Martin Audio


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:

Martin Audio


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.


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

Martin Audio


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.


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.

Martin Audio


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.


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.”

Martin Audio

JAPAN JAM 2023 Uses Martin Audio MLA and MSI systems

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.

Martin Audio


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.


Grant Howard, President, Soundworks of Virginia

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.”

To provide optimum coverage for the audience Soundworks hung 12 WPL elements per side, run in two-box resolution from the iKON multichannel amplifiers. Subwoofers comprised 16 SHX218, single amp channel driven in castellated cardioid array. Five WPS provided front fill coverage while four WPS and an SXH218 on either stage wing took care of side fills. Three XE500 stage monitors were provided for the singers’ reference sound.

Justifying the two-box resolution set-up, Grant Howard explained that for larger shows they generally power the system in single box resolution and subs in bridged amp channel mode when sufficient power is available. “But another plus with Wavefront Precision is you can adjust the system’s resolution and sub power to cut amp channel usage in half with a barely perceptible change in performance,” he stated. “As in this case, when we had lots of other events going on simultaneously, the fact that amplifier power/DSP could be rationed enabled us to take on more jobs which obviously means greater profit.

As to the specifics for this show, Bryan emphasised that whenever space permits, they find the castellated cardioid array provides the best overall performance. “Additionally, the latest version of DISPLAY 3 not only dictates delay times but also takes care of amp gain shading for sub arrays as well. The results we are getting out of the box with very little time or effort expended are excellent.”

As always, he paid meticulous attention to the details of rigging and flying the PA, time alignment of subs and front fills and optimization of the system, thus ensuring the Boyz II Men experience was the best it could be. According to him, the band’s crew were “top notch” and included production manager, John Lopez, FOH engineer, Bill Fegley, and monitor engineer, John Eline.

As Soundworks of Virginia plunges headlong into Festival season, CEO and founder Steve Payne couldn’t be more effusive about his investment in Martin Audio’s new generation technology.

“It is hard to imagine that I could be more pleased with the impact Wavefront Precision has had on our business. Our WPC and WPS systems are covering venues we have been serving for years with greatly improved results over our previous systems. Everyone—the client, the attendees, the security guards—everyone comments on the great sound.”

President Grant Howard shares in the enthusiasm and adds, “Our WPL system allows us to cover 7,500 capacity sheds with ease. I used to pass on shows that I knew would tax our previous system—I did not want to take on a job if I did not feel we could knock it out of the park.

“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.”

Martin Audio


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.”

Rek Mohr, Production Director

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.

The Commons sound reinforcement system was designed by AVI’s John VanStipdonk. His FOH system comprises 20 WPL (10 per side), with 12 of the smaller footprint WPS as outfills (six per side). They have flown 12 SXCF118 subwoofers, with a further four SXH218 ground subs.These are all powered and processed in Martin Audio’s dedicated iKON iK42 and iK81 multichannel amplifiers.

Explaining the subwoofer design philosophy, he said, “We decided to use the cardioid subs for rejection on the stage. There are two hangs of 6-deep behind each main array. Additional SXH ground stack subs are brought in for national artists and most larger shows.”

John VanStipdonk further emphasised that Martin Audio’s advanced system control had been a huge part in the decision making. “This is a mostly concrete building with a long reverb time. Wavefront Precision’s ability to ‘Hard Avoid’ the rear wall and other highly reflective areas was critical.”

Continuing the theme, he said, “The main room is basically a long concrete box, with a 300ft-plus foot throw from the main stage to the rear coverage areas—the rear wall is a concrete elevator shaft. Optimisation with Martin Audio’s DISPLAY software was key in taming the space, and while some acoustic treatment was done in that area, it was the Hard Avoid function that really brought it all home.”

DISPLAY software was deployed for design and preset creation, with the manufacturer’s proprietary VU-NET used to upload configs, tune and commission the rig. Using VU-NET software for the amplifier control and monitoring cut down system optimisation and calibration time, he said.

The integrator was assisted in system set-up and tuning by Martin Audio’s Joe Lima. “I had great support from Martin Audio as always; Brad Stephens and Joe were instrumental in making this project a success,” he summarised.

Rek Mohr also pinpointed the attention to detail with the optimisation and agreed that, on reflection, “the control is one of the best parts of the whole system.” He reports, “The Martin Audio guys came here to tune the PA and we worked on it to ensure everything was aligned, since the room is the biggest challenge—it’s very cavernous with a lot of echo, and you have to know what you’re doing. In fact, because of the size of the room and the number of traps, I had expected more challenges than there were.”

Now attention turns to finalising the two other key spaces—the EDM dance hall and a nightclub. The 3,200 sq. ft basement EDM space will be more of a challenge, believes Mohr. “The ceiling clearance is 15ft instead of 80ft and there are more highly reflective surfaces, so control is even more important.” There is also a large, 8ft diameter original chimney which is being reactivated.

Chris Honstain reveals that the 33,000 sq. ft nightclub will have a unique twist … “something that no one has done for decades”, he teases.

AVI Systems are finalising Martin Audio installations in all these areas—with four TORUS arrays destined for the EDM room and eight CDD15 and four SX218 subs hung in the other space. ADORN speakers also feature in the ancillary areas, including the restrooms.

As the operation team reflect on the success of the sound system, the final word comes from Rek Mohr: “John [VanStipdonk] didn’t know whether we’d like the [Wavefront Precision] when he first brought it in. But I absolutely love it!”

Martin Audio

Martin Audio builds the Experimental Theater of the Dance Academy of Yunnan University of the Arts

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.

The world-renowned audio brand, Martin Audio, once again showed its strength in the field of domestic stage sound effects. Recently, the Experimental Theater of Dance Academy of Yunnan University of the Arts completed the installation of the Martin Audio TORUS for constant curvature sound reinforcement system. The colorful performances dazzled many audiences.

The TORUS series is the latest masterpiece of Martin Audio with its’ precise sound field and consistent voice reproduction effect. TORUS is highly praised and sought after in the field of stage sound effects such as auditoriums, theaters, and multi-purpose halls. This time, the upgrading and reconstruction project of the Experimental Theater of the Dance Academy of Yunnan University of the Arts has carried out rigorous measurement and evaluation of the environment of the stage through professional technicians to identify the quality, high-performance, adaptable and cost-effective sound reinforcement system solutions.

The TORUS series includes T820, T1215 and T1230, which are equipped with Martin Audio’s powerful SXC118 cardioid technology subwoofer. The system is driven by an iKON amplifier and supports VU-NET control software and Dante integration. With this, it can be modeled in 3D with optimized filters using DISPLAY 3 software to provide sonic consistency and precise coverage.

The T1215 and T1230 feature two passive fixed-angle array enclosures (15° or 30°) for vertical diffusion installation flexibility, and a manually adjustable dynamic horizontal horn (variable between 60°, 90° or 75°) Symmetrical) can flexibly control the horizontal diffusion. The phase plug design of the intermediate frequency drive unit adopted strengthens the output and projection of the intermediate frequency.

The fixed horizontal directivity of traditional line arrays often causes a large part of the sound field to collide with walls and boundaries and reflect into the audience area, which increases reverberation and affects sound quality and intelligibility. The TORUS Dynamic Horizontal Horn can precisely focus the sound field on the auditorium, and can reduce spillage of reflective surfaces. In a rectangular space, the upper unit of the array needs to have a narrow dispersion, gradually increasing the width with each descending module.

This degree of control is very important in spaces with complex geometries. A more precise control of the audience’s soundstage also minimizes off-axis sound pressure levels, reducing sound leakage and noise pollution, which is especially important for live event venues.

Another advantage is that, unlike traditional line source systems, which are limited to symmetrical directivity and are almost always hung parallel to the stage, there is no apparent stereo image for part of the audience, and variable The asymmetrical horizontal coverage option provides a better sound image for a larger percentage of the audience area.

In the installation, design and commissioning phase, Martin Audio’s professional team took advantage of its own technology and experience to assist customers in overcoming many technical problems, and brought strong support for the upgrade and transformation of the experimental theater. The successful implementation of the TORUS series sound reinforcement system has contributed to the development of Martin Audio in the domestic stage audio market.

In short, the successful case of Martin Audio TORUS series sound reinforcement system proves its irreplaceable and huge advantages in the field of stage audio. Looking at the audio market, Martin Audio is one of the leading brands in the international audio industry. Its excellent quality and excellent service have been recognized and sought after by more and more customers.

Martin Audio

Martin Audio Helps Renovate and Upgrade the Theater of Jilin University of Arts

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.

Jilin Art Institute

Jilin University of the Arts was recently renovated and the original old sound reinforcement system of the theater was upgraded. The sound reinforcement system now are all adapted to the professional products and solutions from Martin Audio.

The medium-sized, 8-inch line array WPS of Martin Wavefront Precision System is used as the main reinforcement, and the left and right main reinforcements use 4 WPS line arrays and 1 SXCF118 cardioid bass to form an array, which can evenly cover the first floor of the theater and the balcony auditorium.


The WPS is a passive 3-way, versatile, state-of-the-art line array with a peak SPL of 133dB (6dB), designed for small to medium touring and installation applications requiring a high output array with reduced weight and footprint design. With excellent coverage consistency and superior sonic performance, the flexibility of WPS makes it an ideal system for live sound reinforcement and installations in theaters, concert halls and houses of worship.

WPS+SXCF118 form an array

The SXCF118 is a compact high performance cardioid subwoofer. Featuring an 18″ (460mm) forward driver and a 14″ (356mm) rear driver, each independently driven by a separate amplifier channel and DSP, it’s an ideal partner for arrays with WPS – combining maximum low frequency output combined with mode control. The resulting cardioid dispersion pattern maximizes frontal radiation and reduces unwanted radiation behind the subwoofer.

LE100 is used as stage return, CDD6B is used as fill sound, and the whole sound reinforcement system is driven by IK42 power amplifier, so that the speakers can get the maximum dynamic output.

The unique coaxial differential dispersion technology employed in the LE100 produces a horizontal coverage pattern that varies from a wide 110° angle directly above the speaker to a 60° angle towards the rear. Tapering produces a nearly rectangular coverage plane at head height to maintain sound level and balance regardless of distance from the speaker.

CDD combines the “point source” advantages of a coaxial design with the consistent coverage of differential dispersion technology. All CDD Series full-range models feature MartinAudio’s unique, patent-pending Coaxial Differential Dispersion™ technology to deliver the perfect sound for every listener.

After the system debugging is completed, the rehearsal performance begins.

Martin Audio


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.


Dom Harter – Managing Director, Martin Audio

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.