Category: Martin Audio

Since investing in Martin Audio’s small-format WPM line array, shortly followed by the larger WPS PA last year, New Jersey-based Audio Incorporated has rarely looked back, taking full advantage of the optimised series’ breakthrough scalable resolution. While the award-winning two-way WPM houses 2 x 6.5” drivers, the slightly larger WPS is a 2 x 8” 3-way array.

The two 16-element rigs, complemented respectively by eight SX118 and eight SXCF118 subwoofers, provided them with the perfect capacity to handle a myriad of different events across the tri-state area, but specifically some very challenging art gallery spaces. By this time, they had already boosted their rental fleet after investing in 16 of Martin Audio’s powerful XE500 floor monitors, and some auxiliary XE300s.

Head of Audio Systems, Stephan Wojtecki, recalls the day the WPMs arrived. “They came off the delivery pallet and were immediately loaded onto our truck to go out next day.” And they’ve barely been in the warehouse since.

Similarly voiced, the two complementary systems often work in tandem for the production house, with the smaller WPM taking on delay and fill duties from the main WPS FOH PA.

The vast roster of shows they have reinforced during the summer alone has ranged from a classical spectacular by the Riverside Symphonia, to Carnegie Hall’s Musical Connections programme at Sing Correctional Facility, run in partnership with the New York State Department of Corrections and Community Supervision. Here they presented Metropolitan Opera’sDead Man Walking,with some of the inmates in the chorus. “With Met Opera singers we barely had to turn the WPMs on.”

But if both of these diverse events proved major triumphs for the Martin Audio line arrays, Wojtecki believes the biggest accomplishment has been in the more challenging gallery venues, deployed for other purposes. “We work with a number of arts organisations, and they are in tough environments—buildings that are not built for amplified sound.”

 “IT SOUNDED ALMOST EXACTLY THE SAME AS WHEN I WAS STANDING NEXT TO THE STACK. YOU COULD HEAR THE WHISPERING VOICE CLEARLY ACROSS THE FIELD”.

Key among these is the Beaux-Arts Court at Brooklyn Museum. Dating back to the late 19thcentury, measuring three storeys high, and clad in glass tile, terrazzo, andmarble, the potential for sound to bounce off these unforgiving surfaces like a pinball in this vast 105ft x 105ft space, would be immense—were it not for the expertise of the techs and the advanced control parameters of Martin Audio’s proprietary DISPLAY optimisation software. “When they want to do a big rave in there it would sound awful had we not been able to use Hard Avoid, and unique features of the Martin Audio system design to make it sound really good.” For speech in the Gallery, he says, they typically deploy 16 WPM in a line, four boxes per stack, in single box resolution thanks to Martin’s iKON iK81’s “and with the sound coming from one side of the room it really works.”

Both Stephan Wojtecki and Operations Manager, Edward Tolve, were already familiar with the Martin Audio pedigree by the time they took over day-to-day operations for Audio Inc, who are currently celebrating their 30thanniversary. “It was once we started doing installations on a larger scale, outside the corporate boardrooms, that we started looking around for smaller format line arrays, that would appeal to our clients.”

And their biggest takeaway is that while both Martin Audio systems were, to some degree, replacements for older, similarly footprinted systems, they agree the Wavefront Precision paradigm takes the previous technology a massive leap further.

“It is way more finessed and more musical sounding [than our previous small to mid-format systems]. With the rear rejection on it you can put it in tough rooms and get way more gain before feedback. It also turned out to be the perfect size as you can deploy these systems with two people rather than a whole crew, even when you have larger events.”

Aside from their own rental requirements, Audio Inc also took on Martin Audio dealership status—stimulated by the need to support the vast all-Martin Audio Glasshouse project—a multi-function, interconnectable event space in New York City on a 75,000 sq. ft footprint. This is equipped exclusively with Martin Audio MLA Compact and CDD-LIVE systems.

Edward Tolve emphasises another reason why this acquisition has been such an attractive proposition. “NYC is a very unique market in that there aren’t many big fields for major events, so we were never going to be walking around with an MLA or WPL. Instead we wanted something more versatile, and we found the WPM/WPS systems to be just the right size rigs for what we need, and sounding fantastic. We also love the subs, and I am in love with those SXCF118 cardioids in particular—they are awesome.”

Another recent show highlight was when they provided SR for the Riverside Symphonia—a classical spectacular incorporating a full firework display, in a 500ft long x 250ft wide field with a stage in the corner. “Firstly you need a PA that can cover that field,” says Stephan Wojtecki. “So we actually deployed the full WPS rig and WPM for delays. It sounded absolutely gorgeous once the orchestra started playing, and then to be able to get the volume of the PA above the fireworks once they started up was a tremendous thing to be able to do.”

Clients have universally reacted positively to being introduced to Martin Audio’s new tech … with one or two humorous quirks, as Edward Tolve points out. “For instance Spoon’s monitor engineer nearly had his head taken off by an XE500 when he walked up to the mic, as he had loadedsettings from a previous show in. Also the best thing I love about these Martin Audio rigs are when we put a DJ through it you can sometimes hear just how bad the DJ tracks and their sound file is … and that’s because the PA system is so good. And I love that!”

He also highlights an event at New York’s Storm King Art Center Gala. “We had a quiet band from Brooklyn whispering into a microphone and I was 200ft away. It sounded almost exactly the same as when I was standing next to the stack. You could hear the whispering voice clearly across the field.”

Finally, believes Edward Tolve, from a financial perspective the Martin Audio investment makes perfect sense. “We’re more likely to get a better ROI on these boxes than a lot of kit that was previously bought at Audio Incorporated,” he acknowledges. “As the company has grown, so our inventory with Martin Audio has as well.”

Photo Personnel: Edward Tolve (Left) Stephan Wojtecki (Right)

Martin Audio partners, Sussex Events, recently fielded their TORUS 8 constant curvature hybrid PA for the launch of this year’s Turner Prize.

The event took place at the Towner Eastbourne, as part of the art gallery’s centenary celebrations (‘Towner 100’) and Turner Prize’s four shortlisted artists were introduced. This was followed by a party, with local DJs pumping music out until well into the night.

This may not have chimed with local residents, in the retirement seaside town—nor with the organisers of the world’s leading prize for contemporary art – had it not been for the tight focus of the TORUS 8, paired with the cardioid properties of the SXC118 subwoofers, and the expertise of Sussex Events, led by partners Bob Watson and Adam Briggs explained.

Set up in 2012, the production company supported Martin Audio solutions virtually from the get-go, working through successive generations of products. “When the original TORUS came out, we already had some boxes that filled that gap, but what we did need was something compact and powerful for our corporate work and also our more upmarket events,” said Watson. “So when TORUS 8 appeared I think we ordered it on the day it was announced.” He shared this enthusiasm with the fact that the proprietary DISPLAY 3 visualisation software now operates on the MacOS platform, making set-up easier and more efficient.

“TORUS 8 is a versatile box that has been out constantly at corporate events as well as a couple of bandstands since we acquired it in April,” he continued. “They are replacing boxes that were throwing a lot of sound but largely to areas where we actually didn’t need it.”

Their standard corporate set-up is for a pair of TORUS 8 (100° x 20° dispersion per side) atop a single SXC118. “Stacking two gives us 40° x 100° throw, which is bang on the money, as it provides coverage across the dancefloor and the front of the audience. At the same time we can keep the sound away from balconies, avoiding slapback, and literally focus it on the audience.” Such was the case in Eastbourne, where a pair of Blackline X8 were added for outfill duties to maintain consistency of coverage in the wide space.

Adam Briggs agrees: “It has the clarity for the speech and coverage and still has the punch for the DJs and entertainment later in the evening, after the ceremony. The DJs were able to achieve good level and it was rocking in there.”

He states that the launch party itself took place in the Congress Theatre which is connected to the Towner Gallery—both part of Eastbourne’s Devonshire Quarter (with the Winter Gardens). “The initial speeches, via lectern mics, and launch of the Prize [in front of 300 guests] took place in the Congress Bar. Everyone then went into the Gallery to look at the art, allowing us to turn things round for the DJ back in the Congress Theatre for the party, for which a further 500 people had bought tickets.”

This is where things could have gone wrong. For Sussex Events were advised that part of the venue was not well air-conditioned, and thus the windows needed to be opened … leading to fear of sound spillage and consequent noise complaints. But the Sussex Event techs conducted offsite listening tests and were satisfied that the rear rejection of the subs, coupled with the tight vertical control of the mid-tops had minimised sound escape. “It was virtually inaudible,” they said. “It was inside that the music was really pumping, and we had no complaints whatsoever.”

For the Turner Prize 2023, Sussex Events were working through technical production company, Missing Link, with whom they regularly partner, while the main production company for the event was Identity.

With the announcement of the winner on December 5, Sussex Events will again join forces with Missing Link—and this time the two companies will be pooling their respective Martin Audio PA inventories.

Nestled in the heart of East Belfast, Banana Block, a captivating community space, made its debut in October 2021 as a part of an extensive neighbourhood revitalisation initiative. A thriving ecosystem of local talents and diverse activities, this dynamic venue stands as a living testament to the area’s storied past.

From hosting a plant shop and bakery to a record shop, mind hacks, mushroom growers, salsa classes and animal foods, Banana Block’s day-to-day operations buzz with energy. However, its versatility goes beyond daily activities, as it plays a pivotal role in East Belfast’s artistic and entertainment scene. The venue regularly welcomes various events, including art exhibitions, comedy nights, live performances and even parties that attract hundreds of people from near and far.

Conleth McGillan, Production and Programming Manager behind Banana Block shares, “Banana Block is all about upskilling people from our community, especially those who might not have had opportunities elsewhere. We want to give them the chance to learn new skills and understand what goes into running events while aligning with our mission to benefit the working-class community around us. It’s been a game-changer for us as a startup, allowing us to offer more to our community.”

As the demand for events and gatherings has continued to grow in recent months, Banana Block needed a sound system that could adapt to different event sizes and styles. To provide exceptional audio quality, focus on the performers, and enhance the overall visitor experience, Banana Block decided to invest in an upgraded sound system. Turning to Rea Sound for assistance, a point source solution from Martin Audio was recommended and ultimately selected for the install. Roger McMullan, Director of Rea Sound, commented: “We knew the Martin Audio XD15 / SX118 system would be ideal for the Banana Block”.

“I’M GRATEFUL TO MARTIN AUDIO FOR ALLOWING US TO EXPLORE A WIDER SOUND EXPERIENCE”.

The setup included a range of top-tier components to transform Banana Block’s soundscape: Martin Audio XD15 tops, known for their high-performance capabilities, were chosen to deliver crystal-clear sound, ensuring that the audience could immerse themselves in the full richness of the music or performance. To complement the tops and add depth and bass to the audio experience, Martin Audio SX118 Subs were integrated.

For both aesthetic enhancement and equipment protection, wooden front covers enclosed the subs, while fully enclosed padded covers were employed to safeguard the tops during transport and storage, all while preserving their pristine appearance. To maximise mobility, four braked wheels were affixed to the subs, allowing for effortless mobility.

To maintain precise control over the audio signal, a Martin IKON IK42 4-Channel DSP Amplifier, a high-quality digital signal processor (DSP) amplifier, was included. The amplifier was housed in a flight case with a shock mount to safeguard it during transit and handling. Additionally, a K&M 500mm M20 Pole was provided for optimal positioning of the tops at the desired height.

Banana Block has embarked on an incredible journey as McGillan, reflects, “It’s been quite an experience so far. We’ve hosted a few smaller events, including a supper club gathering with a live stream and a DJ, although we encountered some acoustic hurdles due to the venue’s glass surfaces and hard walls. But we’re making significant strides in addressing these issues with planned investments in soundproofing.

“Additionally, we’ve got plans to set up a recording studio, with releases coming up in the next few weeks. Our aim is to transform Banana Block into more than just a standard venue; we want it to be a hub for culture, music, and art.”

With the new Martin Audio system in place, Banana Block can now confidently host a wide range of events with exceptional audio quality. The system’s flexibility allows it to adapt to events of all kinds, whether it’s a small acoustic performance or a high-energy dance party, ensuring that performers can shine, and audiences can fully immerse themselves in the experience.

McGillan concludes: “The whole journey has been a game-changer for us as a startup, enabling us to extend our support and services even further. I’m grateful to Martin Audio for allowing us to explore a wider sound experience, which fuels our excitement about the possibilities for the future and the significant impact we can have on the local creative scene.”

Located outside Philadelphia, PA, Sesame Place is a theme park and water park based entirely on the Sesame Street TV series. It is one of 12 theme parks operated in the US by SeaWorld Parks & Entertainment.

One of the main attractions, popular for hosting a variety of shows, including meet and greets with the characters, is Abby’s Paradise Theatre.

It is here that system integrators Illuminated Integration—based across the State in Harrisburg—recently installed a Martin Audio CDD solution to meet the request for a comprehensive upgrade to the theatre’s aging PA that was failing to meet the requirements for either coverage, output or clarity. At the same time, Sesame Place asked the integrators to carry out an assessment of the audio in other event spaces and theatres, as well as a parade route.

At Abby’s Paradise Theatre the client required a solution that would not only provide uniform sound coverage throughout the 850-seat, clam-shaped auditorium, but also support future park integration and immersive sound elements. The installation itself was not without its challenges, as the venue is situated outside, under a covered metal roof with metal bleachers, and a ‘Lazy River’ and waterfall running immediately behind it.

Although the integrators are independent when it comes to product specification, Cody Toms, Illuminated Integration’s Audio / Video Systems Creative, knew that CDD had all the attributes to counter any obstacles. “We love how good Martin Audio boxes sound and the fact that the sound remains consistent throughout the line,” he noted.

“WE LOVE HOW GOOD MARTIN AUDIO BOXES SOUND AND THE FACT THAT THE SOUND REMAINS CONSISTENT THROUGHOUT THE LINE”.

“We also knew we could get the space modelled well and that we weren’t going to need to spend a lot of time at the back end tuning, especially to get the vocal clarity of the Martin Audio boxes … as they already sound just phenomenal.” In this instance they used EASE Focus for modelling.

As a result, the company specified three CDD12 (in white), spaced and suspended as a conventional L/C/R system from the overhead beams, with an SX112 (single 12” sub) also flown behind each of the left and right hangs. This solution worked out perfectly for the company’s lead AV designer, Bobby Dengler.

“With the noise of Lazy River and the waterfall behind, we also had to achieve some rear rejection and keep the audio contained where it’s supposed to be,” continued Toms. “Neither we nor Sesame Place wanted audio to be spilling out, and it was important to be able to boost performers’ live mics on stage without getting feedback, while at the same time achieving the required SPL and even coverage across the seating. It was a delicate balance.”

He also notes that Abby’s Paradise Theatre had been struggling with low end coverage “and while it’s not a rock concert, we wanted to cover the full spectrum.” They used the recommended tuning parameters from Martin Audio within a Q-SYS environment, as this provides the existing digital backbone.

Cody Toms anticipates CDD will be a brand for the future. “The way Martin Audio translates vocals throughout the line is a huge win for us, particularly as many of our clients are churches, theatres or school performance spaces. With CDD I love the large number of models in the range and the fact that the coaxial source does not have the comb filtering of traditionally designed boxes. That all makes it easier for me as a designer because I know I’m not going to have to fight the box.”

The company has now enjoyed Martin Audio dealership status for more than 18 months, coming at it in a round-about way. Company owner Tyler Hoffman already had a relationship with the British manufacturer from his previous company, the catalyst being an interesting church project involving TORUS T12. “So when he arrived here it was a perfect opportunity to build the relationship again,” stated Toms. He was soon in contact with Martha Callaghan, Martin Audio’s Northeast Regional Sales Manager, and a team from Illuminated Integration attended the manufacturer’s recent Open Day at Merriweather in Maryland to apprise themselves of all products, including arena systems.

In summary Cody Toms couldn’t be happier with their first project with Martin Audio. “We’re thrilled that the park is thrilled!” he exclaimed. “It’s far better than what they had before and has exceeded their expectations. Consequently, it is establishing a footprint.

“As for Martin Audio, Martha, Will and the team have been right there for us.”

Nick Manna, Vice President of Entertainment, Sesame Place, added his endorsement. “The Sesame Place entertainment team had a great time partnering with Illuminated Integration on the audio upgrade for Abby’s Paradise Theatre. The team was knowledgeable and offered their professional advice to provide us with the best quality sound system for our space. The Martin Audio speakers allow our audience to feel like they are part of the show, and the sound perfectly enhances the overall show quality. I would recommend both companies to any professional in the business.”

Vietnam : In November 2023, Bling Bling Club in Ho Chi Minh City turned up the volume with an impactful Martin Audio installation thanks to Duc Pro Audio. The setup featured 8 X15B and 4 SX215 speakers, providing the signature sound that patrons love about Martin Audio. The installation aimed to deliver an incredible experience for DJs, singers, and the audience. The owners were extremely pleased, saying, “With Martin Audio products, we will be able to provide an elevated sonic experience for DJs, singers, and most importantly, the audience. I can’t wait for everyone to hear it!”.

Based in Auckland, New Zealand, the independent Kristin School recently upgraded the sound system in its main 1000-seat auditorium, with a Martin Audio TORUS solution.

With a student body of 1,800, the demand for impeccable sound quality was paramount. This need was even more pronounced given Kristin School’s esteemed reputation for performing arts, where it regularly stages four full-scale productions each year, many of which are based on illustrious West End and Broadway productions. As a result, the school understood that their audio system specifications need to meet the exacting standards of a professional musical.

Following a recommendation from within the theatre world they brought in the highly experienced touring systems engineer Ratu Gordon to design the system. This was supplied by Jansen Professional Audio, Martin Audio’s New Zealand distributor.

Ratu Gordon already had a strong relationship with Jansen, having earlier supplied two other sizeable Martin Audio systems, commissioned by the designer, prior to this. “At Kristin School I was initially asked to advise and consult based on my experience and what was most important to the client,” he explained.

“I OPTED FOR TORUS IN PARTICULAR FOR ITS COVERAGE AND THROW CAPABILITIES”.

At the same time, according to Jansen director, Simon Adams, the timing coincided with his company conducting a demo of TORUS, at which Ratu was present. “He was able to have time to listen, and the sound of the TORUS boxes was very interesting to him. We gave him a quick rundown on TORUS and DISPLAY [dedicated software] and he went off to model it.”

The designer’s task had been to commission a system that “would have all the character and functionality of a professional audio system, with full frequency and even SPL coverage through the entire audience area.”

He explained, “Initially I listened to their existing system to make an assessment. From there, and knowing Martin Audio’s capabilities, it was very clear that this was the way forward. Many hours were spent in DISPLAY software running different scenarios and best outcomes. This definitely had a large hand in understanding how the whole system would behave.”

The solution was for a flown L/C/R system, comprising a combination of TORUS T1215 and T1230 for the Left and Right hangs and a Wavefront Precision (WPM) centre cluster (all in 3-box hangs). CDD6s provided infills. Because the orchestra occupied the space immediately in front of the stage, ruling out an arced array, four Martin Audio SX218 subs were deployed, in stacked positions left and right of the stage.

Explaining his choice, Ratu Gordon said, “I opted for TORUS in particular for its coverage and throw capabilities, size-to-weight ratio and high output. No matter where you are in the room, and in front of any element—whether CDD6 or main TORUS—the coverage and voicing are exactly the same.”

The six CDD6 infills were complemented by a further six CDD6 under-balcony—both set up to recall snapshots for the main Left and Right hangs. Meanwhile stage monitors comprise six Blackline X10 and six Blackline X15.

However, getting the new rig up in the air was far from a straightforward process, as Ratu Gordon explained. “The roof rigging had to be strengthened, not because of weight loading, but for the reason of hanging the PA where it actually needed to be to achieve the best design result. I had explained to the client that flown speaker placement was of high priority to achieving the design result.”

Thanks to his fastidious prep work, and the quality of the products themselves, the system required very little processing once installed. “I loaded the predefined box presets and then launched into taking trace files of the room. The software had modelled the system response brilliantly as expected. From there I timed the system and attenuated only the low mid elements (which was based on the rooms existing standing waves).”

At handover, his attention to detail extended to a week-long operator training for the audio department, leaving no-one in any doubt that the TORUS solution would meet all requirements. “It’s absolutely 100%,” states the designer. “Put simply it’s a proper system.”

Manzi’s was a landmark London West End fish restaurant, which originally closed in 2006. Now, inspired by its legacy, The Wolseley Hospitality Group has added this upmarket brand to its estate in the centre of Soho.

Opened at the end of June, the operators turned to one of their regular suppliers, Marquee AV, to enhance the atmosphere by providing an advanced music system. This needed to be capable of delivering DJ levels within a restaurant environment, situated on two floors.

”THE SOUND SYSTEM DELIVERS EXCELLENT QUALITY AUDIO WHILST REMAINING DISCREET AND MATCHING TO THE INTERIOR OF THE RESTAURANT”.

Project Director Stacey Tough turned to Martin Audio’s highly popular CDD range knowing they would meet the key criteria: as the smallest in the range, the CDD5 specified was ultra-compact, the white versions would blend seamlessly into the general designer’s aesthetic and they would deliver the required levels, at both the top and lower ends of the spectrum.

To meet the purpose, 28 wall-mounted CDD5WTX-WR, have been distributed throughout the venue; these are fed from a variety of sources, including PC, background music player and DJ.

This much-specified micro-speaker is purpose designed for discreet architectural installation in luxurious bars and restaurants such as this. At the same time its use of coaxial differential dispersion (CDD) technology ensures deceptively high output from such a small enclosure.

Tough also weighed up other advantages such as value-for money, clarity and intelligibility and consistent coverage pattern. “The CDD5 was a clear choice based on previous experience using this product,” he said. “The client trusted our abilities and there was an obvious understanding as to the standard we needed to meet. Having worked with the client previously, I knew precisely what was needed.”

In summary, the Marquee AV Project Director confirms, “The sound system delivers excellent quality audio whilst remaining discreet and matching to the interior of the restaurant.”

Ryogoku Kokugikan, also known as Ryogoku Sumo Hall or Kokugikan Arena, is the only building dedicated to Sumo, Japan’s national sport, and has been home to many historic initiatives.

The origins of Sumo began some 2000 years ago but in its modern form it only took hold around 300 years ago. Once established in Japan, it passed down from generation to generation.

Such is its iconic status, there is no-one in Japan who has not heard of the Tokyo-based Ryogoku Kokugikan. Sumo wrestlers practice here daily, dreaming of winning the Gift Cup, and since Sumo is Japan’s national sport, His Majesty The Emperor sometimes comes to watch, and has seats reserved for him.

But Ryogoku Kokugikan also hosts various other events during periods when sumo is not being held, including wrestling, concerts and corporate events.

Sumio Akashio, sound engineer at the Ryogoku Kokugikan, said the arena therefore required a PA that could reproduce, intelligibly, everything from quiet to loud sound reproduction for wrestling in the ring. It also needed to be heard right up to the last row of seats on the second level balcony. “In such a way we can create a realistic atmosphere and overcome all the challenges.”

In planning the system upgrade Takahisa Ota from Audiobrains conducted a simulation, using Martin Audio’s proprietary DISPLAY 3 modelling software, and found that the manufacturer’s WPS line array, in the correct configuration, would be best suited to accommodate the various events hosted in Kokugikan—in terms of size, weight, clarity, and SPL. In addition to WPS they added an SXCF118 cardioid subwoofer to provide the deep bass that had been requested. Some 80 WPS cabinets and eight SXCF118 subs were deployed in total.

Martin Audio’s TORUS also features in the shape of eight T1215 (four pairs per side) for nearfill. By being directed downwards they are able to deliver sound without reflections to the VIP areas, where it had previously been difficult to achieve clarity due to the influence of the roof, suspended above the ring. No other satellite speakers are now required, and each pair can be used to control the SPL within its specific area as required.

Takahisa Ota, who carried out the installation, made the necessary system adjustments to ensure coverage, consistency and control throughout the stadium. “In the vertical pattern I managed to maintain clarity at the rear while at the same time suppressing any reflections.”

INDIA:  Rapper Raftaar recently performed at IIM Indore, amplified by Martin Audio’s WPL Line Array. Hardia Sound & Light, under the direction of Mahesh Hardia and the technical expertise of mix engineer, Akash Shivakumar, was responsible for the audio, eager to ensure a memorable experience for attendees.

“Utilising the Martin Audio WPL system significantly propelled our event’s audio experience into a league of its own. The clarity and consistency in sound across the venue were unparalleled, reflecting positively on our business. Our collaboration with VMT has not only enriched our events but has also opened avenues for future endeavours,” said Hardia.

“The Martin Audio setup, especially the WPL line array and SXH218 subwoofers, provided a robust and crystal-clear sound. The technical nuances were easily maneuvered with the iK42 amplifier, making the mix extremely responsive. The inclusion of waves plugins further enhanced the auditory texture, making the sound engineering process a dream,” said Sonu Choudhary, mix engineer.

Martin Audio rental partners VME have announced a major commitment to the company. In making a heavy investment in the company’s multi-award-winning MLA platform, they have at a stroke become the manufacturer’s largest global rental partner of the award-winning systems.

Based in the north of England VME, run by brothers Dion and Andre Davie, recognised that after lockdown, the live events industry rebounded at such pace and velocity that inventories were quickly running dry. As a vital part of the MLA network, and sensing the heavy demand on stock, especially in peak season, they took a dynamic approach by repositioning themselves as dry hire specialists, as well as giving them a new cutting edge and marketing outreach for their own productions.

The latest order for 475 cabinets is split into the following products: 179 x MLA; 24 x MLD; 80 x MLX; 40 x DSX and 152 x MLA Compact.

Confirming that they now hold in excess of 600 Martin Audio enclosures in total, VME Operations Manager, Aaron Harvey-Holt, agreed that “dry hire has gone massive across the UK with everyone being short of kit.” He said the company had already been deliberating over acquiring another system. “It needed to be something that would fit with what we already had and be used on our own gigs but at the same time it needed to have a dry hire value—because there are some systems out there that people don’t really dry hire.”

THERE ISN’T A SYSTEM ON THE MARKET THAT DOES WHAT MLA DOES—IT’S UNTOUCHABLE AND NOTHING COMES NEAR IT”.

A meeting in London with Martin Audio Managing Director, Dom Harter, moved the scenario forward, and following some constructive machinations the deal was done—much to the relief of Harvey-Holt. “We had been desperately short of kit for dry hire this summer,” he revealed. “This will not only ensure we don’t run short of stock again but will enable us to look at new sectors we can get into over the coming years. The long-term plan is to get back on the touring scene.”

One of the doors he predicts may open is the corporate world—largely due to the fact that part of the consignment is more than 150 of the smaller, more versatile MLA Compact enclosures.

“This is strategically designed to place us in the market for small, medium and large-scale gigs.”

As for moving into the dry hire market, Aaron Harvey-Holt is fairly relaxed. “We have a good team in the warehouse for testing MLA, prepping it and deprepping it, and we’ve got some experienced system techs who know the system really well.

“In fact I don’t see a gig we couldn’t do now with the power of MLA behind us.”

Dion Davie goes further, believing that the size and scope of their Martin Audio inventory will set VME off on a global path. “There isn’t a system on the market that does what MLA does—it’s untouchable and nothing comes near it. As for the MLA Compact it really packs a punch for such a small box,” he says.

Davie adds that VME have also invested in TORUS and are now in the process of becoming a uniquely Martin Audio house “right across the range.”

VME received their new stock in the early Autumn. After monitoring the success of this bold venture, they plan to invest further in the future, adding other pro audio components.