Martin Audio and Generation AV team up for APAC Distribution Summit
Martin Audio and Generation AV recently entertained all APAC distributors at their Singapore Experience Centre to celebrate growth and discuss future opportunities.
Dom Harter, Martin Audio Managing Director, was able to convey updates from across the Audio Reproduction division of the Focusrite group, which also includes Linea Research, Optimal Audio and TiMax. This was then followed up with a focus on the significant strides Martin Audio has made in its supply chain operation to help fuel the strong growth in the region.
Harter, along with Sales Director, Bradley Watson provided demonstrations of the premium point source solutions of both FlexPoint and THS as well as a showcase of immersive sound solutions from sister brand, TiMax.
Case studies were shared by distributors including Audio Brains and their work with rental partner MSI across a wealth of live sound events, while Sino Huifeng showcased their success in KTV as well as nightclubs including the latest BEEN club in China, and finally a wealth of examples from TAG, Australia, including the Geelong Arts Centre, Australia’s largest regional performance centre.
Further marketing updates were provided by Marketing Director, James King and the event was fittingly rounded off with Awards where PT Goshen Swara won for ‘Outstanding Performance in Installed Sound’, Vardhaman Megatech secured the ‘Outstanding Performance in Touring Sound’, Anthony Russo from TAG picked up the ‘Most Significant Contribution’ award, while the overall coveted ‘Distributor of the Year’ award went to Sino Huifeng, China.
Martin Audio APAC Distributor of the Year 2023 Sino Hui Feng, China
Martin Audio APAC most significant contribution 2023 Technical Audio Group, Australia
Martin Audio APAC Outstanding performance in Installed Sound 2023 PT Goshen Swara, Indonesia
Martin Audio APAC Outstanding performance in touring 2023 Vardhaman Megatech, India
David McKinney, Managing Director of Generation AV, said, “It was a fantastic week and so good to have all our partners come together to celebrate the successes, and to lay out new plans for the future. Big thanks to all our partners for making the week a major success and having Dom, Brad and James join us made for productive discussions.”
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.
UK: Within 15 minutes of completing victory over Preston North End on Easter Monday, Birmingham City’s St. Andrews stadium had been transformed into a rock concert venue.
The production team behind the staging—enabling local legendsUB40to kick off their world tour and announce their newUB45 album release—was Martin Audio partner, 22live.
At the same time the football club was able to reveal its new branding. Henceforth known as St Andrew’s @ Knighthead Park, the stadium provided the perfect setting for this post match entertainment. But first 22live, led by Paul Timmins, had many challenges to overcome—not least where to site the 15 ground stacks of Martin Audio WPC and WPS line array, as well as the speed of deployment to get the show underway immediately after the final whistle.
“I always wanted to do this really unique event with the Martin Audio option,” Timmins admitted. “Over the years I’ve put out many perimeter pitch-side systems, delivered half-time shows, and presented playback gigs at sports events … but there has been nothing quite like this.”
The story begins whenUB40production manager Sean Busby-Little, having been approached by the football club about the proposed event, contacted 22live. “We’ve worked a lot together in the past, including military work in Afghanistan, so I’ve known Sean a long time,” continued Timmins. “The fact we were based locally helped, as with the odd timings there was always likely to be a lot of running around.” The fact that the date was suddenly brought forward 12 days from the originally scheduled April 13thdate.
Two days’ rehearsal in Digbeth helped new monitor engineer Harry Le Masurier settle in, while staging options were debated and the fact that 56 channels were required, choice of stage was paramount. He also knew this was no mere playback event … the band were going to perform live!
TO HAVE THE PA RIG BUILT AND DEPLOYED IN JUST 12 MINUTES FROM THE FINAL WHISTLE WAS REMARKABLE.
After dismissing other options they decided to construct the staging in the ‘sterile’ area—or empty block of seating—segregating the home and away fans in the Gil Merrick stand.
“The seats were removed, and the staging company built a two tiered stage because of the raking—set high up to avoid obscuring sightlines. Although big LED screens and lighting were able to be flown from the roof, in view of weight loading, audio was always going to be a pitch side perimeter speaker system.”
From past experience Paul Timmins was aware of safety implications, cabling challenges and the fact the speakers would need to be located behind the LED wall or advertising hoardings without blocking the access.
But because of distance variations each stand required its own unique treatment. The Main Stand is quite shallow and didn’t need as much power as the Kop side, so I chose WPS,four stacks high. On the Kop stand I used WPCs, four high because I needed more power. At the Tilton End I used WPC, three high, because I knew I could get away with less, with just two stacks WPSfour high required on the Gil Merrick stage end—because coverage was only required on either side of the large center section.” Each stack was supported by an SXH218 sub.
TORUS T1230 speakers filled dead spots in corners between the Gil Merrick and the Kop stands and further T1230s and an SX118 subwoofer provided reference sound at the FOH mix position, which was located underneath the stands.
Critical to the success of the optimization was tilt angles. 22live knew that since they would be raking the system back into the stands, rather than have it tip forwards as would be customary, they could dispense with the standard WP grids in favor of straps. After verifying this custom approach with Martin Audio deployed this ingenuous solution, which would also ensure each stack could be deployed swiftly as a single self-contained unit.
Crew boss Glen Little worked closely with extra local crew, who were experienced in dealing with Martin Audio boxes. “The beauty with the weight of the Martin Audio system, was that with four people we could move each stack as a single block, keeping the bottom box strapped to the sub.”
Unlike a typical average home gate of around 19,000 this event drew 25,000 (since there was no increase in ticket price). This double header was clearly a success as the best part of 20,000 returned from the bars within 15 minutes of the end of the match to be confronted by a different scenario, with DJ Jenny Powell leading into the band, who played a full hour long set.
Summing up Paul Timmins said “It was one of those days where everything worked. To have the PA rig built and deployed in just 12 minutes from the final whistle was remarkable.”
Production also had to remain nimble, and responsive to 11thhour requests. “In addition to the live sound we discovered we had to provide a broadcast mixdown from stems to Birmingham FC TV, and at the last minute they also wanted to record it—so we brought in Phil Wright, who is such a safe pair of hands, with his own kit to do the streaming.
“On top of it all, Birmingham City, after a wretched run of form, won the game, the sun came out for the concert andUB40 played a blinding set. Sean was over the moon and I’m happy for the club because they went out on a limb to do this.”
Other key personnel who contributed to the event’s success included experienced tour manager Yaron Levy, with Russ Tite mixing at front of house. Jason McAvoy was control tech, Rylan Machin and Ryan Bass were the two system techs on duty, while other techs were Chris Wilcock and Jack Davis.
US: Originally established over 200 years ago in Raleigh, North Carolina, Edenton Street United Methodist Church (ESUMC) is reputed, in particular, for its for its famous pipe organ, its alluring chandelier and its majestic stained-glass windows that dominate the sanctuary.
To that, can now be added Martin Audio’s stylish and award-winning O-Line optimised micro line array, which blends discreetly and elegantly into the 27-inch thick sandstone walls.
Designed for houses of worship, this aesthetic, slimline, columnar solution was recommended and installed by local production house, RMB Audio. They were as fastidious in removing the old public address system, which had served the church so dutifully over an astonishing seven decades, as they were in installing the new rig, comprising two hangs of 16 O-Line modules.
The former system had originally been integrated within the chandelier during a rebuild of the Church following a fire, back in 1957. But according to RMB founder, Cooper Cannady, there was now clearly a need for higher SPL and a significant upgrade in speech articulation.
Although Martin Audio’s dedicated DISPLAY prediction software indicated a 12-box solution, Cannady recognised that by increasing this to 16 cabinets—driven in in two-box resolution from a pair of Martin Audio iKON iK81 multichannel amplifiers—he would not only gain both floor and balcony coverage, but be able to avoid reflections back from the balcony fascia.
“The frequency response of O-Line [85Hz-18KHz] in a large voluminous space such as this better reduced LF resonance,” he noted. “At the same time, the sidelobe-free close spacing of five 21mm HF drivers ensured uninterrupted audio at the adjacent left and right pulpits, even though they are positioned slightly in front of the upstage O-Line hangs. This is what often creates the problem with other systems, where you can’t have the speech articulation you want because of the proximity of the mics.”
IT’S AN AMAZING INSTALLATION WITH BEAUTIFUL SONIC QUALITY FROM THE MARTIN AUDIO O-LINE.
Explaining this further, he says, “Within 12-15ft of the arrays is a lectern and with celebrants on Lavaliers or head mics and they are able to walk in front of the O-Line without any problems with feedback whatsoever. For human articulation, O-Line is always the ‘go to’ solution.”
The challenges extended well beyond the thickness of the walls themselves. Installation of the O-Line wall bracket had required stonemasons with knowledge to confidently drill into the walls for threaded rod fitting.
As for the cabling, several 500ft reels were required to accommodate viable flow paths for the difficult runs behind the scenes, particularly around the pipe organ. Dave Clemmer, ESUMC Audio Steward (and long-time collaborator with RMB Audio), emphasised the task of “crawling around pipe organ lofts with hundreds of feet of signal cable runs—through 27-inch thick walls, concrete and existing empty conduit.” As such, he said, a new rule of thumb was established on this project: “measure four times, drill once”.
However, the RMB Audio tech team were already entirely familiar with the facility prior to installation, having frequently augmented the Church’s productions by bringing in Martin Audio CDD12 or CDD15 for the more progressive worship services, featuring a full band. “Now with O-Line they can replicate what we were doing for them earlier,” explains Cannady.
In fact CDD had initially looked like being the preferred installation solution until RMB Audio’s owner showed photos of other chapels where they had been installed “and they thought they looked fantastic.” Provision of a demo pack enabled the neutral light grey to be colour-matched and gain the architects’ approval. Positing that O-Line was also “the most forgiving cabinet in the Martin Audio series” proved to be the icing on the cake.
Dave Clemmer agreed. “This installation took over a year of gathering acoustic measurement, before settling on O-Line with its audio spectrum quality and artistic design.”
Now congregations up to 1200-cap, that pack out the sanctuary to worship each Sunday, can enjoy a new experience. Andthey are not the only people to benefit. The choir, who had been experiencing difficulty referencing their sound through the existing foldback, is about to receive a new monitor set up, courtesy of RMB Audio, in the shape of a new CDD5 installation.
Reflecting on an installation which respects the heritage of the building, Cooper Cannady says that due to the forgiving nature of O-Line virtually no tuning was needed, despite sound swirling round a high elevation ceiling. “The room is very settled because with so much stained glass, the ceiling vault starts so high up the wall. We were fortunate in that respect, as were that not the case, it could easily have introduced reflections elsewhere.
“For very cavernous, large volume buildings where you have resonances there is nothing better than O-Line, as it naturally has a presentation that works well.
“In terms of ROI, it’s pretty amazing that the Church already had a sound system that lasted 70 years … I just hope the O-Line achieves the same feat.”
But Dave Clemmer probably put it best: “To date, this is the most important audio installation project that I have worked on,” he exclaimed. “It’s an amazing installation with beautiful sonic quality from the Martin Audio O-Line.”
UK: Inspired by Star-Trek’s Holodeck, and described by customers as “the greatest VR experience they have ever had”, the advanced audio-visual specification and installation for this attraction was entrusted to London-based Crossover.
Sandbox approached the specialists to fit out the three floors of the iconic Post Building in London\’s Covent Garden—a former Royal Mail Sorting Centre that had previously sat derelict for 20 years.
Selection of the right products was paramount and careful consideration had to be given to the challenges around the acoustics and structure of the building. For sound reinforcement they opted for Martin Audio’s popular CDD coaxial differential dispersion series, as they often have in the past.
Crossover specified several different audio-visual solutions for this unique space, with digital signage driving pavement appeal and allowing easy updates of scheduled information and promotions.
WE KNEW THE PENDANT ADORNS WOULD BE A PERFECT FIT
Inside, it’s the four Holodecks, split over the two lower floors, that are the main area for VR participation. Each area houses a wall-mounted large-format display that provides information to the team about the room and mission that has been chosen. Here, diverse audio and visual elements mesh together to dramatically enhanced the visitor experience within a dynamic space.
Crossover Senior Systems Designer, Juan Garcia, said the client had been looking for a high-quality sound system that could operate as a background and foreground system. “We know from past experience that Martin Audio would be able to deliver the quality requirements within reasonable budgets,” he said.
Fed by a combination of customer-profiled media player, iPod and DJ inputs, 14 CDD6WTX-WR speakers are distributed across the multi-audio-zoned venue. This includes the Mezzanine Presentation Area, which serves as a multifunctional events space, where the audio system combines with a large projection screen, fed from an ultra-short throw projector.
“We love the CDDs’ sound quality and reliability,” stated Garcia. “They provide a great base level of sound to work with,” added Crossover Commissioning Engineer, Lewis Spink. “The CDD range has been a good solution across projects, where you can achieve high coverage in areas with fewer speakers, as this minimises phase relationship considerations.
“We’ve seen the speakers give consistent performance across a number of years in very tricky environments, with no massive discernible differences between new speakers and five-year-old speakers that have endured heavy usage. That’s really impressive, and excellent for us and our clients.”
In the main bar area the CDD6s are boosted by a pair of discreet Martin Audio slimline SX110 1 x 10in subwoofers in order to create more of a club feel.
Since the venue is acoustically highly reverberant—with hard, reflective surfaces, exacerbated by the loud noise of excited customers—a warm, rich background audio system had been vital to preserve the sense of immersion. Therefore, Crossover worked carefully to manage the acoustics involved by not only careful selection of loudspeakers, but also through specification of appropriate acoustic panels, which also enhance the overall ‘industrial’ aesthetic of the interior design.
\”Crossover did an amazingjob deploying our AV requirements into the first Sandbox VR venue in Europe,” statedJake Wilmot-Sitwell, co-founder at VR Entertainment Group // Sandbox VR (UK & Ireland). As a result the integrators were engaged for the second Birmingham site, where they turned elsewhere in the Martin Audio portfolio to specify 10 of the ADORN ACP55T 5.25in Pendant speakers in a distributed system, along with four Martin Audio SX110 subs.
Juan Garcia said, “Since the Birmingham site had ceilings, we were able to mount from, and the power requirement was less, we knew the pendant ADORNS would be a perfect fit; at the same time we knew they would provide a very even coverage.”
When IDLES embarked on their 2024 Love Is The Fing European tour, their production included a large complement of Martin Audio’s Wavefront Precision line array elements for the main PA.
FOH engineer Chris Fullard first requested the platform back in 2019, when Solotech provided the award-winning MLA, but when the band later played the West Stage at All Points Eastin 2022, it was through the newer tech of Wavefront Precision, in the shape of the largest format WPL, with its scalable resolution.
For the 2024 European campaign, Solotech Account Manager, David Preston, specified the WPL/WPC/WPS system after conversations with IDLES’ production.This fully-optimisable solution duly won the approval of production manager, Shaun Kendrick.
After a couple of warm-up nightclub gigs—at Pryzm in Kingston and Marble Factory in Bristol (where the band hails from) they were ready to take on Europe to promote their new album,Tangk, on what was the band’s biggest EU tour and first full production tour.
With venues ranging from around 5,000-cap up to 10,000 the PA was scalable, ranging from 16 elements of WPL per side for the main hangs, eight WPC side hangs per side and 16 SXHF218 subwoofers at the largest configuration. Eight further WPS were carried in the truck for front fills and four XD12 for outfills—with the entire inventory powered by 20 Martin Audio iK42 process-controlled amplifiers and processed through DirectOut Prodigy.
REGARDLESS OF VENUE SIZE, CAPACITY AND LAYOUT, WPL DELIVERED A SOLID OVERALL SOUND
System tech duties were entrusted to the experienced Rayne Ramsden. He observed that the venues played were often notoriously bad with regards to reflections and therefore ensuring that that the audio was delivered consistently to the audience in each venue became paramount. “Some venues were sonically great, with baffles behind FOH and some even with baffles in the roof, while others were concrete domes with many reflections,” he acknowledged. “Using Hard Avoid tools and FIR filtering thus became a key element that Martin Audio has in the toolbox, and that certainly assisted us in getting as close as possible to the same audio in each venue. I am glad that they have carried forward the use of these tools from the MLA into the WPL.”
As always subwoofer configuration was vital in its impact on the overall sound, with 15 of the SHX218 deployed in a vertical Cardioid Sub Array configuration to maximise rejection on stage. “This allowed me to steer the low end in the venues, especially in arenas where the audience was almost 90 degrees off centre to the PA. In some of the longer halls, where there was not so much of a side audience, I was able to control how much of the low end was steered towards the walls and potentially out of the venue into the surrounding areas.
“So in order to perfect the steering angle and delay times the DISPLAY Sub array tool has definitely been very useful.”
As for venue optimisation, each space was mapped and verified at load-in with DISPLAY, enabling Ramsden to maximise coverage and consistency before loading the presets into the iK42 amplifiers, where all the delay and crossover filtering are handled. Any venue-dependent system tuning takes place in the Prodigy processor at FOH.
Having had much experience of both the MLA and WP platforms, the system tech notes improvement in the rigging system with the newer PA. “The 3-point rigging system has definitely shortened the time from build to tuning,” he says. “On this tour there have been two of us flying PA, namely myself on stage right and Jonny Buck on stage left [both men doubling as PA techs]. We have managed to get the entire rig in, with some local hands, in about two hours—very useful in a touring scenario with back-to-back shows, and a sizeable journey between each location.”
Added production manager, Shaun Kendrick, “At mini arena level the Solotech team perfectly delivered the Martin Audio WPL system’s potential and capability with power, clarity and a real overall quality reinforcement. This ensured that our FOH [engineer] Chris [Fullard] was happy every step of the way.
“Regardless of venue size, capacity and layout, WPL delivered a solid overall sound, easily highlighting the band’s latest album,Tangk\’s more subtle electronic elements right alongside the old IDLES faves.”
Other key personnel on the tour included Dom Green (stage tech) and Robin Genetier (tour manager).
Now the European leg has been completed IDLES head off to North America before returning to the UK for shows, including Glastonbury, where they will headline the second stage.
HUNGARY: After working with leading Hungarian artiste, Magdolna ‘Magdi’ Rúzsa for more than a decade, Martin Audio’s Hungarian partner, BG Event, is accustomed to rising to unique challenges.
When it comes to the creative element, they strive to scale new heights with every collaboration. Two recent shows at the 12,500-cap László Papp Budapest Sports Arena proved no exception.
Rúzsa requested a 50-metre-long catwalk thrust, linking to a 6m x 6m ‘B’ stage. While her standard five-piece rock band would occupy main stage, there was a very different set up awaiting on the small ‘in-the-round’ secondary stage, where a 10-piece orchestra would perform. To achieve the end result required some clever positioning and time alignment of nearly 200 Martin Audio speakers deployed by the service provider.
Knowing he needed to adopt a radically different approach BG Event project manager Gábor ‘Mazsi’ Bácskay consulted with regular freelance system designer, Marci Mezei, to discuss a system that would require two unique EQ profiles in his mixer, muting and automatically changing time alignment depending on which location was being used. Also, he knew that such a long extension would obviate the need for further delay points in a venue measuring 120 meters distance from the stage to the back row seating.
The main stage PA comprised two hangs of MLA, each 15 elements deep plus an MLD downfill, with two hangs of 12 deep MLA used for outhangs. A flown hang of eight MLX subwoofers was deployed on the left wing, supported by additional groundstacks of MLX, six per side, in an end-fire configuration. “To balance the low frequencies we backed the ground-stacked MLX off by -6dB, which worked much better,” said Mazsi.
But it was on the ‘B’ stage that the magic took place for an acoustic mini orchestra comprising strings, horns, double bass, acoustic guitar, piano and percussion. Three hangs of 14 MLA Compact were flown at the end of the B stage thrust, used as delay positions to support the Main Stage, and then taking over as the primary system when the B stage was in use.
The main stage MLA and subs were automatically muted when the action moved to the B stage, while the side hangs remained unmuted and realigned to the B stage PA. Four more hangs of 14 MLA Compact were distributed along the walkway, two aside. “The MLA Compacts took over from the first row, and by using Hard Avoid [in Martin Audio’s DISPLAY software] we never experienced any feedback problems with the PA whatsoever,” explained Mazsi.
BG Event finessed the PA set-up to achieve evenly distributed coverage throughout the venue by adding 10 Martin Audio CDD-LIVE 8 for nearfills on the second stage, while six MLA Compact carried out similar duties on main stage.
The musicians all took their reference sound from Martin Audio monitors, the foldback comprising a combination of Martin Audio XE300s and discreet DD6’s.
Explaining the monitor set-up Mazsi said, “Having been with the band for 15 years, monitor engineer Ferenc Nagy still adopts an old school approach. He likes to work with wedges—especially [Martin Audio’s] XE series—and while the standard band remains on IEMs, he preferred to provide the orchestra with wedges.”
However, with 60 meters separating monitor world from the B stage he was unable to get clear sight of the band; he therefore received assistance from Miklós Ábrahám, who used a second monitor surface on the same network.
In summary Gábor Bácskay reflected, “When the singer originally came up with this idea, we had to figure out a way to do it. It was a complex situation, but she was more than happy with the result.”
