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CAD Audio Expands USB Mic Line With GXL2600USB

GXL2600USB angleSolon, OH––CAD Audio added the new GXL2600USB to its popular line of USB microphones at the 2015 Winter NAMM Show.

Reflecting CAD Audio’s longstanding reputation for designing and building high-value studio and live performance microphones, the GXL2600USB is a Large Diaphragm Studio Condenser mic designed with the highest quality materials to provide exceptional performance and accuracy in a variety of computer-based recording situations.

The GXL2600USB features a 1” Aoedein™ large diaphragm condenser capsule that enables the mic to achieve full range studio fidelity with exceptional transient response. The Aoedein capsule is paired with CAD’s PureTone™ A/D converter to further ensure a clear and efficient signal path. The GLX2600USB is supplied with a studio quality shock mount, desk stand and cable.

Specifications
• Polar Pattern: Cardioid
• Frequency Response: 20Hz to 20kHz
• Sensitivity: -35dB
• Equivalent Noise Level: ≤15dB (A Weight)
• Max SPL: 135dB
• High Quality PureTone™ A/D Converter
• Windows 8 and Mac compatible

For more information about CAD Audio, call 800.762.9266 or visit www.cadaudio.com.

Martin Audio Offers EASE Sound Design Support For MLA

EASE mlm_test_6300_d2_bal
Martin Audio has announced support for installers and sound designers with the provision of specific GLL files for designs using MLA, MLA Compact or MLA Mini in an EASE model.

Andy Davies, head of the Product Support Group for Martin Audio said, “The increasing demand for Multi-cellular technology in an installation environment has driven this development as an initial in-house solution; however, we are also working towards making this a simple addition to future iterations of our free-to-own Display software.”

For the time being, in order for Martin Audio to supply a GLL file all that is required is an EASE ‘packed’ project file of the venue showing the array location points, together with the appropriate Display2 file for the venue. Davies continues, “We can then extract the necessary data from the Display2 file and, via additional software, generate the specific GLL; this will include the inter-cabinet and array tilt angles, together with all the associated filter coefficients generated within Display2 to meet the set objective targets. It will also incorporate the appropriate Case Data for a visual representation of the proposed array within the EASE model.”

The GLL will then be inserted into the EASE model at the predefined location points and the coverage prediction checked to coincide with the Display2 output. The EASE model will then be ‘packed’ and returned to the installer or designer. Should any anomalies in coverage be discovered, or any circumstances arise where it is felt that improvements to the overall performance of the system could be achieved, then this will be advised when returning the EASE project.

EASE mlm_test_6300_ease_bal

All three MLA models have seen success in permanent installs, from nightclubs, such as the Marquee in Sydney Australia, to theaters like Bochum’s Stadionring in Germany, or auditoriums such as George Washington University’s Lisner Auditorium, to houses of worship like Redemption Church in Arizona and IDC Church in Chicago, USA. The success has been driven not just from the musicality of the systems, but their ability to better control SPL profile, smoothness of coverage, and provide ‘Hard Avoid’ on stage or problem surfaces.

Summing up, Davies said, “By providing additional support to installers and sound designers we hope it will be possible for them to win more contracts and to further showcase the benefits of our MLA technology.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Martin Audio MLA’s Excellent First Night Out With The Tenors

Tenors_1 web

Raleigh, NC––Kevin Sucher, FOH engineer for the popular Canadian operatic pop foursome The Tenors, recently had a very successful first experience mixing with Martin Audio’s MLA Compact loudspeaker system.

For two concerts at Raleigh’s Memorial Auditorium, Sucher was able to use a loudspeaker system provided by RMB Audio that consisted of 12 Martin Audio MLA Compact enclosures and 6 DSX subwoofers per side with 4 MLA Mini cabinets for lip fill, all networked via U-NET. Avid Profile consoles were provided for FOH and Monitor.

Asked about mixing with an MLA Compact system, Kevin responds, “It was my first time and it turned out to be a very pleasurable experience. For this tour, we didn’t carry any production with us, including backline, which presents its own challenges when you’re using different equipment from city to city.

“There can be a lot iffy pairings, but when you have the correct rig paired with the right desk some magical things can happen and this was one of those very pleasantly surprising situations. Bottom line, the MLA system blew me away. It was really exceptional. We do many of these shows all around the world and I’ve mixed on a lot of different systems, but this was one of those rare occasions when the responsiveness and the ability to make a small change in the dynamics was amazing. 3dB really felt like 3dB!

“And the frequency response was fantastic, like 800Hz was truly 800Hz. There weren’t any of these situations where you’re trying to borrow or cut frequencies from areas you don’t want to cut, but you have to because your ears are telling you what you’re hearing isn’t correct. Every frequency was exactly where it was supposed to be.”

Kevin feels that mixing The Tenors is particularly challenging because of the complex dynamics presented by having 20 to 30 string players on stage along with a large 30-member choir and a five-piece band. Their music is highly detailed which demands the kind of precise dynamic control provided by MLA Compact.

“I started out as a recording engineer and then became a FOH engineer many years ago so I approach live mixing in a very ‘studio’ kind of way,” Kevin explains. “Staying true to their music and recordings as closely as possible is very important, and when you have a lot of live microphones onstage it’s difficult to keep the dynamics contained.

“Adding to the challenge is the fact that The Tenors’ repertoire ranges from classical crossover all the way through different types of pop music that changes from night to night. As such, the speaker system needs to be very responsive and my approach to mixing them is as if they are a large pop act so I need adequate bottom end, much more than some venues they’re booked into. That wasn’t a problem with the MLA system.”

RMB Audio’s Cooper Cannady guided Kevin through the MLA Compact system’s capabilities, including its ability to avoid directing the energy to certain areas in the venue: “Cooper is very knowledgeable about MLA and he quickly educated me how to use ‘hard avoid’ to duck the ceiling response around the 7dB to 8dB range so we could eliminate unwanted reflections we didn’t want in the performance, which made a noticeable difference. The flexibility to change the direction of the energy is like having extra amenities in a very sexy car. These are really well thought out additions.

“That kind of flexibility also allowed us to control feedback in situations where The Tenors performed in the audience 30 to 40 feet in front of the main hangs, which can be tricky depending on the microphones you’re using.”

Because the Memorial Auditorium is almost as wide as it is long without a true balcony and a second level of seats that begins high up far behind FOH position, the MLA system had to be rigged much closer to the ceiling to provide proper coverage. That said, MLA’s control proved to be “a big help in terms of what was a challenging space in terms of getting real boxy-sounding.

“At this point, I could not at this point think of a better rig than the MLA system for that situation,” Kevin concludes. “I would be eager to hear it again in a more typical space.

“In terms of the sound for all of our shows, it was probably the highlight of the tour. A lot of people walked by after the concert and gave us thumbs up. I’d be very eager to use it again.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

New CADLive Vocal and Instrument Mics At Winter NAMM

CADLive D32 D38 D89 D90 mic family
Anaheim, CA––CAD Audio is expanding its critically acclaimed CADLive line with a number of new vocal and instrument microphones at Winter NAMM 2015.

The new CADLive D32 is a Supercardioid dynamic handheld vocal mic with a QuietTouch™ on/off switch. Its Neodymium capsule design produces a powerful signal in different live sound applications. Exceptional sound quality and durable all metal construction round off this versatile performer. The 3-pack D32X3 is outfitted with carry case and mic clips

Also a Supercardioid dynamic handheld mic, the CADLive D38 includes a high performance Neodymium capsule for exceptional accuracy and sound quality. Clear and articulate with an extended frequency response, the D38 overachieves in virtually any live sound application from lead vocals to spoken word announcements. The 3-pack D38X3 is outfitted with carry case and mic clips.

The CADLive D89 Supercardioid dynamic instrument mic is designed to produce a powerful, articulate response in live sound miking situations. Equipped with a Trueflex™ diaphragm and PowerGap™ high gauss Neodymium magnets, the D89 is an ideal choice for miking electric instruments, drums, guitar cabinets, brass and strings.

Also equipped with a Trueflex™ diaphragm and PowerGap™ high gauss Neodymium magnets, the CADLive D90 Supercardioid dynamic vocal mic is engineered to produce a powerful, smooth and detailed performance in a variety of high SPL live situations. The D90 features a durable and road-ready case for maximum protection and survival on the road.

For more information about CAD Audio, stop by Booth #6531 Hall A, Anaheim Convention Center call 800.762.9266 or visit www.cadaudio.com.

CAD Debuts StagePass™ IEM Stereo Wireless In Ear Monitor System

StagePass IEM family w MEB2
Anaheim, CA––Introduced at Winter NAMM 2015, the new CAD Audio StagePass IEM Stereo Wireless In Ear Monitor System combines frequency agility, superior audio performance and ease of operation.

The StagePass IEM Series system features 16-channel UHF frequency agile performance for exceptional connectivity in crowded RF environments. Stereo operation enables discrete signals to be transmitted to the right or left channels for enhanced monitoring capability.

Featuring the CAD MEB2 TruPitch™ Dual Armature monitor earbuds with EasyFit™ silicon molds for a custom fit, the system ensures the highest level of audio reproduction with greater isolation from stage bleed. A Dynamic Range of greater than 101dB and Audio Output Power of 100mW into 32Ohm immediately set the StagePass IEM apart from competitive systems.

CADLock™ Automatic Tone Code Squelch eliminates unauthorized interference in RF-unfriendly environments. Other professional features include a shielded metal chassis transmitter, durable carry case, rack ears and an antenna relocation kit.

Specifications
• Frequency: Q Band 470 498MHz
• Audio Frequency Response: 40Hz – 16KHz
• Dynamic Range: >101dB
• Audio Output Power: 100mw into 32Ohm
• Transmit power: 30mW
• AA Batteries with > 10hrs battery life

For more information about CAD Audio, stop by Booth #6531 Hall A, Anaheim Convention Center call 800.762.9266 or visit www.cadaudio.com.

Myers Heads Up 3G’s New AV Installation Division

David Myers_2 web
Los Angeles, CA––As an integral part of a significant expansion and growth move for the company, David Myers has been appointed as Director of 3G Pro Audio’s new Installation Division.

As Director of AV Installations, Myers will be dedicated to building a division that sets itself apart in terms of innovative solutions, unique new methodologies and successful collaborations with clients.

A veteran in the field with 25 years in contracting, David holds CTS-I and CTS-D certifications in Installation and Design.

Asked about his mission, David responds, “Developing consistencies within the division so our key sales team members can sell and support installations while maintaining a commonality in how things are done. Refining our branding so that 3G is perceived as an installation house; growing sales; designing systems, and responsible project management at every stage of the process.”

3G will build on its core strengths in theatrical and festival production and touring to focus on vertical installation markets such as performance venues and Houses of Worship, nightclubs and hotels that can draw from the company’s expertise in live entertainment. They will also focus on performance spaces in government and educational environments.

David feels the division should be seen as specialists in terms of the lines they carry, the solutions they offer and the way they present themselves. “We don’t want to be like everyone else,” he affirms. “What’s really important is understanding the client’s needs and maintaining a constant connection with them throughout the installation process and after the project has been completed.

“3G intends to deliver turnkey solutions that meet all of the customer’s technical requirements including sound, lighting and video. We’re not just a sound company.”

Asked about his feelings regarding the appointment, David answers, “I’m honored and excited to be part of the company. 3G is made up of a terrific group of people dedicated to treating their customers and their own staff the right way, which is the core of all business.”

Eli Stearns, President and CEO of 3G adds, “We are really excited to have Dave join our team and lead our new Installation Division. While we have been selling professional audio systems for years, Dave’s expertise as an experienced contractor and designer of full AV systems will catapult our company’s capabilities to full service integration. Moreover, Dave’s work ethic, leadership and ‘can do’ attitude makes him a perfect fit with the company’s commitment to providing the highest quality service to our customers.”

For more about 3G Pro Audio, please call 702.948.0459 or click to www.3glp.com

About 3G Productions, Inc.
Founded in 2004, 3G Productions, Inc. is a multifaceted audio company focused on providing the highest quality of service in live production, sound equipment rental, sales, and installed sound. Located in Las Vegas and Los Angeles, the company operates through two divisions: Live and Pro Audio.

Martin Audio MLA Meets The Challenge Of Alfie Boe’s Serenata

Boe_MLA rig web

Alfie Boe’s Serenata tour recently arrived at the O2 Arena in London where the popular tenor and actor was supported by a 5-piece band, a 16-piece orchestra, the New Zealand musical trio Sol3 Mio and a powerful Martin Audio MLA Multi-cellular Loudspeaker Array, provided by Capital Sound.

Mixing the sound at FOH was experienced producer/engineer, Matteo Cifelli (owner of Fastermaster Studio) assisted by system tech, Joseph Pearce.

With 86 inputs at the console (including 80 mic channels), there was plenty to challenge the sound team as Boe worked through an Italian-based romantic repertoire, assisted in one instance by Rick Wakeman on keyboards. But once again MLA passed the test with flying colors.

Boe_In performance

The same sound team had just come off a six-month stint with Il Divo, who shares the same management (Vector) as Alfie Boe, and Pearce had taken the opportunity to tweak the design in order to optimize the sound and further improve rear rejection.

Part of this optimization included providing 11 slim F8+ enclosures from Martin Audio’s Blackline+ series as lip fills along the stage front, while also specifying a pair of the equally unobtrusive DD12 (Differential Dispersion) horns on either side of the stage. This certainly met the approval of Cap’s project manager, Robin Conway, who described the speaker as “a really supercharged [Martin Audio] W2,” adding, “these fill in all the near outfills, and because they are powered, you can put them on the network, which is a huge bonus.”

He added that the deployment of the F8+s perfectly filled the triangle of seating immediately in front of the stage.

The main PA hangs were based around 14 MLA elements (plus two MLD Downfills) each side, with side hangs of 10 MLA.

Boe-MLA and Sign

Although the show was virtually all acoustic, and hardly dependent on LF overkill, Joseph Pearce had set four MLX along the front—left, right and a split pair in the center—while flying a further eight (four each side), with the top and bottom enclosures in each hang rear facing.

As for Cifelli, he names MLA as one of his favorite systems, having first encountered it during British Summertime at Hyde Park last summer (where he was mixing Sir Tom Jones), while later, at the Hong Kong Convention Center he was amazed to discover that just 12 enclosures a side would throw a distance of 330 ft. He had no hesitation in requesting MLA for this tour, particularly after such a long and positive experience with Il Divo.

“It was a logical choice,” he said. “I was confident we could achieve the perfect vocal sound and the clarity required for the orchestra.

“Tom Jones had sounded brilliant through MLA. Alfie has a more powerful and complicated voice––but thanks to the use of multiband compression the vocal never becomes harsh as it does through other systems, which just don’t sound as good.”

The challenge had been to shape the voice to deliver warmth and presence via the EQ in the face of loud stage monitoring. The vocal then had to nestle in the midst of a conventional band but with the addition of a 100 year old Dulcitone and accordion, and the orchestra when it came in.

“With the changes we have made the PA now sounds absolutely great, and the subs are also impressive,” he notes. “It’s now completely silent behind the hangs.

“One of the best qualities of the PA is that I can get the sound I’m looking for straight away. It reacts very well to the way I EQ instruments and I find it is an extremely musical PA that throws huge distances without losing any detail. The clarity at 200 to 260 ft. is fantastic.”

The sound team agrees that the new [reverse] sub configuration is also much more practical. “There’s a much better transient response and the MLX’s display superb rear rejection while still packing loads of impact.”

The show was driven all-digitally all the way to the speaker boxes via AES3, from Matteo Cifelli’s Avid D-Show and sidecar, with all five DSP card slots fully populated, which made the signal path noiseless. An EQ station, used as a master EQ and compressor, was the only sign of outboard dynamics.

But the final word comes from Joseph Pearce. “To have produced a self-powered, networked speaker system, with some serious companion software, has been a big step up for Martin Audio. The idea of this system is awesome––and it’s definitely the future.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Martin Audio MLA Takes the Stage At KROQ Christmas Show

Photo: Stephen Carr Photography

Photo: Stephen Carr Photography

KROQ’S 25th Annual Almost Acoustic Christmas show settled in at the recently remodeled L.A. Forum this year after leaving its main home at the Gibson Amphitheater, torn down in September of 2013, and briefly occupying the Shrine Auditorium last year.

According to Meegan Holmes, Executive Account and Project Manager at Delicate Productions who has done the show for 17 years, the newly upgraded Forum turned out to be “an awesome experience. The remodel included acoustic treatments that made for a tight dead space. That was already an amazing step in the right direction for any audio vendor,” Meegan added, “because the treatment practically eliminated the cavernous sound of your average sports arena.”

Featuring an eclectic lineup including No Doubt, Smashing Pumpkins, Imagine Dragons, Weezer, Tears for Fears, Modest Mouse, System of A Down, Bush and Incubus among others, Delicate took advantage of the improved acoustics in the Forum with a Martin Audio MLA loudspeaker system.

Photo: Stephen Carr Photography

Photo: Stephen Carr Photography

The actual setup included 14 Martin Audio MLA with 2 MLD (downfill) cabinets a side as the main hangs; 16 MLA Compact per side for side hangs; 9 MLX ground-stacked subs per side, and 6 W8LM cabinets for front fill.

Two identical FOH setups each included an Avid Profile 48-channel console and a DigiCo SD11 console, while the two identical Monitor setups employed an Avid Profile 48 channel console with 10 Martin Audio LE700 monitor wedges (stage) and 2 LE700’s (cue) along with a Martin Audio WS218X drum sub cabinet.

Tears for Fears - Stephen Carr Photography

Tears for Fears – Stephen Carr Photography

Evaluating the show, Meegan concluded, “Since we moved to an arena, KROQ wanted to create a different concert experience for their fans from years past. There was a thrust on the stage that led out to a 16′ by 16′ deck in the middle of the floor, so we used the DSP in the system to steer the energy of the MLA mains away from the thrust, making the engineers’ work less stressful when their artists walked downstage.

“Everyone remarked on the quality of sound, particularly the subs, that we provided at FOH. We received compliments from our competitors that attended the show as well.”

For more about Martin Audio, please click to www.martin-audio.com

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

The Wave Builds With Martin Audio Subs

The Wave WS218Xs

Las Vegas, NV––Specializing in audio production, rentals and sales, The Wave recently added a dozen of Martin Audio’s popular WS218X subwoofers to its growing inventory.

Asked about the purchase, owner Scott Fisher responds, “We wanted additional low end reinforcement for live shows and DJ events and chose the Martin Audio WS218X because it’s a good sounding, high output subwoofer from a brand known and respected by engineers and audio people around the world. Getting these was a win-win all the way around.”

Scott also has a full Martin Audio monitor rig consisting of 14 x LE1200s, which he likes because “they’re rider friendly, work well and are very reliable.”

The first outing for the new subwoofers was a country concert at Drai’s Nightclub at the Cromwell Las Vegas and Casino featuring Texas artist Pat Green as headliner and opening act The Dirty River Boys.

As Scott explains, “the concert took place during National Finals Rodeo, a 10-day event when Las Vegas gets very country because the event sells out the Thomas and Mack Center which seats over 18,000 people.

“In terms of the show, everything went really well with the subs even though it was the first time out. The FOH engineers for both bands, Luke Wilbanks for the Dirty River Boys and Braxton Henry for Pat Green, were super happy. They thought everything sounded great.

“The guy in charge of sound at Drai’s, who usually prefers another brand of speakers, thought the WS218X’s sounded really good and tight. He we was so impressed that we already have other shows booked in the room.”

“After the show,” Scott concludes, “my systems tech, who was also very impressed, told me that we’d made a really good purchase. I knew the WS218X’s were going to perform well, but the overall reaction has been way more positive than I expected.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Discovering New Uses For The Martin Audio MLA Mini

MLA Mini J Roddy Walston 1

By E. Wayne Sowder

My ultimate goal as a Front of House engineer is to make sure the artist has a clear pathway to each member of his or her audience. That’s why I’m always researching new products, networking with other techs and remaining my own toughest critic as I work to sharpen my skills.

Time is the most unforgiving factor in live sound production, and everyone has fought a losing battle against the clock trying to solve unexpected problems. So discovering tools that increase audio performance and reduce the amount of system set up and tuning time is really exciting. These tools are especially important to regional sound companies who provide systems and techs for a diverse mix of musical genres and venues on a one off basis.

When RMB Audio added Martin Audio MLA Mini enclosures to an inventory that already included the MLA Compact system, the sound techs started evaluating the system using the factory presets for basic “speaker on a stick” configurations. It wasn’t until Matt Johnson began testing the VU-NET network features that we discovered the software had presets for “Single” and “Double” front fills.

Typically, we’d used Martin Audio W8LM cabinets equally spaced on the downstage edge. Substituting the powered MLA Mini speakers for lip fills would allow the entire system to be controlled on the same network, saving setup time and facilitating control, eliminate the need to carry an amp rack, occupy a smaller footprint on the stage and in the truck pack.

At the time, the next show requiring lip fills was at the Red Hat Amphitheater in Raleigh, North Carolina for the “Rock and Roll Marathon” with New Politics, a Danish Dance-Rock band, headlining and Love Canon, a regional bluegrass band, opening the show. We decided to use the MLA Mini in the single configuration since it was the closest to our normal front fill package.

MLA Mini Love Canon 2

The first thing we noticed after turning on the Minis was the voicing similarity between the MLA Compact main hang and the front fills. Walking from the coverage of the main hang into the coverage of the front fills the clarity remained constant without adding additional EQ.

Moving onstage, we immediately noticed that the MLA Mini also mirrored the excellent rear rejection characteristics of larger MLA systems. This was very helpful since the Love Canon microphones were in close proximity to the front fills.

We chose to deploy the MLA Minis in double-stacked mode for artists with a louder stage volume, such as Parliament Funkadelic and J Roddy Walston & The Business. The results were impressive, using the “Double” program in VU-NET compensated for any variations caused by adding additional cabinets and provided a front fill package that caused several FOH engineers to comment that they’d mixed shows where the mains weren’t that strong or sounded that good.

For a Nickel Creek concert at the Roanoke Performing Arts Theater, we worked with their FOH Engineer David Sinko who has a very interesting process of sound checking where he mixes in mono, plays 30s music and is very discerning. When I told him that the less you do to the MLA system, the happier you’ll be if distance and elevation data is drawn correctly, that’s exactly what he wanted to hear. He doesn’t like to spend the entire day tweaking a system.

We were walking the room with David before the show and it seemed like in the center three or four rows back the front fills seemed to be in front of the system and the Main hangs were disappearing or being overpowered by MLA Minis. We decided to shorten the start of the main coverage and David asked if we’d have to rehang the speakers and I told him we could do it all on the computer via the VU-NET system, which definitely surprised him.

MLA Mini New Politics

Matt Johnson, RMB Audio’s MLA tech for that show quickly changed the start coverage of the main hang using only the MLA software and moments later David re-walked the coverage and was very pleased with the results. The group had the chance to an extended rehearsal that day which allowed all of RMB’s techs to evaluate and experience the performance of the combined MLA systems. Walking and sitting in various parts of the venue from front row to the last row in the balcony confirmed that each audience member would hear the same mix that David was hearing at the FOH position.

RMB Audio also deployed the MLA Mini in a unique way at the Koka Booth amphitheater for a performance by Josh Groban and the North Carolina symphony. The venue has an area of tall trees that provide shade from the sun at house right where many patrons have begun seating themselves. Because the area was too far off axis from the main hang to provide quality audio, Robert Weddings of RMB suggested that we use an additional MLA Mini four-box, one sub system to provide coverage for the area. I wasn’t on the show, but I heard from all of the techs that the boxes were projecting far back into the house, with full range coverage 150 feet back.

The fact that the MLA Minis are on the VU-NET network makes them an integral solution for any changes in terms of EQ, time alignment and the ability to monitor how hard the system’s being pushed or how much headroom you have.

MLA Mini J  Roddy Walston 3

When we first set up the MLA Mini at the Red Hat amphitheater in Raleigh, we were walking house left to house right and the transition from the main hangs to front fills was transparent retaining all of the clarity and intelligibility. The surprising thing was when we did groups with more stage volume and used the double front fills, there was a nice low mid energy coming off of them, so it never sounded thin nor overwhelmed by the stage volume.

The Mini front fills can keep up with some pretty loud stages. They are surprisingly powerful boxes that easily carry from edge of stage to front of house position.

Overall, MLA lets the laws of physics work for us by only putting sound where people are instead of sending it to every part of the room and generating reflections and other noise. The technology has become a game-changer in delivering sound and how the system should sound because without all of the room reflections and clutter, the mix becomes much cleaner and more defined, especially in terms of getting a better stereo field throughout the house.

Photos: New Politics, Love Canon, J Roddy Walston & the Business,

For more about Martin Audio, please click www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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