Issue Nine | March 2004

In this Issue:Eddie Gets SexieWigwam Backs CompactsLe Point de VueRings World Premiere

Katie MeluaDebuts W8LM

The Martin Experience

THE EDGE | Issue Nine | March 2004

Wigwam’s Major Commitment to W8LC/W8LM 3New Additions to Blackline, Stadium and Amplifier Ranges 4-5Katie Melua Tours with Concert Sound 6Return Of The King: World Premiere in Wellington 7Ozone Multiplex – and by Royal Appointment in Horsham 8DeHavilland Campus New Auditorium 9Het Paard/Oosterpoort: Hot Installations in the Netherlands 10-11Germany: Meatloaf on tour 12

Lola installation in Berlin 12Carl Cox with Aurateq in Colombia 13Nobel Prize Banquet and Club Aladdin … in Stockholm 14The Celebration City Spectacular in Branson 15Eddie Izzard Takes Sexie Tour to the States 16-17Green Bay Packers 17Theatre Touring: Mayumana, Joseph and Les Misérables 18-19On Tour with the Stereophonics 20Point de Vue: Potent EM dance systems in Finistère club 21W8LC Launches in Mexico 22Major Rental Sale in Slovenia 22Morrisson Opens in Auckland 23Major Projects for TAG: ArtHouse Hotel 24

OneWorld Sport 25Samolyot and Wizard Work for A&T Trade in Russia 26-27Rea Sound Fit Out Terrace Hotel in Northern Ireland 28C115’s Work for Ampco at Turnhout’s Beauregard and Flavour 29Flying High Above Barcelona: Alberdi Pro Take Charge 30Emil Chau on Tour in China 31Blackline in Lux Restaurant 31Wavefront Users 32

Design and production: Red Square Interactive Ltd, Dartford, UK.

Any lingering questions the role our new W8LC and W8LM Compact and Mini Line Arraysystems would occupy out in the field were answered with dividends this month.

In a short space of time, the scaled-down versions of the W8L ‘parent’ line array have foundtheir way into rental inventories throughout the world, and then straight out on tour.

Capital Sound Hire, our premier London rental house, having reinforced their main W8L LineArray with their new Compacts on the Stereophonics tour before promptly shifting them tomain PA hangs for the Eddie Izzard Sexie tour. We have covered the American leg of this,where Scott Scherban and Delicate Productions took control.

At the same time we are delighted to announce a major investment by our friends WigwamAcoustics in both the Compact and Mini Line Array (along with complementary subs anddrive racks). In so doing we are renewing an association with the premier hire company thatextends back neary 30 years.

Another company eager to back the British signature sound of Martin Audio this month wereConcert Sound, who, faced with putting together a production for the mercurial Katie Meluaon the variable and often difficult theatre circuit, saw the solution in the compact W8LM’ssonic and rigging attributes. With neither system nor vocal processing required, FOHengineer Matthew Manasse has been able to bring the best out of the artiste’s bluesy voicewithout any colouration.

Of course the last quarter hasn’t been entirely about Line Array. As we watched PeterJackson pick up a record haul of Oscars for The Return of the King we were reminded of theWorld Premier of the last in the Lord of the Rings trilogy — at The Embassy in Wellington —and the fact that the first time the soundtrack was heard anywhere was through a MartinAudio Cinema system.

Elsewhere, we express continued gratitude to our distributors (and their customers) for thenumber of high profile projects they continue to undertake with our kit — many of which arecovered in this issue. We would be unable to maintain our record number of pages were itnot also for the co-operation from our friends in the media. This month thanks go to MikeLethby at Gasoline Media, Dan Goldstein at Installation Europe, Nicola Reddy at am:pm,Alain-Marc Malga at SONO … and Martin Audio’s own stalwart photographer who jetted upto Glasgow at a moment’s notice to shoot our front cover.

Jerry Gilbert

March 19 - 21: NSCA, Las Vegas, N. America

March 31 – April 3: Musikmesse, Frankfurt, Germany

May 16 – 19: CALM, Beijing, China

June 9 – 12: INFOCOMM USA, Atlanta, N. America

June 16 – 17: ABTT, London, UK

June 21 – 24: Cinema Expo, Amsterdam, Holland

July 15 – 17: PALA, Malaysia

Sept 12 – 15: Plasa, London, UK

Where to see us

Cover: Katie Melua onstage at Glasgow Royal Concert Hall.

Contents

RIGHT AT THE CUTTING

3

Wigwam Commit to W8LC/W8LMWigwam Acoustics have made a major investment in MartinAudio Line Array technology, following an intensive search fora compact system to complement their existing hire stock.

With the purchase, Wigwam renew an association with theHigh Wycombe company that began more than 25 years ago.Both Wigwam managing director, Mike Spratt, and hiredirector, Chris Hill, stressed the significance of having theconfidence to “buy British” after successfully auditioning theMartin systems at Manchester MEN and Liverpool Cathedral.

The initial order comprises 24 each of the Compact (W8LC)and Mini (W8LM) Line Array, along with 12 of thecomplementary WLX subwoofers and associated flyinghardware.

Powering the system, which will join the European tour of Lordof the Dance (a long-term Wigwam contract) will be acombination of 27 Martin Audio MA2.8s (1500W into 4 ohmsstereo) amplifiers and five MA4.2s (2300W into 4 ohms).

Chis Hill confirmed that his company had reviewed most of theavailable systems before favouring Martin Audio. “We wanteda system that was compact, quick to rig and sufficientlyversatile to handle venue sizes ranging from 2,000-seaters rightup to 8,000 capacity. The Martin Audio system fitted all thesecriteria. The W8LC will fit into a small theatre and delivertremendous power, while its size and weight make it easy to transport.”

He added that Wigwam had been keen to use a British system,and recalled purchasing 115 bass bins and the legendary 212Philishave direct from Dave Martin back in the early days of the company.

The clincher came with a final evaluation at LiverpoolCathedral, when 3,200 people flocked in to hear Christianband Delirious? “It was the first rock gig in the cathedral for 30years,” recalls Mike Spratt, “and in conjunction with MartinAudio’s Jim Cousins, we rigged eight W8LM boxes a side onALC towers.

“I couldn’t believe the clarity — and although I brought a lot ofextra reinforcement I only had to switch in two extra subs anda small delay system, whereas I would normally set delay pointsevery 10 metres or so. The sound quality was excellent and thecoverage it provided was stunning — projecting across 60metres effortlessly in a highly-reverberant area.”

He continued, “The W8LC/W8LM system has so many pluspoints — it’s compact, the rigging points are good, it’s British,it can equally be run passive or active … and it gives us choice.On top of that we like the people at Martin Audio, and thesupport that they will be able to provide.”

Wigwam’s W8LC system will debut in Germany before touringRussia and the Baltic states with one of the four Lord of theDance troupes, which are currently out. The W8LM willtypically be used for side hangs, infills and delays.

Chris Hill has also given high priority to packaging the system,and immediately commissioned another British company —VDC Trading — to build all the racks, with specific panellingand cable systems.

With an eye on the future, Wigwam Acoustics confirmed theopening of their London depot later this year, where they willbe near neighbours of fellow Martin Audio Line Arraystockholder, Capital Sound Hire — thereby creating cross-hirepotential for both companies.

Pic: Left to right: Martin Audio’s Rob Lingfield and Wigwam’s Chris Hill

About The W8LC/W8LM

The W8LC compact three-way, all-horn line array is the first “true”mid-sized system offering the same exceptional audio, consistentcoverage, high efficiency and rapid set-up time as the W8L.

The asymmetrical design allows mid and HF horns to function asseparate devices, providing a true 90º through the mid and HF bands.The greater usable dispersion angle preserves the tonal balance as thelistener moves off axis.

The more compact and lightweight three-way W8LM is a scalableactive/passive system that can be flown or ground stacked where spaceis at a premium. The W8LM is a full-bandwidth, 2 x 8in and 2 x 1insystem that can be used without additional sub-bass.

It uses line array principles from its larger predecessors, coupled withan evolution of the Hybrid horn loading technique. The use of uniquemid-horn geometry and toroidal wave-guide allows the W8LM tomaintain constant directivity with a horizontal pattern of 120 degrees.

Musikmesse Gets First Showing of H3HBuilding on the immense popularity of the Blackline Series,Martin Audio is introducing the H3H.

Given its first viewing at the Frankfurt Musikmesse, this highpower enclosure utilises the same all horn-loaded componentsas the H3 — but in a horizontal format.

The trapezoidal three-way bi-amp Hybrid™ speaker is fullyhorn loaded, the components consisting of a single15in(380mm) horn and reflex-loaded low frequency transducer,a10in (250mm) horn-loaded mid frequency transducer with a‘phase-ball’ loading device, and a 1in (25mm) exit HFcompression driver mounted on a constant directivity horn.

The mid and high frequency sections are integrated by aninternal 2kHz passive crossover network and the enclosure isof a multi-laminate birch ply construction.

Aimed at the install market, where high SPL and articulation isrequired in a compact, low height package, the H3H hasmultiple inserts to facilitate easy, quick and safe installation.

E1300 Expands Amplifier Range

Martin Audio has expanded on its range of high-qualityamplification with the introduction of the E1300. This no-compromise product features a high-frequency switchingpower supply, with on-board intelligent control, providing veryhigh performance in a lightweight 9.5kg, 2U package.

A custom heat exchanger with massive surface area andturbulent airflow, coupled with dual fan four-stage thermalcontrol, ensure that the amplifier will provide maximumperformance under any condition.

TO3 dual die output devices providing high current andreactive load capabilities, with inbuilt protection against severeamplifier clipping are just some of the features packed into thisstunning new product.

The key benefit of the E1300 is the plug-in module facilitylocated behind an easily removable front panel section. Thisfeature obviates the need for costly stand-alone dedicatedcontrollers. Various module options are available, dependentupon application, including one that provides crossover andpreset equalisation functions for most combinations of theBlackline Series.

With an output of 720 watts per channel into a 4 ohm load andTHD 20Hz – 20kHz of 0.08%, the E1300 providesuncompromising sonic performance and reliability as requiredby the most demanding of today’s sound reinforcementapplications.

EWS • PRODUCT NEWS • PRODUCT NEWS • PRODUCT NEWS • PRO

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Martin Audio Workshop a Big Success

Stadium Series EnhancedContinuing the company’s surge into the installation market,Martin Audio has enlarged its Stadium Series to include threenew enclosures suitable for more environmentally-demandingapplications. These are the AM10, AM12 and AM15.

These loudspeakers have been specifically designed forapplications such as stadiums and arenas where high SPL andweather resistance are of prime importance. All threeenclosures are of a vertical trapezoid design and horizontallyformatted to reduce sightline obstruction. A new plastic paintfinish, together with a galvanised and powder-coated steelgrille, with a declon foam backing, ensures that the enclosure iswaterproof in all but the most extreme conditions.

The AM10 has a 300W 10in (250mm) LF driver coupled with a1in (25mm) exit HF compression driver mounted on arotatable 90˚ horizontal x 50˚ vertical constant directivityhorn. The AM12 has a 300W 12in (300mm) LF driver coupledwith a 1in (25mm) exit HF compression driver mounted on arotatable 80˚ horizontal x 50˚ vertical constant directivityhorn. And finally the AM15 has a 400W 15in (380mm) LF drivercoupled with a 1.4in (35mm) exit HF compression drivermounted on a rotatable 80˚ horizontal x 50˚ vertical constantdirectivity horn.

Connection to all three enclosures is via a flying lead securedthrough a waterproof gland. All internal metalwork isgalvanised. The enclosures have 12 x 10mm threaded insertsfitted with copper coated and blacked steel bolts. Eachloudspeaker is fitted with a passive crossover network and isalso available with an optional 150W or 50W 100/70 volt linetransformer; tapping adjustments are made via spade terminalswhich are accessed through a removable rear panel.

DUCT NEWS • PRODUCT NEWS • PRODUCT NEWS •

Pictured are international distributors attending the three-day technical workshop hosted by Martin Audio prior to the PLASAExhibition in September 2003. With technical innovation (and Martin Audio’s design philosophy) at the forefront, the workshop isdestined to become and annual event. We look forward to seeing you all again next year.

Georgian-born jazz and bluessinging sensation, KatieMelua, has undertaken herfirst UK theatre tour to sell-out audiences.

Audio production company,Concert Sound, decided thiswould be the perfect vehicleto debut Martin Audio’s newMini Line Array (W8LM)system. With seatingcapacities ranging from 1200to 2500 — ludicrouslymodest considering the 19-year-old artiste’s mercurialrise — production neededthe versatility of an easily-reconfigurable system thatwas fast to rig, fielding up to12 enclosures a side at thelarger venues (partgroundstacked on MartinWLX subs, and part flown).

Explaining the decision,Concert Sound’s Tim Boylesaid, “I kept hearing soundengineers say that the MartinAudio system soundedstunning and so when wespecced the tour we thoughtthe W8LM would be ideal.We have a long relationshipwith Martin Audio and it’sdelightful to be using one oftheir systems again. I haveknown (system designer) BillWebb for years and when weran the Line Array up in thewarehouse it bore all hishallmarks of a natural-sounding box that requiredno processing whatsoever.”

The tour was something of abaptism of fire for FOHsound engineer Matthew(Matt) Manasse — whowould not only be sendingfeeds to the Martin W8LMfor the first time but also

marking his debut on a digitalmixing desk (the YamahaDM2000). The flexibilityafforded by both set-ups hequickly grew to love.

However, the W8LM systemheld few surprises for thesound engineer, as he wasquick to explain. By chanceone of his friends, OzBagnell, was system tech onthe recent Joan Baez tour —which also featured a MartinAudio Line Array. “He invitedme down to hear it — and Icould sense its potentialimmediately. When I heardthat Concert Sound wereconsidering it for Katie’s tourI recommended that we gowith the system, because theway it is being talked about— and the way it soundsstraight out of the box —inspires confidence.”

Using the system’s ViewPointpredictive software tooptimise sound coverage ineach venue, Matthew says,“As soon as we turn thesystem on it sounds great runflat, delivering a huge amountof power from a smallfootprint. Using the Martinsoftware, all I’ve had to do istweak the horn levels toachieve the optimumcoverage, although in someinstances I’m using additionalfills, depending on theauditorium layout.”

Matthew had workedcarefully on Katie’s vocalprojection with her mentorMike Batt, at productionrehearsals, and at the sametime favoured the stalwartShure Beta SM58A to theadditional detail provided by

Concert Sound Debut MiniArray with Katie Melua

other mics — as it tended tonegate any ‘breathiness’.With a singer as quiet as KatieMelua, an obvious advantageof the W8LM, he says, is itsability to produce a goodcentral image.

“I’m running Katie’s voiceabsolutely flat using MartinAudio’s standard factorysettings, and tuning thesystem with 4dB boost onthe sub.”

The only vocal processing isprovided from a solitaryLexicon 480L in his outboardrack (with any otherprocessing provided by theinternal desk effects).

Katie Melua’s line-upcomprises drums, doublebass, electric and acousticguitars, brass, keyboards(electric, organ and concertpiano), with Katie herselfswitching between fourguitars. The DM2000 istaking 39 analogue inputs butby cross-patching internallyMatthew has nearly 70channels at his disposal.

Matthew’s sound mix hascertainly earned the approvalof Mike Batt. “At the firstproduction rehearsal he wasout front with me for muchof the soundcheck — toensure we got her voicesounding natural andunprocessed. But once hehad heard the tapes playedback he was perfectlyhappy.”

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The Return of The King:World PremiereOver 100,000 Wellingtonians and visitors from around theworld descended on the home city of Peter Jackson for theWorld Premiere festivities for The Lord of the Rings — TheReturn of the King. The World Premiere screening at therecently-refurbished Embassy Theatre was attended by 750VIP’s, including Liv Tyler, Viggo Mortensen, Orlando Bloom,and Sir Ian McKellen. The New Zealand contingent, headed byOscar-winning director Peter Jackson, and including WetaWorkshop maestro Richard Taylor, also got a well-deservedhero’s reception from the crowd.

The continued refurbishment of the Embassy Theatre (photosby Robert Catto) is a three-year project which has alreadyresulted in Peter Jackson bringing The Return of the King toWellington, New Zealand for its World Premiere. Thisrepresented a real breakthrough for the city, its resident filmindustry, and New Zealand as a whole.

An integral part ofthe refurbishmentwas an upgrade tothe current MartinAudio sound system.Previously upgradedto a full Screen 6system for the NewZealand premiere ofthe first LOTR film,the system wasfurther enhanced bythe installation of nofewer than 24 Effect5’s to envelope theaudience in themassive auditorium.

The expertise of Optimum Cinema’s Ewan Cole was calledupon to realise this final upgrade to the system. “I was alwaysaware that the original surround system did not match theeffortless quality of the Martin Screen speakers,” said Ewan.“The Embassy now has a truly breathtaking sound system tomatch the fantastic refurbishment.”

The central aim of the Embassy restoration has been to giveWellington back its grand old 1920s ‘cinema paradiso’. Thesweeping marble staircases, high ceilings and other decorativefeatures that have either disappeared, been altered or hiddenfrom view through decades of shifting fashions are nowreappearing. At the same time the opportunity has been takento ensure the Embassy offers a safe, comfortable, state-of-the-art cinema experience. Air conditioning and high quality seatinghave been key elements of the refurbishment agenda.

Embassy Theatre Equipment List

3 x Martin Audio Screen 6: 4 x 15in low frequency section plus a unique mid-range andhigh frequency horn which exhibits ideal pattern control across its operating range from 300Hz-20kHz. Meets the THX specification for 3-way screen systems.

8 x Martin Audio Screen Sub 1’s: Provides low distortion true sub-bass response for anycinema environment. Shallow profile designed for behind-the-screen placement. Single 18”(460mm) long excursion high power driver. Twin ports ensure minimum turbulence.

24 x Martin Audio Effect 5 Surrounds: Two way10in bass and 1in compression passivecinema surround designed to produce the wide dynamic range and extended frequency response ofdigital sound formats.

4 x MA4.2 and 3 x MA1.6: Switch mode power supply. Superior sonic performance. Lightweight (10kg). Advanced protection circuits. Efficient copper cooling system. MLS minimum loadswitch.

1 x CMX 2A Controller: Dedicated 3 in/6 out maximising performance of Screen 6 in bi-ampmode. Crossover frequencies, relative output levels, delay and screen compensated equalisation areall preset. Left, centre and right inputs are provided and there are low pass and high pass outputsfor each channel.

Double Feature for Sound AssociatesCinema specialists, Sound Associates, have been involved intwo high-profile installations using Martin Audio screensystems.

The first was at the Capitol, the community arts centre in theSussex town of Horsham, which was formally opened byQueen Elizabeth II.

Martin Audio cinema and theatre sound systems were installedthroughout. Sound Associates were commissioned to providean integrated design approach to the new audio and projectionsystems, including projection equipment, theatre PA, cinemasound, a combined PA/VA system and general communications.The building had been substantially reconfigured, its new layoutfeaturing a small studio cinema, a larger 160-seat cinema, andthe main 450-seat auditorium which is set up for dual use as atheatre and cinema.

For all three cinemas, Sound Associates chose Martin Audio’sScreen Series of loudspeakers, using Screen 4 three-waysystems in the main auditorium and Effect 3’s and EM15’s forsurrounds. “Martin has been making great inroads into thecinema sound market in the last couple of years,” explainsGraham Lodge of Sound Associates. “They’ve come up withhighly competitive, quality products that match or exceed theusual benchmarks in specific areas, and they offer excellentcustomer support across the entire range.”

The Martin Audio support team completed an EASE design forthe contractors’ installation in the theatre, supplying four WT3sper side of the stage, with two auxiliary WS2A subs for usewhen necessary.

Sound Associates then moved to the home of Oxford UnitedFC, where they fitted out a new nine-screen multiplex cinemaat The Kassam Stadium.

The company again chose a combination of the purpose-designed Screen 4 and Screen 2 loudspeakers, both biamped,

with Martin Effect 3R’s (for surround sound) and Screen Sub1A for the low frequencies throughout the complex.

The Screen series is built to accommodate the various digitalformats of modern film, providing the essentials of lowdistortion, wide bandwidth and uniform coverage.

Sound Associates’ sales and marketing manager, Jerry Murdoch,says that the Martin Audio systems are now really starting toprove their worth. “We have been using Martin cinemaspeakers since they started trailblazing in the cinema market.What we are looking for is high-reliability, high output and lowerpower. In terms of bucks for the pound Martin provides a farbetter solution than any of the other manufacturers, and as forback-up and support they are exemplary.”

Sound Associates had been recommended to the project onthe strength of their reputation, and specifically work they hadcarried out for the Odeon chain.

Top: The Ozone, at the Kassam StadiumBelow: The Queen opens the Capitol in Horsham

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WT2 for £120m Campus Auditorium

A Martin Audio WT2 theatresystem has been specifiedinto the 450-seat auditoriumon the new £120mdeHavilland Campus brown-field development at theUniversity of Hertfordshire inHatfield, Herts.

QAV (Quality in Audio Visual)were awarded the contractfor sound and vision afterbeing placed on the tenderlist following work theycarried out for theUniversity on its original sitein College Lane.

The Cambridge-basedcontractors were tasked withcreating the infrastructure fora multi-functional venue thatcan act as a lecture theatre(incorporating distancelearning), a conventionaltheatre entertainment venuewhile providing video-conferencing links andallowing the University topatch in and call up feedsfrom any projector in thetheatre.

QAV sales and projectmanager, Julian Moore, says

his company is a big fan ofMartin systems. “We haveused their components onprevious projects and we runWT2’s as our hire touring rig along with Martin Audio amps.”

The WT2 is a powerful,compact theatre systemwhich can be used as a stand-alone enclosure in adistributed system or arrayedin multiples. QAV specifiedtwo mounted either side ofthe proscenium arch, with apair of floor-mounted WS2A’shandling the sub frequencies.Front fills are provided by apair of Martin WTUB’s.

While the latter are generallyused as under-balcony fillshere they are positioned inthe stage apron to projectover the orchestra pit as nearfills into the first few rows.This is necessary as thedispersion of the WT2doesn’t really peak until the centre of the stalls,believes Julian.

For stage side fills he hasselected the dependable

Martin Audio miniatureWM0.5 monitors while six ofthe larger LE350 floorwedges will provide foldbacksound for any touring acts.

The system — which alsotakes feeds from standardplayback formats — ispowered by QSC RMXamplifiers and EQ’d usingYamaha’s DME-32 DigitalMixing Engine.

A 24-channel Soundcraft k2mixing desk, Sony Freedomradio mics and ASL wirelesscomms are also included inthe sound specification,which was originally drawnup by consultantsTheatreplan. There are two10U racks which, whenplugged into the floor box,initialise the Crestronmanagement system underwhich the entire installationruns. Also operating underCrestron control are Sonydigital powered mixer amps,with mic inputs to handle themixing away from theSoundcraft desk.

QAV have made a generousprovision of patch bays, floorboxes and datapoints toprovide system headroomand to allow for incomingproductions. There is also alive position at front-of-house.

Acoustically designed byarchitects RMJM, the buildingwas constructed by Carillion— the main contractors forthe entire site.

George Nolan, managing directorof system integrators, QAV

Het Paard Returns with W8LC

Het Paard van Troje is a 20-year old club in Den Haag, desperatelyin need of a total make-over. The L-shape of the originalstructure was far from ideal and leading technician, PeterKerkvliet — who started out as a DJ at Het Paard — was put incharge of refurbishing the venue.

Thus the club was closed for five years. And after some difficultmoments during the reconstruction it was finally able to reopenits doors on September 3.

Owned by the city of Den Haag, the venue now houses twodistinct zones. Whereas the old venue had only one stage, themain room now has a capacity of 1,100 people, while the smallerarea holds 300.

Although the budget was not unlimited Het Paard managed tospecify and install sufficient cutting-edge technology — includinga Martin Audio Compact Line Array (W8LC) system — to placeit among the top five venues in Holland.

Only the fasçia of the old building now remains — the rest iscompletely new. The new stages are formed from concreteboxes mounted on large shock absorbers — so they are notconnected to any of the buildings surrounding it.

The impressive building is multi-purpose, hosting pop music (itsprimary function) as well as dance, theatre, ballet andconventions. The flexible venue contains two balconies with amoveable bridge — so that it can be set up for an ‘in the round’ production.

The design of the loudspeakers was undertaken by TM Audio’sJeroen van Keeken. “Looking at the drawings I initially wanted touse Martin Audio W8C enclosures because I know that systemwell. But when I visited the building for the first time I saw a fewdifficult areas which suggested I should change to the MartinW8LC, together with S218 subs.”

He decided to fly six W8LC’s per side — two stacked on an S218— and four subs per side, which proved to be a perfectcombination. In the small venue Jeroen specified two W8C’s andthree WSX’s each side of the stage. Meanwhile, the originalMartin F2 system, installed in the old venue, has been reassignedto side-fill duties.

“The club bought Martin Audio because they were impressedwith my design, and also the system demo,” he says. “I had alsoknown the lead technician, Peter Kerkvliet, for several years.”

The new set-up, he believes, will service the diverse needs of thewide variety of bands who will play Het Paard — not only smallerDutch groups but also major international touring bands.

The TM Audio technician concludes that in the first two monthsof trading there has been nothing but positive remarks about thesound system, which even the sternest critics admit sounds great— if extremely loud during the dance events!

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W8LC Meets Oosterpoort CriteriaOosterpoort in Groningen isone of Holland’s main concerthalls, hosting touring artists,bands, theatre shows,corporate events and festivals.

After six months of testingand comparing sevendifferent line array systems,Oosterpoort’s technicianschose a 16-piece MartinAudio W8LC rig.

Pieter Stové, head soundtechnician of Oosterpoort,

had demanding criteria whichthe system had to meet,including great sound,flexibility, portability, rider-friendliness and minimumsetup time.

Oosterpoort’s 1900-capacitymain hall is occupied mostmornings by the localclassical orchestra, whilst inthe evening the venue is predominantly used for pop concerts.

Green-I Fits Fox’s Excel SiteGreen-I have recently completed a fit-out for Fox Bars& Restaurants at the ExCeL Exhibition & ConferenceCentre in London’s Docklands.

Faced with the difficult task of replacing an under-equipped system in the 1,100-capacity, split-levelFox@ExCeL, Green-I turned to a Martin Audiosolution.

The vast downstairs space had been served by just sixtiny speakers from a DJ feed when they arrived on site.While Fox operations director, John D’ell-Ross,instigated some screening – to separate the general bararea from the restaurant — the installers set to workwith a judicious configuration of EM Series architecturalloudspeakers to achieve an even dispersion pattern.

They installed eight EM26’s — finished in Martin’stextured green corporate livery — supported by a pairof the ultra compact EM15’s on the mezzanine level, andfour further (white) EM15’s on the light, airy groundfloor.

The design splits the venue into four sound zones, forall-day operation (commencing at 8am), handing controlof three of these zones to the operators (since theupstairs control offset also manages the mezzaninearea).

Green-I have also recently fitted Fox’s 380-capacity sitein Stratford, East London, with six EM26’s distributedaround the L-shaped room. Green-I say they favourEM26’s because they are “reliable, indiscreet andpleasant to listen to.”

The final and most importantdemand was decisive: Thesystem should be adaptablefor use in the big hall as wellas the smaller theatre venue.This meant a compact systemwith high performance.

“Initially I thought we had aproblem that couldn’t besolved, until W8LC enteredthe market,” says PieterStové. “It meets all ourdemands and delivers more

than enough power for ourmain hall, with 100 – 150 popconcerts each year.”

TM Audio supplied a completetouring system includingrigging hardware, amplifiersand ViewPoint predictionsoftware. Four Martin AudioW2 cabinets were used tocover out-of-sight angles of thevenue, while stage monitoringconsists of eight Martin AudioLE12JB floor wedges.

Meatloaf Opts for Martin

The recent Meatloaf European tour saw SiriusShowequipment AG field their Martin Line Array system. Forthe majority of venues the system was rigged with a main hang

Lola, Queen of BerlinA Martin Audio Blackline system has been installed in the new300-capacity hybrid venue, Lola in Berlin.

A combined bar, restaurant and club, it is owned by JenniferMichaels and Uta Stoffers, and has been fitted from the groundup by Berlin-based Complete Audio (who will also service thevenue).

The sound system was designed by Stefan Mathias, projectmanager of Atlantic Audio — who not only distribute MartinAudio, but also XTA, whose components provide the digitalnetworking and system dynamic.

Stefan said that Martin Audio had been chosen because of itssuperior sound quality — ably demonstrated by Ata Macias,owner of the Robert Johnson Lounge in Offenbach, where aMartin PA is also installed.

The system at Lola is configured as a four-point dancefloorapplication, with four Martin Audio Wavefront W3 tops and apair of WS2A subs, augmented by three WTUB enclosures (offfloor) and five EM15’s, distributed in the lounges. The DJ soundis provided by the now standard Blackline F12 referencemonitors.

The entire system is driven by an XTA DP6i controller andlimited via XTA DP324 SIDD digital dynamics. The dancefloorsystem is powered by the new Crest Pro 200 Series, withCrest CPX series assigned to the other ancillary systems.

of 12 x W8L’s complemented by a side hang of between six andeight enclosures.

The largest set-up was in the Manchester Evening News Arenain the UK, with a combination of 14 main hangs and eight sidehangs, confirms Sirius’s Holger Schader. At each venue theyfielded 24 Sirius double 15in S1’s subs, set up in four positionsalong the downstage edge of the stage.

The W8L’s were driven by Martin MA 4.2 amplifiers, with afurther column of four speakers powered by a set of threeMartin MA 4.2 (plus an XTA DP 226).

Meatloaf´s FOH engineer, George Wherlin, sent one stereomix for the main hang, the sub bins and the pitfills, and aseperate mono feed for the side hang.

System technicians for the tour were Klaus ‘Bob’ Bolender andSven ‘Samson’ Geiger and Dirk Pinger. Production managerwas Joe Lennane, stage manager Donny Gordon and headrigger, Patrick Ryan.

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Location: a huge ranch outside of Cali, Colombia. Occasion: amassive outdoor dance event starring DJ Carl Cox, worldinnovator in creating propulsive audio environments.

No question that the technology had to be far beyond thebleeding edge to match Cox’s creativity and the challenge ofensuring a total audio club experience outdoors in the Colombiacountryside. Staged by Colombia’s Mission Productions, owner ofclose to 400 assorted Martin Line Arrays and W8 variants, theevent was breaking new ground in terms of new ways tomanipulate sound with the TiMax ImageMaker16 audio imagingmatrix, essentially a surround processor that doesn’t requireprogramme information to be pre-programmed on a disk.

Austen Derek of Aurateq Systems in New York, and DaveHaydon of Out Board in London (TiMax), surpassed the challengewith an eight-channel surround system consisting of 32 MartinAudio Wavefront 8 Compacts in eight stacks, and 64 WSX subsarranged in four blocks at the corners of the site. The W8Cswere processed by XTA, with TiMax used to create all-round L/Rimages for the main mix with eight surround images and a‘scatter-delay’ synthetic image for overhead effects.

The two stacks per side of the site (four total) were divided intotwo channels each for delay imaging purposes. Thus the entireset-up was controlled by 12 channels of TiMax plus two channelsfor front and rear subs, which in the end were all left undelayed.

Maximum stereo coverage was achieved with Martin W8C’sassigned as alternate Left/Right pairs across the front and downthe sides and rear of the site, ensuring any two adjacent stackswere providing a stereo mix. TiMax was used to add subtlerotating mix effects, triggered from a MIDI keyboard at variousbreakdown sections of the mix, while the system was left to justrun in solid multichannel stereo for the main beat content. Thesmooth dispersion characteristics of the W8C’s provided a broad

Carl Cox: Beyond The Bleeding Edge

spatial mix across the site, greatly enhancing the immersiveimaging and definition of the TiMax audio animations.

To open his set, TiMax ‘flew in’ Carl Cox with a helicopter samplewhich literally shuddered around the site, followed by the artistrising slowly out of the stage on a scissor lift. The gig itself totallyrocked the house, or as Austen put it, “We annihilated ‘em” —with Cox first coming on for two hours, and staying for over four,spinning deep hardcore till dawn to over 5,000 manic revelers.

Back home in New York, Derek and partner Rachel Stires runAurateq Systems, a multifaceted design, installation andproduction company. Martin Audio’s leading tour products dealerworldwide, Aurateq was originally formed in the 80s, creatingsound systems for concerts and clubs like the Sound Factory,New York’s Roxy, and Ministry of Sound in London.

In the early 90s, an opportunity arose to produce large-scaleoutdoor dance events in South America featuring US andEuropean DJs, creating grand-scale outdoor events for MissionProductions, a Colombian/American company, which owned theleading club in Cali.

Martin Audio has been a staple for Derek and Aurateq Systemsfor a long time. “I love the sound of the boxes. A lot of engineersand production people down in South America say, ‘Oh, theyhave that typical Brit sound…’. Sometimes it takes a while forthem to get comfortable — but now these guys are flipping outabout how great they sound.

“Also the Martin W8L is the fastest flying Line Array sound systemwithout a whole bunch of gadgets you need to keep track of.Everything is self-contained.”

Aurateq will continue to collaborate with Mission Productions onall types of large scale live tours through Colombia and other LatinAmerican countries.

Carl Cox: Beyond The Bleeding Edge

W8LM Broadcasts Nobel PrizeWinners’ BanquetDM Audio recently providedtop class sound reinforcementfor one of the key ‘royalcommand’ events in theSwedish calendar.

On December 10 the Swedishroyal family attended theNobel Prize banquet,presented by the NobelFoundation, at Stockholm City Hall, featuring all the Laureates.

DM Audio has a long traditionof supplying the sound systemfor the Nobel entertainment— and using the new MartinAudio W8LM Mini Line Arrayfor the first time, the PAcompany assigned thecomponent parts of the three-way system, to QSC PL1.4’s and PL4.0’s , with

PL6.0’s handling the MartinS18 subwoofers.

The orchestra was miked andamplified through the MartinAudio W8LM speakers — fiveenclosures per side — hiddenin the windows behind theorchestra /soloists (theplacement of the speakersbeing dictated totally by the aesthetics).

All monitors consisted ofMartin Audio Blackline F8’sdriven by QSC PLX 3402amplifiers (the jazz quartetalso used Samson IEM’s).

The system was processedusing Martin Audio’s dedicatedDX1 processors, with Rane,TC Electronic and Drawmercomponents providing the

DM Beef Up Club AladdinDM Audio have confirmedthe installation of a MartinAudio system in therefurbished Club Aladdin,in the centre of Stockholm— which has beentransformed into a superclass nightclub.

Martin W8LM (in a 4x4configuration) is used as alive PA, driven by QSCPLX series amplification(using Rane processing).

Further Martin F10 sidefillsand S18/F12 outfills arealso driven by QSC.

To the venue’s existingsubwoofers DM haveinjected new life into thelower end, while a Yamaha01V 96 now provides thefront-of-house mix.

outboard processing. Theshow was mixed by DMAudio’s Lars Wern on an Allen& Heath ML5000 48-channelmixer, with TC ElectronicSystem 6000 and DrawmerMX 50 as outboard gear.

Lars Wern reported that thesmall line array came through adifficult live show with flyingcolours. “We managed toshoot through the hall withoutleaking too much down intothe microphones,” he said.

The entertainment this yearincluded the fantasticcomposer/sax/flute player,Magnus Lindgren, who broughthis quartet and 20 members ofthe Royal PhilharmonicOrchestra and StockholmSinfonietta — with singer

Rigmor Gustavsson appearingas a special guest. They playedthree pieces by Magnus.

The event was also broadcastby Swedish TV. DM Audioprovided a feed of the violins— and everything else was shared through a BSSsplitter system.

15

Celebration … and Fine WineOne of the most popular family attractions in Branson, Missouri,is Celebration City, a night-time theme park for young adults and families.

A high technology showcase, Celebration City Park uses multi-media including high-quality audio, laser lights, and projectiontechnology. The centrepiece is Celebrate, a one hour multimedialaser spectacular that caps the show by taking the audience on ajourney through five-and-a-half decades of life in the UnitedStates … culminating in a tribute for ‘everyday American heroes’such as firefighters, teachers, nurses.

The laser show itself is projected onto a 50ft high x 200ft wideman-made rock wall behind a man-made lake that forms a naturalamphitheatre. The rockscape provides a flat, solid projectionservice while maintaining a natural, outdoor look and feel. ThreeSanyo XF40 projectors cover the entire wall.

Celebration City’s spectacular water laserand speaker tower.

looked like magic.” LCI technical director, Rob Paul, workedclosely with director Andrew Day, who adapted the original scriptfor a multi-media show that would include various projectionsurfaces, laser lights, and pyrotechnics.

The audio also provided a significant technical challenge.Coverage was required to span an area that measures the widthof two football fields, and half that depth, and so cabinets with awide horizontal but narrow vertical spread were required. Thespecifications were forwarded to Martin Audio whorecommended the W8L line array system.

The show ended up with W8L cabinets in the rock wall alongwith 12 WSX bass cabinets for smooth, linear coverage andmaximum bass impact with a detailed sound. Since coverage wasrequired over a large listening area, the long throw and dispersioncharacteristics provided complete clarity for each position in the

seating area. This ran all the way to the back row withoutripping off people’s heads with excessive SPLs in the first row.

As Foster puts it when asked about the sound of Martin Audio:“I would compare Martin Audio to a fine wine compared toother systems that sound like Ripple. The clarity andsmoothness of the sound without any rough edges is whatdistinguishes their systems. On a clear night they can hear theshow up to ten miles away.”

Even more unusual is the park’s water screen, which bringsimages of American icons to life. As project manager Joel Fosterdescribes the impact, “Elvis Presley rises up from a 270,000-gallon pond, larger than life and dancing to Jailhouse Rock beforean awestruck audience.

To achieve this extraordinary effect, UK-based contractor LCI(Laser Creations International) seamlessly integrated audio, videoand lighting to present the familiar in a surprising new way “that

Izzard Gets Sexie and Delicate

If asked which British artisthad the most successful tourin terms of sold seating lastyear, few would have figuredon Eddie Izzard — the giftedcomic, actor, and verbalimproviser with a ratherunconventional approach towardrobe and makeup.

As described by journalistKeith Clark in the cover storyof the February 2004 issue ofLive Sound International,“Izzard in the live realm is atour de force (pardon thepun), taking the audience on ajourney via and insightfulrunning monologue constantlypeppered with ad-lib riffs andfree-form association, andgoing in new directions fromnight to night. Dressed indrag, a look he terms‘executive transvestite,’

there’s immediately the sensethat something is different,exciting, and challenging — anedge that further pushes thehumour envelope.”

Izzard’s tour, Sexie, sold out2,500-plus-seat theatresacross North America (just2% of total seats ended upunsold), before moving alongto 21 arena dates in the UKand Ireland (serviced byCapital Sound Hire). Eddieadmits to drawing most of hisinspiration from rock ‘n’ roll— and aiming for moreaudience impact this timearound there was a real needfor a concert-style soundsystem capable of deliveringthe goods.

Sound designer GeorgeGlossop worked with L.A-based Delicate Productions in

putting together a system torival any concert music act interms of output, fidelity, and flexibility.

Not surprisingly, the systemwas fronted by the latestiteration of Martin AudioW8LC compact line arrayloudspeakers, driven by Crestamplification and mixed by aYamaha DM2000 digitalconsole, with DPA miniaturemics and Sennheiser wireless.

System tech Scott Scherban,veteran of concert acts suchas Tracy Chapman, thePretenders, and NatalieMerchant, explains, “Therewere a lot of options, butwhen George heard this one,he immediately liked it. Theprecision was the difference,along with the very naturalsignature.”

Scherban also pointed that,“The line array approach isalso vital to what we’re tryingto do, which is project a singlevoice in huge rooms. Theseare great tools for a situationlike this. We’ve been able toattain coverage from the firstrows to the corner nosebleedseats. It’s just there,consistent and where youwant it.”

For the North Americantheatre leg of the tour, theapproach included arrays often W8LC three-way linearray modules flown per side,tapering at the bottom into agentle “J” configuration.Scherban and a single crewmember were enough toassemble and fly both arrayswithin 30 minutes.

17

Game-On for Green Bay and WT2Craig Benzel, Director of Marketing for the Green Bay Packers,approached consultant Danny Abelson of In-Game Services (IGS,Inc.), with a special challenge.

Benzel and the Packers needed a special speaker system for theMiller Lite ‘End Zone,’ a premium seating area at Packer Stadiumunderneath the top bowl at the North End. A terraced areabeneath the main speaker cluster, the End Zone is for young adults— between the ages of 21 to 28 — a target market for the MillerBrewing Company.

The challenge was to create a special treatment for the area thatwould have the versatility to alternatively handle a live radio feedfrom the local Packer Radio Network, and reproduce the stadiumPA without having it conflict with and/or drown out the radio feed.

Abelson’s solution was to design a high quality specially-focusedloudspeaker treatment fed with programme sources controlled byan automated ducking circuit. The circuit normally provides a feedfrom the home radio play-by-play announcers, and automaticallyswitches to time-delayed in-bowl programming whenever themain end zone PA system is in use.

The loudspeakers had to combine the clarity and power requiredfor both tasks, so Abelson chose six Martin Audio WT2-WPweatherproofed enclosures for the job, based on their exceptionalvocal intelligibility and reliability.

Based in Madison, Wisconsin, In-Game Services specialises inapplying high quality audio-visual techniques to the college andprofessional sports markets, along with management expertise,

owner representation, and trained game operations crews.

“The nature of today’s in-game sporting environment haschanged,” notes Abelson. “Team owners and managers realise theymust entertain their fan base to maximise marketing opportunitiesand customer enjoyment. We always recommend the mostappropriate product for an application. That is why we are sosatisfied with our decision to use the Martin loudspeakers in thisapplication.

“The Packers are a demanding organisation and Lambeau Field iswell known for it’s harsh ‘frozen tundra’ environment. The Martinenclosures look great, provide great sound for the fans in the MillerLite End Zone, and can handle the elements.”

Below on the deck, dual-stacked Martin W8 ‘Hybrid’horn-loaded subwoofersreinforce the low-end withtwo Martin W2 two-waycompact trapezoidal loud-speakers tight-positionedclose together for front fill.Additional fill in the centreportion of the front audiencecame from low-profile MartinWTUB two-way enclosures,offering a very widehorizontal dispersion pattern.

Stage monitoring was handledfrom FOH as well, with feedsto single Martin LE12JB low-

profile wedges positionedstage left and right.

“What we’ve got here is atight, efficient system thatmeets every need we have,and could meet the needs of afull band,” Scherban summedup to Clark. “With fewercomponents needed, there’sfewer things that can gowrong, fewer pieces that canbreak, fewer complications.This rig is also financiallybeneficial — with less tocarry, it cuts costs and saves money on manpowerand time.”

Scott Scherban (top),and with tour manager, Mick Perrin

Synco W8LM a Hit with MayumanaThe Synco W8LM by MartinAudio is being given whatsome might describe as abaptism of fire as the MiniLine Array system makes itsEuropean touring debut withthe energetic and eccentricMayumana, one of thebiggest hits on theinternational circuit in recentyears. This touring version ofthe Tel Aviv-based show, thatencompasses dance,percussion, mime and music

depends heavily on accurateand effective sound design.

The Synco system is part of alighting and sound packagesupplied by Holland’s AmpcoPro Rent. Prior to theopening night in Bilbao, FredHeuves, MD of SyncoEurope and of Ampco said,“Obviously, this is animportant development forall of us — Ampco, Synco,Martin Audio and theproducers of Mayumana. Weare confident the W8LM willprove to be more thancapable of handling thissophisticated production.”

Top: Sound designer Amir Schorr and show co-creator, Boaz BermanBottom: Ampco account manager Casper van Aalst with the Martin W8LMs

He also pointed out thatSynco can now provide allthree of Martin’s line arraysystems, explaining, “TheSynco Network of PAcompanies can offer theSynco W8L, W8LC and nowthe W8LM in theirinventories.”

Following a most successful‘House Full’ season atBilbao’s elegant 1,500-seatTeatro Arriaga, Mayumana

has moved on to a residencyin Barcelona. Later this year,the production moves on to Amsterdam, continuinga global merry-go-roundwhich covers North and South America, Asia and most of Europe.

Mayumana was created byEylon Nuphar and BoazBerman and started life in1998 in a Tel Aviv warehousebasement. It now has its owntheatre-base in Jaffa (where

the show plays constantly)and has been enjoyed bymore than 500,000 people.As well as the touringcompany, two kids’ versions(Adraba) also now haveshows in production.

Sound designer Amir Schorr,who also owns and operatesa successful recording studioand the Fast Music indierecord label in Israel, hasbeen working on Mayumana

productions for four yearsnow. During rehearsals inBilbao, he said, “Over theyears, we’ve worked with anumber of different soundsystems, and for this show,we’re trying something reallynew (with the W8LM linearray). We needed a systemthat is portable, easy to rigand adaptable to differentsized venues and believesmall line arrays could be theanswer. Everything looks and

sounds really good. We’restill on a learning curve withthe system, but so far I’mimpressed.

“One important guide forworking in a theatre,” saysSchorr, “is getting the actorsto be aware of how youwork with microphones andloudspeakers. Many of themdon’t understand aboutworking with technology. Ifyou’re going to create asuccessful complicated sounddesign, you must make theactors aware of what it isyou’re trying to do. We’revery lucky with thisproduction because theartistic director Boaz Bermanhas a high appreciation oftechnology. He understandsthe dynamics and coverage.”

The show’s general directorRoy Ofer observes,“Embracing new technologyis an important part of theproduction and ourconnections with Ampco ProRent, one of the biggestcompanies in the Europeanmarket, have helped us togain access to the mostmodern technology. The newMartin W8LM array — givesus the flexibility to play venuesof different sizes while stillmaintaining the feel andimpact of the performance.”

19

Autograph Bring in WT3 for JosephBill Kenwright’s record-breaking production ofAndrew Lloyd Webber andTim Rice’s smash hit musicalJoseph And The AmazingTechnicolour Dreamcoat hasbeen using a Wavefrontsystem for its redesigned2003/4 national tour.

Chris Full of Autograph Soundhas revamped the sounddesign for the production,which has been on the roadsince 1997, touring theregional theatres of the UK.For the new rig, he haschosen Martin Audio,specifically ten WT3’s andfour WS2A subs, withanalogue processing.

“The sound design for thetour of Joseph required aversatile, high power soundsystem that also fulfilled thebudget requirements of the

show. I had used the WT3’sand baby subs before, andliked the way the systemsounded — particularly withrespect to throwing the soundto the back of a venue. We arenot touring delays as the turn-around between venues isvery short.

“When it came to buying newcabinets, the WT3 systemwas my first choice,”continues Chris. “The highpower handling of theWavefront boxes gives memore than enough SPL in theroom, along with plenty ofheadroom for a goodtransient response.”

Joseph has played to well overfive million people in the UK,thanks to Kenwright’s original12 year tour (1979-1991) andthe current production, whichhas been running since 1997.

Line Array Joins Les Mis in BerlinOne of Autograph Sound’s longest-running success stories is itsongoing work on worldwide productions of Les Misérables. Mostrecently, the show opened in Berlin, with sound design by NickLidster who was part of the original sound department when theshow opened at the Palace Theatre in London in 1985.

This is Lidster’s first design of Les Misérables and it gave him thechance to view it with a fresh but experienced approach. Hisupdated design includes four Martin W8LC and two WSX subs,supporting the main PA system.

Some of the changes are due to the particular demands of theTheatre des Westens in Berlin, a grand, four-tier European styleopera house with a large, flat stalls area and three very shallowcircle areas. Says Lidster, “A conventional loudspeaker installationwould struggle to cover this auditorium. By using two types ofline array systems I can get the coverage I require.

“The Martin W8LC’s are in a central cluster above the pros arch,covering a 500-seat gallery area starting about 15 metres fromthe stage. I felt I needed something slightly more powerful tocover this seating block and I liked the sound and long-throwcapability of the W8LC’s, which are suited to this type ofcoverage and distance.”

This is the first time Nick Lidster has specified Martin Audio’snew W8LC cabinets, having heard them for the first time at ademo at the Brixton Academy. “I’m very pleased with theenclosures. I also liked the prediction software — and the factthat Martin Audio thoughtfully delivered our order in blackrather than their customary grey livery!”

Cap Sound’s New W8LC Rig onStereophonics DebutCapital Sound Hire’s newly-acquired W8LC line array wasout in force for theStereophonics’ massive, sold-out Christmas stadium andarena shows.

The top London rentalcompany had acquired 26 xW8LC’s two months earlier,at the same time addinganother four of the originalW8L Line Array enclosures —specifically to allow them torig 16 cabinets per side as themain PA on the Stereos’ tour(alongside their 12 newdedicated W8LS subs, whichwere flown).

The sound rig wassupplemented by side hangsof eight W8LCs per side, eightgroundstacked WSXs, withother W8LCs on near fill,front fill and delay duties.

At the heart of theloudspeaker control wereXTA digital processors andthe system was powered by acombination of Martin Audioand Crown amplification.

Following the November UKarena tour, the band’sseasonal celebrations wereheld over two nights at Earl’sCourt and a final homecomingdate at the MillenniumStadium in Cardiff. One of the London shows camecomplete with a ‘mysteryguest’ appearance by RollingStone Ronnie Wood.

In command of it all wassystem engineer and crewchief Al Woods. The XTAsystem, comprising of DP226Controllers and a GQ600graphic equaliser wascontrolled remotely by

Woods using AudioCore onhis laptop PC.

“I did a lot of walking aroundthe venue with the laptop,”says Woods, “usingAudioCore and SMAART toget the system perfectly tuned— precision that’s reallyimportant, especially in someof the more remote cornersof the big venues.”

On stage, where John Burtonwas mixing on an InnovaSONconsole, Crown-poweredMartin LE700 wedges werecontrolled by XTA DP224processing, along with W8Sand W8C sidefills.

Says Roden: “It was a great wayto end the arena tour and theaudiences were fantastic. Nowwe’re looking forward toAmerica, Australia and Japanand then a summer of festivals.”

At the end of theStereophonics tour theW8LC’s were turned aroundovernight and deployed asmain PA on the Eddie Izzardtour, where W8C’s were this

time providing the delays (see feature elsewhere in The Edge).

Below: Martin Audio’s Simon Bull (left)with Cap Sound’s Keith Davis, andsome of the new W8LC enclosures

Stereophonics at Earl’s Court

Cap Sound’s New W8LC Rig onStereophonics Debut

21

The location: Laz, in Finistère, a town near the expansiveChateau de Tévarez. Situated on the north side of theMontagnes Noires, and bordered by the canal that links Nantesto Brest, it offers exceptional views.

Le Point de Vue is a prosperous family-run business. OwnerNicole Gestin set out with a bar in 1969, then a restaurant andlater a dance club. She has since been joined by her partnerEric Bourles, and the couple are assisted by close relatives,who are intensely involved in the future of this dance temple.

The music bar, positioned between the two clubs andrestaurant, is open every day. The bar is run separately fromthe discothèques, but restaurant customers circulate freelythroughout the complex.

Le Point De Vue An EM system is installed in Point de Vue’s two discothèques— the main space and the ‘London’. Each uses four EM 186speakers, attached to four fixed poles at an angle to thedancefloor combined with four EM251 subwoofers, and is runas a tri-amped system (with three of the four frequency rangesactive, including the sub-bass model). The trapezoidal EM186is equipped with a 15in, a 6.5in and 1in compression driver,giving a 65° (horizontal) and 45° (vertical) coverage, operatingover a wide band (55Hz-18kHz) while the 2 x 15in subsoperate across the 38 Hz-120 Hz band.

A pair of EMX2A processors control the system in the mainclub (including two EM76’s providing infill sound at the rear ofthe club).

The Point de Vue doesn’t suffer from output limitations, butthey do meet the legal requirements in hearing protection —105 dB maximum acoustic pressure on the floor.

In 1997 the entire complex was destroyed by fire just oneweek after a new club had been inaugurated. Thereconstruction provided the opportunity for an overall study ofthe sound and light system, but the infrastructure was rebuilt.

While the main rectangular club (measuring 10,000 sq metresof floor space) looks more or less as it did in 1976, the ‘London’is an extension of the original building and was first used as arestaurant before being converted to a dance club in 1980.

Hervé Morvan supervised the selection and installation of thesound system with recommendations from Joël Seveneant, theinstaller. The system had to offer definition comparable to thatof domestic hi-fi listening, at the same time satisfying thedifferent requirements of live and recorded music. It was anatural decision to choose Martin Audio.

Adapted from an article by Alain-Marc Malga, that originally appeared inSono Magazine, February 2004.

In future the club is looking at the possibility of sound deliveryto the mezzanine areas from the stage, and even to the openterraces in summer; Martin EM15’s have already beenproposed as being perfectly equipped for this type ofapplication.

Today, while the main space attracts hardcore dancers, theLondon provides a much more diverse music programme … inthe warm atmosphere of a typical English pub, equipped withan English sound system.

W8LC Launches in Mexico City

Team Time in Slovenia

La O Discoteque opened to the public recently andAudioacustica y Electronica SA de CV (Martin Audio’s Mexicandistributor) selected the venue to present the new W8LC.Located in one of the most exclusive parts of the city La O hadalready installed eight W8C’s and eight WSX’s as its mainsystem, along with Blackline F12’s and S12’s for delays.

Some of the country’s top rental companies, club owners andaudio engineers, pre-registered for the event, which beganwith an introduction of Martin Audio’s catalogue byAudioacustica´s managing director, Javier Posada, followed bythe W8LC — introduced by Erick Tapia, Audioacustica´sproduct manager).

At the end of the presentation everybody was eager toexperience a demonstration. Robe America’s technical servicemanager, Ramiro Aguilera, and Audioacusticas’s productmanager, Jeronimo Ramirez, prepared a lighting show for theW8LC with the new Robe Spot 1200 AT and moving headspots and washes (250XT and 575 XT).

Two bands — a covers band and an original rock outfit namedKerigma — then put the system through its paces all were ableto sample first hand the impact and clarity of the W8LC, and itstrue 90° horizontal coverage.

Slovenian distributors KSL Studio have sold a major W8LCsystem to Martin Audio rental customers, Dejan Zura’s db Team .

Dejan first introduced Blackline into his hire fleet two yearsago, following it up with the larger Wavefront W8C/WSX ayear ago.

Recognising the quality of Martin Audio components (and thegrowing competition in Slovenia) he then decided to go onestep further and purchased 16 pieces of W8LC.

Db Team’s main market is parties and large concertsthroughout Slovenia, and they recently serviced the DJ Time inLjubljana, attended by around 4,000 people.

The system was driven by Martin Audio and Crest ampliication,processed by XTA DP226 devices and mixed through a CrestAudio console.

Dejan Zura is sopleased with his newCompact Line Arraysystem that he isalready planning toaugment his inventoryof W8LC and WSXenclosures.

Left to right: Dejan Zura and Bostjan Konic of KSL Studio

23

World Class Morrisson Openswith BlacklineAuckland’s newest destination, Morrisson, has catapulted ontothe New Zealand club and dance scene. Owner AndrewClelland’s vision of raising the stakes and bringing a trulyinternational standard dance club to Auckland has set the stagefor a phenomenal new venue.

From conception, Clelland wanted the best sound systemavailable and past experience said that it had to be MartinAudio. With many Martin installations under his belt, Clellandhad a clear idea of what was required. “We wanted to createan environment where people wanted to stay all night and highquality/non fatiguing sound is an integral part of that.”

The two-floor club features an upstairs bar/chill-out areacombining the design elements of natural colours and leatherwith an open fire for winter nights. The upstairs bar soundsystem consists of an Allen & Heath Xone:62 DJ mixer feedingsix Martin Blackline F15’s and two EM251 subs controlled by anAllen & Heath DR128. Power is provided by three MA1400’sand an MA2.8. Whilst capable of high levels of clean sound, theupstairs experience only whets the appetite for the maindancefloor system.

The basement dancefloor has arguably the best system in NewZealand. A custom designed semi-circular DJ booth givesplenty of room for multiple turntables and DJ mixers options.A great deal of care was taken over isolating the turntables andelectronics from acoustic feedback. Pride of place is taken byan Allen & Heath Xone:V6 rotary valve DJ mixer, a secondaryXone:62 mixer and four turntables.

The dance floor specification was for four Martin Audio W8Ccompact enclosures positioned in a quad around thedancefloor, supported by two pairs of Martin Audio WSX subbass units. The coupled WSX’s give an extra octave of bassresponse for real slam. The core of the original specificationwas for a no-compromise, fully-active system, offering trulyamazing control and detail without fatigue. Control and powerare supplied by a pair of Martin Audio DX1’s, four MA1.6’s,two MA2.8’s and an MA4.2.

The quality of the sound system was fundamental to the entiredesign process of the bar. Specialised acoustic paneling wasinstalled in both the bar and dancefloor to substantially reducereflections and resonances. The massive air conditioningsystem was treated to reduce vibrations, and specialised walllinings and doors were used to contain the music to thedancefloor. In reality the sound system needed precious littleadjustment.

Martin Audio’s New Zealand distributor, Robert Judd, ofTechnical Audio Group, was delighted with the results. “A greatdeal of care was taken in the design stage to reduce roominteraction and resonance. The ongoing acoustic consultationwith the design and construction team has allowed us to useminimum EQ, giving clean, extremely transparent soundquality and improved headroom.”

“This setup is the cleanest, most dynamic sound I have heard ina dance club”, remarked owner, Clelland. “Even at the highestlevels, there is an underlying feeling that the system is still justidling, that there is always more to come. “We spent a lot oftime in the design stage making sure that the sound system wasnot compromised by the building process and I think we haveachieved that.

“We’ve had a really great response from both clients and DJ’s.It doesn’t take long for word to get around, and Morrisson isthe buzz on the streets … who could ask for more than that.”

World Class Morrisson Openswith Blackline

Patron of the ArtsA premier restaurant, a superb bar and a unique entertainmentspace — that’s the ArtHouse Hotel. But it’s much more thanthat. The ArtHouse Hotel occupies a unique place in Sydney asa hub of artistic activity and a meeting point for creativity.

The new hotel is a key platform for emerging talent, creatingthe opportunity for artists of all media to exhibit and sell theirwork free of gallery commissions and hire charges.

What better location for The ArtHouse Hotel than the formerSchool of Arts Building at 275 Pitt Street, a stone’s-throw fromSydney Town Hall? Still retaining the original intrigue of the19th century architecture, the heritage listed building has beenimmaculately restored and now comprises four truly beautifulspaces, including three separate bars and the Dome Restaurant.

Such a profile demanded a first rate, high performance audiosystem. These issues landed in the very capable lap ofMatthew Kline at Avsound Productions.

“High quality audio, flexible use and understated, visuallypresentable appearance spelt Martin Audio to me.” he said.

“The Milfair partners, Andrew Utiger and Graeme McBeath,who brought the ArtHouse to life, involved us at the beginningand at every relevant stage along the way,” continued Matthew.‘It meant that we got an excellent feel for the venue, what wasexpected of the audio and what architecturally we could andcouldn’t do with speaker placement etc. It also meant thatAndrew and Graeme understood the audio issues and valuedour acoustic and technical advice, which led to a rewarding andenjoyable relationship.”

Once a chapel, a library then a theatre, The Verge — with itsmajestic 19th century plasterwork, stenciling and skylights — isnow the elegant and innovative main bar. Two Martin AudioBlackline H2 (10in horn loaded 2-way) mid/high satellitecabinets with six EM26 (8in 2-way) and a S218 (double 18in)subwoofer handle events from background music to full-onclub style performances.

Despite a very powerful audio impact the Cocktail Bar, alsolocated on the Ground Floor, benefits from smooth lines withfive EM26 (8in 2-way) speakers barely disturbing the visualsurface. A well hidden S18 (single 18in) subwoofer adds morethan enough bass punch.

Upstairs a truly awe-inspiring space in both dimension andscope has been turned over to The Dome, a lavish yet informalrestaurant. In conjunction with renowned head chef ElizabethWillis-Smith and a coterie of specialist staff, four EM26’s servein the restaurant bar area.

With their audio very well taken care of The ArtHouse Hotel isfree to concentrate on an eclectic and ever-changing arts andevents program including the now infamous Life DrawingClasses and Salsa Lessons and exhibitions of photography,painting, fashion, sculpture and everything else the creative cityof Sydney has to offer.

25

Food, Drink, Adrenalin. That’sthe OneWorld Sport mottoand it’s more than a fairdescription.

Set on Church Street, theheart of Parramatta’srestaurant and bar strip, thenew bar/club/restaurantfollows an all-action formulawith a barrage of audio visualcarrying a non-stop feast of sports.

With four big screens,plasmas by the dozen and sixsatellite feeds patrons arenever far from live sportsaction wherever it’s takingplace around the world.

The internal fit-out by Sydneyclub specialists SwerveDesign features numerousold and modern classics like aFerrari racing car, MichaelSchumacher’s suit, DonBradman’s bat and a massiveMartin Audio Blackline sound system.

OneWorld Sport, DarlingHarbour, invested in a MartinAudio Wavefront 8 systemback in 1997 and was onlytoo keen to apply the samesuccessful formula atParramatta. Sydney basedaudio visual installers Saltecwere contracted for the fit-out which included over 50speakers all powered byQSC with Allen & Heathmixing and control.

In The Arena, an area for liveand club entertainment, fourBlackline H2 10in and hornmid/high satellite cabinetsand three S218 double 18insubs are complemented byQSC PLX amplifiers and anAllen Heath Xone2:464 clubmixer. A single Blackline F8(8in 2-way) and four pairs ofF10’s (10in 2-way) cover theDJ monitoring and delayed fill for the perimeters of the room.

Only One System for OneWorld Sport

Adjoining The Arena is TheSin Bin. Far from beingsidelined for bad behaviourThe Sin Bin’s occupants enjoyan exclusive VIP area with sixBlackline F10’s and two S15single 15in subs. On specialevent nights the two rooms are combined toaccommodate the increasedpatronage.

OneWorld Bar is a secondlive performance areaproviding a more intimatevenue for live acts. Theaudio complement includestwo F10’s and two S15’s.

The bar, restaurant, loungeand gaming areas arecovered by more F10’s,C516 ceiling speakers, C1155in install speakers andCS265 mini subs.

The multiplicity of rooms andzones was tailor made for thecentral control andprocessing of an Allen &Heath iDR zoner system.

“The system was designed torun comfortably regardless ofthe demands,” commentedGreg de Vries, Saltec’smanaging director, “Withtheir reputation for solidreliability as well as greataudio Martin Audio/QSC was

the obvious choice. It’s morethat apparent on specialevent nights with a packedhouse and 120dB on thedance floor.” Food and drinkfor the hardware but 100%adrenalin for the patrons.

Samolyot Gets a New Hall

On New Year’s Eve the famous Moscow entertainmentcomplex Samolyot presented a beautiful gift to its guests whena new, multipurpose hall — designed for live concerts,corporate and children’s shows, sports programmes and otherpresentations was unveiled.

However, the main business activity of this large entertainmentfacility will be bowling. The building also houses a motor racingcircuit, multiple bars, a restaurant, a karaoke club, and otherfeatures. Despite its size, Samolyot never had a versatileconcert area with its own infrastructure, capable of hostinglarge shows.

The project for renovating the third floor for this purpose wasaccomplished in just four weeks. The new hall now hostsfamous Russian musicians and bands.

A&T Trade Company designed and assembled the audiosystem and carried out the complete schedule of works —from acoustic surveys and solution provision to supply ofequipment, assembly and final commissioning of the hall. A&TTrade experts amended, on their own initiative, thearchitectural project to enhance the hall’s initial zoning layoutand acoustics (aided by computer simulation).

The new hall is equipped throughout with Martin AudioBlackline loudspeakers (and Blackline F12 stage monitors),Crown CTs amplifiers, Tascam DM24 digital mixer — andindustry-reference processing equipment.

27

A Wizard Result in Nizhni Novgorod

Wizard EntertainmentComplex has opened in thecity of Nizhni Novgorod — aunique facility created byvarious professionals,including the NizhniNovgorod office of A&TTrade Company, whodesigned and implementedthe sound solutions for thenew club.

Wizard is intended for manydifferent applications —discos, live concerts,presentations, children’s

shows, chamber music, freewrestling, sports programmes— the list is endless. Thebuilding itself is divided intotwo sections – ‘quiet’ and‘loud’. The concert hall islocated on the first floor, whilethe second floor housesbilliards, games machines,restaurant and a bar.

For Nizhni Novgorod, Wizardis the first example of creatingcomprehensive entertain-ment facilities. The complexwas designed from the

ground up, whereas usualscenarios involve adaptationof existing audio/lighting systems.

Specialists from A&T Trade’sNizhni Novgorod officedirectly participated in thedesign, giving advice onfinishing, and even persuadingthe client to apply the ‘liveconcert’ option.

The concert hall is equippedwith the reliability of MartinAudio, including Blackline

S218 subwoofers, four F12front cabinets and two F10end cabinets.

Although initially the buildingwasn’t finished with soundinsulation, the application ofthis architectural solution hasled to a brilliant acousticresult, with the clarity of theMartin Audio systems bringingthe best out of the space.

The Roar from the TerraceSince the lovely new TerraceHotel in Magherafelt,Northern Ireland, opened itsdoors in early December, it’shard to remember what thetown ever did without it.The only hotel in the area, itincludes 16 stylish en-suitebedrooms, the traditionallystyled Terrace Bar, theCourtyard Bar, which is usedas a function room and a spillout area for busy weekendnights, and a great restaurant,located on the lower groundfloor of the Church Streetbuilding. With a state of theart sound and lighting system,installed by Rea Sound, it is awonderful example of amodern boutique hotel.

Martin Audio loudspeakersare used throughout. Thereception area sets thestandard for the rest of thebuilding. Stylish and modern,with clean beige marblefloors, square stone fireplaceand wraparound glassfrontage it has a look ofunderstated elegance. Soundfrom a multiplay CD player isdistributed in this zonethrough 18 Martin C115Tceiling speakers.

Moving into the Terrace Bar,the look is more traditionaland comforting, with rich,warm woods and libraryfeatures. The large centralbar is built in heavy wood,and its lines are followedaround by homely terracottaand beige mosaic tiling.Here Rea Sound haveinstalled ten Martin Audio F8

Telephone: +44 (0)1494 535312 Facsimile: +44 (0)1494 438669 E-mail: info@martin-audio.comMartin Audio Ltd. Century Point, Halifax Road, Cressex Business Park, High Wycombe, Buckinghamshire HP12 3SL, England.

enclosures, with the lowfrequencies handled by fourultra-compact EM150’s.

The adjacent Courtyard Barhas a more modern and sleeklook than its neighbour, withlong rows of high block tablesand brushed suede seats inbrown, black and beige. Withits own bar, stage and DJ box,which is built into the wallhigh above the bar, theCourtyard is the perfectsetting for a private party orcorporate event. Punchysound reinforcement wascalled for and 12 MartinAudio Blackline F8 compactenclosures are reinforced bya pair of S218 subs, thesystem EQ’d using Martin’sdedicated M3 controller.

A walk down the wonderfulmarble staircase in thereception area will bringvisitors to the Terrace’sfabulous new restaurant. Anyreservations the owner mayhave had about the lack ofnatural light on the lowerground floor were quicklyovercome by theexperienced team at ReaSound, who fitted colourchanging lights behind thelong rows of fitted seatsaround the sides of the room,and cleverly positioned spotsat the central bar area. Theywere also judicious with thesound system, discretelyfitting eight further F8’s andfour EM150 subs.

Throughout the hotel, the

sound system has beencarefully designed. In additionto the Martin Audiocomponents, the systemutilises an Allen & Heath IDRdigital mixer zoner, allowingcontrol in each specific area,both of music choice andvolume level. With multipleinputs including Sky, a Rolechard drive, the DJ system anda multiplay CD player, a widechoice of signal sources isavailable for every zone, withthe Martin audio speakerenclosures strategicallypositioned to provide a highquality sound no matterwhere the location.

Adapted from an article by Nicola

Reddy, that originally appeared in

am:pm Magazine, Feb/March 2004.

www.martin-audio.com

The Martin Experience

29

Ampco Belgium have recentlycarried out two installations(in conjunction with theirdealer, Schepens) using MartinAudio products.

Both ‘Beauregard’ and‘Flavour’ represent highly-designed spaces in the city ofTurnhout — and both havebecome instant hits with theircustomers.

Beauregard is a multilevellounge bar/fusion restaurantsituated in the town’s mainsquare. Very popular forbusiness lunches, it attracts a more trendy crowd in the evening.

Ampco’s Guy Balbaertreports that the designemphasis was on providingclear zone/mood definition —in terms of both sound andlighting. To achieve this a totalof 26 Martin Contractorseries C115’s, reinforced by a pair of EM150 subs, were installed.

The venue’s ownercommented, “We liked thedesign of the C115 from thestart. They blend into thesurroundings but have a lot ofpresence for their size. Theywere exactly what we werelooking for.”

Containing a 5in transducer,the elegant surface-mountC115 is ideal for reproducingboth speech and backgroundmusic in a distributedbar/resaurant sound system.Additionally, its unobtrusive,lightweight polypropylene

C115’s the Flavour of the Month

injection-moulded enclosurewithstands most weatherconditions and protects theweather-resistant drive unit inexposed locations.

The C115 is also ‘flavour’ ofthe month in the aptly-namedFlavour — which specialises incigars and stiff drinks. It isdescribed as “the ultimate latenight bar for people who liketheir spirits and a good Cubansmoke.” Situated across theroad from the WarandeTheatre it has become theplace for people to relax after

Ampco’s Guy Balbaert (left) with Marcvan Nooten from Schepens

a show, or simply to winddown in the evening with afine selection of Cuban cigarsand single malts.

Here Ampco haverecommended eight C115’sto distribute the sound —much to the approval of theowner, who commented,“The speakers are notobtrusive and they certainlysound sweet. We love thedesign, and they blend inperfectly. What else can I say?”

Since Schepens’ visit to MartinAudio last year they havebecome regular customers ofAmpco.

Flying High Above Barca

In a city with as rich areputation for contemporarystyle as Barcelona any newhotel must have somethingtruly distinctive to offer. Fouryears ago, when it beganrenovating the Gran Hotel, LaFlorida, the Stein Hotelsgroup had one obvious thingin its favour: location. Perchedon a ridge atop MountTibidabo, the hotel is 300mabove Barcelona, yet only7km from the city centre. Notonly are the views from thehotel extraordinary but thebuilding itself is visible fromalmost everywhere in town.

In other respects though Steinfaced a daunting task. Thehotel had been closed since1979, its fortunes havingdeclined steadily since its ‘50sheyday when the likes ofErnest Hemingway, JamesStewart and Rock Hudsonsigned the guestbook. Thequestion arose: how to createa new symbol or urban stylein a city already bursting tothe seams with them?

However, it was in theirdesire to equip the hotel withthe latest AV technology thatLa Florida’s interior designershit one of their manyproblems, as Carlos Alberdiexplains. “The specificationcalled for a Panasonic 37inplasma display to be installedin all 74 guest rooms. Thedesigners wanted to buildmost of these plasmas into thewalls but when the roomdimensions were set noallowance was made for thespeakers on either side of thescreens. So they had plasmaimages in the rooms but nosound to accompany them.”

Among Alberdi’s distributedlines the Amina range of NXTexciters and flat panelsprovided this solution, whileelsewhere another of theirmajor suppliers — MartinAudio — came up trumps.

Next door to the hotel’sconference space, but wellsoundproofed from it, is ClubLuna — La Florida’s own nightvenue. Club Luna is only open

to members and guests,offering live jazz four eveningsa week and DJ nights onThursdays, Fridays andSaturdays.

For sound Alberdi Proinstalled a Martin Audio F10loudspeaker in each of theroom’s four corners,configuring them as twostereo pairs. These arebacked up by a pair of MartinEM150 subs mounted underthe stage. Power comes fromtwo MC2 T200 amplifiers(one for the F10’s, the otherfor the subs), while signalprocessing is handled byXTA’s DP6i; this offers twoinputs and six outputs, withthe former having eight-bandparametric EQ, bass delay andgain control, while the latterhas crossover filters, five-bandparametric, high and lowshelving filters, limiter anddelay.

“The idea behind both thelighting and sound was tomake sure the system wasadaptable,” says Alberdi. “For

example the GLP SD1 (ShowDesigner) has many morechannels than we arecurrently using so that if thevenue decides it needs morelights we can accommodatethem. With the XTA DP6i weinitially programmed foursettings, for jazz, dance,classical and techno — butthese have already changed.Both the the SD1 and DP6ican be programmed bycomputer, so we can createnew settings in our offices anddownload them here to seehow they work.”

This is a system which almostcries out to be adapted astime goes by, and as forAlberdi Pro — as well as thebrands installed, the prestigeof being associated with sucha high-profile project clearlycounts for a great deal.

Adapted from an article by DanGoldstein, that originally appearedin Installation Europe magazine,December 2003.

31

Emil Chau Tours with W8L

Hong Kong’s De Lux

Emil Chau recentlyundertook a major Chinesetour to promote his newalbum Love Hotel — the 34thof his career.

Born in Hong Kong, EmilChau, who has been one ofthe best-loved entertainers inAsia for more than a decade,kicked off at Shanghai GrandTheatre, before 8,000 peopleon August 8 before movingonto the Beijing CapitalIndoor Stadium, which holds 18,000.

The crooner’s opening showin Shanghai was the first heldin the city since the SARSepidemic — and was a sellout.

It was also the first time thetheatre had hosted a linearray system. Powermax(Asia) sound engineer, DanielKwan, reports that in termsof power, coverage anddynamics, the Martin AudioW8L delivered on all fronts.

Powermax (Asia) Engineering

Lan Kwai Fong Entertainment’s Lux Restaurant — located inHong Kong’s California Tower — has been the talk of the townsince its opening. With its Mediterranean style food and wideselection of wine it creates a good atmosphere whichguarantees a first-class dining experience.

Contributing to the ambience is the emphasis placed on décor,lighting and sound. Alan James Jewel is in charge of designingthe audio and visual elements for the group and at Lux he chosea Martin Audio speaker configuration to replay music from abackground music system on the basis that it wouldoutperform any other system.

Alan Jewel is also given reassurance by the support and servicehe receives from the local distributor, Dah Chong Hong, Ltd.For the background sound, he used eight Blackline F8’s, fourF10’s and a pair of S12 subs, infilled with two C115’s — toprovide even coverage throughout. On the dancefloor, afurther four F15’s and four S18 subs are employed.

fielded 12 x W8L and eightWSX sub bass enclosureseach side of the stage,powered by 36 Martin AudioMA4.2S amplifiers, withsystem management viaXTA’s DP-226. Other effectsincluded a Lexicon 480 andMidas XL88 matrix mixer.

In Beijing Hui FengPerformance Equipment(Group) Co. Ltd took over thesound production duties andfielded a similar Martin W8Lline array configuration, adding24 Martin Audio LE400C stagemonitors to the spec. WithXTA again providing the DSP

processing, Hui Feng fielded48-channel Midas H3000 andXL3 mixing desks, withproprietary Klark Teknik and Drawmer processing,assorted Shure and Beyermicrophones, as well asproviding various musicalinstruments.

COOPERATIVA 56 + 39 051 6153339CORIPPO ALBERTO + 39 030 2511722ELECTRA SERVICE + 39 0375 82919EMPORIO ON STAGE + 39 055 720794FAST SERVICE + 39 081 8237009FUMASOLI SERVICE + 39 0165 35806MAFFEI SERVICE + 39 0461 707852MEZZA NOTA + 39 0444 695507MISTER X SERVICE + 39 347 9602838MUSIC LIGHT INSTRUMENTS + 39 0566 56356MUSIC SERVICE + 39 0577 306032MUSIC SERVICE ALIBI + 39 011 3589532PHOENIX AUDIO SNC + 39 041 5342349PIANO & FORTE + 39 0522 661506PROCOPIO NICOLA + 39 967 86718RADIO SATA SERVICE + 39 051 6332440T.S.S. + 39 0521 776810VOX SERVICE + 39 049 5380151W M AUDIO SERVICE + 39 0962 865013ZOHO MUSIC SERVICE + 39 011 6645754

+ 39 051 6332398KOREAJE-IL SOUND + 822 835 1608LIVE + 822 747 2162MARTIN KOREA SOUND CO., LTD + 822 419 5141SHINHAN SOUND CORPORATION + 822 376 8383-4SOUND BOX CO + 822 419 5141TM SOUND + 82 31 9778157LEBANONELTEK + 961 1 265048MACAUCHIFU + 853 567847/8MEXICOLARA POLANCE Y ASOCIADOS SA DE CV 01 722 2131983SISTENAS INTEGRALES + 52 5762 5941MOROCCOKILMI MUSIQUE + 212 332 44 23NETHERLANDSAMPCO PRO RENT + 31 30 241 3444EAST SOUND + 31 575 519365PURPLE HAZE + 31 348 424477SERVICE-CENTRUM APTRONICS + 31 315 631521VAN SAMBEEK PA + 31 653 902690NEW ZEALANDACME AUDIO LTD + 64 9 302 0352NORWAYAMAS LYDPRODUKSJON A/S + 47 55 39 38 00NORSTAGE A/S + 47 52 71 43 10PA PRODUKSJONER BERGEN + 47 55 598 598POLANDMUSNICKI SOUND + 4822 773 24 73PORTUGALPURO AUDIO + 351 21 434 31 25SINGAPORERHYTHMIC SOUND SERVICES + 65 841 0911SLOVENIADEJAN ZURA + 386 41 336 869MEGA AUDIO D.O.O. + 386 62 314063PLOHL MIRAN + 386 62 661 761SOUTH AMERICAMISSION PRODUCTIONS + 57 305 888 6333SPAINELECTRIC-SO + 34 93 726 54 44FATSINI S.L. + 34 97 770 1257LUC SON + 34 96 530 30 23MUSIBELIOS S.L. + 34 95 234 12 51MUSICA VIVA + 34 933 033 247PROSEC AUDIO S.L. + 34 985 98 07 01RED TSO + 34 977 64 34 95SEGUNDO LASER + 34 967 40 10 96SONARTE + 34 926 31 28 28SONER, SONIDO E ILUMINACION + 34 98 653 0555SONOBEXI + 34 953 76 33 37SONORIZACIONES Z, S.L. + 34 961 20 31 11SONOSET (MILWAUKEE AUDIO S.L.) + 34 93 372 40 53TOUR SERV. PROF. SO I IL.LUM, S.L. + 34 93 477 04 95SWEDENDM AUDIO + 46 8 97 07 85MUG HYR AB + 46 31 130990RIGHIRE + 46 16 145 300SKELLEFTEA LJUDUTHYRNING + 46 910 173 74SWITZERLANDAUDIO-PHASE + 41 32 384 26 72SOUNDHOUSE + 41 41 259 20 90X-LIGHT & SOUND GMBH + 41 62 923 95 75TAIWANDINGLEY PROSOUND SERVICES + 886 7 384 3845REYANG PROFESSIONAL SOUND CO LTD + 886 2 8797 8687YASHIN PRO-AUDIO INC. + 886 7 322 2555TURKEYTEMPO MUZIK LTD + 90 212 230 38 18UNITED KINGDOMATOMIC SOUND SYSTEMS + 44 1636 702717AUTOGRAPH SOUND RECORDING + 44 20 7485 4515CABLE MUSIC PA HIRE + 44 1926 339780CAPITAL SOUND HIRE + 44 207 978 5825CAV + 44 1453 751865CENTRE STAGE + 44 202 8208 1033FX MUSIC + 44 20 8208 1771HAWTHORN THEATRICAL + 44 1664 821111INTASOUND PA + 44 1905 841591LIMIT AUDIO + 44 1527 892368PA PA + 44 1248 670980QUANTUM SOUND + 44 24 7666 8457ROSSCO LTD + 44 1462 431413STAGE AUDIO SERVICES + 44 1384 263629STARSOUND SYSTEMS + 44 1924 278875ZU 2 + 44 7974 418867UNITED STATES OF AMERICAA.C.E.S + 1 518 270 4747AURATEQ + 1 718 861 1416AV PRESENTATIONS + 1 985 542 9196BLIZZARD SOUND + 1 920 451 1343

CLEARWING AUDIO + 1 414 258 6333DELICATE PRODUCTIONS + 1 805 388 1800DYNAMIC PRODUCTIONS + 1 770 529 8100EMS INC. + 1 401 331 5247GO AUDIO + 1 414 764 8290LA SOUND COMPANY + 1 818 765 6900MHA AUDIO + 1 301 733 9337NORTHEASTERN PRODUCTION + 1 585 427 8760PHIL REIGH SOUND + 1 888 411 7445RALEIGH MUSIC + 1 919 965 4300SACRAMENTO PRODUCTION + 1 916 481 3679SAI + 1 612 724 5395SATIN SOUND + 1 724 983 1938SOUND CONSTRUCTIONS + 1 718 893 7352SOUNDCRAFTERS + 1 619 697 4500SOUNDWAVE PRODUCTIONS + 1 520 327 5590STICHA BROTHERS + 1 608 276 5570SUNBELT SCENIC STUDIOS INC + 1 480 598 0181TECHNICAL PRODUCTIONS + 1 314 644 4000TECHNOTRIX + 1 815 935 0233VERTICAL SOUND + 1 216 521 9994WORLD AUDIO + 1 210 472 3932

AUSTRIALTV - LICHT/TON/VIDEO + 43 662 828 989STAGEPARTNER GES.M.B.H + 43 676 4004404VIDEO & SHOW + 43 7229 81717BELGIUMD-RENT + 32 3 324 02 97PHLIPPO AUDIO BVBA + 32 3 491 91 76CANADAS.P.L. SOUND + 1 250 763 3855CHINAHUIFENG PERFORMANCE EQUIPMENT (GROUP) CO. LTD + 86 20 8489 8888KUNMUNG YIFENG + 86 871 316 1287POWER MAX (ASIA) ENGINEERING LTD + 852 2661 0527CZECH REPUBLICPAVEL JAROLIM – KOCENA + 420 602 755571DENMARKEUROPEAN TOUR PRODUCTION APS + 45 36 30 70 80FRANCEAVANT SCENE + 33 534 63 02 60GERMANYCOMPLETE AUDIO BERLIN GERMANY + 49 30 661 00 45EVENT & VERANSTALTUNGSTECHNIK ENCHELMAIER + 49 2601 913116KAFER PA + 49 7721 408333LIVEAUDIO EVENT TECHNIC GMBH + 49 531 2335592RAIN AGE VERANSTALTUNGSTECHNIK + 49 8191 305858SIRIUS SHOWEQUIPMENT AG + 49 6101 609500ITALYBIG TALU SERVICE + 39 0174 45314ELECTRA SERVICE + 39 0375 82919ELETTRA SERVICE + 39 141 855405FUMASOLI SERVICE + 39 0165 35806MUSIC SERVICE ALIBI + 39 011 3589532PHOENIX AUDIO + 39 041 5342349PROCOPIO NICOLA + 39 0967 86718PRO SOUND SERVICE + 39 0422 460241SPRAY RECORDS + 39 85 975031KOREAOCEAN SOUND + 82 31 977 8157MEXICOMEGALITIC PROYECTS SA DE CV + 52 5519 3967MOROCCOKILMI MUSIQUE + 212 332 44 23NETHERLANDSAMPCO PRO RENT (SYNCO) + 31 30 241 3444PURPLE HAZE + 31 348 424477POLANDMUSNICKI SOUND + 4822 773 24 73PORTUGALPURO AUDIO (SYNCO) + 351 21 434 31 25SLOVAKIAROCK-CENTRUM ELECTRONIC PLUS + 421 434 36336SLOVENIADB TEAM + 386 41 336 869SOUTH AMERICAMISSION PRODUCTIONS + 57 305 888 6333SPAINAUDIO DISSENY + 34 972 215 3 06COSTA ESTE + 34 986 530 855ESPECTACULOS LITO, S.L. + 34 986/530.855MUSICA VIVA + 34 933 033 247PANORAMA + 34 986 530 861PROSEC AUDIO S.L. + 34 985 98 07 01SWEDENDM AUDIO + 46 8 97 07 85UNITED KINGDOMCAPITAL SOUND HIRE + 44 207 978 5825WIGWAM + 44 1706 363400UNITED STATES OF AMERICAA.C.E.S + 1 518 270 4747A.S.R. + 1 407 767 5776AURATEQ + 1 718 861 1416DELICATE PRODUCTIONS + 1 805 388 1800GENESIS AUDIO + 1 602 426 0930GO AUDIO + 1 414 764 8290LA SOUND + 1 818 765 6900LEHARDY SOUND + 1 787 627 5958MHA AUDIO + 1 301 733 9337PRODUCTION SOLUTIONS + 1 610 374 6998RALEIGH MUSIC + 1 919 965 4300SACRAMENTO PRODUCTION + 1 916 481 3679SATIN SOUND + 1 724 983 1938SOUNDWAVE PRODUCTIONS + 1 520 327 5590SUNBELT SCENIC STUDIOS INC + 1 480 598 0181

Wavefront Rental Companies Around the World

AUSTRALIA3200 LIGHTING + 61 2 9693 1777ANDY J SOUNDS + 61 8 8376 2771AVL + 61 3 9387 1055AVLA + 61 8 9221 1888AVSOUND PRODUCTIONS + 61 2 9949 9000CENTRESTATE PRODUCTIONS + 61 2 6362 0587DAVIDSON AUDIO + 61 29 36 81159DERRINGERS MUSIC + 61 88 37 11884ENTERTAINMENT INSTALLATIONS + 61 2 4324 3873JAZZRIGHT PRODUCTIONS + 61 2 9311 1197JOHNSTON AUDIO + 61 9329 3311MARTIN PARKS PRODUCTIONS + 61 2 6360 4411MASTER SOUND PRODUCTIONS + 61 2 9683 4971PHASE ONE AUDIO + 61 89 22 77979SOUND SOLUTION + 61 3 9686 4755STEPHEN SOUND + 61 3 9436 8981TOP END SOUNDS + 61 8 8981 7744AUSTRIABRUNNER & BRUNNER + 43 676 4004404FOR MUSIC VERLEIH + 43 2236 71684KRAXBERGER VERANSTALTUGSTECHNIK + 43 7242 45193LTV - LICHT/TON/VIDEO + 43 662 828 989MAYRHOFER VERANSTALTUNGS + 43 7667 6090TOPLAK STAGE POWER + 43 22 39 50 58VIDEO & SHOW + 43 7229 81717BELGIUMALL AUDIO ACCOUSTICS KORK BVBA + 32 475 5745 17BSL + 32 9 348 80 20DELTARENT NV + 32 50 49 00 81D-RENT + 32 3 324 02 97PHLIPPO AUDIO BVBA + 32 3 491 91 76SOUND & LIGHT SYSTEMS + 32 59 27 66 46SOUND ART PA & LIGHT SERVICES + 32 50 81 61 30STAGE PROJECTS BVBA + 32 75 721710STUDIO 2000 BVBA + 32 89 30 89 54CANADANORTHWEST PRODUCTIONS + 1 250 765 8451S.P.L. SOUND + 1 250 763 3855CHINAD & E (INTERNATIONAL) LTD + 852 2898 8666HUIFENG PERFORMANCE EQUIPMENT (GROUP) CO. LTD + 86 20 8489 8888KUNMUNG YIFENG + 86 871 316 1287POWER MAX (ASIA) ENGINEERING LTD + 852 2661 0527CYPRUSV&M AUDIO + 357 22313088CZECH REPUBLICAV CENTRUM + 420 602 227357SOUND SERVIS + 420 602 2220870DENMARKEUROPEAN TOUR PRODUCTION APS + 45 36 30 70 80RINGSIDE TOUR PRODUCTION + 45 3645 0701ESTONIAAUDIOTEL + 37 252 44005FINLANDRADIANT SOUND COMMUNICATION + 358 3 22 33311SUOMEN TAPAHTUMATEKNIIKA + 358 3 225 8600UNITED SHOW ENTERPRISES HELSINKI LTD + 358 9 759 4180FRANCEART SON ET LUMIERE + 33 4 94 03 03 52ATC + 33 5 56 69 60 60AUDIO CONCEPT + 33 563 39 67 86BALLOON FARM STUDIO + 33 299 321 111BGM + 33 4 66 84 39 34EURO LIVE + 33 296 743 326GPS + 33 251 686 900L & S PRODUCTION + 33 384 79 00 96LA COMPAGNIE LUMIERE ET SON + 33 437 40 21 60PRODUCTION 44 + 33 2 40 52 07 07REGI-SON SONORISATION + 33 555 062 020RICHARD LAURIANT ECLAIRAGE + 33 385 391 535STARS + 33 810 56 66 66TECHNISCENE + 33 2 35 88 86 86GERMANYART VERANSTALTUNGSTECHNIK + 49 2332 149093BIG BEAT PA SERVICE + 49 172 4304717COMPLETE AUDIO BERLIN GERMANY + 49 30 661 00 45EVENT & VERANSTALTUNGSTECHNIK ENCHELMAIER + 49 2601 913116GS LICHT & TON + 49 7561 986712JA BESCHALLUNG + 49 5722 1342KLEMENT MEDIENTECHNIK + 49 5626 8475LWS + 49 228 946760MEGATEC + 49 351 8386811MUSIK BIRKHOLZ + 49 2227 82753NEW NOISE TECHNIK FUR SHOW & EVENT + 49 201 8686010PA VERLEIH CALIMBA + 49 8441 6866PINK NOISE + 49 2405 95441RAIN AGE VERANSTALTUNGSTECHNIK + 49 8191 305858SAL EVENT TECHNIK + 49 5132 4823SATION AUDIO + 49 8225 958134SCHALLDRUCK + 49 3531 65300SIRIUS SHOWEQUIPMENT AG + 49 6101 609500GUADELOUPESLP PRO SARL + 590 80 15 80HONG KONGD & E (INTERNATIONAL) LTD + 852 2898 8666POWER MAX (ASIA) ENGINEERING LTD + 852 2661 0527INDIATHUKRAL PRODUCTIONS + 91 11 431 1011IRELANDREA SOUND + 44 1648 764059ITALYBIG TALU SERVICE + 39 0174 45314BLU STUDIO + 39 079 293179CLAPS + 39 0434 26882

W8

W8L/W8LC/W8LM