Category: Martin Audio

Ministry of Sound celebrated 30 years of dance in style with a spectacular concert at O2 Arena, with dance classics reimagined by the 50-piece London Concert Orchestra in company with Paul Oakenfold and other guest DJs.

‘Ministry of Sound Classical presents Three Decades of Dance’ took clubbers on a journey through the dance anthems of yesteryear. Martin Audio’s signature sound, as featured in Ministry of Sound clubs worldwide, was provided by RG Jones and mixed by Phil Wright—a devotee of Martin Audio’s flagship and multi-award-winning MLA.

Working for promoters Coalition Presents, who produced the event with Raymond Gubbay, RG Jones—who already had a relationship with MoS, having provided equipment for some of their events—fielded 18 MLA a side. This was a similar configuration to that fielded for War of the Worlds at the same venue. Hangs of 12 MLA Compact provided outfills on each side, and 16 MLX subwoofers were set in a broadside cardioid array with a 2m central gap for a stage thrust, surrounded by a circular screen, on which the DJs performed. Eight DD12s were deployed as front fills along with some MLA Mini enclosures.

The components were chosen by RG Jones’ Jack Bowcher and his colleague Sam Millen handled the prep, assembled the racks, built the network (on a Dante and AES backbone)and was onsite technician alongside Doug Hunt.

Millen stated, “We worked together to achieve a great sounding PA, using the Merlins [Martin Audio’s digital loudspeaker management system] to provide more outputs in order to have greater control of the system. I then time-aligned the PA and then Doug and I tuned the system together.” Hard Avoid was used to avoid slapback from the back of the arena.

This provided a perfect environment for Phil Wright to mix the sound on a 96-channel DiGiCo SD12. “And we used every channel,” he exclaimed.

It was the sound engineer’s first time working at the O2, in front of 18,000 people. Of the challenges he said, “Although it was a loud show, with four DJs, we had to ensure the orchestra was the headliner. Local promoters feared we may had peaked too early, as Paul Oakenfold was on relatively early. But the production went up a level when the orchestra came on.”

Of MLA he confirmed ”We managed to avoid a lot of slapback [using the Hard Avoid feature in the DISPLAY software] and the direct-to-reverberation ratio was mind boggling.”

The entire orchestra were on in-ear monitors, and most of the instruments were miked with DPA CORE 4099. “The combination between this and the PA was fantastic,” he said.

“Despite the proximity to the PA we achieved a super amount of rejection at the back of MLA which meant I could mix it at 105dB comfortably without feedback. The crowd were screaming at 102dB and so I had to put the show on top of that.”

He said the power offered by the MLA / MLX combo meant “I had another 15dB [under the hood] had I needed it; it’s bonkers how loud it would go. By putting in a really big system and merely tickling it, the impulse response was utterly visceral and really grabbed you in the chest.”

Also represented were Martin Audio’s parent company Focusrite, with their RedNet Audio-over-IP solution, an A6R MkII analogue interface for Dante feeding the Shure PSM1000 in-ears.

Other RG personnel on duty included Rosie Tarrant (on stage and RF tech), Leigh Davis (on stage and personal monitors) while Nathan Kennedy was PA tech.

Photo credit: Luke Dyson.

JAPAN: Tooth Tooth, a well-known restaurant brand, has recently installed a Martin Audio system within its food hall located on the ground floor of newly launched Kobe Port Museum. The city’s cultural complex otherwise consists of an aquarium, food hall and bridal desk.
Speaking on the music, which was produced by Fish Four, Kobe Port Museum president Yutaka Okano says: “High-quality BGM is an indispensable element for restaurants and cafes. We choose music suitable for both daytime and night-time that develops the atmosphere of the place. We have enjoyed a long relationship with Martin Audio and have used the brand in several facilities to date. With confidence in the quality of Martin Audio’s speakers, we again requested them without hesitation.”

Twenty-nine CDD6TX cabinets have been installed on several pillars, covering a wide area of the food hall. In addition, Adorn series speakers have been deployed in the aisles with ACP-55T pendant and ASC-55T ceiling speakers. Considering the outdoor terrace also, 52 Martin Audio speakers have been utilised.

“At night, DJs come in and play live. In addition, there is an event space in the hall, and if necessary, a portable Blackline X10 can be set up,” Okano said. There are three locations where DJ booths can be set up, so it was necessary to devise ways to smoothly transfer the signal inputs from these locations, and this was accomplished via a mobile input DSP rack, with the input signal delivered via Dante.

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Article by : https://www.proavl-asia.com/details/69209-tooth-tooth-chooses-martin-audio-system

Kobe Port Museum, is a new cultural complex in the Japanese city, consisting of an aquarium, food hall, and bridal desk. The space on the ground floor is a next-generation food hall typified by the well-known Kobe restaurant brand, Tooth Tooth which has recently installed a Martin Audio system with background music produced by Fish Four.

Based in Kobe, the president Yutaka Okano says: “High-quality BGM is an indispensable element for restaurants and cafes. We choose music suitable for both day time and night time, and develop the atmosphere of the place. We have enjoyed a long relationship with Martin Audio and have used the brand in several facilities to date. With confidence in the quality of Martin Audio’s speakers, we again requested them without hesitation.”

A total of 29 CDD6TX cabinets have been installed on several pillars, covering a wide area of the food hall. In addition, ADORN series speakers have been deployed in the aisles with ACP-55T pendant and ASC-55T ceiling speakers. Including the outdoor terrace, 52 Martin Audio speakers feature in total.

“At night, DJs come in and play live. In addition, there is an event space in the hall, and if necessary, a portable Blackline X10 can be set up.”

Since there are three locations in the building where DJ booths may be set up, it was necessary to devise ways to smoothly transfer the signal inputs from these locations, and this was accomplished via a mobile input DSP rack, with the input signal delivered to the system via Dante. Switching between the ‘Start DJ’ and ‘Return to BGM’ sources is therefore straightforward.

Finally, Mr. Okano reveals, “There is an aquarium water pool above the bar counter in the centre of the food hall, and this is visible from beneath. We’ve created an amazing atmosphere which is well worth experiencing when visiting Kobe!”

Martin Audio has extended its list of notable patents with the addition of a United Kingdom Patent for its XE stage monitor waveguide.

The patent covers the use of Martin Audio’s differential dispersion coaxial drive units and the continuation of their waveguide shape to form the baffle, as seen in the XE monitors to achieve the desired HF coverage.The geometry of the static HF horn, the LF cone/moving waveguides and the static baffle combine to form a single HF horn.

WE ARE DELIGHTED THAT OUR CONTINUING INNOVATION HAS ONCE AGAIN BEEN RECOGNISED.

The XE stage monitor series comprises the XE300 and XE500, both delivering perfect monitor sound with a defined coverage pattern that allows the artist freedom of movement, while reducing overlap with adjacent monitors.

Coaxial Differential Dispersion technology allows the artist to stand directly over the monitor or further back, without significant changes in SPL or tonal balance. It produces the optimal coverage pattern over a listening plane at head-height and helps to contain the sound within that region.

The now patented contour-moulded static third waveguide increases the size of the horn mouth to maintain pattern control downwards and avoid spill outside the desired coverage area. Its rolled contour reduces diffraction and further improves pattern consistency at the lower end of the HF passband.

Managing director, Dom Harter, commented, “Even though XE monitors were introduced in 2017, it always takes time to secure a patent, but we are delighted that our continuing innovation has once again been recognised and I couldn’t be prouder of our R&D team.”

Find out more about XE Series here.