Category: TiMax

TH – Celebrating its landmark 10th anniversary in December 2025, the latest Wonderfruit Festival attracted 35,000 visitors from across South East Asia. Thailand’s renowned cultural gathering – centred on Mind, Nature and Sound – returned to The Fields, a 200-acre site 50 miles north of Bangkok. Here, multiple Martin Audio systems, including WPC, TORUS and THS, were deployed across three stages, among them the festival’s main Creature Stage.

“We’ve been involved with Wonderfruit since the early days of the festival, primarily through our production partners, Mr. Team,” explains Joshua Oates, Business Development Director of Martin Audio’s Thai distributor, Fuzion Far East. “It’s an incredible festival. From our side we’re able to use it as a live, real-world demonstration space.”

Mr. Team Productions were responsible for the majority of on-site audio, deploying close to 100 engineers, technicians and sound crew at any one time.

“We knew from Fuzion’s point of view what systems we’d like to showcase, but the final decision was made in conjunction with Mr. Team and dictated by the spaces and the artist genres,” confirms Oates.

The Creature Stage, the festival’s largest stage, hosted a vibrant programme of international and regional artists. Two eight-per-side hangs of Martin Audio WPC formed the main L-R system, with a centre cluster of four WPS cabinets. Low-frequency reinforcement came from eight ground-stacked SXH218 2 x 18in subwoofers, with the entire system powered by nine Martin Audio IKON IK42 amplifiers.

“The WPC line array was perfect for the Creature Stage,” says Oates. “We needed a long 40-metre throw to cover the main audience area, and WPC delivered consistent SPL and clarity throughout.”

With multiple stages spread across the site, sound containment was a critical consideration. “WPC was chosen in part because of its Wavefront Precision technology, which allows us to steer the system and control how it bleeds into the rest of the festival,” notes Oates. “That made it an ideal choice for the main stage.”

Creature Stage FOH engineer Pinyo Boonpraneewong agrees, praising the performance of the Martin system: “Being the FOH engineer and support for the Creature stage for nearly a decade, the Martin Audio WPC with SHX218 was impressive for its audio clarity, ample headroom, and Martin Audio’s scalable resolution.”

Meanwhile over on the SOT (Straight Out of Thonglor) Stage, a Martin Audio TORUS constant curvature array system was selected for its powerful low-frequency performance, particularly suited to the stage’s hip-hop-focused programme. Each main L-R hang comprised four TORUS cabinets – three T215 and one T1230 – supported by a pair of CDD15 front fills and four SXH218 subwoofers. Amplification was provided by three IKON IK41 and two IK42 units.

“TORUS’s very narrow 15-degree options really helped with noise control,” adds Oates, “especially given its close proximity to other stages.”

Finally, the DJ-oriented Moonlight Stage, in conjunction with Sangsom, featured a Martin Audio THS system. A pair of THS cabinets covered the main L-R, with an additional pair as outfill, reinforced by two SX218 subwoofers. DJ monitoring comprised ground-stacked L-R arrays of three WPM elements per side, each mounted above an SX118 subwoofer. Power for the entire stage came from two IKON IK42 and one IKON IK81 amplifier.

“The house music being played there most of the time really suited the punch and energy of THS,” says Oates.

All systems were tested by demanding environmental conditions. “The heat and dust were crazy – like a desert – but we had zero issues,” confirms Oates. “It really proved that Martin Audio systems are robust and well-engineered.”

Feedback from the engineering teams was universally positive. “They were impressed by how straightforward the systems were to deploy – the ease of setup, the clarity straight out of the box and how little tuning was required,” Oates concludes. “Their reaction was essentially: ‘It just works. Martin just works.'”

Summing up the festival’s success, Pok Sutat, Production Director of Fuzion Far East and CEO of Mr. Team, reflects: “The deployment at Wonderfruit 2025 with Martin Audio proved that the WPC is more than capable of handling main-stage duties, while the SXH218 cemented its reputation as one of the most powerful and efficient subwoofers available. For the Southeast Asian market, it was a masterclass in how modern line array technology can deliver ‘big system’ results within a compact, manageable footprint.

“On the SOT stage, the heavy-hitting combination of TORUS and SXH218 handled the aggressive transients of hip-hop and bass music with ease, demonstrating both ‘gut-punch’ low end and the precision of constant-curvature arrays. While on the Moonlight Stage the high-fidelity THS point-source systems created a ’boutique club’ atmosphere for deep house and electronica.”

Martin Audio has announced a comprehensive evolution of its acclaimed Wavefront Precision line array series and SXH218 subwoofer, introducing significant enclosure upgrades. The launch is further supported by the next-generation DISPLAY 3 optimisation platform, with all new product and software updates arriving in-market during Q2 of this year.

Wavefront Precision is already the most successful line array family in the Martin Audio history, but as Managing Director Dom Harter explains, these updates mark a pivotal step forward. “The series will be an integral part of our live sound future, and with these upgrades and enhancements alongside new features in DISPLAY 3, it’s destined to be stronger, smarter, faster, and with higher precision.”

‘Stronger’ comes in the form of a refreshed fit and finish, with every aspect of the enclosure achieving an IP54 rating for protection against dust and splashes. New corrosion-resistant coatings, enhanced resilience to high and low temperatures, improved humidity protection, and UV stability ensure the systems excel in all-weather touring and installation environments.

‘Smarter’ denotes the ability to identify each enclosure on the circuit through the addition of an LED indicator within the grille that can be illuminated via VU-NET control software. “This has been a popular feature of our TORUS constant curvature systems,” says Harter, “and it made complete sense to bring it into Wavefront Precision.”

THE SERIES WILL BE AN INTEGRAL PART OF OUR LIVE SOUND FUTURE.

‘Faster’ manifests with the upcoming release of DISPLAY 3, delivering fast optimisation, dramatically accelerating the system design process. “The engine of DISPLAY 3 will be 27,000 times faster than its predecessor” Harter notes. “Even complex systems can be optimised quickly – we’ve run a 20-hang system on an M4 MacBook in under 10 seconds.” This speed gives engineers more time to refine system architecture and deliver consistently superior results in every venue.

Finally, ‘Higher Precision’ is also delivered via DISPLAY3 with enhanced control of low frequency and the accuracy of its prediction modelling. “Martin Audio has been working longer in line array optimisation than any other manufacturer,” says Harter. “It’s the accuracy of our model and patented optimisation process that ensures Wavefront Precision arrays meet user-defined SPL and frequency response targets with supreme fidelity.

“Our algorithms are about precision, not homogenisation. We preserve the signature Martin Audio musicality for every audience member – without over-processing.”

To accompany these changes, Martin Audio has also announced a similar evolvement of its popular Hybrid® horn/reflex double 18” subwoofer, SXH218, featuring weatherisation protection, and an LED circuit indicator and connector panel front and rear to support both cardioid and standard configuration. Furthermore, two new subwoofers have been announced, a single and double 18” subwoofer, SX118+ and SX218+ respectively, featuring significantly improved low-end extension performance, weatherisation and an LED indicator and connector panel front and rear.

Harter emphasises that protecting existing rental partners’ investment has been central to the strategy. “All existing Wavefront Precision inventory is forward-compatible with new systems. For those who want them, we offer upgrade kits that add the enhanced weatherisation to grille and include the LED. The same applies to existing SXH218 owners.”

“Existing Wavefront Precision owners can upgrade at their own pace – or not at all – and still benefit from lightning-fast optimisation, enhanced LF control, and improved voicing, through the new DISPLAY software.

Summing up, Harter says, “For both our existing and future partners, this raft of announcements ensures Wavefront Precision systems will remain torchbearers for those who believe in the power and celebration of audio excellence. We look forward to showcasing this at ISE in Barcelona.”

AUS – Sydney recently opened its doors to the much-anticipated Bella LIVE, a new live music and events venue set in the City’s Hills district.

Following a multi-million-dollar transformation of a 1,029m² storage warehouse space, by operators, Momento Hospitality, Bella LIVE aims to become a cultural hub for Sydney’s Northwest region.

The hi-tech infrastructure is based around a market-leading optimised Martin Audio Wavefront Compact (WPC) line array, supplied by the manufacturer’s Australian distributors Technical Audio Group (TAG) and installed by Vestec Electro, who were responsible for the entire AV integration.

Set within the Bella Vista Hotel precinct, the venue’s advanced technical specification reflects the operators’ desire to redefine the Hills entertainment landscape by hosting major national and international tours, as well as emerging and local talent.

The scope of the audio coverage extends from the 10 x 8-metre stage across a 17.5-metre bar, and into VIP booths, while two fully appointed green rooms also meet rider standards.

With 8-metre-high ceilings and a capacity approaching nearly 2,000 the venue has been designed by Archebiosis Architects, to blend sleek, modern style with an industrial warehouse vibe. It can flex effortlessly between a headline DJ set, stand-up comedy night, major sporting event, or significant corporate event.

Vestec Electro conducted the site-wide installation under the project management of Mark Vesic and Nev Hanna, while TAG — under the guidance of technical director Anthony Russo — played a significant role in the audio design, with their system solutions and engineering (SSE) team deploying Martin Audio’s DISPLAY visualisation software and EASE modelling. Russo, in turn, engaged leading acousticians Gilfillan Soundwork, whose team conducted on-site measurements and computer modelling to optimise the room acoustics and reduce the long reverberation time, which led to a system of 36 massive bass traps throughout the room.

Challenged with meeting the operators’ exacting, rider-compliant sound reinforcement requirements, TAG’s design team then developed a solution based around hangs of 12 Martin Audio WPC line arrays (six per side) combined with eight Martin Audio SX 218 dual 18in subwoofers, all powered by Martin Audio iKon iK42 DSP four-channel amplifiers in 2-box resolution. The hangs were flown in custom rigging frames from the trusses, enabling the factory-fit fly frame to be deployed with ease.

Russo recognised that WPC would provide sufficient SPL and headroom to handle full-house nights, boosted by Martin Audio’s electronic steering capability and enhanced pattern control to further mitigate this reverberant environment.

Extensive CAD modelling made bass control crucial, he emphasised. Traditional left and right stacked setups would cause the usual power-alley issue, and thus the final solution was a horizontal arrangement of the subs in a continuous line beneath the stage. This enabled the individual steering of each cabinet, leading to better low-frequency summation and overall performance. To minimise energy emission from the subs at the rear, top, and sides, 100x 30 Kilo sandbags were placed on top (and around) the cabinets.

To reinforce the main system and VIP booth areas, a delay system comprising 10 Martin X15s and six SX212 subs was installed. And to further meet rider requirements, a foldback system comprising seven Martin Audio LE 200 high-powered wedges and an SX118 subwoofer was supplied with two iKon iK42s, enabling an eight-send monitor mix for the main stage.

Consistent with top performance spaces, Vestec installed a comprehensive house and stage data and analogue patching system, including a 48-channel concert splitter and multiple tie lines. This setup enables the space to manage live events and any broadcast or recording needs.

The venue has already hosted major global acts, including Snoop Dogg, Will Sparks, NE-YO, Lil Jon and Wiz Khalifa — full testament to its experienced on-site team and their cutting-edge design.

SG – Twenty years after its foundation in 2006, Singapore-based EXPO AV Pte has formed a strategic partnership with Martin Audio to help elevate the brand in Southeast Asia.

The two brands have enjoyed a long trading association. Gerard Rodrigues’ company made its first Martin Audio purchase — W8LM and W3 — a year after start-up, “all of which sounded awesome”, he reports. They later invested in MLA “which was a gamechanger”.

The aim of EXPO AV was always to grow into a full production rental staging company focusing on the MICE segment (Meetings, Incentives, Conferences, and Exhibitions), and in 2008 the company expanded further with the opening of DK Studios, specializing in design and content production.

“We are a strong supporter and believer in the Martin Audio brand and philosophy,” Rodrigues continues. “We have always been attracted to the quality of the sound and the Martin Audio tradition, and throughout its history it has always maintained a belief in great-sounding loudspeakers. We run almost the entire Martin Audio family within our inventory — from Wavefront Precision to FlexPoint.”

WE HAVE ALWAYS BEEN ATTRACTED TO THE QUALITY OF THE SOUND AND THE MARTIN AUDIO TRADITION…

Another key driver was the relationship with Dave McKinney, founder of Generation AV, the Asia Pacific representative for Martin Audio. “Dave and I got together a few years ago and were already speaking about our next line-array purchase, after MLA. The trust and relationship were great and so it made the decision much easier.”

As preferred AV partners to venues such as the Singapore Expo, D’Marquee @ NTUC Downtown East and another brand new one (still under wraps), EXPO AV recently made its biggest investment in Martin Audio to date, placing a massive order late last year headed by a 36-box WPC, and including multiples of SHX218, SX218 and SXH118 (flown) subs, as well as eight XE300 monitors, and a strong showing for all the larger FlexPoint models (FP6, FP8 and FP12).

“Making the WPC purchase was almost a no-brainer,” Gerard Rodrigues admits. “The Wavefront series always delivered best-in-class audio quality and once Dave and his team went through all the details it made our decision to purchase WPC much easier.”

The investment quickly proved its worth. “It’s been out constantly since we took delivery — covering all events which have taken place in the larger venues here in Singapore. During this time, we invited customers / system integrators to take a listen … and they have loved it.”

And EXPO AV’s active promotion of all things Martin Audio is still in its infancy. “We have a very strong marketing team that manages the various social media platforms. We arrange a product showcase every fortnight to inform customers and potential customers as well as regional partners of our new products. We’ve also invested in advanced photographic equipment to capture equipment and shows, all of which are shared with Generation AV and Martin Audio through tags.

Finally, he says the support from both the manufacturer and Generation AV has been exemplary — particularly regarding effective deployment of the DISPLAY prediction software.

In summary, Gerard Rodrigues is satisfied that the wide array of Martin Audio products now in their inventory will further increase their perception of being serious players. “Many sound engineers that we work with have only good things to say about the system and we are starting to see an upward trend of new users adopting the brand — not because of heavy marketing, but for the quality it produces. Our customers are happy with the brand, and therefore so are we.”

UK – Supplying a cinematic stereo soundtrack using Martin Audio loudspeakers throughout the Rainforest biome for four consecutive seasons at Cornwall’s Eden Project Christmas Light Experience, Redruth-based TruCru added extra sparkle this year with the simple addition of TiMax panLab.

For this year’s event, which transforms the world-famous biomes of the attraction into a vivid illuminated canvas, TruCru delivered an elevated and more engaging audience experience in the Mediterranean biome’s Citrus Grove – home to the event’s showcase feature – lifting the experience with a unique and magical spatialised audioscape.

The update in scope was triggered by attendance at the Focusrite Group’s Audio Reproduction Open Days, by Tru Cru as a Martin Audio rental partner.

IT’S MADE IMMERSIVE SOUND ACHIEVABLE WHERE BUDGETS SIMPLY DIDN’T ALLOW IT BEFORE.

TruCru project manager, Toby Bodman, explained, “I’d always imagined a spatial element for the Citrus show, but the cost and scale of traditional immersive processors made it unachievable. Hearing TiMax panLab in action changed everything. Suddenly, an immersive system was not only creatively compelling but entirely viable within Eden’s budget.”

With the idea pitched successfully to the Eden Project, TruCru worked with the TiMax team to redesign the available rental inventory for a spatial delivery. The loudspeaker layout combined multiple layers of Martin Audio FlexPoint loudspeakers – FP12s flown at height, with more FP12’s positioned wide-left and right, concealed within planting, with further speakers positioned around the audience zone. Additional FP8 ceiling points were integrated where biome load limits allowed, ensuring vertical energy and a sense of expansiveness across the space.

The results exceeded expectations and Bodman notes, “The presence and width from just two overhead points was impressive. TiMax panLab helped us maximise the effectiveness of every position. The elevation layers gave us a genuinely spacious, enveloping image.”

With Eden already expressing interest in returning to the format next year, the success of the project has positioned spatial audio as a new and useful creative tool for future programmes. Bodman expands, “It’s made immersive sound achievable where budgets simply didn’t allow it before.”

As TruCru’s first experience delivering a spatial environment, the success of the event hinged upon the simplicity of the system. “TiMax told us it could be programmed in minutes, and I can honestly say that’s true,” Bodman confirmed. “TiMax panLab’s interface is incredibly intuitive. It just made sense. Dropping sources into position was simple, and the whole deployment was far easier than we expected.”

For this year’s show pre-mixed 7.1.4 stems provided by the content creator were used to keep things simple. Going forward, however, the team is already planning to expand automation and movement directly from TiMax panLab.

As plans for next winter’s edition begin, TiMax PanLab is set to remain a key creative tool for audio at the Eden Project, with plans to elevate their audience experience without escalating complexity.

US – The most famous roots festival on the Northwest Pacific Coast, Pickathon 2025 celebrated its 25th anniversary by adopting a premium Martin Audio Wavefront Precision system for its main Paddock Stage — set on the picturesque Pendarvis Farm, in the Happy Valley district of Portland, Oregon.

When word reached Martin Audio’s Simon Honywill from long-time friend Graeme Harrison that festival chief, ZaleSchoenborn, was looking to upgrade the main stage sound, a meeting was soon brokered with local AVL rental house Cascade Sound, who immediately invested in 20 WPC and 10 SXC118 cardioid subs, along with THS, FP12 and XE wedges. As their VP Engineering and System Designer, Sean Rathbun — who was project lead at Pickathon — points out, “While this was our second year at the event, we have staff that have been supporting it for a number of years.”

Simon Honywill, meanwhile, set to work on the design. Describing the site as “wooded and scenic”, he said, “It’s a very cool and crafted festival, and the aesthetic changes every year. Sustainability is a core value here and pretty much everything gets re-purposed in some way. This festival is deeply connected to the lifestyle of Portland”.At the heart of this year’s scenic expanse was a series of rhythmic timber cylinders, forming a dynamic backdrop to the Paddock Stage highlighted with some excellent lighting.

However, in recent years, housing has been developed close to the site, and with no apparent noise control or monitoring, complaints started to appear. Honywill, with the aid of Martin Audio Product & Application Support Manager, Joe Lima, knew that Martin Audio’s advanced control could mitigate this, and the deployment of cardioid subs would create the necessary rear rejection.

THE MARTIN AUDIO PA WORKED WONDERFULLY FOR THIS FESTIVAL

“We measured the SPL at the boundary, and it tied in with what DISPLAY [software] had predicted, with 35dB reduction at the boundary,” continued Honywill. On the stage itself, the site topography dictated that the left and right stage wings should be optimised differently. Hangs of nine WPC per side were complemented by 10 SXC115 in a broadside formation across the front — a set-up which was also expected to meet the aesthetic.

“We had to explain why, from an audio perspective, it was good to have the PA on show … and agreeing that such a great sounding PA should not be compromised, they went with it,” he said. And it certainly paid dividends. In addition, the Martin Audio speaker complement included eight FlexPoint FP12, (for frontfill and outfill), two THS with two SXC115 for sidefill and a combination of XE300/XE500 for artist reference monitoring. The set-up was driven from iKON iK42 DSP amplifiers in 1-box resolution.

Described as “a summer camp for the soul” and “an immersive, nature-based music festival” this four-day honky-tonk — spread over nine stages with 55 different acts — was another resounding success which again brought the nearby city of Portland to life.

It was an enjoyable excursion for Simon Honywill, and one where he got to also work with the talented house engineers, Anya Gearhart at FOH and Mai Lon Brosseau on monitors.

Summing up, Sean Rathbun added, “The Martin Audio PA worked wonderfully for this festival — the rear rejection, the articulation of the high end and the overall clarity of the PA were exceptional.

“The engineers I spoke to enjoyed mixing on the system; Joe Lima spent time with each engineer to ensure their experiences were seamless and the system performed phenomenally well.”

As the latest addition to the Martin Audio network, Rathbun promises, “I am now planning to replace an ageing fleet of speakers and amplifiers with the current generation of Martin Audio equipment.”

UK – In a live spatial audio first, a performance of the Royal Philharmonic Concert Orchestra was authentically spatialised using an object-based TiMax mix across a Martin Audio left/right main system, typical of a conventional festival PA setup. Such was the impressive feat, the concert has now been shortlisted in the UKFestivalAwards 2025.

The landmark moment took place at London’s BST Hyde Park Festival (BST), where Solotech UK supplied the Martin Audio optimised line array system. Sound designer and FOH mix engineer, Sonosphere’s Phil Wright, realised the sonic feat by replacing the usual console matrix mixer function with a TiMax SoundHub delay-matrix spatial processor. Working within the constraints of a typical stereo hang system – plus standard front-fills and delays – Wright redefined the possibilities of spatial audio in a live outdoor setting.

“Usually, only a small percentage of the audience falls within the stereo corridor at any gig,” Wright explained. “We wanted to expand that experience – not artificially with more hangs – but with the powerful capabilities of TiMax across a standard festival PA.”

TiMax product and software manager, Dan Higgott, created a spatial rendering of the stage layout in the studio using TiMax, which was transferred to the TiMax SoundHub at BST’s FOH via the new TiMax Scaling Surfaces feature, and scaled up to replicate the actual stage.

WE KNEW TIMAX WOULD PRODUCE THIS LEVEL OF CLARITY AND REALISM.

TiMax received each orchestral microphone or microphone group separately as its own object, and directly fed the various main, fill, sub and delay sections of the PA from its matrix outputs. Allowing each input object to be positioned with both time and level-based control, TiMax recreated a highly accurate sonic map of the performance not just at the mix position, but across a much wider audience area.

“There was very little in the way of level-based panning in the mains,” noted Wright. “But by working with delay-based spatial cues, the imaging remained clear and authentic – even from well outside the usual sweet spot. It was more than we’d hoped for.”

One standout feature of the setup was the imaging of the chorus. With over 100 inputs, grouped where necessary but mostly preserved as individual sources, TiMax enabled the kind of spatial separation and clarity not usually achievable in stereo festival mixes. “The PA just disappeared,” Wright added. “We had full depth, full width – and the choir sat exactly where it should, without smearing or spill.”

The spatialised setup also brought unexpected precision to the mixing process. “You lose the masking that stereo introduces,” Wright explained. “It’s like going from standard definition to high-def – suddenly, every detail matters. Even between three flutes, I had to EQ each separately to reflect their different tonal characteristics.”

Instead of collapsing into mono or skewing to one side, even extreme placements, such as a drum kit far stage-right, maintained integrity within the spatial soundstage. According to Wright, “Once we’d heard it in place, anything we’d done to ‘cheat’ the placement stood out. So, we put everything back where it actually was and it just worked.”

Dan Higgott affirmed, “We knew TiMax would produce this level of clarity and realism. The event proves that true orchestral spatialisation can be brought to festival settings without requiring specialised multi-hang or surround systems – and without compromising fidelity.

“It’s not about gimmicks,” said Wright. “It’s about hearing a full orchestra as it really exists on stage. And now, we can do that even on a left/right PA.”