.”

As the tour concluded, Mark Edwards was able to offer his own verdict on the 22live delivery with the Martin Audio PA, commending the service company for the overall package they provided. “The system performed flawlessly and was a pleasure to work with.”

The only venue that had required a bigger system was the Glasgow Hydro Arena where 22live topped the PA system up with an additional 24 Martin Audio WPL (2 x 12in) enclosures. This brought the following comment from Trevor Gilligan: “We had a great night in the Hydro; the PA worked perfectly … the best mixing experience I have had there.”

But the final word on the success of the Martin Audio deployment came from Paul Timmins himself. “The fact that we were able to move the production onto Martin Audio, and it delivered beyond the expectations of both the engineer and technicians, I think is a great sign that we made a good decision to back the brand. I’m confident there will be growing demand and opportunity for Wavefront Precision going forward.”

So happy were production that they continued to tour the same setup throughout 2023, with a second European run which commenced in January. From the start of this run monitor engineer, Kevin Smith, also adopted Martin Audio in his stage set-up, switching to their high performance XE500 15” bi-amp coaxial differential dispersion monitors, at 22live’s recommendation. The XE500 was designed to be the ultimate, high SPL stage monitor and Smith admits that the superior performance had taken him somewhat by surprise. “They have delivered way above and beyond my expectation and are definitely a step up from what I was using previously,” he said.

The fact that production wanted the inventory to be shipped across the Ocean in its entirety was a ringing endorsement. “It is the first time they have shipped PA equipment in a long time—and that’s a real testament to their appreciation of the kit,” exclaims 22live commercial director, Alex Penn.

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Martin Audio

Live Sound Company Expands Portfolio with the Acquisition of Martin Audio WPL Line Array System

Live Sound Company

Project ID : #B756

City : Bhubaneswar

State : Odisha

Type : Touring

Brands : Martin Audio

We are thrilled to announce that Live Sound Company, Orissa, has taken a significant leap in its commitment to audio excellence by acquiring the state-of-the-art Martin Audio WPL System, facilitated through VMT. This acquisition is a testament to Live Sound Company’s dedication to delivering unparalleled audio experiences.

 The decision to opt for the Martin Audio WPL System was a no-brainer, given its superior features and unmatched performance capabilities. This system promises exceptional audio clarity, precise coverage, and impressive scalability. Whether it’s for a small intimate gathering or a grand concert, the WPL System ensures an immersive sound experience that leaves an indelible mark on the audience.

Specifically, Live Sound Company Orissa has acquired 12 pieces of the WPL Line array and 6 pieces of the SXH Subwoofer. This acquisition not only amplifies their capability but also showcases their commitment to investing in the best.

With the WPL System now a part of their equipment lineup, Live Sound Company Orissa is poised to redefine standards in live sound production, setting new benchmarks for audio quality and customer satisfaction.

 

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.

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Martin Audio

MLA MAKES ITS MARK WITH MARISA MONTE AND COOLRITIBA

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.”

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Martin Audio

MOOIJ ALKMAAR MAKES ITS MARK WITH MARTIN AUDIO CDD

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.”

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Martin Audio

RG JONES AND HENLEY FESTIVAL CELEBRATE 40 YEARS OF PARTNERSHIP WITH INNOVATIVE RISE STAGE

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

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Martin Audio

MARTIN AUDIO MLA DELIVERS ANOTHER SONIC MASTERPIECE FOR BST HYDE PARK

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).

Bradshaw has a long history working with Martin Audio and Solotech UK (then Capital Sound), mixing through many generations of the manufacturer’s frontline PA before moving over to Take That in the early 90s and becoming synonymous with the band’s sound ever since. At Hyde Park, MLA was able to help him solve an unforeseen problem.

Loading in during the night, for an anticipated 9am soundcheck, he was alarmed to discover that a sound curfew was in place until 10am. However, he was equally relieved to find Donovan, who system teched the last Take That tour with Bradshaw, in position.

“I’VE WORKED THROUGH MLA A HANDFUL OF TIMES AND HAVE ALWAYS LIKED ITS EVENNESS. IT’S GOT THAT DEFINED ‘SIGNATURE’ IN THE LOW-MIDS WHICH A LOT OF OTHER PAS DON’T HAVE—MARTIN AUDIO HAS ALWAYS HAD A ‘500HZ’ SIGNATURE”.

Simon Thomas, Sound Engineer

“The (44) dancers were onstage at 9.00am, there was a band call at 9.30am and the three Take That lads appeared at 10am,” he reports. “Fortunately, we didn’t need to make any changes to the system. We listened to Gary Barlow’s vocal on A stage and then B stage … and couldn’t get his mic to feed back even when pushed way louder than needed.

“I knew Pink had safely done an A stage and B stage show and so realised I was safe to really push it without the risk of feedback. But that showed the PA was perfectly set up, aligned, and in phase. It was the perfect test of the PA, and there were no EQ changes from me.” In the end the band was able to do almost a full set run through and the result was “the gig went without a hitch,” he said, paying tribute not only to Toby Donovan but Dave Roden, supervising FOH.

Simon Thomas, who only joined American singer-actress Sabrina Carpenter in April, was another who earned plaudits. Supporting Blackpink, he described the Martin Audio system as “amazing” and the FOH support team as “fantastic”.

The combination of his SSL-based control /outboard package and MLA paid dividends. “The only thing to worry about on the day was to ensure the shape of my transfer function matched that of the system engineer’s and as it happens Toby’s transfer function was exactly what I was after, so it worked perfectly.”

Commending the system engineer, he said, “All we had to do was a bit of shaping on the high mids, notching a bit of 3K out for when she stepped off the platform and onto the floor.”

He added, “I’ve worked through MLA a handful of times and have always liked its evenness. It’s got that defined ‘signature’ in the low-mids which a lot of other PAs don’t have—Martin Audio has always had a ‘500Hz’ signature, and with MLA they have managed to make that sound really nice. Thoselow-mid frequenciesarethe power band of a mix—the thump off your kick and snare drum and so oncomes from yourlow-midand not just the subs.”

But it wasn’t all about the Great Oak Stage as far as Martin Audio was concerned. Elsewhere, Solotech UK account manager, David Preston supervised three other stages around the site that carried Martin Audio: Rainbow Stage (MLA Compact, eight boxes per side with 12 SX218 subs and five MLA Compact front fill); Birdcage Stage (WPS, six per side, driven in 1-box resolution with six SX218 and XD12 front fills); and Cuban Garage Stage (WPS, six per side, driven in 2-box resolution, with four SX218 subs).

Summarising the deployment, he said, “MLA Compact on Stage 2 worked well, covering an area of around 35m deep by 30m wide. We really needed to contain audio to that space only as we were right on the edge of the site, and we achieved this really successfully thanks to the use of ‘Hard Avoid’ [in the DISPLAY software] towards the rear of the audience area.” The other stages saw DJs and new acts play through ground stack systems. “But even in 2-box resolution the WPS is very impressive with its SPL output, and its optimisation and coverage.”

This positive assessment was shared by venue director and co-CEO of management company, LS Events, Dave Grindle. He praised the efforts of BST’s technical production director Mark Ward (Proper Productions) and the teams at Solotech [who also provided video and lighting] and Martin Audio “The considerable amount of work they put in previously redesigning the stage PA hangs really paid off, with the result that no further redesigns were required this year.

“I personally walk the site—particularly when the headline act comes on stage—to satisfy myself that we are achieving the best sound coverage possible, and I have no doubt that we delivered an amazing audio experiencefor our audiences.”

He concluded, “Given that we’re working in an urban environment which is surrounded by densely populated residential areas, the numbers of complaints have been remarkably low since AEG first won the contract for theBSTseries 10 years ago. That said the tech teams and Vanguardia work hard to achieve a balance of an incredible experience for the fans while remaining within the licence conditions and minimising the impact on our neighbours.

“LS Events and AEG will always strive to ensure we’re working with the absolute best technology available for this festival. The MLA system together with tech teams from Martin Audio, Solotech and Proper Productions continue to deliver that for us.”

After 10 years can the sound get any better than this? It was left to Martin Connolly to try and answer that. “I couldn’t honestly see any improvement this year … but that’s because I think that would have been an impossibility! It’s always just been so consistent.”

Photo Credit:

Awais Butt – Photo 1,

Gus Stewart – Photo 3, 4, 10

David Preston – Photo 5, 6, 8, 9

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Martin Audio

SWG EVENTS FIELD MARTIN AUDIO WPL FOR HAMPTON COURT PALACE FESTIVAL

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.”

Pat Tunbridge, FOH enginner

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.

Further complications are set from the flat floor stage which rakes upwards, as Purse explains. “We have only used six-box left/right arrays which are flown low because they have to fire up under an awning at the back. Run in one-box resolution [from the iKON amplifiers] this solution works very well.” In previous years we’ve used Blackline X8 as nearfield monitors, but there is no longer any need for this. This is testament to the ability of freelance system tech, Matt Pope, who is on duty at FOH to assist any visiting techs with EQ curves and optimisations refinement.

The L/R hang is boosted by a centre, three-box hang of TORUS, (two T1215 and a single T1230) to give them a 75° coverage. On the stage lip are a further two ground stacked T1215 double cabs, stage left and right. Front fills comprise four pairs of Martin Audio WPM, over the stage apron, while 12 SXH218 2 x 18” subwoofers are set in a broadside cardioid array under the stage. “It’s all about keeping that low-end energy off the rear wall—which is closest to the sub array—and ensuring that more energy is radiated out front,” explains Simon Purse.

SWG Events have also thoughtfully provided a complement of XE500 floor monitors for artists not carrying their own package, while on each side of the stage two SXC118 subs can crossfire with two TORUS T1230 sidefills—a house rig that’s available for any visiting techs to use.

Other SWG personnel on duty at the event were overall project and production manager Ian Williams and Oliver Hayward supervising down in monitor world.

Pat Tunbridge, who has been Grace Jones’ FOH engineer since 2010 was effusive in his praise for WPL. “Considering this gig was an internal courtyard inside a concrete box, what amazed me was that the system boys needed to apply no corrective EQ—and no EQ across the main left and right from the console either; that’s a massive testament to the boxes. Not only did I have a really good experience but the artist herself was particularly pleased and said how great the show sounded.”

All of which has set up SWG Events nicely for a busy summer season This promises to stretch the company’s Martin Audio hire fleet to its very limits, as it not only includes their usual participation on several stages at the Glastonbury Festival, but also a series of Cardiff Castle concerts coinciding the same weekend.

Categories
Martin Audio

MARTIN AUDIO WPS MAKES HIGH-OCTANE DEBUT AT ACCESS THE FESTIVAL

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.

“IT WAS THE FIRST TIME I HAD USED IT [WPS], 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”.

Joe Baker, Sound Access Owner

The event featured live performance as well as DJ playback from house, disco and techno specialists. The main Daylight Disco stage was bedecked with mirrorballs and set in a Clearspan marquee, with a stage thrust, enabling dance aficionados to experience the extravaganza from all sides. On the opening night French exponents, Session Victim and Bomel starred with live sets which were played out through six WPS elements per side, ground-stacked on 2 x 4 decks, working within the limitations of the marquee structure. With this configuration they could project the sound above the head height but were restricted by the lower-than-expected roof height, and after time alignment they were experiencing bounce back of the roof girders. “With an accumulation of reflections, we used Hard Avoid [in DISPLAY]; this worked extremely well and gave us the coverage we wanted.” They were comfortably able to achieve level at the FOH measurement position, with most of the HF firing down into the arena stage itself.

A pair each of TORUS T1230 on the outside edges of the marquee, where the audience was bleeding out, filled the gap perfectly and sounded “absolutely brilliant”, according to Joe Baker. As for the LF, a broadside array of eight SXC118 single cardioid subs provided tight control and the all-important rear rejection in the 15m x 15m space. “This was necessary because the sound was firing out across a lot of farmers’ fields and towards a noise sensitive country house,” he explained. “We were only talking about notching 2dB at 50Hz, so it was nothing drastic, but without that noise rejection from the main stage we would have had massive problems.” In the event they were able to isolate this area perfectly from the other two stages.

The smaller Groove Garden stage deployed a TORUS constant curvature ground-stacked system, three T1230 elements per side, attached via scaff bars and battens to the estate trees; these were illuminated by LED uplighters to create a great atmosphere.

“TORUS was mounted on chain blocks above head height angled down to prevent any bleed,” continued Baker. “The coverage was fantastic even right down at the front. TORUS did what we wanted 100%—the quality was fantastic and when DJs did big HF sweeps the sound remained really clear without biting.”

Further Martin Audio XD12 were used as biamped DJ booth fills, while a pair of CDD6’s were deployed for front fill duties and a pair of WS218 subs (in stereo) were mounted onstage either side of the booth.

Summing up, Joe Baker said the supreme control and optimisation characteristics of the Martin Audio software had paid dividends both within the sound field and offsite.

Chris Bogg put it all into perspective. “You could have a normal conversation as you walked into the tent but as soon as you crossed the threshold it was pumping. The pattern control once you walked into the tent was amazing.

“Once Joe had done a couple of tours on Martin Audio systems it was a natural step to advance the festival’s sound knowing that we were on hand to provide support if necessary.”

Will Darley agreed that the event had been an unqualified success. “Joe and the team did an awesome job designing, installing and operating the sound systems. Altered stage designs and site layout added to the challenge of meeting strict offsite noise limits while maintaining the energy required for dance music. The Martin Audio PA Joe spec’d this year was especially impressive and was recognised as a good upgrade by our touring guest DJs. I’m already looking forward to planning 2024’s edition with the great groundwork laid this year.”