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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.

Martin Audio Is System of Choice At The Line Hotel

Patio at The Line

Los Angeles, CA––A fashionable new stopover in Koreatown, the Line Hotel is a 12-story modernist tower originally designed by the respected architecture firm Daniel Mann Johnson & Mendenhall which retains a midcentury look combined with an industrial chic aesthetic, stripped-concrete walls and double height windows in the lobby.

Commissioned to install a sound system in keeping with the modern, high tech feel of the hotel, LA Sound opted for Martin Audio loudspeakers throughout the public areas downstairs and outside on the patio deck, pool area, and in the greenhouse.

According to Richard Ralke of LA Sound, the system starts with Martin Audio C8.1T 8” ceiling speakers in the lobby, café, entryway and bar areas. These were chosen because they have a tighter dispersion pattern, which was more effective in covering the greater ceiling height averaging from 12 to 14 feet and reaching people who are both standing and on the move.

For the Pot restaurant, a collaboration with the street-food king Roy Choi which specializes in Korean hotpots, Martin Audio C6.8T 6” ceiling speakers with a wider dispersion pattern were used to provide more balanced coverage in a space with a shorter 10 to 12 foot ceiling height where people are sitting down and not moving.

Bar at The Line

“We also used AQ112 subwoofers in both areas,” adds Ralke, “six in the restaurant and two in the bar. For the bar, we actually installed the subs in a custom-built serpentine bench, which is approximately 50 ft. long and weaves down the length of the room.

“There’s a large upright back that extends down to the floor with a padded bench that clips to that section. We were able to take the bench section off and bury the subwoofers in the base of the back and cut openings in the sub structure of the bench, allowing the low frequency energy to exit out of the kick panel at the front. The subs are spaced down the length of the bench so there’s no bass build up anywhere. The low frequency energy is very even throughout the room.”

“In the restaurant,” Ralke continues, “we were able to bury an AQ112 in a staircase—the speakers are around 14” in every dimension so they’re pretty small––and fire it into the room through an air conditioning return vent. The other one is integrated in the outer wall covering near a hostess stand at the entry. Again, the low frequency coverage throughout the space is very smooth and even.”

The bar, lobby and restaurant are situated in separate zones so the volume can be adjusted for each, but they function as one common source area because they are adjacent acoustically and open to each other. Either zone can adjust their level individually using the Rane Hal1 house system with remote controls for volume and source selection.

Restaurant at The Line

According to Ralke, “We currently have 12 output zones and all 10 input allocations, and every zone has a DR3 digital remote controller that allows the user to change the level and source material in any zone. Three mobile background music sources are fed into the Hal and either left as stereo or combined into Mono, then exported to these 12 zones around the building. The subwoofers and full-range ceiling speakers in the bar are two different zones so we can get the crossover to EQ the way we want to within Hal, but they go up and down together at the bar volume control.”

One level above the lobby and restaurant is a patio deck with a pool area and greenhouse also providing the same source audio. The outdoor pool area has 14 Martin Audio C115T surface mount outdoor full-range speakers with four subwoofers and an additional four C115T’s in a remote listening area by the patio. Three Powersoft M28Q 4-channel amplifiers drive all of the subwoofers and full range speakers in the hotel.

“The pool deck is on the second floor of the hotel right above Wilshire Boulevard one floor below, explains Ralke, “So the hotel put up a wall consisting of metal mesh fence and added a creeping vine type of plant. We were able to mount the speakers to the metal mesh and have them totally blend in within the plants. The deck has complete coverage without spilling down into the street.”

Greenhouse at The Line

“The greenhouse on the deck presented an acoustic challenge because it’s all glass and concrete, wood and steel inside,” explains Ralke. “But the hotel showed us a layout with plants positioned to break up the sound, so we were able to use 6 Martin Audio AQ8 8” two-way surface mount exterior speakers and get the smooth, even coverage we needed from one end of the greenhouse to the other.”

Asked about their client’s reaction to the sound system, Ralke sums up in a few words, “They love it. In fact the owners are so happy with the sound system, they’ve asked us to do a new karaoke club named Speek they’re putting in early next year.”

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.

Nitin Sawhney Transcends With Martin Audio MLA At Albert Hall

Nitin Sawhney_1

After working with RG Jones’ Martin Audio Multi-cellular Loudspeaker Array (MLA) at Glastonbury Festival, as well as the smaller MLA Compact at other events, David McEwan’s vision was to use it at the holy grail of London venues, the Royal Albert Hall.

As the long term recording and live engineer for Nitin Sawhney, the opportunity came when this British Indian musician, orchestral composer and producer announced his return to the famous London venue for performances from his forthcoming album Dystopian Dream and a selection of material from his first nine albums.

McEwan approached John Carroll, MD of RG Jones Sound Engineering, and to his great delight, the award-winning PA was made available within the production budget.

Rarely will MLA have had so many different sounds and voices pumped through it as Sawhney moved effortlessly through different musical genres. While he performed on guitars and piano, the ensemble featured many vocalists of different tongues as well as guests such as Björk percussionist and hang player, Manu Delago, and Soumik Datta on the 19-stringed sarod. The band also included two cellists, a tabla player and drummer, and the four singers lined up across the stage included the impressive flutist, Ashwin Srinivasan.

Fellow sound engineer Steve Watson, who tragically died last year, had first introduced David McEwan to RG Jones and the MLA. “I built up a good relationship over the years and had been badgering them to let me have MLA for the Royal Albert Hall. I wondered what it would sound like after using it at Glastonbury, and it sounded amazing. It produced great imaging—there was a real presence about the vocals wherever you stood—and that’s an important part of the show. In terms of PA’s, it’s clearly the next step up.”

The design consisted of 16 x MLA elements per side with nine W8LM Mini (and two W8LMD Downfills) per side and further W8LM/W8LMD used judiciously as front and infills. Eight Martin Audio WLX subs were recessed under the stage in a splayed broadside cardioid array to create the required curve.

McEwan’s system tech was the experienced Marty Beath, who a week previously had helped optimize the MLA system deployed for the Invictus Games Closing Concert.

As production/soundcheck time at the Royal Albert Hall was compromised, Beath was able to draw on existing presets, previously used by MLA tech Mark Edwards, enabling them to notch out sound spillage at the stage and up to the top tribune, where there was no audience present.

Nitin Sawhney_2

Supporting the production was RG Jones’ Jack Bowcher, who has worked many times with McEwan, and was in charge of the stage. He, too, knew the rig would be rock solid.

“MLA again produced amazing clarity, particularly at front of house, which was impressive considering the nature of the event. The detail you could hear in the vocals was just unbelievable.”

But the last word came from David McEwan. “This was one of my favourite experiences; everyone seemed delighted with the sound and I will want to use MLA wherever I can.”

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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ITI Creates Definitive Martin Audio Club System For Verboten

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ITI Audio, designer of award-winning systems for clubs such as Washington DC’s U. Street Music Hall, have achieved what they consider to be their “best work” using Martin Audio loudspeakers and line array enclosures at Verboten in Brooklyn, New York.

In less than a year, Verboten has quickly become one of the leading clubs in what Time Out New York calls “New York’s new clubland paradise,” Brooklyn’s Williamsburg section. With a hard-edged, post-industrial exterior, Verboten’s overall aesthetic is dark, unfinished steel and wood. The music, described on their website as “underground dance music in all its forms,” includes house, techno, deep house, bass music, live electronica, indie dance and nu disco.

With a 20-year history in the dance music promotion business, owners Jenn Schiffer (booking and operations), her husband/partner John Perez (A&R and promotions) and co-owner Michael Roche (director of production), have created the ideal permanent venue for the most evolved expression of dance music, culture and lifestyle in the 10,000 square-foot former metal shop.

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Bill McClure, a principal at ITI Audio, describes what the owners were originally looking for: “When they came to us, they wanted audio to be the primary focus for the space, which was refreshing.”

Verboten consists of the larger Control Room, designed for showcase dance music events, concerts and private parties, which has skylights, acoustic ceiling panels, panoramic edge-blended projection, raised seating areas, and a sprung wooden dance floor from a warehouse once owned by Thomas Edison.

The room’s elaborate Martin Audio sound system is capped off by two hangs of eight W8LM line array cabinets and two W8LMD downfill boxes with four WMX hybrid folded horn subs and two W8VDQ three-way enclosures for rear fill¬¬. Five WS218X sub-bass systems form the sonic centerpiece for the room.

As Bill explains, “There’s something about those incredibly reliable Martin Audio bass bins, they just work better than other stuff available in the market today. They can get super-loud, take a beating, and they have a super-nice frequency response. The musical tone and percussive feel are way better than the competition. That’s why we use WS218X’s pretty much for every club we do.

Verboten_4

“The system has a lot of horsepower with really good coverage and the Martin Audio line array is ideal for concerts, because the owners wanted increased and deeper coverage as they book more live artists in the future. The W8LM and W8LMD’s are hung in front of the WSX hybrid folded horn subs, which are awesome by the way. I love the way they sound.

“The two hangs are on both sides of the stage/DJ booth,” he continues, “which is completely modular so the stage can get pulled down and configured in many different ways. We actually put a pair of H3H+s on a trolley system on the stage, so if you move the DJ booth, the speakers can be moved to accommodate that. The monitors can slide from the center of the stage all the way out to stage left or stage right to accommodate different configurations. The H3H+’s sound is clear with a lot of punch and that nice dance club low-mid resonance.”

With the concentration of subs in the room, directly under the DJ’s, turntable feedback was a natural concern. As Bill points out, “while the WS218X sub bass cabinets do a great job delivering the energy on to the audience area with very minimal wasted energy, we needed a modular work surface/DJ booth that would provide acoustic isolation for the turntables, have a removable/changeable facade, include cable pass through, and be made in four identical sections 5′ wide and no more than 24″ deep. As no such thing existed, we designed a custom solution. After many calculations, a little tweaking, and some in the field engineering, we were able to deliver a finished product that was highly effective at mitigating feedback, unique and aesthetically pleasing.”

Adjacent to the Control Room is the Cabaret Bar ostensibly designed for day parties, art shows, cabaret, burlesque, karaoke and smaller weeknight events with a restaurant, sound absorbent curtains, neon chandeliers, overstuffed leather banquettes, a burned concrete bar and a Martin Audio sound system comprised of eight AQ15 compact full-range systems and 12 Blackline H3H+, three-way bi-amp fully loaded horns.

In addition to the loudspeakers, the overall system includes Martin Audio MA3.0. MA5.2K, MA9.6K and MA12K amplifiers; BSS Soundweb digital signal processing; a Midas fixed input rack, and two Cranesong HEDD A-D converters.

Asked about their client’s specific needs for the system, Bill responds, “Obviously, the system had to be able to crank, but the owners were more focused on smooth, even coverage with clarity and consistency throughout the venue. They wanted it to sound good in as many places as possible without overspending. To that end, they approved the purchase of a bunch of amplifiers to control the sound system, so that it performs really consistently at different volume levels with bass presence everywhere in the club. The sound can be sourced for both rooms, or they can have independent sources in both rooms. There’s a big set of steel doors between the two rooms, so bleed through isn’t bad.”

Verboten_5

Explaining some of the system’s subtleties, Bill adds, “HEDD A-D is a stereo in/stereo out digital audio converter that converts analog to digital or digital to analog, depending on how you want to use it. We’re taking the output from the DJ’s, converting it to digital and then going digitally into four or five BSS processors from the Cranesong while clocking all the digital audio to the Cranesong as well, which give us a more robust sound.”

With the system in place and the club filling both rooms every weekend and most weeknights, we were curious how his clients were responding the Martin Audio system.

“The owners love it, they’re very pleased,” Bill concludes without hesitation. From the beginning, my partner Adam Weiner and I felt this was an opportunity to do our best work in terms of the outcome, overall sound quality and performance, and we definitely did that with this project.”

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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CAD Expands Studio Line With MH210 Headphones

MH210 web
Solon OH––CAD Audio is expanding its comprehensive studio headphone line with the new, precision-built MH210’s.

Featuring a closed-back, circumaural design, the MH210’s are equipped with high output 40mm neodymium drivers for a powerful sound and an extended frequency response with exceptional detail, clarity and articulation.

Available in black (MH210) and white (MH210W), the MH210’s feature ultra-soft leather earpads outfitted with high density memory foam to ensure hours of fatigue free listening comfort and effective isolation from external noise.

Based on its sophisticated performance and wealth of practical features, the MH210’s are an ideal choice for project and studio recording, DJs and general-purpose playback for anyone who appreciates sonic accuracy, musicality and comfort.

Specifications
Frequency Response: 15Hz – 22kHz
Sensitivity: 100dB
Driver: 40mm Neodymium
Impedance: 38ohm
Power Handling: 1000mW

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

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Martin Audio MLA At First FREQ’ender Dance Festival In Singapore

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EXPO AV-INSYNC (EAI) were chosen to provide full technical production for the first ever FREQ’ender dance festival in Singapore, and the company wasted no time in specifying its Martin Audio MLA system for the two day event.

The event was held at Infinite Studios and promoted by Limited Edition Concepts (Singapore), with 4,500 people attending over the weekend.

The festival was split into two distinct days: the first (in conjunction with Halloween) was named Freq’show, which made way on Day 2 for Mekanika, produced by international Trance Festival brand, Godskitchen

EAI managing director, Gerard Rodrigues, confirms that his company had recommended the MLA system. “The end result was that everyone, including the promoters, really felt the music and were amazed at the audio quality. They were really blown away.

“The MLX subs also became a talking point for many of the AV industry professionals who attended the gig as well.”

EAI kept the same rig in place for both days, with hangs of eight elements per side (plus a single MLD Downfill). The 12 MLX subs were ground-stacked in configurations of 2 + 4 + 4 + 2.

01112014_Freq_Colossal274_Setup

In addition the company supplied eight W8LM Mini line arrays and four WS218X subs as a potent DJ monitor system.

Limited Edition Concepts’ director and co-founder, Godwin Pereira was certainly impressed. “With EXPO AV’s experience, it was easy to get the best out of the MLA system, and the sound behaved superbly in the 18,000 square foot sound stage. It was warm and non-intrusive, producing little in the way of ‘noise’; instead, it delivered purity, clarity and a whole lot of thump!”

In addition to what Rodrigues describes as “the awesome sound”, he says the audience was also treated to lighting and projection mapping during the festival.

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The event featured global acts covering electro, trance, house, techno and many other genres, including Hot Chip, 2ManyDJs, GlowInthedark and Marco V, along with over 20 live performers and dancers from Taiwan, Singapore and Malaysia.

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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RMB Audio Eliminates Reflections With MLA Compact

NC State Fair 2014_3

Raleigh, NC––Tasked with providing audio for 11 concerts in a row at Dorton Arena featuring artists ranging from Vanilla Ice to comedy artist James Gregory, country stalwart Trace Adkins, Gospel luminary Tamela Mann and Christian Rock’s Newsboys, RMB Audio already faced a daunting assignment at this year’s NC State Fair.

Factor in the arena’s demanding acoustic environment, and the task became even more challenging. As RMB’s Systems Engineer Roger Dennis drily points out, “It’s got everything you want; concrete, glass, steel, and hard wooden seats. Plus the arena’s an oval, so it’s reflections galore.”

Fortunately, the RMB Audio team came equipped with a Martin Audio MLA Compact system to better control the sound in the hall and eliminate reflections. “The MLA Compact system allowed us to stop the coverage just before it hits the glass in the rear and on the sides of the room,” Roger specifies. “The system’s output control is really precise. It made our job a lot easier while improving the sound quality for all of the acts and the audience.”

NC State Fair 2014_1

The actual system consisted of a main hang with 12 MLA Compact enclosures per side, a side hang with 8 MLA Compacts per side, and 6 Martin Audio W8LMD (downfill) as lip fill. Ample low end was provided by 12 DSX subs ground-stacked in two rows of 6 standing on end with the two outer enclosures slightly angled out.

Asked about the MLA Compact’s other attributes, Roger points out the enclosure’s lighter weight and wider dispersion, but the main advantage is still its output control capability.

“It used to be when you had someone speaking into a microphone in the arena, the reflections would kill all speech intelligibility. With MLA, that’s not a problem. When we first brought it into Dorton three years ago it was quite a shock. Now that we’ve switched to MLA’s for outfill to kill the reflections coming off the glass, the clarity for spoken word has continued to improve dramatically.

“Everyone was pleased with the system, adds Dennis, “especially Newsboys FOH Engineer John O’Neal who was very impressed with what we could do with the rig because he’s been in Dorton before with an older system. One of his last comments to me during this show was ‘everything from 300Hz and above is completely clear. We could hear everything.’ John and I walked the entire venue during the soundcheck as did several engineers who put their head right next to the glass, and they said it sounded exactly the same as it did down at the mix position.

“That’s one of the key things the MLA does that other systems don’t. It optimizes for the audience, not the room. The quality of the coverage is consistent from the front of the stage all the way to the back of the arena.”

NC State Fair 2014_4

Summing up, Roger adds, “We’re going to UNC Memorial Hall on the campus of University of North Carolina, a 1600 seat proscenium theater with a really prominent balcony face that is a problem in terms of generating reflections back onto the stage. The MLA Compact allows us to steer around that balcony; we can just slice that section out of the vertical coverage. We’ve been able to make it so accurate that you can literally stand up out of a seat and you’re out of the coverage. It’s really amazing.”

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.

Encompass AV Outfits Irish Alehouse With Martin Audio

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The product of a complete renovation and remodeling on the site of an old restaurant near Orland Park Mall in suburban Chicago, the Square Celt Alehouse and Grill features an extensive Martin Audio sound system courtesy of Encompass AV.

A popular sports bar, restaurant and part-time club destination, the Square Celt is run by a family that owns seven other Irish-themed bar/restaurants around Chicago, all known for exceptional audio and video capability.

Encompass AV President Tim Pickett describes the layout: “There are two major rooms, a large bar area, and a dining room with another big bar and lots of booths with tables. We were tasked with providing the sound and video systems, as well as security cameras and some of the architectural lighting.

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“The owners insisted on Martin Audio from the get-go because they wanted a very high quality sound that was reliable and would last,” Tim explains.

“We used 26 Martin Audio AQ8’s mounted on the walls and beams throughout the site. The whole place has lowered ceilings with lots of trim, soffits and beams to give it the feel of an old Irish pub. We mounted the speakers strategically in the best places we could put them for optimal sound quality.

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“There are also two AQ28s where the owners planned a dance area in the main dining room. We supplemented those with two AQ210 subs plus two F12+ and four S15+ subs for maximum low energy reinforcement in that area. They bring in a DJ on Friday and Saturday nights, so they wanted the place to have a nightlife with a system they could crank up and really feel the music, which we accomplished with the Martin Audio subs.”

Square Celt_4 web

The audio system also includes Lab Gruppen E12:2 and E4:2 power amplifiers along with Symetrix Jupiter 8 standalone DSP processing. Square Celt’s expansive video system, so critical to any modern sports bar, starts with a four-panel video wall consisting of large Philips 55” displays in the bar/dining room and an eight-panel video wall made up of Philips 46” displays in the bar area. There are also 14 Sharp 70” displays and 16 55” LG displays with the whole system run by a Vivitek D5190HD 1080p 3D multimedia projector.

Summing up the audio system’s impact, Tim adds, “The owners think the sound is ‘even, clean and crisp.’ They definitely got more than they expected with Martin Audio and it’s flexible enough to give them everything they need in terms of volume, coverage and sound quality. Plus the system is easily capable of transforming the dance area into a real nightclub just by cranking up the volume. They couldn’t be any happier with the choice they’ve made.”

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.

Dolynchuk Named Senior Product Manager, Infrastructure

paul_dolynchuk
Fairfield, NJ––Middle Atlantic Products has appointed Paul Dolynchuk as Senior Product Manager, Infrastructure. In this new position, Dolynchuk will be responsible for the category’s long-term sales strategy and optimization of profitability and growth.

Prior to joining Middle Atlantic, Dolynchuk served as a Marketing Director at Pitney Bowes and has held marketing, sales and finance positions at OfficeMax and Boise Cascade. He has a BBA in Management/Pre-Law from Ohio University and an MBA in Marketing/Finance from the Kelley School of Business at Indiana University.

Commenting on Dolynchuk’s appointment, Tim Troast, Middle Atlantic Director of Product Management said, “Paul is an innovative business leader who has demonstrated his ability to deliver multimillion dollar growth strategies for respected brands through the introduction of innovative products and strategic marketing campaigns. His leadership, business analysis and passion for the customer make him a natural fit for the Middle Atlantic team.”

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

Middle Atlantic Products has been part of the Legrand group since its acquisition in 2011.

Legrand is the global specialist in electrical and digital building infrastructures. Its comprehensive offering of solutions for use in commercial, industrial and residential markets makes it a benchmark for customers worldwide. Innovation for a steady flow of new products with high added value and acquisitions are prime vectors for growth. Legrand reported sales of close to $5.8 billion in 2012. Legrand has a strong presence in the North American market, with a portfolio of well-known product lines that include Cablofil, Electrorack, Middle Atlantic, NuVo, On-Q, Ortronics, Pass & Seymour, Vantage, Watt Stopper and Wiremold. The company is listed on NYSE Euronext and is a component stock of indexes including the CAC40, FTSE4Good, MSCI World, ASPI and DJSI (ISIN code FR0010307819). www.legrand.us

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Related Topics: Connected Home, Corporate AV, News, Video |

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