Category: Martin Audio

FIJI: Christian Mission Fellowship International (CMFI) is a rapidly growing church headquartered in Suva, Fiji. Established in 1990, its 30,000 members and missionaries serve in 120 countries across 5,000 churches worldwide.

CMFI is headquartered in Suva at The World Harvest Centre (WHC), where an impressive, round church building hosts over 3,500 worshippers, a full band, production, and a 100-member choir.

Since its construction in 1990, the centre has installed numerous sound systems; however, none have been able to overcome the challenges of the large reverberant space and the sound quality requirements of the growing church.

Enter Head Pastor Suliasi Kurulo, who finally decided that the time had arrived to call in the professionals and deliver the dream to its members. After many proposals and CAD models, Suliasi, his production crew and the committee awarded the project to Carey Leghorn from CVAV Australia, based on a Martin Audio solution.

Carey, together with Anthony Russo from Technical Audio Group, Martin Audio’s Australian representative, made several visits to WHC to evaluate the scale of the project and create a design that would meet the brief’s requirements.

From Carey’s viewpoint, “This project was one of the most difficult I had ever worked on. We faced several challenges, from working at 15m heights for PA rigging to custom steel fabrication on site. Additionally, we had to install several kilometres of cables through a complex roof structure. Also, much of the fabrication had to be done in Australia with no room for error once the project was containerised and sea freighted.”

Choosing the final speaker design involved hundreds of hours of modelling, with the final decision to use a Martin Audio Wavefront Precision line array system.

Once I saw it hang together in place, it was a dream moment for me.

The services are major concert events with 3,000-plus people singing, supported by a full band and choir. Therefore, the system had to achieve SPLs generally associated with an international touring act. “I believe every seat needs to be the best seat, all while trying to keep an eye on a budget. There is a fine line where you can’t compromise,” says Anthony.

Martin Audio’s DISPLAY prediction software was used to design a 56-cabinet WPM system, which proved the optimal solution. The main hang consists of a 32-cabinet left and right system in two-box resolution, along with a 10-a-side WPM operating in one-box resolution mode.

The system is underpinned with two stacks of six Martin Audio SX218 subwoofers per side—each individually processed.

Despite the challenges posed by the rigging and structural steelwork, the CVAV crew achieved the seemingly impossible feat of hanging a centre cluster and allowing beam steering of the sub-cluster, thereby implementing a textbook solution.

“Once I saw it hang together in place, it was a dream moment for me,” commented Anthony. “It’s extremely rare to get subs in that position in churches, where projectors, sightlines and roof weight loadings often constrain you. This results in compromised split left and right subs and the inevitable power alley and off-axis cancellations.”

The choir stalls are covered with eight individually amplified and processed CDD12 two-way cabinets from Martin’s coaxial CDD range, ensuring maximum coverage and performance. The main console provides a tailored mix send depending on the choir’s requirements.

An eight-cabinet Blackline X12 delay system was installed to complement the main PA. This enhances the overall experience for the rear congregation and optimises the coverage of the main arrays to the main seating area.

Three CDD10 speakers across the stage apron supplement the front rows to complete the main system. The stage is covered by a foldback system comprising six LE100 wedge monitors.

The tech team were able to report wholly successful results after completing the objective measurements and carrying out a subjective analysis.

Anthony Russo points out that only experienced ears could make the final decision on system balance. Pure measurements alone will never suffice. “A half dB here or there, or a fine ratio adjustment on a compressor, can make all the difference. Well-engineered systems, if aligned correctly, respond to even the slightest changes. Even then, you need to keep checking what you think you hear vs what the measurement mic shows you.”

D-Day arrived and culminated in one of the biggest moments for not only the church but also for Fiji, with many island dignitaries in attendance and streaming to thousands online.

Anthony Russo personally addressed thousands on stage and, in an emotional speech, praised the church’s vision. Importantly, he stressed that this project was not about cutting-edge technology and outstanding quality, but the congregation could now truly appreciate the sound of their musicians, choir, and preachers.

In conclusion, he said, “This location had become a place of learning inspired by a team, welcomed like family by its people and, in turn, willing to share their knowledge for future generations. Simply put, The World Harvest Centre ‘University’ had arrived.”

Martin Audio, with sister brands, Optimal Audio, TiMax, Linea Research and OutBoard, are joining forces once again for their successful Open Day programme over three days at their facility in High Wycombe.

Sessions run from September 3-5, from 9.30am-5.30pm on the Tuesday and Wednesday with a half-day programme on Thursday. All brands will feature with either audio demonstrations or presentations and as part of a series of educational modules.

Martin Audio will be running a separate point source demonstration, constant curvature and line array demonstration, as well as a stage monitor demonstration, and will also have in-depth training on DISPLAY 3 prediction software.

TiMax will showcase immersive audio solutions and will also be offering introductory software training, while Optimal Audio will be demonstrating multi-zone commercial audio as well as offering comprehensive training opportunities. Linea Researchwill be presenting an overview of their amplifiers and electronics as well as offering training on their System Engineer 8 control software. Finally, OutBoard will present an overview of their motor control and rigging solutions.

Free parking is on site and refreshments are served throughout the day.

There will also be plenty of opportunity to interact with staff and undertake tours of the factory, while refreshments will be available throughout the day and lunch is available on demand.

Visitors who have not already registered should do so without delay at:https://martin-audio.com/events/september2024opendays

US: All-female Mexican vocal groups, Pandora and Flans recently undertook a 17-city theatre and arena tour of the US, mostly visiting the Southern States.

The Inesperado (‘Unexpected’) tour, as it was known, was supported by a large inventory of Martin Audio WPL line array, provided by New Mexico-based rental partner, High End-RG Productions.

The high energy show itself, which combined the two legendary groups in one spectacular event, had never previously been presented, and it picked up 5-star reviews wherever it played.

We used the ‘Hard Avoid’ whenever it was needed, and I must say what a beautiful tool this is.

Martin Audio’s market leading Wavefront Precision PA was deployed, 12 boxes per side for the group’s FOH sound engineer, Luis Quiñones. High End-RG Productions president, Enrique Ortiz, confirmed that the PA set-up had been designed in collaboration with system engineer, Orlando Calzada, with the 12 SXH218 subwoofers set in an L/R cardioid configuration, six enclosures per side, providing the LF extension.

Responsible for outfill dispersion were eight W8LC on each wing, with eight Martin Audio FlexPoint FP8 acting as front fills, with eight WPS on top of a pair of SX218 subs providing sidefill coverage. This was all powered in 2-box resolution by a combination of four Martin Audio iKON iK42 four-channel amp racks, while a pair of Linea Research M48-20 racks, from their Focusrite Group partner, powered the W8LC outfill hangs. With just two exceptions, the full complement of speakers was deployed at all venues.

From a sound perspective, the tour was split into two, with Orlando Calzada taking on system tech duties for the first half, to be replaced by Enrique Ortiz for the latter part. “Between us, we made the design and prediction in DISPLAY 3, and Luis Quiñones then optimised the alignment of the PA,” explained Enrique. He added, “We used the ‘Hard Avoid’ [function] whenever it was needed, and I must say what a beautiful tool this is.”

His production team had worked closely with Martin Audio tech support to achieve the optimum result, and win the satisfaction of both Miriam Rodriguez, the group’s production manager, and Felix Ovalles production manager of the promoters. Enrique confirmed, “Martin Audio were extremely supportive. Jim Sage provided some additional equipment to ensure we achieved the best outcome, and we received excellent tech support at the start of the tour, when it was especially important, from Will Harris.

“This created a great impression with the artists’ production and the promoters. They loved the idea that we were not just another supply company, but one with active support from a leading brand behind us.”

UK: Fabric London has extended its relationship with Martin Audio dating back nearly quarter of a century, by announcing a substantial upgrade to its flagship Room One.

Since the installation of Martin Audio W8C, Blacklines and WSX subwoofers at the start of the new millennium the club has never looked back, having gone through several generations of Martin Audio systems—maintaining its faith in the state-of-the-art sound systems, offered to its roster of world class DJs.

But when it came to the latest refresh, technical manager Matt Smith decided to follow a different path. Nervous at the prospect of losing what he describes as “that distinctive Room 1 sound” he asked Martin Audio if they would overhaul the existing 20-year-old W8L line array by fitting it with new drivers. And such is the close relationship that has endured between these two premier brands, the High Wycombe manufacturer was happy to oblige.

However, it was quite a journey before that decision was reached, and involved auditioning several different brands. “Although they all sounded amazing it was just going to change the character of what the room was about,” Smith acknowledges. He was also mindful that it had beenfabricfounder Keith Reilly who had countenanced the original switch to Martin Audio “and that there was a romanticism about this system.”

Finally, he consulted the club’s inner pool of promoters, DJs and sound engineers, along with his in-house team: “they were unanimous that we should renovate in order to retain the signature Martin Audio sound and preserve what is quite a historic installation.”

There was a romanticism about this system.

Where Matt Smith has been particularly clever is in supporting the re-energized mid-tops with an entirely end-to-end Martin Audio infrastructure, including SHX218 2 x 18” subs, iKON multi-channel DSP amplifiers, new FlexPoint speakers and XE300—at the same time repurposing the classic and utility Blackline F12s that have delivered DJs’ reference sound up in the booth.

The new Room 1 layout offers the familiar sight of the four newly powder-coated four W8L, two left and right on the stage, matched with repurposed W8C, two left and right at the back.

The eight SHX218 subwoofers, designed in a broadside array under the front of the stage, represent a piece of construction genius, once the club had decided to revert to a horn hybrid. Because these are much bigger, we had to take the wheels off and enlarge the cavities under the stage. Now you can barely get a Rizla between the bass bins and the wall!” quips Smith. Providing design support for time alignment of the sub arrays were Martin Audio’s technical support team of Dan Orton, Ben Tucker and Paul Connaughton.

But it’s “under the hood”, to use Matt Smith’s words, that the magic tales place—with 10 Martin Audio iKON amplifiers (9x iK42 running the bulk of the system, with a single iK81 driving the MF / HF for the main enclosures).

The club’s original DSP and networking had been entrusted to the Soundweb environment but the DSP for the sub array, along with delay times and all presets have now transferred to the process-controlled iKONs. “The amps are immensely powerful,” notes Smith, “and I think we would do some structural damage if we turned them up to their max.

“It’s nice because we are just ticking over with our outputs on the amps whereas before we would have physically needed to constantly check [our amps] just before peak. The beauty of the iKONs is that they self-monitor and with the processing now taking place in the iKONs, we can monitor them remotely via [Martin Audio’s] VU-NET software.”

Meanwhile, four of the recently launched FlexPoint FP12’s have replaced those original, custom-built Blackline F12s in the DJ booth, the latter redeployed to rear downfill duties “to make the size of the dancefloor a bit bigger.” New X15s distribute sound at mezzanine level along with two further repurposed Blackline F15s. Finally, four additional XE300 are available for nightsfeaturing live bands or MCs.”

Although the installation is taking place in phases, the verdict to date fromfabric’s technical manager is already 100% positive. “The new system delivers a lot more power, and with the power availability of the amps we are never going to get near peaking. It’s very clean, tight and punchy … but it’s not about volume for us, we want to keep it sounding good rather than loud.”

And, of course, aside from the romance associated with preserving Martin Audio’s legacy system, there is also the emotional attachment with the custom F12s. “The number of DJs they’ve seen in Room 1, those F12s … you just can’t get rid of them ,” concludes Matt Smith. “Fortunately, we’ve found a really good use for them, and they are doing a great job in their new place.”

UK: SWG Events joined forces with fellow Martin Audio network partner 22live recently to field a massive 80 premium loudspeakers from the British manufacturer at Ashton Gate, home of Bristol City FC, over a memorable weekend.

The Saturday event, called ‘Ashton GatePresentsBS3’, saw American singer-songwriter Ne-Yo headlining an all-star 10-act bill, that included Craig David, Jess Glynne, Dizzee Rascal, DJ Spoony and local legend, Roni Size, which had the 27,000-capacity crowd in raptures.

The staging then changed for the Sunday, which saw Kings of Leon playing the venue as part of their‘Can We Please Have Fun’ worldtour.

SWG Events’ head of sound, Simon Purse explained the PA design, which he had overseen. Left and right main PA comprised drops of 16 WPL, supported by two outhangs of 12 elements in each.

We had excellent intelligibility across the entire site.

There were a further two delay towers of 12 drops each, making a total complement was 80 flagship WPL line array cabinets deployed. These were driven in 2-box resolution from Martin Audio’s process-controlled iKON amplifiers. A further 24 of the smaller Martin Audio WPS arrays provided frontfills, with TORUS on sidefills and XE500s as optional reference monitors for those artists not on IEM.

Reproducing the low frequencies were a total of 40 SXH218—30 in a split broadside array across the front of the stage, to enable a stage thrust to move in on the Sunday, with a further three in each delay position and a monitor for the DJ.

Simon Purse’s original CAD design was transposed into Martin Audio’s D3 software, where system tech Ryan Bass took over. “I made a few tweaks, but everything was largely based on Simon’s original design,” he said.

Purse added that the biggest challenge had been in mitigating typical stadium reflections. “There were a lot of hard surfaces, a lot of weird roofs, strange reflective screens that we had to try and avoid. But we used Martin Audio’s modelling software to optimise where and how we deployed and pointed the system.

“At the same time we used ‘’Hard Avoid’ [in the D3 software] in the areas that we were actively trying to get rid of. So a mixture of PA design and software enabled us to achieve full system optimisation once everything was in place.” The cooperation with 22live, he said, had been 100% successful.

Simon Purse reflected further on the success of the event. “The PA design worked really well; we had excellent intelligibility across the entire site, and while being noise considerate of the neighbours, we made no compromises to the audience.

“There are a few gigs every year where I stand back and think what an awesome rig this is—and this was one of them.”

Click here to watch the full video:https://youtu.be/TjvWwEtgYbA?si=p39lUk2dC6pjlAu9

UK: SWG Events extended their long association with the Glastonbury Festival, again deploying Martin Audio systems in a number of feature areas.

According to Head of Audio, Simon Purse, they made significant changes to two stages: BBC Introducing and Woodsies, while also providing Martin Audio systems for The Park Stage and Leftfield.

BBC Introducing embraced Martin Audio for the first time, having traditionally had its sound delivered by another brand.

The move from its usual enclosed tent behind the Pyramid Stage to a more open, saddlespan structure required a fresh, upscaled approach to the PA, as it was able to attract a larger audience. “We were able to swap out the previous system for a ground-stacked [Martin Audio] WPS system—so it was quite a major upgrade. Having more PA meant we were able to deliver a superior sound,” stated Purse.

Beneficiaries of this included Antony Szmierek, FIZZ, Jordan Mackampa, Paris Paloma, Pixey, Kingfishr and Maruja.

With such a demand on their Martin Audio inventory this summer, SWG Events had thought strategically, arranging for the six-a-side WPS rig and eight SX218, that they had recently installed at Cardiff Students Union, to move back into their rental stock at term end, and in this instance take up occupancy at BBC Introducing, where they functioned as Left/Right stacks (to avoid intrusion on camera positions) driven in 2-box resolution from the iKON amps. Four Blackline X8 acted as frontfills and a pair of TORUS T1230 as outfill. “The advantage of this arrangement,” noted Purse, “was that we could get greater height on the PA, which is precisely what we wanted.” Martin Audio LE1500s, were provided for artist monitoring, underpinned with SX118 subwoofers.

Meanwhile, nightly headliners at Woodsies were Gossip, Jamie xx and James Blake but the highlight was the surprise appearance of ‘secret act’, Kasabian.

Knowing the importance of this stage, Simon Purse managed to push for a full 12 a-side WPL rig in 2-box resolution, with split L/R ground stack sub system comprising 12 SXH218—providing ample coverage in a 75m diameter big top holding around 6,000.

“However, when word got out about Kasabian there must have been 15,000 people trying to get in,” he observed. Adding to his rig were eight WPC on front fill “which worked extremely well, and something I’ll definitely adopt again next year. It gives you the power you need for a big stage and avoids the risk of running out of headroom on the front fills.” Four TORUS T1215 sidefills (two a side) provided stage monitoring along with two cardioid SXC118s—along with a full package of XE500 monitor wedges.

A measure of this stage’s success (and a source of personal satisfaction for Simon) was the number of emails received from band productions afterwards, praising their experience.

Sitting high over the festival site, The Park Stage was another area SWG Events can look back on with pride as they helped gild the performances of headliners, Fontaines DC, Peggy Gou and London Grammar.

Here they fielded 12-a-side W8LC, and two W8LCD a-side Downfills, with 16 WSX 218, in L/R stacks. The stage package comprised 12 XE500 monitors with SX118 subs. “Although it’s older tech, the W8LC rig is almost iconic to that stage,” says Purse.

Combining pop and politics, Leftfield’s sound requirements tilt more towards reinforcing the spoken word. Currently this used Martin Audio’s W8LM. This was flown, eight-a-side chain hoisted onto a goalpost truss structure. For artist reference monitoring, 12 LE12J wedges were available.

Summing up the weekend, Simon Purse was delighted with the company’s achievements. “We had a really good team, the bands worked extremely well, and overall it was just an exceptional year where the atmosphere throughout was fantastic.”

Crew on Woodsies stage consisted of Sam Jones (FOH);Xav Booth (FOH tech);James Marsh and Dylan Jones (patch); Oliver Haward (monitors) and Tom Malin (monitor tech).

The Park Stage crew comprised Joe Bailey (Project manager); Adam Andrews (FOH); Ian Williams (Systems); Fraser Wilks, Tom Baxter, Laura Evans and Ieuen Fishburn(patch); Will Fisher (monitors) and Kieran Jordan (monitor tech).

On BBC Introducing, crew boss/patch was Dan Jenkins; Jack Kenyon (FOH); Harrison Burdon (monitors) and Callum Jones (patch).

Photography by Lee Perry and Jamie Gomez.

UK: Nub Sound mount successful sound containment operation at Home Park Stadium

Plymouth Argyle FC recently hosted its first two-day concert weekend at its Home Park stadium. Run in conjunction with the local Depo nightclub, who also hosted the after parties, day one was EDM-oriented, and dubbed ALIVE at Argyle, followed by the more family-focused RELIVE at Argyle on the Sunday.

The two days were quite distinct in that while House music and Drum and Bass dominated the first day, with a Becky Hill DJ set, Bru-C, Ben Nicky and others, the following day saw heritage acts and radio DJ’s (including Gareth Gates, Five, Liberty X, Chris Moyles and Craig Charles).

Local production company, and Martin Audio partner, Nub Sound were brought in to provide technical infrastructure. Having worked with the promoters on various events at their nightclub, in addition to the PA, they also provided the stage structure and upstage video elements.

Explained their project engineer (and Audio lead), Gareth Fine, “Although it was our first time working at Home Park Stadium, logistically it was fairly straightforward, as our warehouse is only around two miles from the venue. The biggest challenge was always going to be getting the sound loud enough in the stadium while keeping the offsite noise as low as possible.” Not always an easy balance when the promoter’s primary request was to “keep it bangin’”.

However, Fine knew that in the advanced software platform of Martin Audio’s DISPLAY environment he could do much to mitigate what he describes as “a major concern!”

He explained, “Alongside deploying an audio package we were also in charge of noise management for the weekend and as such were involved with the Council’s Environmental Health Officer (EHO)—from planning right through deployment and delivery of the event. We managed to negotiate 70dB offsite limits at three key locations around the venue.”

Nub Sound achieved this by fielding two hangs of 14 WPC line arrays, and applying the ‘Hard Avoid’ setting in the optimisation software, to taper off at the perimeter. Of equal concern were the sub frequencies, and Nub Sound fielded 17 of Martin Audio’s SXH218 cardioid subs in bridge mode, but with six of them rear facing. “We used these to great effect,” said Fine, referring to the amount of rear rejection achieved.

The system was powered by 24 Martin Audio iK42 four-channel DSP amplifiers.

In addition, 12 WPS divided into six pairs, were used as front fills, and six WPC, in two sets of three were deployed as outfills. Meanwhile, on stage a pair of SXC118 subs and TORUS T1230 were used for fills, stage left and right, along with six LE1500 wedge monitors, for any performers requiring stage foldback. Finally, the all-important DJ monitors comprised a Martin Audio WSX18 and LE1500, left and right. And with an 11hr session on the opening day the PA needed to work hard as DJs performed in a steady stream—some featuring live vocal performances to track.

Supporting Gareth Fine at front-of-house was Nub Sound project manager and system tech, Josh Small, while Lee Chance was stationed in monitor world.

The concert, which is now being conceived as an annual event, certainly got off to a positive start, as Fine reports. “Both the Council and EHO were extremely happy with what we able to achieve with offsite noise, while at the same time managing to maintain a consistent and even coverage of the audience area of 98dB(A) over 15 mins—with the tonal response you would expect for drum and bass and house music DJ’s.”

No fewer than 260 Martin Audio loudspeakers were on duty for a series of concerts at the Puskas Arena in Budapest recently. Spread across three weekends, with three sets of artists, BG Event staged one of their biggest productions ever in the 67,000-cap multi-purpose stadium.

The first weekend saw 22-year-old singer songwriter Azahriah, the latest Hungarian sensation, playing three shows, such was the demand for tickets, to a total of 120,000 people. This was followed by long-serving band Hungaria with their 1950s rock and roll style, and the final band was Halott Penz (Dead Money), celebrating their 20th anniversary with this show.

It was the first time the production company had worked at this venue. Closed from 2002-2019 for a complete rebuild, according to BG Event’s Gabor ‘Mazsi’ Bacskay, “The team of architects failed to take into account the acoustic requirements of a concert and focused solely on sports events.” He described the new manifestation as being “like a large chimney with loads of reverb and echoes. We experienced a 6-8-second reverb at any position, and no curtains or any attenuation were built in.”

Faced with such a large box count, BG Event turned to their alliance partners Solotech, with whom they have worked many times at the predominant Sziget Festival main stage. “But as an independent company these [latest] shows were the largest full-service audio jobs we have done.”

The planning phase began back in November 2023, and the demands were quickly defined. Mazsi was determined to use Martin Audio “rather than just any gear that was available”. Knowing they would need to be deployed for between four to five weeks they needed to make hard decisions, not only about sourcing further MLA enclosures “but also not many production companies would have 50m chain length for hoists or looms for 70-plus metres.”

Fortunately, earlier in the year they had boosted their MLA stock in readiness for the season. “Therefore we almost possessed everything we needed. However we rented a few MLA Compact cabinets for the ring delays from our long-term partner Szatyi Stage Team. For the rest we had a large number of Merlin processors and distros so that we could prepare the complete optical chain in our warehouse, enabling just a quick setup at the venue.”

Nevertheless, on site BG’s tech team needed to work closely with the light designers and the next challenge was identifying hang positions without interfering with the LED screens and lighting trusses. “Finally, there were obvious acoustic disadvantages due to the basic properties of the building and we had to do our best to counterbalance them and provide the audience with the best coverage possible.“

The main PA hangs comprised 17 MLA (plus an MLD Downfill) on each wing and an identical configuration for the outhangs. The MLX subs were unable to be flown due to the design structure and so were arranged in 14 stacks—three MLX per stack, with the bottom one reversed—and this cardioid principle produced a successful result.

At the rear of the stadium they rigged four delay towers, comprising 12 MLA (and MLD Downfill) on the outers (LL-RR), 11+1 MLA/MLD on the inners (L-R).

They also fielded eight ring delays to cover the third tier. “Although the house has installed a lot of speakers since the direction of those cannot be changed, we preferred to have four delay hangs of eight MLA-C MLA each, and another four delays with 10 MLA-C, giving a total of 72 boxes.

A further 24 MLA-Cs were used for front fills across the stage lip, depending on show set up. A large auxiliary (17mx17m) ‘B’ stage formed part of the week one design (removed for later shows).

Mazsi admits that the B stage performance had provided a challenge for Azahriah’s sound engineer due to the artist’s quiet vocal. “But we were able to assist with the main hang zones—making a second zone from the last four boxes, and preparing a separate EQ to kill any feedback.”

Overall, he was delighted with the sound containment. “Having the subs in cardioid stacks worked well, and we achieved good response at the rear seating as well. With DISPLAY 3 [software] it is easy to calculate the delay times. We didn’t need to use Hard Avoid, but everyone was surprised how consistent the coverage was throughout the whole arena.”

BG Event provided full FOH system support. First week for Azahriah, Zoltan Osztheimer was at FOH, second week for Hungaria, Daniel Toth and Zsolt Gyulai were on duty, and the final week Zalan Osz was at FOH. They report that all visiting sound engineers really enjoyed working with the PA, remarking on its consistent coverage and straightforward transfer.

At pre-config stage BG also consulted with Marci Mezei, as often in the past, and for the professional set-up the entire BG tech team can be applauded. This was all coordinated by Gabor ‘Mazsi’ Bácskay himself.

Finally, Mazsi credits BG Event owner Gergely Szentivanyi for his foresight in investing further in the MLA fleet. “The company actually owns more than 120 MLA—an outstanding quantity in a region of this size!”

UK: Although only a small, 220-cap venue, the Half Moon in Putney has hosted some of the biggest names in show business over the last 60-plus years. It was the venue for U2’s first ever sell-out show, the place where Kate Bush first performed publicly, hosted KD Lang’s debut, and has had the likes of Bo Diddley, The Who, and The Rolling Stones gracing its stage.

But its sound system had been installed almost a decade previously and was nearing end of life.

The venue’s head engineer James Beck has been working at the venue all of that time and more. It was when Pink Floyd drummer Nick Mason came through back in 2018 carrying Martin Audio’s MLA Mini loudspeaker array that the vast improvement in sound quality arrested his attention.

“I was well aware of the Martin Audio brand, and when I heard this I was super-impressed. It had already been in our mind to upgrade, as I’d never been completely happy with the old system, and I felt this iconic venue deserved a proper system.” So he started looking seriously at Martin Audio.

THE NEW SYSTEM HAS BEEN LIKE NIGHT AND DAY.

“The first thing we bought was four LE200 wedge monitors—and that blew everyone away compared with what we had. So then we started talking to Martin Audio about upgrading FOH.”

Enter one of the manufacturer’s partner companies, Solotech. Their project manager Louis Williams was happy specifying the brand knowing that “around 60% of our venues” have been equipped with Martin Audio. “We removed an old flare rig and put in a pair of FlexPoint FP15s, left and right of the stage, and a pair of SX218 double 18” subs.

“We’re also using FP8 for the sidefill to give the door area a bit more coverage.” A further three more FP8 can be found outside “to give the smokers some nice sound as well”.

The main system is powered by a pair of Martin Audio VIA5002 amplifiers with all signal routing and EQ managed via a dedicated Martin Audio DX4.0 processor.

Williams is convinced that this was the correct specification. “FlexPoint loudspeakers are a perfect match for the venue,” he says. “They are the right size and at a great price point. It’s a massive improvement to what they had before.”

James Beck agrees. “The new system has been like night and day. Bands have noticed the improvement, customers and engineers have been super happy. The headroom in the system, the size of the boxes and clarity are all absolutely amazing.

“With acts starting out, touring acts, and the odd superstar like Ronnie Wood rolling in it was important for us to have a really good sound system. It also needed something that was durable because we have acts seven nights a week. When people come to a venue that’s been going for 60 years, they expect a good time which is why we needed something that would fulfil that, sound wise.

“FlexPoint sounded great straight out of the box, and fulfils all the criteria.”

Watch full video here:https://youtu.be/kfP8WRnpHMs