Category: Martin Audio

UK: Based in London’s West End, The Twist Museum is an immersive, interactive, multi-sensory attraction, set on a 15,000 sq. ft site.

Challenging the visitor to explore the world of illusion, Twist—which stands forThe Way I See Things—is a collaborative work of leading artists, psychologists, and neuroscientists.

The audio-visual integration was entrusted to London-based Crossover, who specified, installed, programmed and commissioned essential audio-visual equipment, for management and routing over a digital backbone.

Developed by multimedia artist Aristotle Roufanis, the Digital Mirror exhibit uses a camera and large format display to create an interactive ‘mirror’, distorting peoples’ reflections in real time. The Crossover team provided the displays, the audio system, and the back-end processing hardware, that manipulates the captured images to display the illusions and distortions to the viewer.

Crossover helped the Museum’s project team build another of Roufanis’ creations, the Digital Kaleidoscope, with audio looping in real time on Ableton Live. The Kaleidoscope is a mirrored hexagonal tube—people entering it immerse themselves in a stunning display of colours and patterns and their reflections which are influenced by their movements and interactions. Crossover supplied and installed the projection systems, camera, processing hardware and audio system for this interactive marvel.

Martin Audio loudspeakers were specified in the Audio Interactive Space and Mind Hub where distortion free, phase coherent output was paramount. The former is a large octagonal acoustically treated 360-degree surround-sound room that immerses the visitor in soundscapes created by artist and composer Antoine Bertin. Custom-programmed LED lighting synchronises with the audio to enhance the sensory impact, with LF rumble provided by a Martin Audio SX110 1 x 10in slimline subwoofer.

This was chosen “for its super compact form factor, and the fact it could be easily flown without taking up valuable floorspace,” according to Crossover Senior Systems Designer, Juan Garcia. “In addition, we are very familiar with Martin Audio and love the sound of their speakers and their reliability. The fact that the space was small, and the sub is so powerful, we only needed one SX110, to avoid hotspots and dips.” It was installed towards the side of the room—rather than the centre—in order to maximise bass coverage.

About halfway through the journey, the visitors enter the Mind Hub. Crossover installed the lighting and supplied the lighting control hardware and audio system for this spectacle, at the centre of which is a huge cube of 1,000 individually controllable LED spheres hanging from the ceiling, creating mesmerising patterns and shapes.

Here and in the events area, Crossover have specified eight Martin Audio ADORN A55T, focused on background music and small events within that space, chosen for their output within a discreet footprint. These are powered by a Martin Audio VIA2004 4-channel, 2000W Class D amplifier.

Elsewhere, the Upside-Down Room and the Ames Room provide further treats for visitors, the former featuring a further Martin Audio music system with the option for a DJ to play for parties and events.

A digital back end, with local touch panel interfaces allows staff to monitor the exhibits and to maintain uptime.

Crossover director, David Sacks, said: “This was a brilliant project to have worked on. It was particularly rewarding because of the close collaboration with international artists to bring their visions to life with some of the best audio-visual technology around.”

GERMANY: Vortex, the new electronic music festival, made its debut at Göppingen’s EWS Arena—pumping techno, trance and hardcore through the bodies of devotes, continuously over 12 hours, through Martin Audio’s flagship Wavefront Precision line array series. To quote the words of the organisers, “Vortexis not just a festival, it’s a transcendent experience, a sonic adventure that you won’t want to miss.“ Such was the challenge that the Martin Audio PA and its advance control software were set.

It was a far cry from EWS Arena’s normal sphere of activity, which is hosting the Bundesliga handball club FRISCH AUF! But since the venue is located in the centre of the town, surrounded by shops and flats, the requirements with regard to noise escape were predictably stringent. As a debut event, it was particularly important for the organisers not to provoke complaints from local residents in order to preserve the future of the event. With its legendary tight offsite control, the Martin Audio Wavefront Precision systems deployed absolutely met these high requirements.

Jürgen Schuster, from event technology specialist Skyeline Live, who provided the technical equipment for theVortexFestival, confirms: “There were no noise complaints and zero problems with the volume for the audience.”

“THERE WERE NO NOISE COMPLAINTS AND ZERO PROBLEMS WITH THE VOLUME FOR THE AUDIENCE.”

Martin Audio’s advanced DISPLAY software had been essential in controlling the WPS and WPC line arrays deployed. “It was a real blessing,” he explains. “I was able to calculate the entire system cleanly and deploy it accordingly. This made it possible to predict in advance exactly how the system would behave in terms of sound levels.” He added that during the event, a colleague checked the volume on the street, enabling him to confirm: “Ambient noise from the street was louder than the sound coming from the festival, while inside the venue the sound was characterised by the evenness of distribution across the entire event area.”

To achieve this Jürgen Schuster deployed 24 Martin Audio WPC as the main system (12 boxes a side), with eight WPS as front- and sidefill. The all-important sub frequencies were pumped out through six towers of three SX218, designed in cardioid (two front facing and a single rear facing), with a further four SX218 provided for DJ monitoring. The rig was powered by 12 of Martin Audio‘s iK42 multi-channel, process-controlled power amplifiers in three-box resolution.

Schuster attributed the success of the event to two key Martin Audio technologies: the scalable resolution of the Wavefront Precision loudspeakers and the acoustic optimisation using the DISPLAY simulation software. “The combination of these two aspects made it possible to calculate the sound solution for the event so precisely that sound emissions were minimised [offsite] while still providing uncompromising sound for the 4,000 dance fans.”

But the real success of the event, he emphasises, was the reaction of the artists themselves. “They didn’t want to leave at all,” he affirms. “It’s normal for an act to come, deliver their set and then go … but at the Vortex Festival, the acts enjoyed it so much that they stayed for hours after their performance and simply enjoyed it.”

This says much for the quality of the sound system, which had been subjected to an enormous continuous load. “The Vortex Festival runs for 12 hours through the night—from 7pm until 7am—and the system has to work reliably.” Fortunately, due to his many years of experience with Martin Audio systems he was confident this requirement would be absolutely fulfilled.

In conclusion he praises the sonic coherence across the different series and how easily they can be combined. “WPC and WPS are different size formats but they fit together perfectly in all technical respects—phase response and so on. With many manufacturers this provides problems as the speakers don’t fit together in terms of sound. This is certainly not an issue with Martin Audio, as the different series work wonderfully together.”

Watch the video:  https://youtu.be/2TkaSOfbxU0

MY: Based in the Malaysian state of Selangor, full-service provider Psychoacoustic Productions recently invested in a Martin Audio BlacklineX Powered loudspeaker system, comprising 16 XP12, eight XP15 and six XP118 subs.

Founded in 2006 by Haary Roshaahn Yograi, under the original name of Pyschoacoustics Sound & Lights the company has grown steadily from humble beginnings.

Stated the owner, “We were comparing several active point source systems in a similar price range, and among all that we tested, Martin Audio really stood out in terms of delivering a sweeter sound—particularly on the higher frequencies. It was the system that best suited our indoor venues.”

The portable BlacklineX Powered series integrates Martin Audio’s renowned engineering expertise into an easy-to-use, quick-to-deploy, high-powered solution for a range of professional applications, ranging from use by musicians and mobile DJ’s, to corporate AV, House of Worship installations and all types of music venue.

With optional Bluetooth control, streaming and a built-in three channel mixer, BlacklineX Powered was a logical move for the company. The equipment was supplied by Kuala Lumpur dealer, Wavefront Culture.

As they enter their second year of distributing the brand, managing director, Ahmad Syafiqbin Yaacob says that although Martin Audio was already well established in the AV market, with its rapidly increasing portfolio it has required an extended push to make the client base fully aware of its solutions. He confirmed that while Psychoacoustic Productions already knew about the brand, they had never previously listened to the product, adding that in comparative testing they preferredthe XP12 and XP118.

He says that as a result, Mr. Roshaahn is now keen to audition the TORUS series.

Martin Audio has announced the introduction of iK41, an advanced 4-channel power amplifier, to further strengthen the existing iKON series and portfolio offering.

The iK41 combines high power density with rich and accurate audio performance, state-of-the-art DSP and network control, and is designed as a dedicated controller amplifier for Martin Audio WPM optimised line arrays, TORUS 8 constant curvature loudspeakers, as well as multi-channel amplification for select Martin Audio loudspeakers.

This latest iKON amplifier can deliver a full 1500 watts per channel into 4 ohm, and its high efficiency reduces the energy drawn from the mains supply and ensures the power reserves needed to deliver signature sound under arduous conditions.

THE SUCCESS OF IKON AMPLIFIERS HAS BEEN UNDENIABLE.

Ethernet is used for system remote control and monitoring via Martin Audio’s VU-NET software application, while a user-friendly front panel interface allows full local control of all features. Dante digital audio network inputs are also provided for digital audio distribution and control.

Powerful DSP is fully integrated into the iK41 to provide a multitude of features that ensure maximum performance of select loudspeaker systems. It also provides up to 1000 FIR filter taps at 48kHz on each output channel, which is essential to implement DISPLAY’s wide bandwidth optimisation process in WPM line array systems.

The iK41 employs comprehensive protection functions to maintain safe operating conditions of both the amplifier and the loudspeakers driven—including a sophisticated loudspeaker limiter suite which incorporates peak, RMS and excursion limiting, as well as multiband limiting for passive 2-way systems.

Dom Harter, Managing Director, commented, “The success of iKON amplifiers has been undeniable and with this less expensive model being introduced it will allow for more efficient installations of WPM, TORUS 8 and FlexPoint systems. While we expect rental partners to continue their inventory of iK42, we also expect that some will see the benefit of holding additional iK41 inventory for their smaller events.”

The iK41 will be on display at InfoComm 2024 in Las Vegas, booth C9601, and will start shipping globally from July.

For more information: https://martin-audio.com/products/electronics/ik41

US: Built in 1917, and situated in the village of Hamilton, New York, Colgate Memorial Chapel provides the centrepiece of Colgate University’s campus activity.

Since it is a multi-use facility—incorporating a range of on-campus activity from University interfaith church services to lectures, presentations and orchestral concerts—it was vital that the public address system was sufficiently flexible to reproduce spoken word and full dynamic range alike, with absolute clarity.

The Chapel’s long-term AV contractor is Syracuse-based TSH AV, who specialise in the House of Worship sector. They recently met the University’s requirement for a loudspeaker upgrade by specifying Martin Audio’s award-winning O-Line micro line array, with scalable resolution. This was designed not only to optimise the sound in the challenging space, but with its compact footprint also sit discreetly within the Chapel’s beautiful aesthetic, set behind the building’s equally stunning façade, with its gabled pediment.

According to TSH owner Timothy Harris, the Chapel had previously made do with a mishmash of ceiling speakers. “They were all over the place, it just wasn’t a properly designed system at all,” he observed.

Harris had originally proposed a new sound system back in 2017 but it was only last year that the facility had the budget to proceed. “With O-Line in use across churches in the UK and Europe, I proposed this solution from the very beginning. This speaker is meant for sanctuaries like this.”

The challenge was to provide even coverage for a 750-seat sanctuary without a centre aisle—accommodating 450 on the lower floor, 200 in the balconies and 100 on the stage.

Harris had dispensed with the idea of flying the new PA from the cupola-shaped roof, instead opting to discreetly wall mount two O-Line columns of 12 elements either side of the altar. A pair of Martin Audio SXP118 subwoofers are available as necessary. “They can be wheeled in with the option of either being placed one on each side, or in an end-fire configuration in the centre.”These are powered in 2-box resolution by three VIA 2004 amplifiers, with all processing in the dedicated DX4.0 digital system processor … “so it’s an end-to-end Martin Audio solution,” exclaims the installer.

Despite its vaulted dome, the Chapel is sonically fairly forgiving and thus required minimal processing. “Back in the 80s they installed an acoustical ceiling, since the ceiling runs straight across, but rising to the dome in the centre. The acoustic panels didn’t provide a perfect solution, but it certainly helped.” Under each hang is a large LED wall, also installed earlier by TSH AV, while a pipe organ provides an imposing backdrop.

The integration company originally set up in 2013, and within a year Harris and his technical team were attending MLA training in Las Vegas. Since then they have carried out installations across Martin Audio’s PA portfolio, ranging from Wavefront Precision to the hugely popular CDD coaxial differential dispersion series as well as other O-Line installations.

Final tuning of theColgatesystem itself was entrusted to consultant Michael Lawrence from Precision Audio Services “for verification that the system was tuned correctly” with TSH Audio then responsible for final commissioning.

Confirmed Lawrence, “It was a surprisinglywell-behaved room given the size and the surface materials. I worked with Tim on a final design iteration, making a few tweaks to the splay angles before the system was installed, so once I got on site for the alignment the coverage was already behaving as intended. The commissioning session was mostly spent getting the system voiced appropriately for the space. We did another round of listening with a representative from the college and made sure everyone was happy.”

Reflecting on the work, Timothy Harris can point to a solution that thoroughly meets the brief for a sonically superior, minimally invasive sound system. “Thanks to O-Line we have been able to get the audio where it needed to be instead of it going all over the place as it would have done with a traditional line source speaker array.”

Mark Hine,Director of Classrooms, Digital Media and Events atColgateUniversity, agreed—adding: “TSH has been a trusted partner on numerous projects, ourColgateMemorial Chapel project being no exception. This project began well before the pandemic and TSH shepherded us through supply chain challenges all the way to system calibration.

“For the most part, the change has gone (visually) unnoticed—which is a good thing. We have also managed to negate the constant worry of feedback from the mics.”

When Belfast Distillery Company set out to preserve the legacy of McConnell’s Irish Whisky—a brand that dates back to 1776—they decided to take over the A-Wing of Crumlin Road Gaol, and convert it into a visitor attraction to run alongside its production activities.

Built in 1845, the Gaol was renowned for housing a number of key figures during The Troubles, but this listed building has now been carefully restored and converted, with a state-of-the-art AV installation—including end-to-end Martin Audio loudspeakers, designed and specified by the manufacturer’s partner for over 40 years, Rea Sound.

Martin Audio had in fact been requested by the clients themselves … notably their Master Distiller & Head of Supply & Operations, Graeme Millar. According to Rea Sound director, Roger McMullan, as a gigging musician, Millar had fallen in love with Martin Audio’s sound when purchasing a first-generation Blackline band PA many years ago.

It had been McMullan himself who was confronted with the challenge of specifying a workable system within a difficult space, to enable guided tours to take place that uncover the unique history of this iconic Belfast distillery brand in a landmark setting.

He recalled the origins of the contract in August last year. “At the time it was a building site as they had taken out the floors and removed the roof to get their distilling tanks in,” he said. “It was obvious to me we should use a combination of Martin Audio CDD6 and ADORN A55 for the speakers, so we drew up a specification and were immediately given the go-ahead. We then had many long meetings debating how we would make this work.”

WE SELECTED ADORN FOR ITS COMPACT SIZE AND VALUE FOR MONEY.

As many as eight different tour groups can traverse the building at a time. After signing in at Reception, where announcements are made and BGM played out through eight ADORN A55, visitors are led on a mazy route by a tour guide — via The Board Room, Mash Room, Tasting & Maturation Room and Experiential Room, finishing at the Bar & Atrium on the top floor of the three-storey edifice. Here they can stand on the glass door and enjoy views straight down over the Reception area two floors below.

In the client’s own board room, the only space not open to the general public, there are a further four ADORN A55 … part of a total complement of 36 of these products.

“We selected ADORN for its compact size and value for money … the quality of the sound is exceptional for the price,” stated McMullan. “We’ve used it a lot for infills and foyers in the past, but this is the first time we’ve really used it in anger.”

All supplied in white, their compact footprint means they can be discreetly tucked away into the furnishings or equally be wall mounted.

The tour itself initially takes visitors into The Board Room that does have public access, and here they are treated to a Pepper’s Ghost introductory video presentation. In order to enhance the presence and realism of the playback video, a Martin Audio SX110 subwoofer has been added.

As the tour guide enters each room, the Audio Technica mic is reactivated via the dedicated remote wall panel where a separate system also caters for the hard of hearing.

The single pair of Martin Audio CDD6s can be found in the Bar area—which marks the end of the tour, and is effectively six former gaol cells combined together. The idea of specifying the more powerful CDDs is with the future idea of promoting live bands in mind. “They will also host special evenings for corporate clients, who can plug in their own mixing desk—so they wanted a bit more quality and coverage,” continues Roger McMullan.

All the loudspeakers are assigned to three of Martin Audio’s VIA2004 amplifiers, which power the entire system, while processing is under the command of an Allen & Heath AHM.

In conclusion, Roger McMullan can reflect on a contract that he describes as one of the most prestigious in the company’s long history. Graeme Millar reciprocated by saying that working with Rea Sound had made the installation extremely easy. “The depth of knowledge and experience has brought together a great overall system for us,” he said. “The ease of use for us has been important, with the adaptability and reliability surpassing everything we asked for. The custom paging system also makes it easy for our staff to announce easily to the required areas.”

UK: The multi-use requirement of Cardiff Students’ Union’s Great Hall presented SWG Events with several challenges when designing and installing a frontline PA. The venue is a multipurpose space with a capacity of 1500 and a variety of needs. Firstly, the PA system needed to meet the approval of incoming circuit bands and productions, and at the same time be completely adaptable to a wide range of events. Since live music events are hosted in more than one space within the building, the PA needed to be demountable and reappropriated together in various locations.

SWG Events successfully met the challenges presented to them, their pitch based around Martin Audio’s premium Wavefront Precision WPS line array, which was ideally suited to the space. Joe Bailey, Account Manager at SWG Events, adds, “With our strong ties to the Wavefront Precision product range in our busy rental inventory, we were confident we could provide a solution that not only offered a high-end experience to customers, but also one that would be well received by touring parties and promotors.” He also affirmed that “the on-going goal is to assist the Students’ Union in developing their already very strong status as a top live music venue in Cardiff.”

These had been the requirements handed down by Head of Venues, Callam Thom. “This year the Great Hall enters into its 50th year of operation, as one of the oldest music venues in the Capital City. It is therefore crucial that we keep up with the demands of modern-day touring and the expectations of our audiences. To keep our name up there with the best venues, we wanted to offer a state-of-the-art system that is supported by a company with a wealth of experience. It feels right that our customers are given a sector-leading audio experience,” he said.

“Furthermore, with our venue being so multi-use, going from live music to a nightclub to a conference, it was imperative that the solution was easily adjusted.”

The Great Hall has recently seen significant development to the two accessible viewing balconies, vastly increasing the spaces available for those with additional viewing needs. The development provided an upper-level bar, toilets and viewing platforms—spaces that also had to be catered for with the sound system. SWG Head of Audio, Simon Purse sensed these challenges when confronted with a building that was “basically a big concrete square, with low balcony at the end, and the FOH position situated just under the bulkhead.”

SWG HAVE BEEN ABLE TO DELIVER ON ALL KINDS OF SCENARIOS WITH NO COMPROMISE.

SWG based their design for the conventional pros arch system around six elements per side of WPS, driven in 2-box resolution from Martin Audio’s iK42 amplifiers. Eight SX218 subwoofers are placed in a broadside array, while also at the stage, four Blackline X8 fill gaps in the nearfield with two TORUS T1230 delivering out fill sound.

Given the low balcony overhang, a ring of four CDD8 provides under balcony delay and a further four CDD8 above the accessible viewing left and right-side balconies themselves, DSP for which i provided by a dedicated DX4.0 controller; this also brings the fills into the VU-NET control network.

Purse added, “While there are elements that are fixed, a lot of it is like a conventional flown touring system. Exams one day might be followed by a rock show, so it can be derigged and taken down or change shape, depending on the requirements of the venue. Even the stage is removable, making probably the most diverse room I’ve ever been in.”

Martin Audio Product Support Engineer, Robin Dibble, assisted with tuning and time alignment which, being a reverberant concrete venue, was essential—despite the presence of drapes and acoustic treatment. Presets are programmed and stored, depending on the different scenarios.

Purse explains, “There is a snapshot for when the system is in its default live show mode, with all the time alignment EQ and settings loaded in that. For other events such as when a DJ is placed in the centre of the room, the PA is moved, new angles applied and given new optimisation. The system then resets back to its default state afterwards.”

Bailey also emphasises that the system has performed well in the first academic year of the contract with over 50 live music events since installation in Autumn 2023, most of which are touring artists.

Following commissioning by Robin Dibble, SWG Events provided training to the in-house crew, while they are also providing crew for live music events from a system engineer point of view.

Finally, to ensure Wavefront Precision gets full utilisation, the system will come out during the University’s summer recess to be redeployed on SWG Events’ vast roster of summer outdoor work, before returning to the Students’ Union for Freshers’ Week and the start of the Autumn term.

Summing up, Callam Thom, confirms that the solution totally fulfils the brief. “Incoming engineers have been pleasantly surprised and impressed by the new PA, noting the quality and headroom that it delivers—even for the louder artists and dance music genres.”

“As for the audience experience,with a significant proportion of the floor space being under balconies, the fills have managed to increase coverage greatly, meaning that customers have a far better experience even at the back of the room. The fills on the balconies have also been instrumental in ensuring that our accessibility customers get the best possible listening experience.

“Overall, the flexibility of the Martin Audio system means that SWG have been able to deliver on all kinds of scenarios with no compromise to the audio coverage or quality … even a drum and bass event with the DJ in the middle of the dance floor.”

INDIA: The majestic Ram Navami celebrations held at the bustling Shivaji Chowk in Pune, where the  Martin Audio WPC unparalleled sound system created an ethereal atmosphere that resonated with the essence of the festival.

The air was filled with melodious chants and vibrant music, echoing through the streets and captivating the hearts of all present. Powered by 12Tops & 12Subs, including the versatile WPC line array and the formidable SX218 subwoofer , every note and beat reverberated with clarity and precision, enveloping the audience in an immersive sonic experience like never before.

From the pulsating rhythms of traditional bhajans to the soul-stirring recitations of religious scriptures, every aspect of the celebration was elevated to new heights by Martin Audio’s state-of-the-art sound technology, leaving an indelible mark on the hearts and minds of all who attended.

UK: After playing a stretch of intimate in-store shows at independent record shops across the nation to announce their debut albumI Wonder If The World Knows, the K’s arrived at one of their local concert venues, the 1000-cap, Grade II-listed Parr Hall in Warrington on April 10.

To ensure an optimum audio experience for their fans, Martin Audio rental partner, dBS Solutions were brought in to provide their flagship WPS (Wavefront Precision) scalable line array. This was set in a ground-stacked configuration, as due to weight limitation flying the PA wasn’t an option.

The WPS was mounted, six-a-side, on a single SXCF118 cardioid sub, while a further six WS218X subs were arranged in a broadside array in the pit, for maximum LF grunt. Providing front fill coverage were four Martin Audio WPM, in 2-box stacks.

THE SYSTEM PROVIDED EVEN AND CONSISTENT OUTPUT THROUGHOUT THE SHOW.

Meanwhile, in the balcony of this Grade II-listed building Martin Audio XD15s were deployed as fills in biamp mode, tied into the venue’s TORUS T1230 constant curvature short throw speakers.

dBS Solutions deployed a pair of iKON amp racks, each housing three iK42. They were thus able to power the main PA in the optimum 1-box resolution—all of which impressed the band’s FOH engineer, Ben Hubbard. “Despite not being able to fly the PA, the WPS continued to deliver in its ground stack format,” he confirmed.

Systems engineer, Daniel Clare, designed the rig in such a way as to provide coverage to both the primarystanding area andthe initial parts of the balcony, where the house TORUS system in this Victorian venue took over to provide even coverage into the furthest recesses of the upper balcony.

Reviewing the overall performance of WPS, Ben Hubbard said, “The system provided even and consistent output throughout the show, conveying an accurate representation of the mix to every audience member.

“I noted to Daniel during the tuning process how impressed I was with the low-mid information produced by the cabinets themselves before introducing the subs. This helped me achieve a punchy mix, with real weight for the entirety of the show in what was a challenging space,” he concluded.

Photography byNat Persoglio.