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Delicate And MLA Take Control Of Audio At BottleRock Festival

Far from your typical summer rock gathering, the BottleRock Napa Valley festival combined the best in music with exceptional food, wine, beer and comedy to provide a whole new multi-sensory experience for sophisticated concertgoers.

Fittingly, the festival was held in one of the country’s greatest wine regions at the Napa Valley Expo fairgrounds in the heart of downtown Napa, California, just blocks away from restaurants, wine tasting rooms, art galleries and hotels.

The eclectic musical lineup of over 80 bands was easily on par with the finest regional wines in terms of taste and variety, including Kings of Leon, The Black Keys, Zac Brown Band, Train, The Black Crowes, Jane’s Addiction, Alabama Shakes, Jackson Browne, Charlie Musselwhite, Primus, Richard Thompson, Mavis Staples, Blues Traveler, Brandi Carlile, The Flaming Lips, Violent Femmes, The Wallflowers, X, Dwight Yoakam and too many more to name here.

Delicate Productions of Camarillo and San Francisco was in charge of audio, lighting and LED for what was the inaugural run of the festival. Simply controlling audio in a fairground located in the heart of Napa with houses just across the street was enough of a challenge for any production company, not to mention supporting the festival’s five stages for four full days of music.

The need to provide exceptional coverage while eliminating noise spillage in such a tightly defined area was a critically important factor for BottleRock, which explains why the MLA (Multi-cellular Loudspeaker Array) system was chosen for the main stages along with a full complement of Martin Audio for the other stages.

Delicate’s design team for the system was comprised of lead audio engineer Brian Basilsky working with company President Jason Alt and General Manager George Edwards. The main (Sliverado/Willpower) stage consisted of a L/R hang with16 MLA and 4 MLD Downfill cabinets per side, a left-left side hang of 6 MLA Compact (no right-right side hang because of nearby houses); 12 W8LM for front fill; 24 ground-stacked MLX subs, and 16 MLA Compact enclosures for delays. The Monitor/Stage system included L/R hangs of 4 W8C; 4 W8CS compact subs; and two WS218X subs for side fills, along with four WS18X drum subs.

Rounding out the full complement of Martin Audio at the festival was a MLA Compact system with DSX subs at the second stage; W8LC systems for the third and comedy stages and a smaller trapezoid WT3 system for the local stage.

Commenting on why they chose MLA for this situation, Jason Alt says, “There’s no system out there that could duplicate what we achieved in terms of audio control with MLA. The way we were able use to steer the subwoofers and the system, our ability to determine an accurate end point and really have audio die off before the end of the property line was so important. The only audio that people heard at a distance was because of the immersion layer in the atmosphere. It had nothing to do with audio really spilling that far.”

Considering all of the challenge at the BottleRock event, what was the biggest specific problem Delicate had to face?

“The fact that the fairgrounds property line is literally 100 feet across the street from houses,” Jason responds. “And those residents were very concerned at the beginning that having a big rock concert going on that close would cause all kinds of problems in terms of the noise and even their paintings falling off their walls. But by the end of it, because of what we did with steering the system and especially the subs, there were no problems.

“Even though the stage was only 200 feet from the end of the property line,” Jason explains, “we were able to get the subs down to -35dB fifty feet from stage right––the low end dropped off that dramatically. If you stood across the street it was hardly even noticeable. But if you walked to the side of the stage feeding into the fairground, there was full-on 90º bass coverage. It all came down to really impressive calculations from Brian and Ferrit (MLA specialist Martyn “Ferrit” Rowe) that produced those results. We had interaction and worked with all of the people on that street throughout the festival and not one of them complained. Most sat on their porch and enjoyed the show.”

Looking back at the festival and the need to fulfill the needs of 80 acts within necessarily tight time frames, Jason acknowledges MLA’s many other advantages: “Besides the control, MLA helped us work much more effectively with all of the different acts at BottleRock. The system gives you such a blank canvas for what each artist wants the system to sound like; we were able to accommodate all of their sonic wish lists quickly and effectively. Deploying MLA and getting it up happened in a timely fashion so that every artist had enough time to set up and the headliners were all able to tune the system, take a good listen to it, and adjust it to their specific needs.

“Coverage-wise, we didn’t do a typical right-right hang because of the neighborhood’s proximity, but we did cover 30,000 people very well with a decent amount of boxes. I don’t think we could have achieved the same sonic goals with another system, especially with the county’s noise ordinances. One of the headliners, Zac Brown, carries MLA as their touring rig and their system tech didn’t make a single change to the way we deployed it. They didn’t even have to EQ it that much.

“We actually got very positive feedback from all of the artists and engineers,” Jason adds, “including those smaller bands who were opening up the main stage. Even though they were only playing to a few thousand attendees because it was early in the day, the crowd wasn’t getting blown away because the engineers didn’t have to mix too aggressively. MLA really did its job of working with every artist on every level.”

Asked to sum up about the overall performance of Martin Audio at BottleRock, Jason concludes, “As the largest Martin Audio house in the country, we’re fully committed to all of their products, especially for an event like this. Every place we deployed it, every version of every Martin Audio box we have was used, whether it was speakers on a stick, WT2s, WT3s or W8LMs, we pretty much used everything everywhere to fill in every need the festival had.

“The MLA Compact rig on the second stage was especially impressive. We debated back and forth on the distance coverage for that area, but the Compact outperformed even what we thought it would do and covered an area 300 ft. out. And once again, we could control it to keep the sound inside the property line, so it all worked out really well with MLA and Martin Audio, which was not surprising for us.”

For more about Delicate Productions, please click to www.delicate.com

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.

Modular Power Raceway Offers More Options with Addition of New Modules

Fairfield, NJ––Middle Atlantic Products is expanding its popular MPR Series Modular Power Raceway System to include additional unique options to meet the evolving power distribution requirements of AV systems. The industry’s only off-the-shelf NRTL-listed plug and play solution for creating a custom power strip, the MPR Series now offers three new options: a 30 Amp controlled raceway module and two options for Neutrik® powerCON connectors.

Two Neutrik powerCON modules are available to accommodate the manufacturer’s 20 Amp and 30 Amp connectors. The 20 Amp rated receptacle module can be incorporated into the MPR system raceway via standard MPR connectivity options, while the 30 Amp version is hardwired within the raceway.

The new 30 Amp controlled module brings the benefits of the MPR Series’ 30 Amp controlled standalone unit into the MPR raceway. This hardwired-only option incorporates a 30 Amp isolated ground twist lock receptacle. It includes a local toggle switch that allows the integrator to control the outlet status (Always On, Always Off or Dry Contact Control) and features LEDs to confirm the module’s status.

The MPR System was recently enhanced with a deeper raceway design offering increased circuit capacity and improved mounting for greater installation flexibility. These enhancements and continued new offerings show the company’s commitment to offering integrators a custom, NRTL-Listed solution to fit their changing needs.

For more information about the Modular Power Raceway and 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

RG Jones And Martin Audio Maintain Winning Formula For Glastonbury

After a one-year break, it was business as usual back at the Worthy Farm site for this year’s Glastonbury Festival. RG Jones once again turned to the tried and true Martin Audio W8 Longbow system, which again dominated the Pyramid Stage.

With visiting artists and sound engineers so complimentary about the sound system two years ago, specialist sound company RG Jones had no hesitation in fielding a similar PA rig, knowing that this would meet all compliances and propagation tests set by the acoustics consultants and organizer Michael Eavis while satisfying the vast crowds of around 150,000 who converge on the site for the four day extravaganza.

The Longbow hangs are now a familiar sight, book-ending either side of the iconic Pyramid, having fulfilled similar duties for the previous four festivals.

Once again dual inner and outer PA hangs comprised of 14 W8L Longbow elements per side, with two W8LD Downfills at the base provided the full range dynamic––making 64 boxes in total. However, this year RG Jones changed the subwoofer design from the Martin Audio WS318X (3 x 18in) subs fielded in 2011 back to 54 of the WS218X (2 x 18in) enclosures used previously––still maintaining an electronically curved, cardioid broadside array configuration.

With the subs delayed incrementally from the center outwards, the overall wavefront was tuned to fill the Pyramid Stage area, and ensure that spillage beyond the site perimeter was minimized.

According to RG Jones’ project manager Ben Milton, a Glastonbury stalwart who was taking on the role of project manager for the first time, “We have tried various configurations of the bass array and this solution––with two enclosures front facing and one reversed––works particularly well; the rejection from the stage is great and it enables us to bend, shape and steer the sound.”

In addition, two clusters of four W8LC Compact Line Arrays, situated at each end of the crash barrier, provided nearfield infills, and four delay masts each comprising a further 16 x W8LC’s were positioned 330 ft. back from the downstage center, split into an arc.

“This solution worked great,” said Milton. “The organizers wanted to leave nothing to chance when it came to maintaining levels and this was virtually a carbon copy of the 2011 system. We had plenty of opportunity to walk the field and conduct measurements to ensure the accuracy of the system,” he said.

One advantage was the additional zoning that could be applied for tighter control. “All the tops were on individual circuits so we could turn them down very discreetly if necessary and sculpt the system. When the sun goes down the air temperature changes and we back off the top boxes; and as it cools we can bring them back up again.”

This is the domain of seasoned PA system technician Mark Edwards, who has extensive experience with all Martin Audio’s premier systems. He was an essential member of RG Jones’ specialist team, which included Steve Carr and Damian Dyer at FOH (with the experienced Simon Honywill occupying more of a ‘floating’ role this year). Down at the stage logistical duties were shared by Ben Milton (who also mixed monitors for some acts) and Mark Isbister. Supporting the system throughout was Martin Audio’s R&D director, Jason Baird.

Summing up, Glastonbury veteran, Simon Honywill, could not have been more positive, “This year’s Festival was the most professional, slick, and calm, enjoyable experience I can remember at an event of this stature.

“The Rolling Stones sounded absolutely incredible, with all the requisite punch and fidelity you could have wished for. Coverage was superb––the Stones FOH team was extremely happy, and the punters were testament to that. As a neutral platform for all the acts, it would be very difficult to criticize the sound, and I was proud to be associated with such a brilliantly well delivered system.”

Ben Milton added, “We now have bands and their technicians fully confident in the system and happy to use our racks, stacks and control. It makes for a great British synergy: a British production company using a British PA system at the greatest of British festivals.”

The only thing Glastonbury lacked, reflected Honywill, was [sound engineer] Steve Watson, who sadly died the weekend before. “He is sadly missed, and the industry won’t be the same without him,” he said in tribute.

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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Fishman Names Ron Kronewitter Key Accounts Manager

Andover, MA––As part of a concerted effort to grow and optimize their sales team, Fishman has recruited Ron Kronewitter as Key Accounts Manager. In his new position, Kronewitter will be responsible for handling major retail accounts including Guitar Center, Musician’s Friend and Sam Ash, as well as a number of other important independent dealers.

A longtime veteran of the MI industry, Ron has over 30 years of music products retail experience, including 13 years at Fender Musical Instruments where he served as VP Marketing for Acoustic Instruments and VP, Marketing Operations. During his time at Fender, Kronewitter first started working with Larry Fishman and head of OEM Sales Rob Ketch where they eventually transitioned the entire Fender Acoustic line into exclusively using Fishman products.

In addition to Fender, Ron has worked extensively in MI retail, with Musician’s Friend and Guitar Center’s e-commerce and business development teams, and spent several years with his own successful independent consultancy, Foundry Marketing.

Prior to entering the music industry, Ron attended Indiana University and graduated with a BS degree in Business, majoring in Marketing, Marketing and Advertising, and Management and Administration with a minor in Communications.

Ron lives in the San Luis Obispo, CA area with his wife Robyn and daughter Anya.

For more information about Fishman, go to www.fishman.com.

CAD Audio Ships New GXL Wireless Systems


Solon, OH––Shipping now, the new GXL-V and GXL-U wireless systems are designed for ease of use and flexible operation while providing a high performance solution in a convenient dual system configuration.

The GXL-V VHF receiver features two channels of VHF wireless in one chassis. It includes XLR and ¼” discrete outputs and XLR as a mix output of the two channels. The GXL-V receiver features RF and AF indicator lights along with volume controls.

The GXL-U UHF receiver includes two channels of UHF wireless also conveniently engineered into one chassis. It is outfitted with XLR and ¼ connectors as discrete outputs and XLR as mix output of the two channels. The receiver also includes RF and AF indicator lights and volume controls.

GXL-V VHF and GXL-U UHF wireless systems are offered with handheld or bodypack transmitters. All bodypack systems are supplied with guitar cable and condenser headworn mic at no additional charge.

MSRP for GXL-V VHF wireless is $139
MSRP for GXL-U UHF wireless is $229

For more about CAD Audio and GXL Wireless, please call 800.762.9266 or visit www.cadaudio.com.

Martin Audio Tops Off New Church Install By Genesis Technology

Genesis Technology recently completed a new-build AV installation for the Open Door Presbyterian Church in Herndon, Virginia.

Founded eight years ago, Genesis Technology is a fast-growing custom AV installer/integrator focused on commercial, houses of worship, corporate and government applications that specializes in multimedia and videoconferencing.

Designed by Polysonics, acoustics technology consultants also based in Virginia, Genesis Tech’s installation for Open Door features a comprehensive, leading edge Audio/Video and lighting system dedicated to the performance and recording of contemporary music.

The main house PA starts at the top with four flown custom-white Martin Audio W8C loudspeakers integrated in the ceiling motif as unobtrusively as possible. The audio system also includes an Allen & Heath iLive digital console; a dbx DriveRack loudspeaker control system; Lab Gruppen amplification; Rane crossovers and Furman power conditioning.

Asked about Martin Audio, Genesis Technology’s Michael Yoo responds, “We love them. They sound great in terms of coverage and clarity for the sermons and really shine during live performances with electric instruments. Most important, the Church is very happy with their audio 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.

Middle Atlantic Introduces Sit/Stand Functionality for ViewPoint™ Technical Furniture


Fairfield, NJ –– Middle Atlantic Products is introducing new height-adjustable Sit/Stand functionality for its family of ViewPoint™ technical furniture. Sit/Stand lift system functionality promotes proper ergonomics for healthy work environments, and is now available pre-installed in welded ViewPoint furniture bays or as a standalone work station model.

These new models feature three convenient pre-set height settings for fatigue elimination and increased user comfort, especially in multi-shift environments. The Sit/Stand lift legs do not intrude in equipment mounting bays, leaving the full console bay width available for equipment. Quick shipment is possible with a 3-week standard lead time, the same offered for all standard ViewPoint Furniture orders.

Available in the same variety of finishes as the complete ViewPoint system, the availability of new Sit/Stand models expands the line to make an offering that is ideal and flexible for a number of situations and uses.

All Viewpoint technical furniture ships fully welded for drastically reduced assembly times.

For more information about the ViewPoint Series and 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

Middle Atlantic Introduces AV-Focused Lecterns

Fairfield, NJ –– Recently unveiled at InfoComm 2013, the new Reference Series Lectern combines the strength and functionality of a rack with the look of furniture. Marked by the same installer-friendly approach as the company’s C5 Credenza Rack, the new Reference Lectern eliminates long waits, speeds up integration and reduces the effects of transit damage by shipping the outer wood surfaces separately from the internal rack structure.

The Reference Lectern’s AV-focused design enables quick and easy customization. Each lectern features a fully customizable Presenter’s Panel™ that can be designed with cutouts to incorporate the controls, touchscreens and other devices necessary for each project’s individual requirements. This cost-effective feature provides for easy upgrades for future changes to the technology powering the presentation system and will easily be specified with the company’s RackTools® layout and specification software.

Ideal for higher education and corporate environments, the Reference Lectern is equally suited for network-connected presentations, or individual presentations via laptop connection. Its easy-to-integrate, open frame design features built-in power distribution and provisions for both cable and thermal management.

The inner steel rack structure ships directly from one of the company’s five North American warehouses, 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.

Installers can choose from one bay, 1.5 bay or dual bay widths and 13 standard finishes. An optional millwork kit includes detailed drawings for a custom millworker to construct custom wood panels and all hardware necessary for their attachment to the core structure. This allows additional aesthetic choices for complementing the room’s décor.

For more information about the Reference Series Lecterns and 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 Mini Pioneers New Ultra-Compact Format


Due to its ultra-compact footprint, light weight and radical design, Martin Audio’s new MLA Mini will be able to share the award-winning and revolutionary MLA technology across a far wider range of smaller-scale portable and installed sound applications requiring the ultimate in fidelity, consistency and control.

Scalable and versatile, MLA Mini’s ultra-compact size understates its output capabilities. A 12-box array can deliver live music in venues of 750-1000 people.

The MSX mini-sub power plant complements the main system and houses the amplification, networking and DSP necessary to power and control itself and four MLA Mini enclosures.

The system can be flown, ground-stacked or pole mounted. In its simplest configuration, four MLA Minis can be pole-mounted above the MSX with precisely adjustable tilt angle, and function as a plug-and-play system, with the user recalling onboard presets instead of using computer control. At the other end of the scale, up to 16 MLA Minis can be flown in an array and powered by four ground-stacked MSX’s.

With each individual cell under software control, ‘hard-avoid’ areas can also be programmed in to reduce sound spill and noise pollution, and vertical coverage can be fine-tuned electronically in-situ without the need to re-rig the array.

Arrays and MSX’s can be remotely controlled from a laptop or wireless tablet running VU-NET™ control software thus eliminating the time and frustration of trial and error tuning.

Each MLA Mini enclosure houses 2 x 6.5”/2” voice coil LF drivers and a vertical column of 3 x 1.4” aluminium dome HF drivers on a 100° horizontal dispersion horn. The 15” reflex loaded MSX can be integrated into flown arrays or ground-stacked separately.

MSX also contains nine channels of Class D amplification to provide cellular drive while the onboard DSP interacts with proprietary DISPLAY2.1™ intelligent software for accurate array optimization.

Applications include small-to-medium scale theater and live music venues; corporate AV events; fixed installations in concert halls, ballrooms and HOW and side-fill for MLA Compact systems.

Asked about MLA Mini, Director of U.S. Operations Rob Hofkamp said, “We are excited to have this latest addition to the cellular drive family of products. With the Mini’s versatile ultra-compact format, integrators will find it very useful in venues up to 1000 seats and a wide variety of installed sound applications.”

Martin Audio Managing Director Anthony Taylor added, “In addition to the physical advantages, MLA’s revolutionary technology now becomes accessible to most budgets for the first time. In theory, every installed venue or touring show can now achieve the controlled delivery and speed of set up that cellular technology allows, no matter how big or small the space is.”

The new system is expected to start shipping end of May 2013.

For more about MLA Mini and other Martin Audio installation products, 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.

Revolution Nightclub Upgrades With Martin Audio

Revolution is one of the largest and most successful dance/nightclubs in Waterloo, Southern Ontario, Canada. The city has become a leading technology hub of North America largely because well-known high-tech brands such as Blackberry, Sybase, Google, Oracle, Intel, McAfee, NCR Corporation, Electronic Arts and Agfa either grew to prominence or are headquartered there.

Owned by Gary Stewart and his wife Sue, Revolution has been around in its current incarnation since 1996. The club is open Friday and Saturday and shares a 10,000 square foot building with Flying Dog Restaurant, a popular upscale casual dining emporium that offers DJ-driven entertainment on weekends.

Asked about the club’s longevity, Stewart answers, “We’re fortunate to have three universities that provide us with a new group of customers every September, not to mention all those tech companies.

“We’ve been bobbing and weaving over the years, always on the move to stay ahead of changing styles and demands of the market,” Stewart continues. “This year, we decided on a complete audio, video and lighting system upgrade because it was time for a change.”

Although Revolution occasionally features international DJs such as Avicii and Hardwell, Stewart insists the club “isn’t guest DJ driven. We have always appealed to the masses. We’ve managed to fill 1600 seats every weekend for over 20 years by playing what the customer wants and appealing to the ladies.

“In terms of music program, we offer more variety because our guests don’t want to be hammered by a straight EDM program five or six hours a night. They still want Top 40 material and a more accessible pop/dance format to break things up. Most of the pop music on the radio has an EDM slant from a production standpoint anyway. So eventually it all falls into place and works for us on the dance floor.”

In addition to a massive dance floor, Revolution has The Purple Room and a number of VIP suites to accommodate the special needs of its guests. As Stewart explains, “we offer first class furnishings with a degree of privacy, personal service and a feeling of being special when you step into one of our VIP areas, even if you’re not a famous celebrity.

“The Purple Room is our EDM space. We’ve been programming house DJs there for over 15 years. This space offers the more specific EDM fan a place to hear their favorite beats without having to go to a different club. It’s small and intimate with a crushing Martin PA in a room that holds up to 130 customers while total capacity for the club is 1590.”

Revolution’s recent audio, video and lighting system upgrade represents a significant investment consistent with Stewart’s commitment to keep the club at the forefront of technology. As he points out, “Besides the new audio install which features the latest Martin Audio products, we’ve put in 92 Microh LED video panels with 11 screens running around the perimeter of the dance floor and three screens behind the reconstructed DJ booth that is now the featured attraction since the DJ is the rock star.”

In addition to the LED panels, Revolution’s new lighting system consists of an Arkaos Media Master stage server; 24 Elation Design Spot pro 250s; six Martin Professional Atomic 3000DMX strobes; two Titan RBG 6 watt lasers, 60 Microh LED RGBW Max Zoom quad wash lights; a Livid OHM 64 MIDI controller; two Martin Professional/Jem K1 hazers and a 23” LCD touch screen monitor.

Revolution’s current audio upgrade features a new Martin Audio speaker system consisting of eight Blackline H3H+ three-way Hybrid system enclosures, ten WSXa subwoofers, DX2 speaker processing and MA5.2K and MA9.6K power amplifiers. This powerful new setup replaces an older Martin Audio system at a cost of just under $200,000.

Asked about his choices for audio, Stewart responds, “We’d already owned Martin Audio gear for over 10 years, so this was a natural choice for an upgrade.

“Basically, we wanted a bigger, fuller, louder sound. 15 years ago we were top of the heap and state-of-the-art, and you can quickly fall backwards in the ranks if you don’t keep changing.

“Some club owners are usually content to ‘make do,’ but we definitely wanted to make an impact and knew we had to modernize. No complaints about Martin Audio because they are top end all the way. The new amps are state of the art. I don’t know if there’s anything better than what we’re using for power, lightness, reliability and price because everything’s changed so much.

“We’ve gone to a much larger box with the H3H+’s that are mounted on flying points in the ceiling. They give us a whole lot more headroom, which makes it more fun for the customers and the DJs. The 10 WSXa sub woofers are ground-stacked in a line in front of the DJ booth and they provide more than enough low end.”

The updated system also includes new Pioneer CDJ Nexus 2000 and 900 Multi players with new technology that allows DJs to use USB, data cards and Wi-Fi in addition to CDs.

Asked how he feels about the new Martin Audio system, Stewart concludes, “We’re absolutely thrilled with the increased SPL, musicality and smoothness of coverage. It’s given us big smiles and big wow. We did a promotional event with one of the beer companies mostly attended by industry guests and the other club owners in town walked in and their jaws dropped. The room, the changes and the PA system blew them away. They were going on and on like, ‘Oh My God, Oh My God, it sounds so great,’ which is nice to hear from your competition and your peers.”

Photo credit: Scott Ferrede, Core Photography

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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