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Archive by Brainstorm Media

Preston Soper Wins Audio System Tech Of The Year Award

Jim Brammer & Preston Soper


Preston Soper was recently honored as Audio System Tech of the Year at the Parnelli Awards in Las Vegas, NV.

Soper, who works with Special Event Services (SES) as lead system tech for the Zac Brown Band, has worked in audio since the early 90s as a driver, live and recording engineer and installation technician with a variety of leading production companies, studios, installers and live venues. In addition to Zac Brown, Preston has toured with the Joel Osteen and Joyce Meyer Ministries, Delirious, Govt Mule, Supertramp, Lynyrd Skynyrd and other leading artists.

Asked how he felt about winning the prestigious Parnelli Award, Preston responded, “Recognition by ones peers is a compliment that is rivaled only by acknowledgment from one’s clients. I deeply appreciate and feel honored to be one of the Parnelli award winners. Throughout my life in audio, I’ve been lucky to work with people who are so inspired, talented, and skilled, that I try to take something from them and carry those lessons forward in my own work. Without those who took the time to share their insights, I wouldn’t have been in a position to be nominated or win this award.”

Preston also had kind words for his colleagues at SES and the Martin Audio MLA system used for Zac Brown: “I would also like to express my gratitude for the guidance of Jim Brammer, Jason Farah, and the SES team during my tenure there that has allowed me to grow as an engineer while designing and deploying audio systems for a broad range of clients. Special Event Services’ commitment to MLA as an early network partner and their continued investment in this leading edge technology has helped us provide well-deployed systems, scalable to the different venue types and events with consistent results at every stop on the ZBB tour.”

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

Michael Prager Named Director of U.S. Sales For ADAM Audio


Hicksville, NY––ADAM Audio USA is pleased to announce that it has named Michael Prager as Director of U.S. Sales. In this new capacity, Michael will be responsible for all sales activity including direct accounts and sales representatives, as well as overseeing the marketing for ADAM’s Professional line.

A respected industry expert, Prager has been professionally involved with music and recording technology for over fifteen years, most recently for seven years as Recording Buyer at Guitar Center.

Prior to Guitar Center, Michael worked with leading brands such as Cakewalk, Steinberg, Disney Interactive, Spectrasonics, Q Up Arts and Sony Classical, as well as the Columbia College of Hollywood, CA and Keyboard Magazine. He has also authored several popular books and CDs on recording software and hardware for Cengage Learning.

Commenting on Prager’s appointment, ADAM Audio USA President Roger Fortier said, “We are proud to have Michael Prager on board as the head of our U.S. sales team. He comes to us with extensive and varied experience in the market that will enable us to grow to new levels in the future. Michael’s insights, energy and exceptional focus have been evident from his first day, and we look forward to building the brand with him for many years to come.”

For more information about ADAM Audio USA, please call 516.681.0690, or click to www.adam-audio.com

About ADAM Audio
ADAM Audio is a leading manufacturer of loudspeakers for Professional Audio and the HIFI market. Founded in 1999 in Berlin, Germany, the company‘s loudspeakers have set the highest standards around the world for accurate monitoring and natural sound reproduction. ADAM’s widely varied product lines include everything from professional studio monitors (SX, AX, and F series), to Multimedia and Home Theater/Installation loudspeakers (ARTist and GTC range), to high-end home entertainment models (Classic and Tensor series). The trademark all ADAM models have in common is the proprietary X-ART tweeter. Handmade in Berlin, Germany, it performs with a nearly flat frequency response extending up to 50 kHz.

Martin Audio OmniLine Meets Challenges Of Essex University Lecture Theater


A Martin Audio OmniLine system was recently installed in the Ivor Crewe Lecture Hall (ICLH) at Essex University. Supplied by LMC Audio and installed by Scan Audio, the micro-line array system was identified as the ideal solution for the application from the word go.

The decision was endorsed by Tessa Rogowski, Head of Customer Services––Information Systems at Essex University. “I first saw the product at ISE and spoke with technical staff from Martin Audio about the specific problems we have with the 1,000 seat lecture theater, namely hard surfaces and the fact that the only place to hang speakers was behind the microphones, causing problems with feedback.”

Tessa continues, “There was no question in my mind that this needed to be solved once and for all. Martin Audio were the first people who actually appeared to understand my problems, and had the technology to ensure that the installation would be carried out correctly, the first time.”

The resulting OmniLine sale of 64 elements was handled by LMC Audio London, where Technical Sales Supervisor, Sam Simon-Norris, oversaw the project.

Following an initial visit from Martin Audio’s Peter Child to discuss OmniLine, it quickly became obvious to him that this was the perfect system to install at the ICLH. “With fantastic sound and sleek styling, I could see that it would complement the contemporary nature of the building brilliantly,” Simon-Norris stated.

The OmniLine system will primarily be used for voice amplification in the theater, which is used for high profile graduation ceremonies, conferences and lectures. However, a further challenge is that the theater can also split into two self-contained 500-seat spaces when the positioning of the speakers would automatically change, since they are hung on the walls that would move during the transformation.

Nigel Meddemmen, Martin Audio sales support, addressed the challenge by carrying out venue predictions as an accurate 2D slice using the OmniLine software. The calculations enabled him to position the arrays to ensure best possible response and generate the required rigging, inter-module angles and equalization. These peculiar challenges, he noted, “Actually made OmniLine an excellent choice.”

Other challenges included the use of a variety of microphones in front of the PA system, including tricky omnidirectional lavalier mics, which tend to be favored by university lecturers—plus the insistence on wall-mounting the arrays since the roof structure had not been rated for a flown system.

The biggest problem, however, was the fact that the rear walls of the hall move, splitting the auditorium via a central removable divide when it needs to open up. A total of four OmniLine arrays were specified to cover each of the two sides, yet maintain pattern control across exactly the same area when the room is functioning as a single large space. However, the front wall in each of the two halves is hinged, and when moved backwards, it would swing the outside arrays inward to leave gaps in the coverage at the sides while producing a troublesome coverage overlap in the center between the two ‘inner’ arrays.

The solution was to fix the vertical coverage of the arrays while leaving a degree of play in the horizontal alignment, which would normally be tightened off once commissioned to prevent any movement. An ‘angle stop’ system was therefore designed to slot behind the standard OmniLine wall mount brackets, to make it easy to accurately reposition the arrays when the room configuration changes.

Summarizes Sam Simon-Norris, “Nigel’s solution for overcoming the two-zone problem was as ingenious as it was practical, utilizing an additional bracket to allow the arrays to be swung from one position to another, giving optimum coverage in both modes. This really was a breakthrough for the project, and left us with no doubts that this system would be the perfect choice for the ICLH.”

For the installation itself, Simon-Norris chose long-standing LMC Audio client Scan Audio to carry out the work. The company’s MD, William (Dee) Couchman comments, “We have worked with LMC since the early 1990’s and have always been well supported with great product selection, support and demonstration equipment when needed. We had previously worked successfully together on projects for other educational institutions, and while the University of Essex was new to us, the project looked particularly interesting and we were keen to try out the new compact OmniLine system.”

The installation itself was carried out over four days, including one day to decommission the existing large custom column speakers and a small line array.

Couchman confirmed, “The main challenges included fitting the four line arrays of 16 OmniLine modules to the two large moveable projection walls. The tops of the arrays were only a few inches beneath the stage ceiling area so we used specialized hoist equipment to precisely move these into position above the supporting brackets while avoiding damage to the projection surface.

“The setting provided by the design software required only minor adjustment to produce a clear intelligible sound for this mainly speech-based reinforcement system,” he continued. “Music reproduction was surprisingly full range from such a compact line array, which blended very well with the interior of the hall.”

Nigel Meddemmen also confirmed that OmniLine had proven to be an excellent choice for this application. In addition to solving the University’s sound problems he notes that OmniLine is also visually unobtrusive, the curved lines and neutral grey color helping the system to blend, and not detract from the focus of the venue, in this case the university lecturers.

All of which is a source of great satisfaction for Tessa Rogowski. “It is exactly what I was hoping for,” she said. “Clear vocal reproduction even at the back of the hall in the seats positioned immediately in front of a significantly noisy HVAC outlet. And there is no feedback.

“From those with experience of the previously appalling sound, when they entered the room this time and we turned on the volume, they universally walked round the hall with silly grins on their faces. Sad though this is, we don’t get compliments, we have just stopped getting complaints—and trust me this makes it more than worthwhile.

“As for the installation process. I was most impressed. We could only give the installation team the smallest time frame to undertake the work—as the hall is booked at least six months in advance—and despite this all the work was completed on time.”

But the final word comes from Sam Simon-Norris. “This is just the sort of application for which OmniLine was designed and feedback from the university staff suggests that it has met and exceeded the initial brief on all counts.”

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.

DBS Productions Relies On Martin Audio For Miami Carnival

Machel Montano, King of Soca


Drummer Boy Sound Productions recently used different configurations of its Martin Audio W8LM system for a series of concerts by Machel Montano, the world’s leading exponent of Soca, at the Miami Carnival celebration.

According to Drummer Boy Sound CEO Harold Cummings, promoter David Fredericks of Islands United approached his company to handle full production––backline, sound, staging and lighting––for the first time. “David decided to give us a try and when we came in with the smaller Martin Audio W8LMs,” Harold recalls, “he didn’t think the boxes were big enough. They’d used a production company with larger format loudspeakers last time out, and he was totally blown away when he heard the W8LMs. Not just the coverage and volume, but the sound quality and control as well.”

The Miami Festival event consisted of three concerts in totally different venues, necessitating specific setups for each. Day one was a special “Girl Power” concert targeted for women at the Miami Airport Convention Center. A smaller site with ceilings only 14 ft. high, the theater presented several challenges. “Because the ceilings were so low, we couldn’t fly the full rig,” says Harold, “but we still needed to cover a 3,000 person space and throw 200 feet, so we flew five W8LMs and four WS218X subs per side and it was more than enough sound for the room. Even with the short ceilings and below average room acoustics, the speakers sounded great.

“The second night was called ‘Fantastic Fog Friday’ based on Machel’s hit single ‘Fog’ at the Broward County Convention Center, which has 26’ foot ceilings so there was more space to play with. We used a bunch of hazers and CO2 jets to create some deep low lying fog and haze, with seven boxes a side, 10 subs and our client was extremely happy that we could get a much bigger sound without losing any clarity and coherence.”

“Rave,” held in the East parking lot of Miami’s Sunlife Stadium, was the biggest show and crown jewel of the weeklong Carnival. As Harold describes it, “The Carnival actually lasted a whole week with parties going on all over town and this concert is where everything really came together. It drew over 10,000 people, had several opening acts like the Caribbean fusion band Karma, and the headliner Montano played a two-hour set of his hit songs.

“Because it what the largest space of the three nights, we used eight W8LMs and one W8LMD (downfill) per side, two W8LMDs on the stage deck for front fill, 16 WS218X subs, Martin Audio H3+s and WMX subs for side fills, 12 LE1200 and one LE1500 stage monitors plus MA 3.0 and 9.6K amplifiers—the full Martin Audio complement!

“In terms of other gear, the FOH console was an Allen & Heath iLive T112 digital with a iDR64 rack, monitor console was a Yamaha M7CL-48 digital, processing was Ashly Protea, and the mics were all Shure. Our crew included me as FOH and System Tech, Gerald Thomas (monitors) and Matt Psarsky (stage and backline tech).”

Asked about the client and band engineer’s reaction to the system, Harold concludes, “Ryan Lynton, Montano’s production manager and FOH engineer had never used Martin Audio before and he loved it. He wasn’t sure it was going to be enough for that large a crowd, but when I fired up the W8LMs, he gave me a big smile and said ‘Wow, I didn’t know it was going to be so loud and sound this great outdoors. He said that he’d be adding it to the rider for every show going forward.

“The client Island United was more than happy and said it was the best sound and production he’d ever had doing the Rave and added that we were already hired for next year!”

For more about Drummer Boy Sound Productions, click to www.drummerboysound.com

For more about Martin Audio, 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 World’s First Commercial Outing for Martin Audio MLA Mini


In October, Martin Audio’s MLA Mini stepped out onto the world stage in its first commercial outing, and took on one of the most challenging venues around. The event was the annual conference of the UK retail giant, SPAR, and the venue was Westpoint, otherwise known to those in the sound community as a ‘soulless shed’, just off the M5 in Exeter.

While Westpoint offers acres of space for trucks, and therefore easy load in, the venue itself, originally designed for the trading of Devon’s finest livestock, is known for having a reverberation time of at least 7 seconds. With MLA and MLA Compact having taken on and tamed some of the most challenging spaces in the globe, MLA Mini had an enviable reputation to uphold.

The pressure was further compounded because this event is a major cornerstone in the calendar of Plymouth based Pyramid AV, under the directorship of Nic Black. The production team at Pyramid have been producing events for SPAR for some years now, and there is a deep-rooted measure of trust between client and supplier of the sort that doesn’t need a new piece of technology coming along and screwing things up.

Armed with 24 brand new MLA Mini, six MSX subs and three flying frames, the challenge fell to front of house engineer, Simon Honywill and Applications Engineer for Martin Audio, Andy Davies.

The system was deployed in three hangs, with two main purposes––one was full range, intelligible coverage of speech and music for the seated conference area at one end of the hall, and the other was coverage of the entire hall for general announcements throughout an exhibition––measuring approximately 260 x 160 feet. Simon and Andy opted for an 8 deep, left/right configuration for the conference, which was flown upstage of a thrust where all presentations would take place, and a central third hang of 8, approximately 100 ft. out into the hall. The third hang was optimized to cover approximately 165 ft. to the far end of the hall, and the left/right was loaded with two optimizations, one to cover just the seated conference and the second to work with the central hang to cover the entire hall.

Did it work? Simon was enthusiastic in his praise. “I would go so far as to say that Westpoint has never sounded so good. It was actually gorgeous to behold. This little system has something that I have never heard in a small format line array before, real depth and control across the entire spectrum, and a genuine ability to throw some distance. It is warm, smooth and extremely well behaved, requiring little or no EQ on all the head mics, except for a bit of LF roll-off. There was loads of gain before feedback, and I was actually enjoying the very simple task of mixing a little playback, speech and VT––everything sat just right.”

Indeed, MLA Mini exhibited all the qualities of the ideal system for any organization involved in the corporate world. Apart from sounding really beautiful, it flies, goes on a stand, is light, small, looks really tidy and you can guarantee great coverage and masses of gain before feedback. As Simon added, “Problem voices will be a thing of the past as you can open up mics like never before, even with some of the top end conventional small format systems. I would recommend it to anybody who takes their corporate work seriously.”

Having the final word was Nic Black, who had everything to lose from this outing: “Having the Mini MLA system at Westpoint this year reaffirmed that it is possible to have beautiful sound in a challenging space. It was a great opportunity to have demonstrated the simple fact that well engineered audio can enhance the experience of the listener. We have had much positive and complimentary feedback regarding the sound and it was without doubt the best we have had.”

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

BYU Idaho Finds Discreet Solution With Martin Audio OmniLine

Brigham Young University–Idaho wanted a new sound reinforcement system for its Barrus Auditorium Concert Hall and Taylor Chapel that would provide higher quality audio without being visually intrusive.

Jon Perdue, A/V Production & Broadcast Manager for the University details the challenge: “Barrus auditorium also functioned as a chapel and the original sound system lacked clarity and wasn’t up to today’s standards in terms of quality for vocals and instrument reproduction.

“The university had authorized us to upgrade but the music department was very concerned about hanging a conventional system in the room or having ground-stacked speakers alongside the stage for feat it would look intrusive.

“I was speaking with my friend Robert Weddings at RMB Audio,” continues Perdue, “and he had been telling me about this amazing sounding and ultra-compact OmniLine array from Martin Audio. We arranged for a system to be sent to us and proceeded to demo the OmniLine in both venues. After extensive testing, we were convinced this was the system best suited for these acoustically challenged environments.”

Coupled with its impressive sound, OmniLine’s unobtrusive appearance proved to be decisive: “The array’s small size and the aesthetics of the system were crucial factors for the administration,” Jon points out. OmniLine passed with flying colors in both rooms and the Administration thought the clusters looked very attractive in the venue. To be honest, it was a very easy sell. The results were jaw dropping!”

In order to cover the Barrus Auditorium, a spacious 682-seater which hosts over 110 events a year, Perdue and his crew hung 16 OmniLine modules per side, each with an AQ210 sub flown alongside to support the low frequency requirements for the program material without losing any clarity.

When the stage is extended for certain events, the four bottom modules can be turned off to compensate for the first five rows. This setup has proved to be far more than adequate for the choral and orchestral groups, pianists, light jazz ensembles and acoustic music events that are held there.

Commenting on the Barrus installation, Perdue adds, “Because it’s such an acoustically ‘live’ space, they wanted a natural-sounding system. It had to be accurate and lend itself architecturally to the room’s design. That was a huge challenge, but the fact that the OmniLine boxes sound so musically and acoustically transparent was a major plus.”

The Taylor Chapel is a multi-purpose venue that holds approximately 450 people with an overflow capability in three smaller rooms that can accommodate an additional 850. Two discrete eight-module OmniLine arrays hung on either side of the rostrum cover the chapel along with two AQ210 subs under the stage cover the chapel.

While Barrus auditorium is ostensibly designed for sound, the Taylor Chapel is another story. “The room is very challenging,” Perdue explains. “The roof line is stepped, very high over the stage, then drops down three feet every four feet through the rest of the room. The sides are splayed outwards and made up of floor to ceiling windows, also a problem, but the OmniLine works really well for speech intelligibility, which is the main concern as well as reproduction of acoustic music.”

The A/V Productions audio team engineers Scott Carter, Josh Foster and David Mann installed the Martin Audio OmniLine arrays in Burrus Auditorium and Taylor Chapel. Some of the other sound system components also included Lab Gruppen amplification, Yamaha LS9 digital consoles and XTA processing.

Summing up the impact of the audio upgrade, Jon concludes “Since the installation of these two systems, the university has had nothing but positive feedback from the audience to performers and administration. Our A/V team’s experience with the Martin Audio team and products has been a positive one in terms of quality, professionalism and customer service.”

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.

Middle Atlantic Brings Under Table Rackmounting to Meeting Spaces

Fairfield, NJ –– In a movement to simplify and speed the installation of equipment in meeting spaces, Middle Atlantic Products is unveiling the TechPed™ Series Technology Pedestal. Designed to provide localized and discrete equipment mounting in huddle rooms, conference rooms and other collaboration spaces, the TechPed is a simple to integrate, easy to service conference table support system that houses equipment and cables.

The TechPed incorporates the company’s Frame to Furniture™ design, an installer-friendly approach that eliminates long waits, speeds up integration and reduces the effects of transit damage. The inner steel rack frame ships directly from stock, allowing integrators to begin the integration of the system immediately. The outer surfaces are shipped separately to the installation site or shop and can be quickly and easily attached to the core structure to cover the metal and complete the installation.

Quick and simplified system maintenance is made possible by the TechPed’s removable side panels and the inclusion of the patent-pending Lever Lock™ tool-free internal management system, which maximizes rack space and cable management options within the side channel of the pedestal.

Available in 3 sizes and a wide range of standard color choices, a custom millwork kit option is also available that provides detailed shop drawings for a woodworker to create a customized look for the TechPed and mounting hardware to attach it to the frame.

For more information about the TechPed and Frame to Furniture™ solutions from Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

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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

Martin Audio MLA Goes Above And Beyond At “Ally Pally”

Capital Sound easily overcame Alexandra Palace’s notoriously challenging acoustics in late October when they brought in their Martin Audio MLA Multi-cellular Loudspeaker Array to the glazed venue for the first time.

Notorious among the sound community for producing violent reflections inside the venue (and receiving noise complaints from the neighbors), would the Above & Beyond Group Therapy 050 live radio broadcast prove too great a challenge for the award-winning sound system, which promises ultimate pattern control? As for A&B, this was to be one of the biggest events in the dance music trio’s calendar.

So just how unforgiving is Ally Pally? In the words of Capital Sound account manager, Martin Connolly, “The Great Hall is a beautiful space; but when it was built in 1873, no one ever envisaged that the building would need to play host to the high volume of a modern day concert. Unfortunately, the amazing domed glass roof is only a minimal barrier to sound propagation.”

Martin Audio R&D Director, Jason Baird, puts it more succinctly, stating: “Just think of a marble and glass shoebox, 130 ft. wide, 52 ft. high and 278 ft. deep.”

Above & Beyond, who operate both full band and DJ set-ups (but in this case were operating in the latter mode), had wanted to use MLA, and when they brought in Loudsound’s Dan Craig he readily agreed, having worked successfully with MLA during the Field Day and deadmau5 shows at Hackney’s Victoria Park, as a precursor to this summer’s Hyde Park British Summertime Festival.

Capital Sound Technical Manager Ian Colville immediately set to work on designing the system, with Jason Baird providing supportive input. “We have used Martin Audio W8LC’s here in the past, but whatever system we’ve used, it has always required delays. This time we felt it was time to put our faith in MLA and do away with delays.”

For both Dan Craig, and promoters, Lock ‘N’ Load Events, the decision was fully vindicated. Craig reported that by operating to a 98dB threshold inside, production didn’t receive a single noise complaint. Yet the greatest ‘illusion’ was inside the venue, where by cleverly mapping the venue to optimize and ‘hard avoid’ selected areas, the clarity of the signal gave a distinct impression that the various DJ’s were playing a whole lot louder. And with the venue once again hosting a steady flow of events, with Cap Sound as one of their main service providers, this could prove highly significant.

“We had observed this characteristic from Day 1,” admits Colville. “If a venue is completely resonant free then the sound appears louder.” While the complete system design is conceived ahead, the system tech will always make late adjustments on the fly, he said, such as towing in the PA a fraction. In this case once production got on site, they found the venue was not quite as long as drawings had indicated and so certain measurements needed to be re-evaluated.

Fortunate then, that the system tech on this occasion was Toby Donovan, who worked as the MLA tech on the highly successful Hyde Park concerts.

“I have never encountered a system quite as clever as MLA,” he said. “But you still have to use common-sense in the physical world.”

For this show the L/R system was rigged with 11 MLA elements per side (atop a single MLD Downfill) with two W8C’s each side for outfills and eight W8LM as front fills. The PA was flown fairly high (with slight downward tilt) but then towed in marginally to keep it off the walls, using Delta plates and three motors per hang. “We only needed about 1° to avoid distracting reflections; it’s what we would generally do in noise sensitive venues,” said Donovan.

“We also needed to minimize spill all round—the rear rejection with this system is really good.”

The SPL profile was built over a 5dB spread—using zero at the mix position, +2dB at the crowd barrier and -3dB 275 ft. back at the rear curtain.

With ‘Hard Avoid’ applied uniquely to this back wall the design also utilized the Audience and Non-Audience zones with the appropriate optimization settings—the latter tapering off at the stage (from the drape line to the back wall behind).

Having the 14 MLX subs arranged in a broadside cardioid array allowed Donovan to enter delay times and change the dispersion control—using the software to electronically curve the sound into an arc. “Due to the narrow width of the venue, we were only running at 90°, so this was a pretty tight LF beam,” he noted.

Toby Donovan confirmed the belief of the entire Capital sound crew. “Such was the coherency and lack of distortion, that everyone I spoke to couldn’t believe we were only running at 98dB. It was exactly the same on the Joe Satriani tour where we were running at 99dB but sounding like 103dB. Our ears deceive us into thinking that it’s so much louder.”

All of which was to the benefit of Above & Beyond’s Group Therapy 050 show, fronted by the trio of Jono, Tony and Paavo and also featuring support from renowned DJ’s Arty, Andrew Beyer, Boom Jinx and Guy J.

Paavo Siljamäki, for one, was delighted with the outcome. He stated, “[Capital Sound] made one of the most difficult venues in London sound incredible. Never before in my touring career (with over 500 gigs behind me), has the sound in a venue been such a talking point. I had lots of sound engineer friends complimenting us on the way the place sounded,”

Martin Connolly can also reflect on a highly satisfactory outing. “When we supported Subculture and Come Together at this venue for Lock ‘N’ Load Events two years ago with a hybrid system it worked well.

“But the sound was no match for this. When you are not battling against reflections or ambient noise and can aim the sound off the walls, you will always appear to get more volume from the system at sensitive sites like this. Everyone agreed, particularly Seamus [Morley], the tour manager, who described the sound as ‘epic’ and confirmed that we had made absolutely the right choice of PA.”

Photo credit: Photo by Sebastian Matthes/manox.net”

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

3G Productions Provides Creative Audio For Jabbawockeez At Luxor

Las Vegas, NV––When popular hip-hop dance crew Jabbawockeez show Prism opened the new 850-seat theater at the Luxor Hotel and Casino, 3G Productions was the first choice to design and install the audio system.

Winners of the first season of America’s First Dance Crew, Jabbawockeez has appeared in commercials for Pepsi and Gatorade and performed on Dancing with the Stars, So You Think You Can Dance, The Ellen DeGeneres Show, and Live with Regis and Kelly. The dynamic and highly visual eight-man dance crew toured with New Kids on the Block and Jesse McCartney, launched their own clothing line and performed at the Gator Bowl, with Shaquille O’Neal at the NBA All-Star game, and Taylor Swift at the 2013 Billboard Music Awards, just to name a few recent appearances.

Because a Jabbawockeez performance is so visually intense by nature, providing audio for Prism presented special challenges from the outset. As 3G’s Marketing Director Keith Conrad points out, “Given the nature of a dance entertainment show and the need to have the full stage clear and viewable for the audience, we couldn’t have any front fills or subs on stage or in front of stage where they would normally go.”

Employing a d&b audioteknik system that included 12 Q-Subs, 6 V12s a side and eight E8s for the 5.1 surround, 3G applied a particularly unique, problem-solving approach to the system design.

“The client wanted the most SPL possible, but we had to put the subs underneath the stage in a very limited area,” he continues. “The Q subs fit perfectly and were easily able to meet the SPL output requirements for the show.

“Without the ability to have front fills on stage or blocking any portion of the stage, we had to get creative with the arrays. The V12 is rigged at a 15 degree angle on the bottom of array to cover the front seats and the horizontal dispersion of 120 degrees allows for the coverage of a fairly wide room with only 6 boxes a side.

“The client also wanted a surround sound system but didn’t have points or places to hang the boxes in the rear of theater,” Keith concludes. “The d&b E8 was a perfect enclosure for coverage and size, could be mounted directly to the wall and be out of the way, but still provide necessary SPLs for the show.”

Asked about 3G’s role in the show, Jabbawockeez Production Manager Fabian Herrera said, “We had some unique challenges with the theater based on the exaggerated width of the room and the need to keep the stage clear for the dancers. We brought in 3G Productions based on their strong reputation as a service-focused provider and extensive high-end inventory in the Vegas market. They designed a top of the line d&b audiotechnik V-series with Q sub system that blew us away, both in terms of SPL output and coverage and the ability to see the show without any obstructions.”

For more about 3G Productions, 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 Compact Impresses At NYC and D.C. Demos

Martin Audio MLA Compact Demo Team

Martin Audio recently made a significant impression on leading theatrical sound designers, acoustic consultants, audio engineers and event production management at exclusive demonstrations for its award-winning MLA Compact loudspeaker system in New York City and Washington D.C.

The New York demo was held in the Grand Ballroom, Manhattan Center Studios, while the Washington D.C. demo took place in the Lisner Auditorium at The George Washington University.

Both provided a unique opportunity for attendees to learn more about MLA Compact’s groundbreaking cellular drive technology while experiencing the exceptional coverage, dynamic audio quality and clarity of speech the system is known for in person.

Hosted by Martin Audio U.S. Director of Operations Rob Hofkamp, the demonstrations featured a detailed technical presentation by Research and Development Director Jason Baird and a live demonstration of the system including unique optimization techniques around hard avoid and non-audience areas. Over 100 people attended the shows and the response was overwhelmingly positive. Enthusiastic attendees came from as far away as Paraguay and Austria.

Layla Davias & Frank Portalatin

Commenting on the demos, Hofkamp said, “It was a pleasure to do these demos and receive such positive feedback on our presentation and the MLA Compact. The attendees also enjoyed the exceptional live acoustic performances from singer Layla Davias & guitarist Frank Portalatin, alongside full-bore metal recordings from Rammstein in excess of 110dB. Special thanks also to Jim Risgin of OSA and Mike Scarfe of MHA for their support of the NYC and Washington DC demos respectively.”

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

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