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CAD MH510 Headphones Offer Studio Performance And Consumer Style

Solon, OH––The new Sessions™ MH510 professional headphones from CAD Audio have been designed for performers in recording and live audio environments as well as audio enthusiasts who want to experience their favorite recordings exactly as the artist intended.

Growing from a decade long collaboration of CAD’s experience and expertise in the design of professional audio equipment, the MH510 headphones produce a wide frequency response (10Hz – 24kHz) with extended lows, smooth mids and articulate, life-like highs for accurate and natural reproduction.

The MH510’s high SPL capability delivers ample volume while the design provides exceptional isolation ensuring a private listening experience that virtually eliminates bleed through into the playback environment.

In addition to professional specifications and performance, the Session MH510 phones are available in a distinct and modern cosmetic design with four colors––Black, White/Red, Back Chrome and Black/Orange to choose from.

The MH510s feature exceptional power handling capability along with high quality construction to stand up to the most demanding use without sacrificing extended listening comfort. Each headphone is supplied with two cables (coiled and straight) and two sets of earpads to satisfy changing user demands.

Commenting on the new line, CAD Executive Director of Business Development Glenn Roop said, “Given CAD Audio’s acclaimed studio heritage, developing the MH510 headphones was a match made in heaven. The Sessions project was a natural for our design team. We engineered for the highest level of performance with no compromises, and then added some flair and style into the mix.”

MSRP for the MH510 headphone is $159.00

For more information about CAD Audio, please stop by and see us at Winter NAMM 2013 Booth #6632 in Hall A at the Anaheim Convention Center, call 800.762.9266 or visit www.cadaudio.com

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Martin Audio OmniLine® Conquers High Reverberation In Award-Winning Installation At Sydney Railway Terminus


A Martin Audio OmniLine® system has been specified and installed at Central Railway Station in Sydney, the largest in Australia, to conquer a speech intelligibility problem that has persisted for years.

The Country Trains Concourse, measuring 360 ft x 196 ft x 32 ft with a challenging RT60 time of 5.5 seconds in the mid-band, has long defied attempts to get intelligible announcements heard by commuters. Over the years, many brands have successively tried and failed to tame the inherent reverberation caused by a combination of terrazzo floors, sandstone and plate glass walls and a high arched steel roof.

Last year Glenn Leembruggen, principal of Acoustic Directions, became the latest specialist to do battle with the acoustically hostile environment.

Since acoustic treatment of the inside of the roof was ruled out as being financially untenable, two members of the Acoustic Directions team, David Connor and David Gilfillan, decided to trial several software-driven systems and different steerable line array solutions.

They ultimately concluded that a Martin Audio OmniLine system, with DSP processing, would produce the best quality and best speech clarity. They duly specified 120 steered elements supplied by TAG, Martin Audio’s Australian distributors.

Modular and scalable, this particular OmniLine installation used a special version of the Martin Audio Display software (operating under an FIR filtering scheme that addressed every element in the array with its own processed channel). The intelligent software enabled the array to be configured to deliver sound precisely over the venue’s vertical profile without spillage. Furthermore, elimination of high-frequency side-lobes gives OmniLine an advantage over conventional DSP steered columns making it suitable for high quality speech and music reproduction even in reverberant spaces such as railway station concourses.

Acoustic Directions were thus able to simultaneously optimize the direct field over the listening area, keep the sound off reflective rear walls, and minimise reverberant sound power. The result is remarkably high intelligibility throughout the concourse, even at rush hour, when as many as 3,000 passengers are adding to the cacophony of noise resonating around this vast cavern.

With the amps situated as much as 650 ft away from the speakers, a 100 Volt system was required, and Acoustic Directions worked with Harbuch Electronics to develop a 100V loudspeaker transformer that was ultra-flat and with only 10 degrees of phase shift at 20kHz. The FIR filters that beam control the array are implemented in Nion processors with the loudspeakers being driven by 8-channel 2.4kW amplifiers (to provide 120 amp channels).

Acoustic Directions optimized the frequency responses over the listening area using time-windowed impulse responses.

The installation also picked up a coveted Rutledge AV Industry Award (an AVIA) with the judges commending Acoustic Directions’ meticulous implementation of the modelling, installation and commissioning of the system.

As a result, for the first time not only can amplified speech be easily understood in any part of the concourse, but music and pre-recorded messages sound natural and clear—and roaming hand-held wireless microphones can function without fear of feedback.

In fact, such is the confidence inspired by this new solution, that special events, promotions and even live music events are being hosted at Sydney’s Central Railway Station, using the house system!

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.

About OmniLine®
OmniLine is a versatile, micro-line array designed for installation in a wide variety of architectural environments. Its modular approach and scalability extend its use from foreground applications to sound reinforcement in large acoustic spaces. Intelligent software enables an array to be configured to deliver sound precisely over any vertical angle to fit the venue profile without spilling onto surfaces where sound is not required. Additionally, elimination of high-frequency side-lobes gives OmniLine the advantage over currently available DSP steered columns, making it suitable for high quality music reproduction as well as speech in large, reverberant spaces. Each array is constructed by connecting multiple modules. Up to 32 modules can be connected where both high output and vertical focusing down to low/mid frequencies are required. Smaller number of modules (down to 4) can be used for shorter-throw applications, where vertical focusing of the low/mid frequencies is less important. This scalability means that OmniLine can be used in a variety of applications. Visually, an OmniLine array is slim and unobtrusive, with soft lines that minimize its visual presence in an architectural environment.

RMB Audio Finds New Solutions With MLA Compact At NC State Fair

Raleigh, NC––RMB Audio has provided audio for the J.S. Dorton Arena at the North Carolina State Fair for 21 years, and even though they’ve used Martin Audio throughout that time, this year marked their first deployment of the MLA Compact system.

Dorton Arena is the venue for evening performance concerts held during the State Fair with performers such as Michael W. Smith, Brian McKnight, local hero and American Idol Winner Scotty McCreery and other artists over 11 nights.

A historic 7,610-seat arena built in 1952 that features an unusual parabolic shape with an elliptical outer wall; Dorton was listed in the national register of historic places in 1974. Though unique in its design, the venerable hall presents significant audio challenges according to RMB Audio owner, Cooper Cannady.

“It’s a beautiful space, but the arena is very difficult for sound engineers,” Cannady explains. “It’s not a symmetrical room by any means and there’s a lot of concrete, glass and open space; it’s kind of like providing sound coverage over a Pringle surface. Plus it’s tough on the audience because in the elevated seating left and right of the stage, your seat faces the middle of the room so you have to turn from 30º to 60º to face the stage.”

Over the years, Cannady and RMB Audio have solved problems with carefully tuned Martin Audio loudspeaker systems. This year they decided to deploy the new MLA Compact and benefit from its software-driven approach to overcome any issues encountered with the arena.

The system consisted of 12 MLA Compact enclosures and six DSX218 ground-stacked subs per side, along with twelve W8LM boxes per side for outfill “which can generate 117 db alone without having it sound unpleasant,” adds Cannady.

Given the demand for MLA Compact, Cannady and his crew at RMB had to get an early start familiarizing themselves with the system: “Starting in May we’d been working up schedules to have the MLA Compact rig in that would match the timeline for the fair and also have the integrated training for MLA Compact. Somehow, we got all those things worked out. The third day of our training class, normally how you fly it, position it, design the room––all of that occurred on the day we would normally install the system.

“The training went well and we had Ferrit Rowe (Martin Audio MLA technical support specialist) who held over for the first performance night, which featured the local North Carolina University a Capella groups. And a Capella singing has taken on a whole new platform with soloists, background voice instruments, rhythm percussion voices and all things that fall into the category.

“The wonderful part was having Roger Dennis who’s been A1 audio for the Fair with us for 21 years, and that was the most I’ve seen him smile since I’ve known him. All of which had to do with the articulation from the MLA Compact loudspeakers that was so well defined with so little room reactivity.

“Because of the MLA Compact’s controllability via the software, we did a lot of design to avoid the room aberrations. At the back of room you have the PA, which has to clear a certain height to have no visual interruption for the seating, so we take a slice at that point and 180 feet in front of that is glass and two big 18 ft. load-in doors that are huge reflectors. In our programming, we designed it so the sound would stop 10 feet in front of the doors.

“We really enjoyed working with MLA Compact,” Cannady continues. “I liked the sophistication of it, especially the audience to speaker cabinet theory the designers Jason (Baird) and Ambrose (Thompson) had formulated this whole cabinet concept based on the close proximity between driver components and mathematically quantifying the box to box interference and/or enhancement that is corrected through algorithms that formulate sound direction to the start and stop positions. The speaker optimization software function has nothing to do with what the room’s reverb time or acoustic benefits and deficiencies. The software algorithms do all of the work to direct sound at the specified SPL that can be louder in the back than at the front if needed.”

“It all comes down to having good input dimensional data of the space to generate the design and then just input where the system will be located. Input where you want sound to start and stop and specifically where you do not want sound, specifically on stage, which is something I really love about it. You run the room design through the step-by-step operation of the system, allow the software to do its optimization, take a look at that and right out of the box you can mix off the console without doing a lot of outboard major EQ for the room.

“And they’ve done a fabulous job with the components in the speakers. When I first saw the specs, I had a lot of questions. But when I heard the rig I thought it sounded like any other Martin Audio rig that’s been fine-tuned, EQ’d and properly positioned. On first listen it sounded like a system where we’d spent three hours doing SMAART.”

Asked about reactions to the MLA Compact, Cooper concludes, “The touring engineers coming through were really impressed and in some cases, this was the first time they’d mixed with MLA Compact. The ones who didn’t have any preconceptions about the system and listened well before affecting their artistic EQ changes to the audio path did not make any changes after they heard it. Many of them wanted to hear MLA Compact in a much better sounding room. They were pleased enough to say, ‘I really want to hear this again.’”

Photos provided by Tobias Cannady
For more about Martin Audio, please click to www.martin-audio.com.

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Marquee In Sydney First To Feature Martin Audio MLA Install

The first permanent installation of Martin Audio’s new award-winning Multi-cellular Loudspeaker Array (MLA) has taken place at the Marquee Nightclub in Sydney, Australia.

Part of The Star Casino complex overlooking Darling Harbour, ‘Marquee––The Star Sydney’ is more than just a nightclub. It represents a development of the Casino into a much larger leisure and retail complex with the emphasis on entertainment, nightlife and shopping.

Within this, the Marquee Nightclub stands out as an independent enterprise and part of an international franchise that includes some of the hottest clubs in the world. It is fitting, therefore, that in choosing MLA, the Marquee Nightclub should have commissioned the world’s most advanced sound system as the central component to what is comfortably the largest nightclub investment ever undertaken in Australia.

MLA is more familiar to high-end touring and vast festival audiences. But Technical Audio Group (TAG), Martin Audio’s Australian distributors, were given the thumbs-up to supply a system into the largest of the areas within the club called the Main Floor––¬¬the Boombox, VIP Room and Library being the others.

Describing the background of this project, TAG’s Director of Engineering, Anthony Russo, said that as leaders in the design and supply of high end nightclub systems spanning over 30 years, the company was invited to bid on the project by AVS and Rentals Sydney on behalf of their client The Strategic Group, owners and operators of TAO and Marquee in the USA. “One main advantage of our experience was that we could assume total responsibility, deliver a turnkey solution and provide long term 24/7 support.”

As importers of Martin Audio equipment, Russo realized that the client was already familiar with the brand having specified it in some of the Group’s American clubs. After being awarded the contract in late 2011 TAG tabled a proposal to supply the new flagship MLA Multi-cellular array system on the main dance floor. “Considered by many to be the most cutting edge system available, this was to be MLA’s first installation in the world and compatible with Marquee’s market position,” said Anthony.

With such headline acts as Will.I.Am, Redfoo and Avicii appearing at the club, the request “for no technical compromise” further justified the selection of MLA.

Given this exacting criterion, a team approach was required and Russo enlisted several of the best electro-acoustics engineers in Australia––Glenn Leembruggen of Acoustic Directions and David Gilfillan as the commissioning and alignment team, with TAG dealer, Paul Moss from S&VC handling installation and mechanical aspects. In conjunction with Matthew Kline from Australian Venue Services, Marquee brought in Adam Ward, their US operations expert, for equipment review and final commissioning.

The club itself has been designed around 13 zones over the two main rooms. Even coverage and control were paramount, delivering high SPL where required and comfortable clarity elsewhere. AECOM Sydney undertook internal acoustic treatment given the high SPLs generated and mechanical isolation was also essential for all speakers with premium industrial caged rubber/spring isolators installed throughout.

A major challenge for speaker selection was the unusually low ceiling height for a club of nine to 11 feet in some areas with a plethora of existing hydraulic and electrical services and the added constraints of a stretched Barrisol false ceiling over the dance floors, so that tight vertical dispersion characteristics were the order of the day.

The main dance floor speaker system is comprised of six MLA enclosures and six MLX sub bass, with 18 specially modified VHF bullet arrays ensuring it specs right out to 32KHz, according to Anthony.

With its six onboard amplifiers, cutting edge DSP and networking, and with peak capabilities of 140-145dB, MLA is barely idling at Marquee, delivering nightly levels of 120dB or more. “As MLA is unlike any other loudspeaker manufactured, its set up requires a venue optimization program to be loaded specific to the task, and is exclusively venue based,” confirms Anthony Russo. “The amazing ability to listening for hours on end with no fatigue is truly unique.”

But TAG’s involvement with the Marquee went well beyond a PA system for the Main Floor. Apart from the Boombox and the chill-out Library there are several other small, segregated areas of entertainment and bar systems

The dance systems deployed here include 20 Martin Audio W8LM line array elements plus VHF bullet arrays, and five WS218X subs––while the three bar areas are catered for with banks of Martin Audio OmniLine micro line arrays, totalling 76 elements, with specially suspended banks of AQ212 subs. And with DJs also playing inside the enormous unisex toilet, a high-end Martin Audio 6.8T and sub ceiling speaker system has been installed.

Finally, the DJ’s need for monitoring is well catered for with Martin Audio AQ215 subs, Blackline F12+ and LE 2100 monitors.

Summing up, the TAG director says, “Marquee Nightclub at The Star Sydney has just installed by far the most advanced, cutting edge sound system in the world … full stop. We are delighted to have been the company responsible for specifying and being part of the team. The most exciting aspect is reading countless reviews of events and seeing comments relating to the sound system such as ‘jaw dropping’, ‘amazing’, ‘killer system’ and ‘best ever sound’; the list of superlatives is never-ending.”

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

U Street Music Hall Named For Top 10 US Club Sound System

Washington, D.C.’s U Street Music Hall, equipped with a Martin Audio speaker system known for its powerful WS218X subwoofers, was recognized for having one of the Top 10 US Club Sound Systems by Beatport, an online music store specializing in electronic dance music and culture.

Designed and installed by Adam Weiner, principal of ITI Audio Inc., working with partner William McClure and consultant Brian Miller of Edit Design, the Martin Audio system consists of four Martin Audio Blackline+ H3+ three-way speakers, two H3H+ three-way speakers, and two F15+ enclosures as DJ monitors in addition to the five WS218Xs powered by Martin Audio MA9.6K and MA12K amps. BSS Soundweb London Blu-160 and XTA DP226 are used for processing.

The landmark system had already earned praise since the edgy Washington club’s inception. Chris Richards of the Washington Post wrote, “Bass drips like subsonic honey from U Hall’s six-figure sound system, an incredible machine that trumps any nightclub’s in the city.” Asked about the earth-shattering bass system, club principal Will Eastman wryly noted to DCist, “One of our friends from the 9:30 Club was here last night, and he said, ‘nobody that works in this club will ever have kidney stones.’”

Commenting on the system, Weiner told Beatport, “U Hall is an example of what happens when people who care about how their music sounds do everything right in designing their club.” Beatport added, “Although the system bumps like no other, it only has five subs. That’s a true testament to the power of Martin Audio.”

Asked why the owners opted for Martin Audio, Weiner concludes, “They heard Martin Audio at a previous ITI installation and knew it was the best. They describe the system as amazing and intense.”

For more information, please call 519.747.5853 or visit 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.

SACPS & Martin Audio Rock Wine Country At Charity Fall Music Festival

Glen Ellen, CA––For the last 26 years, the B.R. Cohn Winery and Olive Oil Company has held a Charity Fall Music Festival in the heart of the Sonoma Valley wine country.

Owner Bruce Cohn, who also manages the Doobie Brothers, is the guiding force behind this star-studded musical event that benefits a host of local charities. This year the bill featured the Doobie Brothers with Michael McDonald and Friends, Kenny Loggins, Buddy Guy, The Turtles, Dave Mason, War, Lara Johnston and others over a two-day period.

Sacramento Production Services provided audio and staging for the first time this year, largely on the recommendation of John Procaccini, Production Manager for the Festival and Doobie Brothers FOH Engineer Gary Hartung. Gary had worked with Martin Audio in the past and was familiar with the W8LC line array system and knew it would work well for the festival to provide better coverage and SPLs throughout the venue.

“The event was a real success,” explains SACPS’ Keith Wackford. “It’s the first time in 26 years that every act was on stage, on time. Kenny Loggins actually got onstage three minutes early! The crews and staff on both sides were great and we did a lot of hard work to make sure we had what we needed to pull this event off.”

According the Wackford, the main stage speaker system consisted of 9 Martin Audio W8LCs per side for the main hangs; 6 W8LCs a side for out fill; 14 ground-stacked W8LS subwoofers; two W2s for front fill; two WT3s for drum fill, 14 LE12J stage monitors and a pair of W8Cs with S218X subs per side for side fill.

Separate consoles were brought in for the festival; a pair of Yamaha PM5Ds at FOH and a pair of PM5Ds for Monitors. Three racks of Lab Gruppen PLM20Ks powered the system.

Crew for SACPS included Keith Wackford (FOH), Dwayne Wise (System Engineer), Rick Stansby (Monitor Engineer), and Evan Drath (Asst. Monitor Engineer). Rick Santell (Huey Lewis) was Stage Manager.

Asked about reaction to the Martin Audio system, Wackford enthuses “Everyone loved it. Fans at the Festival thought this was the best sounding year ever. The Doobie Brothers’ FOH and Production Manager said it was one their best years yet. At the end of the night when the trucks were loaded, John Procaccini said ‘you hit the ball out of the park’.”

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 OmniLine: Perfect Solution For New Spanish Congress Palace

–Adagio Pro Provides Design Support For Geometrically Challenging Main Hall–

The Congress Palace (Ciudad de Oviedo) recently opened in the heart of Spain’s Asturian capital and has already become the newest symbol for its spectacular architecture.

Designed by Valencia-born architect Santiago Calatrava, this visually stunning exhibition and convention center has left its own indelible footprint on the local landscape.

Set on three floors, and elliptical in shape, the 50, 951 square foot Congress Palace consists of several different function room and exhibition spaces — but without doubt the most spectacular is the main auditorium. This unusually shaped 8,202 square ft. hall has a seating capacity of 2,144 seats, with a height of 149.6 feet up to the dome.

With the complex geometry (and high reverberation time) of the room, the choice of sound system was critical—and after an extensive study of electro-acoustic systems the decision was taken to specify an OmniLine® micro array system from Martin Audio.

According to Marc Rovira, product manager at Adagio Pro, the Martin Audio distributor in Spain, given these challenging conditions, it was logical to propose a system with a large coverage control pattern, especially in the vertical plane, to achieve optimum intelligibility.

Thus two hangs of 24 OmniLine elements, with a 9.25 ft. drop have been flown on either side of the stage.

Rovira and the project manager of Adagio Pro, Bernat Camacho, knew that given the micro size of OmniLine, the array would provide a perfect and discreet solution. Each module measures just 9.6 x 4.5 x 7.8 inches and weighs just 9.9 lbs., with drivers and mechanical alignment techniques purpose designed by Martin Audio for this product. Up to 32 modules can be interconnected and in many cases just one amplifier channel per array is required, while the system achieves high levels of SPL and delivers unprecedented vertical accuracy.

However, in this instance the installers MEDIACOM 95 and GMI preferred to divide each column of the array into three zones or channels of amplification to produce a higher level of control in the audience. Processing was carried out in a Martin Audio DX2 4 in/8 out DSP environment, which manages the different levels and equalization of each column.

Camacho, supported the installation every step of the way, initially presenting a 2D model using OmniLine’s own software, before constructing a 3D visualization using EASE software, in order to study the coverage throughout the room and the predicted levels of intelligibility.

The full integration of the audiovisual systems was implemented by MEDIACOM 95 and GMI with the final tuning and commissioning carried out with the engineering team of Adagio Pro. The result is a loudspeaker solution of high quality, which is impressively discreet at the same time.

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.

ADAM Audio Targets Wide User Base With New F Series Monitors

San Francisco, CA––At the 133rd AES Convention, ADAM Audio is introducing the F Series professional monitors with signature tweeter technology that provides unsurpassed performance at the most accessible prices in the company’s history.

The new F Series consists of the F5 and F7 nearfield monitors and SubF dedicated subwoofer. Both the F5 and F7 employ the company’s new ART tweeter that provides performance similar to ADAM’s acclaimed X-ART tweeter in a smaller size to fit the new form factor with the same pristine clarity and unique resolution as its predecessor and slightly less efficiency and maximum SPLs.

The F5
Designed for smaller rooms, the compact F5 features the new ART tweeter, which is powered by a 25W (rms) A/B amplifier, and a 5” midwoofer also powered by a 25W (rms) A/B amplifier.

The F7
The F7 continues ADAM’s most popular configuration using technology that makes it affordable to the widest range of users. It is equipped with the new ART tweeter, driven by a 40 watt A/B amplifier for the unsurpassed clarity and precision ADAM is known for worldwide. Its 7” woofer and a 60W (rms) A/B amplifier produce an exceptionally low and tightly defined bass response.

The SubF
A small yet powerful subwoofer, the SubF features a robust 8″ woofer with driven by a 150W (rms) PWM (pulse width modulation) power amplifier. The amp stays cool while handling maximum power levels, even when sustained. Several controls to adjust the subwoofer are located on the rear panel: a volume knob (-∞ to +6 dB), a control for the crossover frequency, and a phase switch. The SubF is an ideal match for both the F5 and the F7 monitors wherever a deeper and more powerful bass response is required.

Inputs & Controls
Several controls provided to adjust the F5 and F7 monitors to the environment are located on the rear panel: 2 room EQs for the high (>5kHz) and the low (<300Hz) frequencies as well as a volume knob (-∞ to +6 dB). In addition, there is an 85Hz high pass filter to facilitate the use of a subwoofer. There are both XLR combo (jack) and RCA connectors on the rear panel as well.

All F Series products will be available in the United States in January 2013.

MSRP for F Series is:
F5: $249.99 each — $499.98 a pair
F7: $399.99 each — $799.98 a pair
SubF: $399.99

For more information about ADAM Audio USA, please stop by booth #749 at the Moscone Center, call us at 516.681.0690, or click to www.adam-audio.com

About ADAM Audio: Combining extensive experience and research in the field of speaker systems with their revolutionary ART and X-ART tweeter designs, physicist Klaus Heinz founded ADAM Audio in 1999. Based in Berlin, Germany, ADAM designs and builds professional monitor systems for leading recording studios around the world as well as sophisticated hi-fi and multi-channel loudspeaker systems for the home and residential installation markets.

MLA Compact Keeps Sound Inside Amphitheater At Swedish Festival

DM Audio of Stockholm, Sweden recently used a Martin Audio MLA Compact system with 12 enclosures per side at the Vitabergsparken (White Mountains) for the annual Parkteatern Festival staged by Stockholm City Theater. The festival consists of four weeks of entertainment in the open-air amphitheater.

DM Audio have been servicing the event for many years, and working with show designer Mårten Ihre, they took the opportunity to swap out their conventional line array with MLA Compact as soon as it became available.

Hosted by the Stockholms Stadsteater subsidiary, Parkteatern (Park Theater), the varied program ranged from soft ballads to high-octane hip-hop and modern Danish dance and Opera. DM Audio responded by beefing up the LF end, running six DSX subs per side, double stacked in a cardioid pattern, to give the neighbors no grounds for complaint against noise escaping at the rear of the stage.

In fact the biggest challenge facing the production crew was eliminating noise escape at the rear. “We set up the ‘hard avoid’ parameters for behind the stage and the controllability of the cardioid subs also ensured that no sound escaped at the back,” said DM Audio President Lars Wern. “Everybody was immensely pleased how we managed to taper off the sound and the result was that there were no complaints.”

This was a fitting way for the Park Theater, now clearly bitten by the digitally controllable bug, to celebrate its 70th year. “We are all very impressed with MLA,” concluded Wern, “It is a fantastic system.”

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

About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio
network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

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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Gold Named As Middle Atlantic Midwest Regional Sales Manager

Middle Atlantic Products has named Adam Gold as Midwest Regional Sales Manager. Gold’s territory includes Wisconsin, Iowa, Illinois, Kansas, Nebraska and Missouri for all market segments.

Adam has over 20 years of experience in Audio, Video, Control, Automation and Lighting for both the Commercial AV and Residential markets. Prior to joining Middle Atlantic, he worked with security start-up ACI Protection as a National Sales Manager and served as Regional Sales Manager for Crestron, Bose and Mitsubishi after starting in AV retail sales.

Asked about his appointment, Gold stated, “Middle Atlantic has a culture like no other manufacturer and it’s really nice to work for a company where the focus is on customer satisfaction and achieving that result by doing whatever it takes. That’s what excites me the most about this opportunity.”

Commenting on Gold, Midwest Regional Sales Director Robert Newhuis said: “Adam Gold has a history of successful sales and customer support along with outstanding management capability that complements all of the markets we service. We’re very pleased to add Adam to our Midwest Sales management team, his commitment to excellence, support and service makes him a perfect match to work with our Reps and customers in the field.”

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

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