Category: Martin Audio

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.”

Headed by their flagship WPL line array, Martin Audio systems have been specified throughout the vast 250,000 sq. ft Armory complex in St. Louis, MO.

Originally constructed in 1938 as an Armory for the Missouri National Guard—part of the New Deal after the Great Recession—it later became a US tennis HQ before transforming into a concert venue in the 1960s and 1970s (featuring Ike & Tina Turner and the Grateful Dead among others).

More recently it has had a chequered life, before falling into disrepair. Several times it went back to the drawing board before Jake Miller and Chris Honstain of hospitality specialists Brick + Bev, an affiliate of local developers Green Street Real Estate Ventures, took it over. Honstain and Green Street’s Phil Hulse put their heads together and the project then went into overdrive.

The operators’ principal focus was The Commons, the huge 85,000 sq. ft main concert hall, with a 60ft x 32ft stage—the first of three spaces that will feature Martin Audio components over a phased opening. They were put in contact with Brad Stephens at Martin Audio North America, and their integration partner AVI Systems, who had worked with some of the facility’s operational staff over the previous six years, were awarded the contract.

They in turn specified Martin Audio’s WPL line array as being the optimum solution for the 5,200-cap space—a decision endorsed by both Honstain and Production Director, Rek Mohr.

The former described the sound system as “incredible”, adding “it really blows you away.” He characterises the building itself “as one of a kind; there’s no way anyone would build it again.”

“I HAD NEVER WORKED WITH MARTIN AUDIO BEFORE, BUT I JUST LOVE THE SOUND—AND THE QUALITY YOU GET IS INCREDIBLE”.

Rek Mohr also gave the sound system an unconditional thumbs-up. “I had never worked with Martin Audio before, but I just love the sound—and the quality you get is incredible. All the different boxes we have in here sound fantastic in their own right and I’m very impressed.” By this he is also referring to TORUS, CDD and ADORN series, which feature elsewhere.

Yunnan University of the Arts, established in 1959, started a dance department in 1961 and developed into a dance academy in 2003. Soon after it obtained a master’s degree authorization in dance in 2006. There are currently three undergraduate majors (orientations) in dance performance, choreography, and choreography (dance education, folk dance inheritance), and two postgraduate training categories of academic and professional.

The first-level discipline “Music and Dance” was rated as B-grade in the fourth round of national discipline evaluation in 2016. In the same year, it was approved as a “first-class discipline (plateau category A) in Yunnan Province, and it will be the best discipline in China in 2021. Ranked 9th in the ranking. Since 2019, dance performance, choreography, and choreography have been approved as national and provincial first-class undergraduate major construction sites. Among them, the dance performance major ranks third in the country in the 2021 Soft Science Professional Ranking. Existing 2 national-level first-class courses, 1 Ministry of Education course ideological and political demonstration course, 1 national-level ideological and political teaching team, 6 national-level ideological and political teaching teachers, and 2 provincial-level first-class courses.

The college has a team of teachers with high teaching level, strong creative ability and fruitful achievements. There are 96 full-time and part-time teachers, including 11 permanent experts. Among them, senior professional titles accounted for 61%, and doctoral and master’s degrees accounted for 85%. Among the teachers are the national “virtue and art” literary and art workers, experts who enjoy special allowances from the State Council, experts who enjoy special allowances from the Yunnan Provincial Government, members of the Yunnan Provincial Political Consultative Conference, experts from the Professional Subcommittee of the National Graduate Education Steering Committee, and national and provincial teaching teachers. wait. There are more than a thousand students in the school.

Martin Audio——The global leader in line array optimization technology!

Wavefront Precision line arrays provide a scalable approach to the level of control, consistency and coverage required for an event or installation. Consisting of WPM, WPS, WPC and WPL, Wavefront Precision, Martin Audio’s best-selling line array system series, is deployed at major festivals, concerts and corporate events, and also installed in theaters, concert halls, In houses of worship, on-site venues and auditoriums.

Jilin Art Institute is the only comprehensive higher art institution in Northeast China. The predecessor of the college was the Lu Xun Academy of Literature and Art of Northeastern University in 1946. In 1958, Jilin Art College was established and in 1978, it was renamed Jilin Art College. The college was granted the right to confer master’s degrees in 1993 and soon it became the first batch of provincial key disciplines in Jilin Province in 1995. Recently in 2020, it became a characteristic high-level university in Jilin Province.

Over 30 partners from across Asia Pacific converge for first distributor convention

Generation AV, who provide sales and technical support for Martin Audio across the APAC territories, recently hosted their first Martin Audio APAC distributor meeting in Singapore, with over 30 business partners from across Asia Pacific attending.

This provided an opportunity for representatives to network, connect, learn, and sample the latest products and technology from the British manufacturer—as well as share their successes and experiences.

HAVING ALL OUR PARTNERS IN ONE LOCATION FOR THE DISTRIBUTOR MEETING, TO SHARE AND RECOGNISE THEIR ACHIEVEMENTS, WAS JUST INCREDIBLE.

There was an additional incentive to attend, since the meeting coincided with the launch of Generation AV’s new Experience Centre in Singapore, which will act as the main hub for all distributors and their clients to gather and be exposed to the latest products from Martin Audio. Distributors and clients alike can now immerse themselves in the company’s signature sound and experience the impeccable output that the products produce.

In terms of product showcase, the introduction of the new FlexPoint series and TORUS 8 to the region provided the undoubted highlights. This was the first time all distribution partners had the opportunity of hearing these products … and they did not disappoint. Dom Harter, Managing Director of Martin Audio, and Bradley Watson, Martin Audio Global Sales Director, were in attendance to lead the demonstrations—and in addition to the product demos, there was plenty of discussion on future roadmaps, operations and business in general.

“Martin Audio recognises one of our biggest potentials for growth today is in Asia, which is why we made the investment in the Experience Centre alongside Generation AV,” said Harter, addressing the assembly. “Having all our partners in one location for the distributor meeting, to share and recognise their achievements, was just incredible.”

Dave McKinney, Generation AV Managing Director, added his thanks to all distributors for making the journey to attend. “Due to the success, this will now become an annual event,” he assured. “However, we look forward to welcoming partners with their customers during the course of the year.”

At the event Martin Audio and Generation AV presented awards to the top-performing distributors in Asia Pacific in 2022, encouraging them to continue their efforts in building the brand in their own particular markets.

AUSTRALIA:  Technical Audio Group is now making carbon neutral deliveries around Sydney with an all-electric, solar charged eight-tonne truck.

Having long wanted to improve the certainty of local deliveries particularly those direct to work sites where access is limited and where timing needs to be flexible and reliable Team TAG researched the options and settled on the SEA 300 EV.

“As a service to our customers we want to guarantee deliveries and we were finding that local couriers just don’t have the flexibility to wait and make sure difficult deliveries are completed,” said TAG warehouse manager, Shane Linfoot. “You can’t blame them they’re on a tight schedule and have to complete their runs, but it doesn’t work when one of our deliveries is critical and that’s why we made the decision to take control of those sort of deliveries ourselves.”

“On paper an eight-tonne electric truck is an eye-watering investment that doesn’t make financial sense,” stated TAG CFO Craig Durrant. “If it was purely a business decision, we wouldn’t have taken the leap but there are much bigger factors at play here, like the environment and the condition of the planet we pass onto the next generation. Every time tag|zero hits the road it serves as a powerful reminder that a carbon neutral solution is not only possible but in fact a serious and viable option. And the lack of exhaust emissions is something everyone out in traffic can enjoy immediately.”

It took 18 months for TAG’s SEA 300 EV to be delivered. The SEA 300 EV utilises a Hino chassis with the diesel engine and gearbox replaced by a SEA-Drive electric power system plus batteries sufficient for a 220km range. The company manufactures around five electric trucks every week at its Dandenong, Victoria facility.

With a 108Kw solar array on its Kings Park warehouse roof, tag|zero is charged directly from the sun. “There’s something beautiful and compelling about turning sunlight into local deliveries.” said Linfoot. “We’re working our solar array pretty hard now with nine electric warehouse vehicles, the odd EV charging up and now tag|zero. Nonetheless if you’re passing by, you’re still very welcome to drop in for some free juice, and if you see tag|zero on the road please give us a wave.”

As Chris Bogg woke up to photos of his sound equipment across social media, it occurred to him that more than 20 years had elapsed since he set up his fledgling pro-audio business from scratch, in his dad’s garage. This would duly lead, in 2005, to the formation of dBS Solutions—but not before undergoing a mazy journey.

Reflecting on the Matt Goss show at the Royal Albert Hall that had piqued his reaction, he said, “While it’s not the first time we’d been in there with a tour it was certainly a special moment. Another was our first arena tour last year [with kids Nickelodeon TV stars PAW Patrol Live!]”

His tenet of supporting British suppliers—initially loudspeakers and industrial looking amplifiers from McGregor, on his doorstep in Warrington—was preserved when nearly 15 years ago he became a member of the Martin Audio family. This is a relationship which has been carefully nurtured, and from which he has never looked back.

dBS Solutions’ inventory has evolved through the product generations to the manufacturer’s current state-of-the-art Wavefront Precision (WPM, WPS and WPC) series, cardioid subs and TORUS constant curvature array. In explanation, he says, “I learnt to buy the best kit you can afford early on—and although what I can afford has changed considerably over the years, that philosophy has never done me wrong.” He has a similar philosophy towards borrowing, and notes that the only loan he ever had was from his father.

The Matt Goss tour is a perfect example of winning tours by reputation and relationship building, since dBS Solutions’ MD had previously worked with FOH engineer Simon Allen and production company IBB Media on theTubular Bellstour. “Simon was so pleased with our crew and the Martin Audio rig, which he was using for the first time, that we were invited back. Beingpredominantly a studio guy he likes the PA to be ruler flat and it’s well on the way to doing that with the predictions from DISPLAY.” As with bothTubular BellsandPAW Patrol Live!the task of PA optimisation was in the capable hands of system tech, Danny Clare.

Now backwind to the 1990s. While still at high school, a 14-year-old Chris started deejaying. With seed capital from his dad, including the purchase of a van, he acquired some McGregor speakers for local college work. But a major sea change came about when he was able to pick up some work experience at the 1998 Reading Festival, thanks to his cousin working for promoters the Mean Fiddler Group, as well as with lighting rental specialists, Art of Darkness. “There I was as a 15-year-old on a tour bus with rock and roll lampies.” And that’s when the realisation hit him that he could do this for a living rather than be an eternal DJ.

Chris did a two-year BTEC in Performing Arts, covering backstage disciplines, but his big academic break came when he secured a place at the prestigious LIPA (Liverpool Institute for Performing Arts) between 2001-2003 from which he emerged with a BA (Hons) degree in Theatre & Performance Design & Technology.

It was the making of him. “I had done more lighting than sound when I went to LIPA, but it was here that sound caught my eye and I realised that as a designer could try out all the risky stuff here. I designed and mixed a lot of theatre shows while at the same time still working with local PA companies.” In particular he came under the influence of new tutor Chris Layton, who also ran monitors for bands such as the Afro-Celt Sound System. In fact, Theatre Sound Design remains to this day one of Chris Bogg’s core specialities.

Graduating from LIPA he had to make a career decision and quickly realised the ‘buy to hire’ model (initially securing kit via eBay) was potentially more lucrative and sustainable.

He initially turned to another supplier on his doorstep—Knutsford based OHM—and with the purchase of six stacks of PA he was forced out of his dad’s garage and into his own premises two miles up the road. But there was a secondary reason: “After the gigs we would arrive back at my parents in the middle of the night and have to unload a van whilst trying to be remain deathly quiet. We got a lot of neighbours curtain twitching and it quickly got to the stage where I knew not only did we need more space, but it had to be somewhere more industrial.”

Meanwhile he was continuing to earn good money working with local wedding band Black Velvet before taking a permanent salaried job at Manchester’s Bridgewater Hall, spending two years looking after their sound department. This introduced him to a number of touring American bands but more important globally famous orchestras such as the Halle and BBC Philharmonic, whose demands raised his standards and would set him off on another path.

“After two years I realised venues weren’t for me, and Miriam Stone, who was my tech manager, and an excellent boss, said she was surprised I’d stayed so long!”

When audio-visual specialists ITI Systems installed a sound system at the new B/SPOKE Studio in South Boston, MA recently it was their fourth such integration for founder Mark Partin’s cycling concept—and all four feature Martin Audio CDDs and subwoofers.

The Beltsville, MD based integrators originally came onto Partin’s radar after he visited a club in New York that they had fitted out, and was impressed with the sound quality. He knew what he wanted when it came to equipping his new boutique fitness studio concept, specialising in Indoor Cycling, Strength, and YOGA classes.

“ITI has now had the privilege of installing Martin Audio at all four locations over the past nine years, starting with B/SPOKE Downtown,” said system designer and project manager, Eugene Yi. Once again, he specified a combination of Martin Audio mission critical solutions, focusing mainly on the hugely popular CDD series, in a fast-moving concept that continues to evolve.

“MARTIN AUDIO’S CDD SPEAKER LINE PROVIDES THE PERFECT BALANCE OF PERFORMANCE AT AN ATTAINABLE COST FOR SMALL BUSINESSES LIKE OUR OWN”.

“Mark Partin had wanted a high quality, clean yet loud PA,” he explained, outlining the reason for his product selection. “I have been working with Martin Audio products since the late 2000s and first heard the CDD series while equipping a different venue, and was immediately impressed.” The price / performance ratio offered by CDD ticks all the boxes, he said. As a result, he selected a blend of CDD12, CDD8 and CDD6, underpinned by SX218, SX118 subwoofers. To this he added ceiling and ADORN speakers from the British manufacturer’s catalogue for a venue he describes as “the latest and greatest” of all the B/SPOKES.

B/SPOKE Studio South Boston operates on 8,000 sq.ft over two floors, and boasts 56 bikes and 26 mats for classes, with a personal training area. In terms of audio feeds, both the yoga/strength and cycling rooms broadcast audio via instructor laptops with separate mic feeds for the instructors themselves. Small parties or vendor shows are also hosted in their studios.

To give the spaces the versatility and sound coverage required, Yi took advantage of CDD’s flexible mounting brackets since the speaker locations became the biggest challenge due to the relatively low ceilings and an array of lighting/HVAC hardware he had to work around.

Mark Partin had nothing but praise for the installation’s audio component. “Music is a big part of our programme and brand identity, and we believe the quality of playback can completely change the client experience, leading to better retention over time,” he said. “Martin Audio’s CDD speaker line provides the perfect balance of performance at an attainable cost for small businesses like our own.We now use them in all our studios, in all workout rooms and common area spaces.

“Clients and competitors always comment how our studio sound is one of the best in the industry and we have Martin Audio to thank for that.”

Since its launch in 2015, Martin Audio’s best-selling CDD series has found a ready home in gyms, fitness and wellness clubs, dance studios and sports facilities, such as B/SPOKE—right across the globe.