Issue Twelve | September 2005

In this Issue:Ministry ReshuffleWW2 CommemorationsLigabue ExtravaganzaLive8, Kylie, WOMAD

Military Tattoo’sMarching Power

The Martin Experience

In this Issue:Ministry ReshuffleWW2 CommemorationsLigabue ExtravaganzaLive8, Kylie, WOMAD

Military Tattoo’sMarching Power

THE EDGE | Issue Twelve | September 2005

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

In 1996 I decided to bring down the curtain on my long career in publishing: Ivowed I would never again be the midwife to the arrival of another A4 page ofnewsprint into the world. Then Martin Audio entered the new millennium bydeciding to produce a periodical newsletter to keep distributors, dealers andcustomers round the world informed of their activities. As a result a 16-pagetitle — little more than a pamphlet — appeared at the 2000 Musikmesse inFrankfurt. But of course any living organism has a habit of evolving … and 12editions down the line we are now producing a 36-page-and-rising book.

This latest edition of The Edge contains a record number of pages — as befitsthe extraordinary scope of work that the company has circumnavigated in thepast six months: the Kylie Minogue World Tour, The Eurovision Song Contest,the Ministry of Sound Refit, the 60th Commemorations of the end of World WarII, the Edinburgh Military Tattoo … and probably the largest production eventever staged in Italy (the four-stage Ligabue extravaganza at Campovolo in ReggioEmilia). Distributors have similar stories to tell through most of the territories inwhich we are represented — and fortunately they have been telling us.

Thanks are due to everyone who has contributed to this bumper edition —especially our friends in the press: Mike Clark; Tim Goodyer and Richard Lawnat Pro Audio Asia; Synco’s PR guru, Mike Lethby for the words on WOMADRIDand Live8 at the Eden Project (and to Total Production’s Mark Cunningham forgiving us permission to run the latter); and finally Martin Audio’s own in-housesnappers and correspondents (notably Martin Kelly, Jim Cousins, Peter Owenand Brad Watson). There is plenty for us to celebrate at this year’s PLASA Show,and we hope you will take the opportunity to share in this success with us.

Jerry Gilbert

Sept 11 - 14: Plasa 2005, London, UK

Oct 07 - 10: AES, New York, N. America

Nov 11 - 13: LDI, Orlando, N. America

Feb 01 – 03: ISE 06, Brussels, Belgium

Feb 12 – 15: SIEL, Paris, France

Feb 13 – 15: Entech, Sydney, Australia

Feb 20 – 23: Pala, Kuala Lumpur, Malaysia

Mar 11 – 14: SIB, Rimini, Italy

Mar 16 - 18: NSCA, Orlando, N. America

Mar 29 – Apr 1: Musikmesse, Frankfurt, Germany

Where to see us

Cover: The Edinburgh Military TattooPic: Rob Wilson Photographs

Contents

RIGHT AT THE CUTTING

A Product Update 3VE/VJ Day: Spectacular Commemorations in London 4-5Battle of Trafalgar: Bicentennial of the Famous Sea Battle 6Ligabue’s Amazing Four Stage Concert 7Ministry of Sound: Martin Moves into Premier London Club 8Voices: An Experimental Season at the ENO 9Showgirl: Kylie Minogue Debuts New Downfill 10Live8: Martin Joins in the World Festival — at the Eden Project 11Sheridan Hills Church, Miami, FL 12St. Martin’s Church, Providence, RI 13America West Arena 14Sloppy Joe’s, Key West, FL 15Stanco Supports Nelly Tour 16Puro Opens in Spain/ St.Franziskus Goes Discrete 17Edinburgh Military Tattoo: From the Esplanade of Edinburgh Castle 18-19WOMADRID in Spain/Girls Aloud – out with Wigwam 20German Productions out in Force 21Rea Sound Enjoy Busy Install Season 22Premier London Members Club Refit/T-Mobile Drive-In 23Roma Revived in Antwerp 24DM Audio at the Eurovision Song Contest 25Gloucester University: Major Sale Follows Summer Ball 26The Scene/Cabot Bars: Two Important UK Installs 27Sapphire Suite Opens in Sydney’s King’s Cross 28King of the King, Hong Kong/Osan Cultural Center, Seoul 29Redboxx: A New Club in Surabaya 30Sept 1 Raise the Bar in Japan 3160th Commemoration of Labuan Landing 31Kilmi Stage Major Festival in Morocco 32Escape Club, Mumbai/TechnoPro Supports DJ Aligator in Dubai 33Rubicon AS Ramp Up in Norway 34Staging in Zagreb/Installations in Lithuania 35Wavefront Users 36

3

The Martin Audio W8LMD is a mini, wide-dispersion verticallyarrayable enclosure. Designed to be used individually and insmall quantities for short to medium throw (<30m)applications or as a downfill element for the W8LM. With its20° vertical dispersion fewer cabinets cover the same area as aconventional line array element, yet still benefit from thesmooth, predictable coverage of a vertically coupled system.

Using one or two W8LMD cabinets at the bottom of a W8LMarray benefits the whole system. The W8LM array becomesless curved and throws further and the W8LMD’s 120°dispersion is now covering ‘front row central’ and the extremefront left and right.

The W8LMD is also effective in arrays of 1 to 4 cabinets whenused over short to medium (<30m) distances and coverageareas that require a large vertical angle.

The W8LMD is a full-bandwidth system (-3dB @ 60Hz) andmay be used without subwoofers in many applications. Whereadditional low frequency extension is required, it is ideallycomplimented by the WMX subwoofer from which theW8LMD can be flown, pole mounted or ground stacked.

The Martin Audio WMX is a compact, 1 x 18" highperformance flown/groundstack sub-woofer featuring ourtrademark Hybrid™ loading. Primarily intended for use withthe W8LM, it shares the same cabinet width and is directlycompatible with the W8LM and its flying hardware.

Wider Waves

Ceiling... the deal!A welcome addition to the Martin Audio Architectural portfoliowill be a completely new series of high performance ceilingspeakers. The range consists of the C4.8T 25W 4" (100mm),C6.8T 75W 6.5" (165mm), C8.1T 150W 8" (200mm), C10.1200W 10" (250mm) and the CS10 200W 10" (250mm) ceilingsub-woofer.

The C4.8T, C6.8T and C8.1T models feature a 2-way designusing soft dome tweeters to achieve the widest dispersion andexcellent off-axis performance. The exceptionally widedispersion of the C4.8T and C6.8T make them particularlysuitable for low ceiling areas.

The C4.8T, C6.8T and C8.1T units are set to 16 ohms asstandard but contain proprietary line transformers that haveexcellent low frequency characteristics, and so can be easilyswitched to 70/100V working. The C10.1 is supplied as a 16ohm unit with a 70/100V transformer available as an optionalextra. The CS10 sub-woofer is supplied in 8 ohms.

PRODUCT NEWS • PRODUCT NEWS • PRODUCT

Launching at Plasa 2005 will be the W8LMD and WMX, two exceedingly versatile cabinets designed to furtheraugment the already highly successful range of Martin Audio Line Array products. Also making their debut will be anew series of high performance ceiling speakers.

Reflections on World War IITwo of the biggest WorldWar II commemorativeevents in London this year —respectively celebrating the60th anniversary of theVictory in Europe and thesubsequent conclusion of thewar — both broadcast theentertainment to crowdsaround Trafalgar Square andHorseguards Parade viaMartin Audio W8LCCompact line array systems.

In the first of these majorHeritage festivals, in whichthe entertainment turnedback the clock to the 1940’s,System Sound werecontracted to productioncompany, Mantaplan, whilefor the larger Festival ofCommemoration in July,Wigwam Hire, workingthrough Unusual Services,supplied their own MartinAudio W8LC system to adesign by John Del’ Nero.

July 10 saw the culminationof a week-long festival ofevents, when the Queenwas joined by the primeminister and 12,000 othersat Horseguards Parade forthe World War II 60th

Anniversary Festival ofCommemoration andaddress to the nation.

With a speech by HerMajesty, the event washosted by Simon Callow andfeatured readings, humourand music from World War II.The cast included a choir of

184, a 157-piece orchestraand a host of celebritiesincluding TV host BruceForsyth, singer Petula Clarkand actors Simon Callow,Jane Horrocks, Robert Hardyand Clare Sweeney. Therewas also a special appearanceby Dame Vera Lynn, while in

a symbolic gesture,veterans' groupshanded over theirstandards to theyounger generation.

Working for UnusualServices to a soundsystem design byImagination’s John Del’Nero, Wigwam Hireprovided four MartinAudio line array hangs(two for Main and twofor Outer coverage)each comprising 12 xW8LC’s, with fourW8LM (Minis) takingcare of the nearfield. AllW8LC/W8LM columnswere controlled using acombination of Martin

Audio DX1 and XTA DP226controllers.

Wigwam project managerChris Hill was on handthroughout, supervising theset-up, and was delightedwith the sound clarity andcoverage across the make-shift arena.

The main sound mix washandled on a pair of 96-channel Digico D5’s by PaulStannering, with Kevin Prucesub-mixing the orchestra andsending stereo mixes to themain desk where vocals andeffects were processed andVT’s and OB’s flown in. Livefeeds were taken from TheMall and also BuckinghamPalace, with the FX hot-keyed at FOH using 360Systems’ Instant Replay andShort Cut machines. Stagesound was handled by MarkBallard.

Said Stannering, “I have usedthe Martin Audio line array acouple of times in the past

The stage at Horseguards Parade

The VE stage at Trafalgar Square

and it’s a really nice system.For this kind of full-rangework it’s very smooth andwarm, and lends itself to thestrings and brass of the tri-Service orchestra.”

Providing loudspeakersystem technical support wasMartin Audio’s Jim Cousins,who optimised the hangsusing the company’sViewPoint™ software, andchecked the overall verticaland horizontal coverageusing Martin Audio’sDISPLAY™ predictivesoftware. “I wanted to getclean, powerful, broadbandcoverage without having toresort to delays. DISPLAY™confirmed that all would bewell – even in the very dryconditions that prevailed onthe day.

“Our other concern was thebuildings on the side; had wenot tilted the system downwe would have risked slap-back.” To compensate, theyset the system so that itnarrowly skimmed the seats,using the mix position as thehighest point the soundwould project to.

As a result the entire 180°audience seating area wasevenly covered by the four hangs.

Other Wigwam crewinvolved in the productionincluded system techniciansSimon Hall, Sid Rogerson andGary Kenyon, monitor techVince Sharpe, TracyCampbell on radio with PJ

and Tom Asby (comms) andFreddo (RF engineer). Asidefrom Jim Cousins, furthertechnical support wasprovided by Roger Wood(Digico) and Stu Cheney ofPlus 4 Audio (RF system).

Two months earlier, a near-capacity 15,000 crowd hadthronged Trafalgar Square forA Party To Remember Live — atwo-hour concertcelebrating the 60thanniversary of VE Day.

Presented by EamonnHolmes and NatashaKaplinsky, the event sawappearances by Will Young,Katie Melua, KatherineJenkins, Sir Cliff Richard,Dame Vera Lynn and more.With a strong presence bythe Royal British Legion, andthe event televised live onBBC One, memories ofvictory in Europe 60 yearsago were strongly rekindled.

With Martin Vanstone as sitemanager, System Sounddirector and event sounddesigner, Simon Biddulph,said that the Martin line arraysystem was always in hismind when the classical eventspecialists — no strangers toworking at Trafalgar Square— were awarded thecontract by Mantaplan.

However, the originallyprojected sound-field —designed to carry the concertdown the Mall — wasreduced to a barrier pointbetween the Mall andTrafalgar Square, set at adistance of 110 metres fromthe stage.

“Fortunately this was set atlow level, so there was nobounce-back,” reportsSimon. “There was no scopefor delays and I was initiallyconcerned about fielding astraight Left/Right PA. But werigged ten W8L’s per side,with a pair of W8LC’s at thebottom of the hangs fordownfills — and the soundcarried without difficulty.”

The PA was set up using theBSS Soundweb, whichresided in a mixing position,oddly set at 5m in the air. “I controlled everythingthrough Soundweb, whichgave me easy remote access,and modified the rig, putting

a computer under the seatingblock,” says Simon. “Thesound had to be carefullydirected to keep it awayfrom as many buildings aspossible.”

Summarising the production,Simon Biddulph said,“Because of the wide sweepof the BBC’s Jimmy Jib(camera crane system) therig had to be trimmed higherthan we had hoped — butthanks to the downfills itworked tremendously well.

“Also, because there was abig band playing throughout Iwanted to avoid lots of subs— and the Martin systemreally showed its capability asa full range system.

“Finally, the system went upand down in seconds —Shirley’s put us some greatrigging points in, which madeit simple.”

Simon praised his systemtechnician, Chris Coxhead,backstage co-ordinator PeteMcGlynn and the supportgiven by Martin Audio’ssenior project engineer, JimCousins — while theexperienced FOH engineerRichard Sharratt ensured aconsistent mix throughout,despite some turbulentwinds, and Chris Vass lookedafter monitors.

5Left to right: Paul Stannering, John Del’ Nero, Kevin Pruce

Nelson’s Glory

Thousands of spectators braved wetweather to watch a Battle of Trafalgarre-enactment off Portsmouth — theclimax of the bicentennial celebrations.

Fusillades of gunfire, blasts from cannonsand fireworks helped mark the 1805victory over France and Spain.

The sound effects — including narrationby actor Robert Hardy — weretriggered from a special soundtrackcompiled by Smudge Productions. Thiswas mixed live in ProTools anddistributed along 650 metres ofpromenade by Capital Sound Hire’sMartin Audio W8C system.

Cap Sound, working for productioncompany MICE International, set uptheir control position at the nearbySouthsea Rowing Club, where they wereanchored over a ten-day site period atthe coastal resort.

After the Queen had conducted amassive international fleet review thebattle re-enactment commenced, withreported crowds of up to 250,000thronging the seafront.

Occupying 13 positions along the lengthof the esplanade (between Clarence Pierand the Sea Life Centre), were stacks oftwo WSX, three W8C and two W2’s(the latter handling the nearfield)

mounted on Steeldeck. Beyond this, alocal company had provided an auxiliary100V line system so that the distributedsound could be extended over a 1kmdistance.

The sound was not only fed to the 13clusters by radio link but also to threevideo screens, positioned out onSouthsea Common. The twogroundstacked displays were eachflanked by stacks of three W8C’s whilethe flown screen saweight W8LC CompactLine Arrays (per side)up in the air, reinforcedby ground-stackedWLX subwoofers. Thescreens were usedboth for the Fleetreview and at night forthe re-enactment.

In addition, a purposestage was constructedon Southsea Common,with a further eightW8LC and four WLXenclosures per side,which hosted a varietyof entertainment fromJapanese traditionalgroups to schoolchoirs, all mixed byGiles Woodhead.

The day after the re-enactment the war themecontinued with theInternational DrumheadCeremony, which took placeat a purpose-built arena (theIDC Arena) close to the WarMemorial. Attended by HRHThe Duke of York and HRHPrincess Michael of Kent, thiswas open to war veterans andinvited audience, with a strongemphasis on youthparticipation.

Featuring a wide range ofentertainment — from theRoyal Marines Marching Bandto speeches by warcorrespondents such as KateAdie and Brian Hanrahan —once again Capital Sound Hire

provided the sound reinforcement in theshape of four W8LC’s hoisted onSummit masts.

Martin Connolly said the event had beenan unqualified success and praised hiscrew. Overall production manager forthe Festival was Kevin Field, whileGeorge Glossop took charge of the IDCArena, Sean Busby-Little and KevinHopgood oversaw the Trafalgar Re-enactment sound mix.

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Bigger LigaRecord-Breaking Airport ShowLuciano Ligabue is not onewho believes in doing thingsby half measures. In recentyears, the raunchy rocker hasstaged a concert at Verona’sArena, where he avoidedinstalling PA towers by havingthe sound system flown upand over from two hugetruck cranes parked outsidethe arena. Another megaevent was a pair of concertsat Milan’s San Siro soccerstadium with a stage setoccupying the entire lengthof the pitch.

This year, he decided to goone better, and as The Edgewent to press ‘Liga’ was setto perform on four stages(designed by Igor Ronchese),at Campovolo Airport inReggio Emilia to an audiencein excess of 160,000.

Designed by Claudio Trotta,event production was byBarley Arts and Friends &Partners in conjunction withRiserva Rossa, the artist’smanagement; executiveproducer was Trotta’s sisterCristina.

Audio contractor for thehuge event was RenatoFumasoli, and the MartinAudio Wavefront line arraysystem installed at the venueranked second only in size tothat used for the WorldYouth Rally with Pope JohnPaul II in Rome: as in Rome,the line array systems havebeen designed by MartinAudio’s Senior ProjectDesigner Jim Cousins usingMartin’s DISPLAY™prediction software.

In addition to the 48 x W8Lsystem Fumasoli already hadin house, he dry hired theremaining systems from

Capital Sound Hire and FXMusic (UK), D-Rent(Belgium), Ampco Pro Rent(Netherlands) and Sirius(Germany).

The majority of the showwas set for the 270ft wide78ft high main stage (with thesinger and his current band),connected by a pair of 100-yard catwalks with theTheatre and Solo stages(both 45ft x 30ft), whereLigabue was scheduled toperform with special guestsand alone with acoustic guitarrespectively. At the oppositeend of the concert site,behind the mix platform, theVintage stage would host theartist’s show with his originalgroup plus support bands.

The system for the Mainstage consisted of two hangson either side of the stage,each with 16 x W8L 3-wayline array systems, plus fivedelay arrays; of these, theoutermost on either side ofthe site has 14 x W8Lsystems and the three centreones 16 x W8LC Compactseach. The PA for the 180ft x45ft high Vintage stage, facingthe main set, was almostidentical, but without theoutermost delay arrays. Thethree central delays weremounted one on either sideof three 48ft high ‘double’audio towers. The twosmallest stages have sixW8LC at around head heighton either side of the stage,connected to the Main stagesystem. Excluding theW8LM’s used on side fill,front fill, near field andcatwalk duty the PA tally is156 x W8L and 120 x W8LC.

The entire system was underthe supervision of Fumasoli,his son Enrico and LucaMorson, who optimised thesystems using Martin Audio’sViewPoint™software.

Ligabue’s long-time FOHengineer Paolo ‘Red’ Talami,has used the Wavefront

“The feature I appreciatemost with W8L systems isthe great combination of linearray coverage and that good‘healthy’ Martin rock sound!The enclosures don’t‘condition’ my work in anyway, as has been the casewith other brands I’ve used.”

Talami also confidedthat Ligabue is sofond of the ‘Martinsound’ that he haseven installed Martinsystems as monitorsin his privaterecording studio.

Stefano Rocchi, ofMartin Audiod i s t r i b u t o r s ,Audiosales, providedfull product support,including MartinAudio/Lab Gruppenamplification.

Summarised ClaudioTrotta, who was

hoping to set a record withthe show, “If not the biggest,the event will definitely beamong the world’s top threeor four as far as concertattendance for a single artistis concerned.”

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systems on festival duty manytimes in the past, havingattended the original systemdemo back in 2000.

Noting that this was the firsttime a top Italian artist hadused the line array set-up fora solo concert, he enthused,

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MoS Moves Over to MartinThere have been significant changes tothe technical infrastructure at theMinistry of Sound, where the famousLondon club has recently replaced itssound set-up with a premium MartinAudio system.

The criteria for an undertaking of suchmagnitude had to be based onpreserving the Ministry’s reputation asthe number one club in the world, andhead of production, Dave Bradshaw,knew from the beginning that hiscriteria needed to be based on soundquality, reliability and back-up service.

Dave has used Martin Audio for DJmonitoring in the Ministry of Sound’smain room, (The Box) for some years,

and had received many plaudits from top DJs, who had remarkedon how clean and powerful the system was.

The club’s resident DJs, Marc Hughes and Nick Bridges, used thesame system in Singapore recently and said, “The Martin Audiosound gives us just what we want, really phat and punchy,incredibly clean, a definition that had escaped us in the past.”

And Dave Bradshaw, who put together the system with MartinAudio’s Peter Owen, added, “The reliability of the units has beenfirst class — in fact I haven’t replaced a single driver.”

Owen responded by saying, “I have known Dave for a number ofyears, and when he approached me with his requirements wewere able to construct this new outstanding solution very quickly.”

The new specification — which remained the same from conceptto completion — sees eight W8LC Compact Line Arrayenclosures distributed in two drops of four, for main coverage atThe Bar. A further four W8LM Mini Line Array boxes have beenconfigured in two hangs of two per side (as side fills) and a pair ofBlackline S218 as subwoofers.

The Bar’s DJ booth also houses two Blackline F12’s and a single

S15 sub for DJ referencing. The Baby Box has four each of thelarger Blackline F15 and S218 subs with a pair of F8’s as infill underthe balcony area with two Blackline F12’s used as the DJ monitors.

The main VIP room has a selection of four Blackline F10’s and asingle S218, allowing The Ministry to maximise the use of theroom — from full-on party to background low level music. “Thebeauty of the Martin product is that it retains its characteristics atlow and high level, so that you do not need to adjust the EQ toboost the sound when it is running at low level,” observes DaveBradshaw.

The venue’s head of production also changed the audiocomponents in all other peripheral areas such as entrancewalkway, private VVIP rooms and outside courtyard to keep a wellbalanced sound running throughout the club.

As a result, sound in the VVIP Room is now reinforced throughfour Contractor series C115’s while the entrance corridor hasfour AQ6’s (finished in white) and in the outside courtyard thesound is distributed through a pair of black AQ8’s.

The system was supplied by Chris Preston of Absolute Audio inMaidstone, who also carried out the installation. Chris has workedin the industry for many years and for much of that time has beenusing Martin Audio as his preferred choice of loudspeaker.

Chris felt the tie in between the Ministry of Sound and MartinAudio had been long overdue and noted, “The EQ has beenminimal as the boxes have adapted to the environment very well.”

Erick Morillo and Pete Tong christened the system as part of theSubliminal evening over the August Bank Holiday weekend. DaveBradshaw commented, “My initial reason for changing was to havea closer working relationship with the manufacturer. Martin Audioand Absolute Audio have surpassed all expectations. Havingowned a premium brand I had not expected to experience such asonic difference! The Bar is properly rocking now, a real kick in thechest, just brilliant.”

9

Voices at the ColiseumWhen System Soundwere contracted toprovide the housePA system at theLondon Coliseumfor the recent ENO& O2 ‘Voice’ Seasonthey looked at theversatility of theprogramme —ranging from chart-topping R&B artistLauryn Hill to thecool Brazilian vibe ofGilberto Gil — andknew that the W8LCcompact line arrayfrom Martin Audiowould best reinforcea programmedesigned tointroduce a widevariety of worldvoices to a newaudience.

But having workedthe famous venuebefore, SimonBiddulph’s companywas well aware of thehazards confronting themsince the Coliseum is notonly the largest spaceauditorium in the UK but it isdesigned with three‘letterbox’ balcony tiers intowhich the sound needs to beaccurately projected, withlittle spillage.

“Everything had to becarefully measured and thesound cut to length,” Simonexplained.

Based on their experience,Simon Biddulph providedidentical W8LC hangs oneither side of the prosceniumarch, grouped in two verticalclusters set eight metresapart, using a system ofclutch chains and motors.This solution was devised inconjunction with consultingengineer, Chris Coxhead.

“The venue is very sensitiveabout employing third partyequipment, but the actsneeded a fully dynamicsystem,” said Simon. “Wedidn’t want to fly subs and sothe W8LC became theobvious solution because ofits full range capabilities.”

Although Martin Audiosupplies proprietaryViewPoint™ software tooptimise its systems, thepredictive properties will notextend across four tiers.“Instead, we designed thesystem using CAD and usedViewPoint™ to check ourcalculations; we then movedit by 1° as a result of applyinga listening test.” The shelveswere carefully worked outand the very narrowcharacteristics of the sounddispersion ensured that

System Sound were able tofire it into each ‘letterbox’.

Simon Biddulph wasdelighted with the result.“The room saturates reallyquickly and you couldn’t haveput a full-sized line array infor that reason. The systemneeded to contain powerthat you wouldn’t normallyhave in a place such as this,but which at the same time iscontrollable. This systemrocks when you just tickle it.”

And he says the icing on thecake is the speed of thesystem rigging. “On theexperimental day we had theW8LC hangs up and downthree times with just twocrew. In fact the wholeprocess only took an houronce we had the mothertruss in position.”

The system EQ was handledby Martin Audio’s dedicatedDX1 system processor whilstthe high left and rightc r o s s o v e r s w e r eprogrammed into the BSSSoundweb.

Simon Biddulph says theW8LC has now become theirfavoured system after using itat the VE Day celebrations inTrafalgar Square last monthand later the VE/VJ Daycommemorations in StJames’s Park and BBC Africaseason at the British Museumwhere it “performedbrilliantly.” It will also be usedby System Sound once againat Proms In The Park onSeptember 10-11.

Display™ and Downfill Debut on Showgirl

A special downfill cabinet was developedfor Martin Audio’s Wavefront Line Arrayseries, in time to debut on KylieMinogue’s Showgirl Greatest Hits tour.

The production requirements of thetour, serviced by Martin Audio’s premierrental company Capital Sound Hire, gavethe manufacturers all the encouragementthey needed to produce the W8LDdownfill line array cabinet as an extensionto their flagship W8L system.

Prior to its cancellation (after Kylie hadbeen diagnosed with breast cancer), theShowgirl tour featured an unusually largethrust stage which the artiste occupiedfor almost the entire performance.Typical of tours of this size, the stageapron needed to be kept clear, resultingin the flown PA being asked to providecoverage all the way from the stagebarrier to the back of the room.

To cover the far left and right of the frontrows required an extremely widehorizontal dispersion pattern (of 120°).More importantly, to avoid feedback andreduce PA spill into the in-ear monitors,Martin Audio were tasked not only withdeveloping an extremely wide horizontaldispersion cabinet but also one whichwas capable of an adjustable asymmetricdispersion pattern in order to directsound away from the thrust stage.

Another important design goal was theseamless integration between the W8LDdownfill cabinets and the main W8Lsystem above.

Using two W8LD cabinets per side tocover the first 20 metres also boostedthe output from the main system, asW8L cabinets were not being used tocover the first few rows.

The W8LD was just one of a number ofnew technologies being put through theirpaces on the tour by the Aussiepartnership of FOH engineer Chris Pyneand system tech Tony Szabo.

In the UK, the Wavefront hangconfiguration varied depending on venue— from 16 x W8L’s per side (atManchester Evening News) down to 12x W8L (in Glasgow).

At the Birmingham NEC Arena, CapitalSound Hire rigged 14 x W8L’s per sidewith 12 x W8LC Compact Line Arrays asside hangs. An additional 12 x W8LSfront-loaded subs are groundstackedeach side of the stage (the crew arecarrying a maximum of 30 — sometimesrunning 24 in the air and six on the ground).

Szabo and Pyne set up the system usingMartin Audio’s predictive ViewPoint™software, using the maximum number of

enclosures to flatten off the array angles.This was confirmed using Martin’s newly-developed DISPLAY™ program, whichequips users of W8L Series Line Arrayswith a powerful yet simple to use analysisand design virtual 3D environment.

With the extra PA that was introduced,the DISPLAY™ file had beenindispensable, enabling Tony Szabo toplot the room without guessing coverageand SPL values. “I just have to put thatinto a 3D space, which represents theroom and via placement of a virtual mic itwill give me the correct frequencyresponse.

“Martin Audio have used a softwareengine which ‘gamers’ use, known asOpenGL. It enables you to move aroundjust as you would in a 3D gamesenvironment. You can put the PAanywhere through the 3D model, and itworks really well.”

Finally, both men were agreed on therigging attributes and overall aesthetic ofthe W8L system. “And everyone knowsthat looks are worth 6dB,” quips TonySzabo.

Other crew members included RodMatheson (monitor engineer); Al Woods(crew chief); Simon Hodge (monitor & RFtech); Becky Pell (PA tech); Andy Banks (PAtech). Production manager was KevinHopgood and tour manager SeanFitzpatrick

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11

Africa CallingWhile the rock and popluminaries were gathering inHyde Park, some of Africa’sfinest musical talentassembled to perform atLive8’s sole all-African event.Staged amid the distinctiveBiomes of the Eden Project insouthwest England, AfricaCalling proved a magicalexperience for a capacitycrowd and a stellar cast.

Alongside N’Dour – who washelicoptered down fromLondon to duet with Dido,the pair then flying on to theParis Live8 show – were AyubOgada & Uno, Mariza,Thomas Mapfumo, CocoMbassi, Modou Diouf and OFogum, Geoffrey Oryema,Angelique Kidjo, Tinariwen,Kanda Bongo Man, Daara J –and, from somewhere

slightly closer to Cornwall,Peter Gabriel.

Production came fromAmpco Pro Rent (PA),Protone (backline), NegEarth (lights) and Done &Dusted (TV and video), withproduction manager DavidStallbaumer and stagemanagers Steve Field andTony Morris.

Ampco Pro Rent (APR)’sstandard festival controlsetup stood them in goodstead, with barely a week toprepare during the peakfestival season.

The main stage PA consistedof a Synco by Martin AudioW8LC Compact line arraywith support subs flown inline with the compacts..

APR production managerDieter van Denzel (whomixed FOH with JeroenEbskamp) explains: “With aroof capacity of just 2000kg,using the compact line arrayand our new subs was aperfect solution as it’s verylight but sounds fantastic. Itperforms like a big line array– it has the same number of

HF units as larger types butyou fly it like a really smallline array. Everyone wasraving about the way itsounded from the arena tothe top of the hill, where weensured it stopped, sinceEden has sensitiveneighbours.”

52-channel Midas Heritage2000 and 3000 consoles atboth front of house andmonitors provided control.Says van Denzel: “Iapproached this show like aregular television show whichAPR does a lot. We mixed it

from scratch withoutsoundchecks and in thatsituation it’s vital to have allthe channels to work on allthe time. Most of the micsstayed on the same channel,allowing quick changeoversand connection to OBmobiles.” 48 channels of BSSmic splitters routed signals tothe TV and radio mobiletrucks.

Protone, the oldest andlargest Benelux backlinecompany, provided genericbackline and instruments for

all 12 bands. The rest of theAPR team comprised SteveWatson, Koen Benschop andbackline specialist John‘Cable’ Hessing.

Concludes Brooman: “It wasa complete team effort with,of course, all the fantasticpeople here at Eden. Amassive great weight ofprofessional impetus andenergy resulted in this. It wasa big production forWOMAD and a brilliantresult.”

The concert was presentedin association with WOMADand its co-founder PeterGabriel, together withYoussou N’Dour, whoworked with WOMAD’sartistic director ThomasBrooman to assemble thelineup.

Eden Project chief executiveTim Smit provided the venueand galvanised local backingfor the show.

Their combined efforts led toa host of the continent’s top stars agreeing toperform.

Sheridan Hills Church UpgradesWith W8LMTravis Groat, Technical Director ofSheridan Hills Church in Hollywood,Florida, contacted Professional AudioVisual consultant Lee Buckalew todiscuss the church’s need for anupgraded sound system. And he shouldknow — for in addition to hisconsultancy, Buckalew is TechnicalDirector for First Baptist Church ofArnold just outside St. Louis.

Keeping in touch with Sheridan Hills’Technical Director, Pastor and WorshipLeader throughout the design processwas critical. The church’s ministrieswere growing to the point where theexisting meeting place for Sundaymorning services was soon to beoutgrown and Buckalew and Groatwanted to anticipate future needs interms of facility growth.

Sheridan Hills’ main Worship Centreseats approximately 1200, and thechurch added a second Sunday morningservice to accommodate the overflow.Each Sunday morning service in theWorship Centre includes a full 25-member orchestra and 65-memberchoir. The Worship leader uses awireless headset for vocals with awireless belt-pack for his guitar. Theexisting sound system could no longerhandle the needs of this growing church.

The Worship Centre presented uniquechallenges for a loudspeaker system. Itwas old and had been extensivelymodified over time. “We had todetermine if any of the existing drawingswere accurate,” said Buckalew. Detailedmeasurements of critical areas weretaken and the designers were surprisedto discover a set of drawings with theupdated construction.

The next challenge was using blueprintsof manual drafting plates. “Normally wewould take an electronic drawing andconvert it to EASE format to doacoustical calculations for variousspeaker systems and layouts,” recountsBuckalew. Instead they took theblueprints and hand drafted a series ofoverlays that allowed him to analyse the

various coverage angles for the room.They then used Martin Audio’sproprietary ViewPoint™ software andlaid out the initial system.

Martin Audio engineers confirmedBuckalew’s cabinet positioning. “Thismade me feel great since I was workingwith a brand new box that I hadn’t had achance to hear or use yet. However, Iwas quite familiar with the W8L andW8LC, and was confident that theW8LM would be the sonic equal of thelarger boxes.”

There were sonic and acousticchallenges as well. The Worship Centerroom had many hard, reflective surfaces,compounded by the beaming of thesound off of the hemispherical walls.

“There was never another manufacturerin my mind other than Martin Audio,”explains Buckalew. “I had worked withMartin products for years and foundthem to be among the best available.”The compact size and low weight of theW8LM made it possible for them toutilise a true LCR system that didn’tblock sightlines to the proposed newscreen locations.

Pastor Ed Callahan, Sheridan HillsWorship Leader, had never heard a fullMartin system before. “I knew the

Worship Leader was a bitapprehensive,” says Buckalew, “so wearranged a demo of some Martin LE12JBfloor monitors. They fell in love withthem and bought them on the spot.”

A flown three-array, LCR system waslaid out with six Martin W8LM cabinetsin each. Four Martin WLX sub basscabinets were designed in with theoption of either being ground-stacked orflown. Four Martin WTUB cabinetswere specified for under balcony fill.“The side balconies in this spacerepresented another challenge,” saidBuckalew. “We were afraid that theywould create significant acousticshadows for two or three pews ofcongregation members.” Buckalewworked with engineers at Martin tocustomise two LE12JB monitors for the fill.

“I wanted to use the LE12JB’s becausethey utilise a differential dispersionhorn,” explains Buckalew. “Essentiallythis all-horn design means that, as youget farther from the box, sound pressureremains relatively constant because thehorn’s compound angle is very broadwhen you are close to the box andnarrows as you are further away.”Implementing this principle had thedesired effect.

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been home to the congregation since 1916 — has receivedrave reviews from the parishioners, and carries music andspoken word with equal aplomb. Commented Waker, “Thespeakers are superbly balanced and required minimalequalisation, basically just a high pass filter. The dispersion isexactly as Martin Audio states, and we covered over 8,000 sq.ft with just ten AQ speakers and eight channels ofamplification.

“Perhaps the best comment we heard was that the sermonnow felt more like an intimate conversation rather than thevoice from on high.”

The parish of St. Martin’s church on the East side ofProvidence recently experienced a major uplift in audioquality thanks to Martin Audio’s new AQ series architecturalspeakers … and sound designer Mark Waker.

The church already had a sound reinforcement system but theage of the equipment and questionable installation techniqueshad rendered it almost unusable.

“In St. Martin’s, there is very little in the way of soundabsorptive material until the congregation is in the pews andeven with a full house, there is still an enormous amount ofhighly reflective hardscape,” explains Waker. “The only way todistribute the programme without generating massivereverberation was using multiple speakers operating at lowlevels in time-aligned zones. One of the key factors in theselection of the speakers is flat power response to avoidstimulating resonances wherever possible.”

The selected speakers are Martin Audio’s brand new AQ line.Although Waker’s company, Balanced Input, were given thego-ahead, as the system needed to be operational by EasterSunday — just 17 days away — it needed a fast response byMartin Audio and FedEx.

The central nave area is covered by four Martin Audio AQ8systems; the outer aisles are served by Martin AQ6 systems,as is the font at the rear of the church, and a pair of cleverly-concealed Martin CT115’s provides coverage for the choir.

The resulting installation in this beautiful building — which has

Saintly Recognition

“This system is the best sounding thatI have ever heard,” said Callahan. “Allof the subtlety of the instruments isthere, vocals come through clearly andcleanly and are easily understoodwithout being harsh or too loud. Wecouldn’t be happier with the system.”

As Buckalew concludes, “The resultswe were able to obtain even beforeacoustically treating the room weredue in part to the exceptional patterncontrol provided by the W8LM arraysbut were influenced even more by theconsistency of phase responseprovided by the Mini Arrays. Testmeasurements of coherence andphase response in the Worship Centerafter the installation showed anincredible increase in the coherence ofsound and a smoother phase responsecurve throughout the room even withall three arrays driven.”

Since installing a Martin Audioloudspeaker system as part of multi-million dollar audio and video upgradelast year, America West Arena has foundnew uses for the ultra-flexible soundsystem.

Recently, they were able to re-configurethe speaker clusters for the University ofPhoenix Online graduation ceremonies.As described by AWA Audio ManagerCarson Pricethe process was quick andr e l a t i v e l ypainless.

“When we setup for normalconcerts or thistype of eventinstead of ourusual set-up inthe round,”Price explains,“The stage goesat the northend. So we tookour Northwestand Northeastclusters of the12 Martin AudioW8LCs, movedthem aroundand faced themin the properdirection, south.

“Then, we tookthose two clustersof 12 and moved them to the edge of thestage, like a normal concert and we haveextension cables that live on our catwalkand drop down. So, we didn’t have to doany re-programming — we just mutedthe clusters we weren’t using and wewere off to the races.”

He continued, “Because the Martin AudioW8LC rigging system is so ingenious and easy to work with, putting the system together didn’t take much time at all and saved on labouras well. We actually have an extra Crest

America West SystemSpreads its Wings

48-input console on the floor and we mixthe event just like a concert.”

AWA hosted three graduation ceremoniesover two successive days, each withapproximately 1200 graduates. Theresults? As Price puts it, “The clientscouldn’t have been any happier. You couldhear every word of every speech. We hadtwo podiums and video playback, and alsorecorded it on DVD for sale.”

A premier entertainment destination,America West hosts major concerts andtours, rodeos, AmWay shows, andreligious shows with events that last aweek.

AWA is also home to four pro teams:The Phoenix Suns of the NBA, theArizona Rattlers of Arena Football, theWNBA Phoenix Mercury and a minorleague hockey team, the PhoenixRoadrunners.

To recap, the overall system consists ofeight clusters, with each cluster having

different speaker combinations. Thefour main clusters have W8LCCompacts, and there are two clusterswith four WLX subs and eight W8LMMinis; and two clusters with eight W8LXsubs and two W8LM Minis.

To further accommodate concert work,the installer, Genesis Audio Systems,installed a wireless network, Crown IQ,with a graphic interface for the arena to

allow control ofthe PA for thefloor, a value-added feature. Ap r o d u c t i o nmanager for anymajor music actgoing into AmericaWest Arena canfeel confident thatthe house systemwill be hisspeakers for thatnight.

Why MartinAudio? Priceelaborates: “Wechose the MartinAudio line arrays becausethey offeredintelligibility, clarityand performancelevel in terms ofdynamic capability.That, plus theother aspect of

being able to get sheer horsepower inthe arena, and keeping it off reflectivesurfaces and at the audience to the bestof our abilities.

“The music reproduction really isexceptional now,” Price concludes. “Theteams have all kinds of intro music,dance performances and theme music.We have all kinds of events that requirehigh fidelity and low end. Real rock androll systems, like this one.”

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Firing Up in ErnestOpened over 70years under the namethe Blind Pig, SloppyJoe's in Key West wasthe favourite hangoutof local resident andliterary hero ErnestHemingway. The clubstill features theoriginal Cuban tilefloors and hostsfestivals throughoutthe year (including theHemingway look-a-like contest). Namedafter the originalowner Joe Russell,Sloppy Joe's has areputation for hostingthe best bands in theKeys and the bestparties in town.

The landmark barrecently installed anew main PA andmonitor system fromMartin Audio, as wellas additional loudspeakers inthe Back Room saloon,located behind the stage, andthe upstairs Speak Easy bar.

“When we decided toupdate, we asked the localmusicians who play hereevery day what they neededand contacted other clubs tosee what they had installed,”said Kevin ‘Spyder’ Wright,entertainment manager forthe club.

The club operates 19 hours aday with three live music sets— which allows very littledowntime for upgrades andrepairs. Wright turned toPaul van Puffelen of SouthernTechnical Support Inc. inMiami Beach for the bar'srecent updates. Van Puffelenacted as system co-designer,installer and SLV integrator,working with co-designer,Mike Harris of Harris AudioSystems in Miami.

The sound design took into

account one of Sloppy Joe’smain issues, intelligibility. Theclub needed to have crystalclear sound without addingvolume, and even coveragearound the room withouttaking the focus from thestage or losing the directionof the sound. Wright noted,“Our servers and bartendersneed to be able tocommunicate with ourcustomers at a comfortablelevel, and our customers arethere to enjoy listening to themusic and indulging in theatmosphere.”

In the main room, there aretwo Martin Audio W8Ccompact three-way mid-highcabinets, flown either side ofthe stage, with a BlacklineS218 dual-driver under thestage on each side. Since thebar is in the middle of theroom, the main stagespeakers are rigged at anangle that focuses the soundbetween the stage and bar in

the seating areas. As a result,the levels at the bar area arekept lower and people canorder their drinks andconverse easily.

Two additional Martin AudioBlackline F8’s are used asstage side fills and anothertwo as delay fills by the frontdoor entrance. “The speakeroutputs are quite focused; itwas easy to contain thesound in certain areas andalso within the open buildingas there are strict soundordinances in Key West,”recalls van Puffelen.

As it happens, the four MartinLE12JB floor monitors havebeen highly praised by thebar’s musicians for theirsmooth response and clarity,power handling and output.A Martin LE400C monitorgives the drum wedge a littlemore kick with a 15inwoofer. The Back Roomsaloon and the Speak Easy

bar were also each outfittedwith two Martin Audio F8’s, aBSS Soundweb 9012 wallremote and an LG 42inplasma display.

“Overall, the MartinAudio/Soundweb combo wasthe perfect package for thisclub with such varied needsand sources,” says vanPuffelen. “Martin Audio alsohas a great record with us forstanding up to the elements.Sloppy Joe's is basically anopen air bar a block from theocean. We have outdoorMartin Audio systems inmultiple sea-side outdoorlocations in the Caribbean sowe knew that this would notbe a problem for SloppyJoe’s.

“The Martin system hasadded so much clarity to thesound it is hard to believe weever got by without it,”added Wright.

Taking The Rap For Nelly

How do you handle the audiofor Rap? When you’reworking with Nelly on athree-month North Americaarena tour, you bring most ofthe same equipment used forrock shows … with someextra gear thrown in andsome unique mixing talent toget the job done right.

Embodying that mixingtalent, Nelly’s four-man mainsound crew is headed up byDemetrius Blanton at theFOH console, who hastoured with Nelly for the lastthree years. Asked aboutwhat line arrays he’s flying forthe tour, Blanton answers,“We’re using Martin AudioW8LC tops, with 12 tops aside, and 12 subs per side.

“When mixing Nelly, the keyfor me is to make the vocalssound good, because it’s justthe DJs and vocals. Rapperstend to cup their mics. That’swhy we try to use goodcompressors, and some kindof parametric EQ’s inserted

on their lines for their vocals.”

“In terms of intelligibility, I tryto get the best sound I canout of these guys.”

Asked about the Martin Audioline arrays, system techBrennan Hauser is clear onwhy he uses the company’sspeakers. “I have been usingthe Martin stuff since the early’90s. It”s my first choice — I’ll put this rig upagainst anything that’sout there.”

Blanton agrees: “It’smost definitely myfirst choice. It’s whatI am looking foroverseas on theEuropean leg of thetour.”

Mixing levels, alwaysa concern in Rapshows, runsanywhere from103dB to 107dB atf r o n t - o f - h o u s e ,typically 105dB.Blanton uses a 7:1

will keep the level down.”

Talent comes naturally to anytouring crew from StancoSystems, one of America’sleading audio companies, ledby former musician andcurrent entrepreneur StanNickens.

One of the leading experts atdoing sound for rock and Rapevents, Nickens, who hasbeen in the business for over20 years, makes it clear thathis extensive client list goesbeyond live reinforcement toinclude corporateassignments, theme parks,television, theatre and more.Today Stanco is a full-serviceoperation handling lighting,scenic, staging, outdoorroofs, pre- and post-production. For Nelly’scurrent tour, they arehandling “pretty mucheverything.”

When it comes to the Nellytour, which he’s handling inthe US and Europe, Nickensdefinitely appreciates a goodrig. For this Nelly tour he’sadded the new Martin W8LCline array to his inventory. “Itrigs beautifully, simply, andquickly, and it’s lighter thanothers. But listening to it iswhat really sold me. We putit up against everything else out there and are very pleased.”

compression ratio with a –10threshold.

With Nelly, monitoring is atrue art form, as Blantonelaborates: “What I usuallytry to do is get his monitor soloud, then I put the DJ mixerat the level I want it. I givehim so much level backthere, that when he doesturn it up — even a little bit— it is painful. That way he

17

St. Franziskus Goes DiscreteLocated in Wels, in themiddle of Austria, St.Franziskus Church is themost innovative of religiousmeeting places. More than aregular church, this low-energy building, constructedfrom wood and glass, canalso be used for otherperformances, small theatreand concerts. So the main-hall is called a celebation-room and not church, asusual. In addtiton to thetechnical demand, thearchitect had to find a way toexpress the ascetic lifestyle ofSt. Franziskus with a verysimple and moderate interior.

To fulfil all requirements, acomplex audio, video andlighting system, including easyto use control, wasnecessary, with theprecondition that all technicalelements should be keptdiscrete. All building-relevantparameters such astemperature control, energy

The Puro Sound of AQ The Puro Hotel chain recently opened a new venue under thename Puro Beach ‘Oasis del Mar’, in Cala Estancia in Palma deMallorca (Spain).

The original Art Deco building has been given a complete facelift through the collaborative efforts of Swedish designerGabrielle Jangeby and the hotel’s owner Mats Wahlström. Thevenue includes a number of different areas such as restaurant,swimming pool/terrace, pub and spa — but after hours thewhole place becomes a club where only the latest music trendsare played. To cater for this the installation required a top-of-the-range sound system with ‘cool’ aesthetics. The new MartinAudio AQ series was considered right from the outset.

For the swimming pool area AQ5’s, combined with AQ12’sand AQ215’s have been specified, and in the pub area AQ6’s,AQ12’s and AQ215’s take over. For the restaurant and spaareas C115 speakers were installed, taking into considerationthat these two areas will not require the same sound levels asthe rest of the venue.

With resident DJ Fabian coordinating a range of music eventsand guest DJ’s playing every day, all the year around, the system

demands (photovoltaics),daylight entry etc, wereautomatically controlled andset.

Behind a lot of motorisedflaps, which can be openedvia the AMX wirelesstouchpanel, the room canset up for any pre-selectedscene, with plasma displays,theatre spots and DMXcolour changers all hiddenbehind motorised doors,allowing different moods tobe created.

Designed by Technik DesignAG, the audio system, a six-zone , t ime-a l i gneddistributed system, isconcealed hidden behind theperforated wall panels, andconnected to the AMXsystem for convenient recallof all user presets. The mainsystem consists of twoMartin Audio WTUB under-balconies plus a pair of CS265— and four delay zones of

eight EM15’s, invisiblydistributed across the ceilingarea to provide perfectlistening level at each seatingposition. Additionally, aninduction loop system for thehearing-impaired can beactivated if necessary.

As the modern altar can beplaced in three differentposititons for worship in themiddle area of the room,

three listening orientedsettings can be offered viaAMX. Several peripheralareas — the foyer, baptismchapel and exterior — arealso equipped with speakersystems, most of themconcealed and AMX-activated.

The overall cost of thebuilding work was£.4,000,000.

had to be able to provide pristine quality at low and high levelsdue to the flexible use of the venue.

Adagio Pro, Martin Audio’s Spanish distributors, supervised theinstallation and were highly satisfied with the results.

Marching PowerAfter 16 years of designing the sound system for the EdinburghMilitary Tattoo — the centrepiece of the annual Festival in theScottish Capital — John Del’ Nero has turned to the line arrayprinciple for the first time.

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Working with Wigwam Hire(as he did at last month’shistoric World War II 6 0 t h A n n i v e r s a r yCommemorations inLondon) Imagination’s sounddesigner again turned to aMartin Audio solution toachieve the throw and clarityrequired with a cast of over1200 performers.

The Tattoo represents thelargest gathering of militarymusicians in the UK and isstaged against the matchlessbackdrop of EdinburghCastle (where he hasdeployed quantities ofloudspeakers to create asurround environment).

The production features acast of internationalperformers with itscentrepiece the massedPipes and Drums.

And so Del’ Nero’s principleconsideration was topromote the show’stheatrical dimension while atthe same time maintainingthe correct sound imaging upand down the Esplanade(which contains the stage andthe audience surrounding iton three sides).

In order to achieve this,loudspeakers are mounted infront of the audience onhand-rails. “Theloudspeakers are aligned tothe aisles, thus allowingenough level to be achievedto throw it to the top of the three grandstands,” he explains.

The strength of the MartinAudio midrange, he believes,presented his best chance ataccomplishing this. “Becauseit’s a modern line array box,it already contains a lot ofpresence, and it has theability to throw the midrangeboth effectively andaccurately, a good 30 metresup to the back of the seatingblock. Because of its compactdimensions it gives us a lower

profile so it doesn’t blocksightlines, and with just a 7.5°dispersion pattern it helps usto minimise the soundpollution as well.”

But John Del’ Nero hadproblems other than efficientsound dispersion to contendwith. First he had tomaximise the extremelylimited rehearsal time toensure that the vast assemblyof international performerswas correctly line-checked.

Then — with eachloudspeaker enclosureindividually mounted onhand-rails — he had toprotect them from busses,who are prone to reversinginto them up on theEsplanade; this requiredsome inspired bespokeengineering from Chris Hill’steam at Wigwam Hire.

“They have redesigned thebracketry so that theindividual speakers now onlypull out from the hand-railswhen we need them in theevening. Other than that theyare recessed into a flushposition.”

John has used 15 individually-mounted W8LM’s, infilledwith 22 Martin Audio WTUBlow-profile underbalconyspeakers, which he believesto be a good match, and ableto stand up to the weather.

“The exciting thing about theW8LM’s and the WTUB’s isthat we don’t have to putwaterproof covers onbecause they have this specialgrille which is impervious towater. As for wind, that isn’tan issue because this is such aprotected environment.”

To create optimum soundimaging, John Del’ Nero isagain using TiMax to maintainthe levels of the bands whilemarching (and also tocompute the delay times).

Entrusted with mixing theshow was Craig Pryde. He

was already aware of theMartin Audio W8LM’sattributes, having been atWigwam Hire when they firsttook stock. “I was impressedthen and I’m impressed now.

It sounds clean and tight onthe vertical. It’s well able tothrow to the back of thethree grandstands, and ontop of that it’s light in weight,which is an additional bonus.”

The Tattoo, with Craig Pryde at the mix position

Girls Aloud and Clear

Wigwam Hire were able to give a full run to their Martin Audioline array systems on the recent Girls Aloud theatre tour, thewide variation of venue capacities enabling the set-up to beeasily reconfigurable between the Compact and Minienclosures.

The W8LC had already proved its worth on sidehang dutieswith Westlife, and once again production duties were in thecapable hands of Production North — with Iain Whiteheadtaking responsibility.

While 24 Martin W8LC Compact Line Arrays and 12 x WLXsubs were provided as the core system, two dollies of sixW8LM Mini Line Arrays gave the FOH team of MarkLittlewood (sound engineer) and Sid Rogerson (system tech)options of groundstacking or flying depending on availablerigging points and weightload restrictions.

“Typically,” said Mark, “this would be five of the largerenclosures flown and firing at the balcony and three a sidestacked on the subs for the ground floor. This combinationworked well.”

The largest show was at the 12,000-capacity Sheffield Arena,and production deployed 16 x LC’s and 12 x LM’s per side.“This covered the arena superbly; it was easy to set-up, usingthe ViewPoint™ software, and quick to rig and derig,” continuedMark. “Generally we tended not to use side hangs because it hasa very wide dispersion, and we didn’t need delays.”

And Sid Rogerson added, “At the Glasgow Armadillo we hadtwo rigging points per side and were able to cover the wholevenue with just one hang of 12 x LC’s — with other line arraysystems I couldn’t have got as much uplift. The dispersion isamazing — it must have been usable up to 150°.” He addedthat the Martin systems offered better sightlines than other linearrays Wigwam have used because the boxes are so shallow.

“As for EQ, I was able to sort out the presets as we went fromgig to gig — and just EQ the array rather than the room. As aresult I now have a set of Martin room measurements.”

First WOMADRIDThe WOMAD organisation staged its first-ever festival in Madrid this summer at the LaCasa de Campo park in the heart of the city.

WOMADRID, which featured four liveperformance stages plus a programme ofworkshops for adults and children and aGlobal Village of international food andmerchandise stalls, was a co-productionbetween WOMAD and Dania Devora’s DD& Company Producciones, WOMAD’sSpanish partner for the past 11 years.

Providing sound for all four stages, as at allother WOMAD events world-wide, wasHolland’s Ampco Pro Rent – continuing arelationship which stretches back over adecade – who supplied Martin Audio linearray systems for two of the stages.

On the Open Air main stage, APR provided a Synco by Martin Audio W8L system. For the Saddle Span Stage, where Billy Cobhamwowed the audience in a memorable set, APR supplied ground stacks of Synco by Martin Audio W8LM cabinets.

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TDA Rental Invests in Touring SystemThe touring company TDARental, based in Essen,recently invested in a bigMartin Audio touring system.The company’s owner, SteveTodeskino, opted for theaudio package of 24 x W8L’s,16 x W8LC’s and 36 x WLX subs.

E.V.E. SupportsOld Masters

After enjoying an active time throughout Germany engineeringshows by Roger Chapman and Manfred Mann’s Earthband,rental company E.V.E. presented the old master of rock in theopen air. Joe Cocker was performing his latest hits in front ofthe grandiose backdrop of Aachen’s famous dome, and openingthe sold-out show were the Original Blues Brothers Band.E.V.E. focused on a Martin Audio rig, using a combination ofeight W8LC’s and four W8LM’s, along with 12 x WSX subs perside, all driven by Crest amps and controlled by XTA DP 226’s.

TDA is one of Germany’sbest known touringcompanies, having providedproduction for majorinternational acts in recentyears as well as remainingactive on the festival scene.

LiveAudio’s VarietyAfter investing in another 16WLX subs and eight moreW8LM’s, Braunschweig-based LiveAudio, haveundertaken a number ofrecent shows using acombination of W8LC’s and W8LM’s.

Among these was SöhneMannheims, a group ofcreative music artists based

around singer Xavier Naidoo, who performed at the VolkswagenAutostadt´s 5th anniversary party. The main system consisted ofeight W8LC’s and eight WLX subs per side, while the outfillscomprised of 12 W8LM’s per side. Another column of nine W8LM’swas used for a special delay tower, located in a hall behind the FOHposition. A difficult problem that the PA had to solve was evendispersion through a venue measuring just 50 metres deep but 200metres wide.

Another performances experienced through LiveAudio’s MartinAudio Line Arrays were by Jethro Tull’s Ian Anderson, playing with aphilharmonic orchestra, and for that show just eight W8LM’s perside were sufficient, supported by 12 x WLX subs.

Finally, virtuoso jazz singer Al Jarreau appeared at the 3rd Jazz &Blues Festival in Wolfsburg, where a combination of W8LC’s andW8LM’s were used to support his distinctive style of performance.And for his stage monitoring he used Martin’s classic LE12JB wedges

Complete Faith … and Set in StoneBerlin based company Complete Audio provided Diana Ross and herband with production for two sold out German shows in Hamburg andBerlin. These events were supported by a complete Martin Audio PArig, based around a W8LC line array and WSX subs. The monitoringwas handled by a combination of Martin Audio LE12JB’s and LE700’s,with W8C’s and WSX as sidefills.

Complete Audio has serviced a number of international bands with itsvarious Martin Audio systems in the well known Columbia Hall in Berlin

over the last year. The entire 2004-2005 German tour for theBeatsteaks was also equipped by Complete Audio with a mix ofW8LC/W8LM enclosures, and WSX/WLX subs, along with LE700wedges.

Even British soul star, Joss Stone, has put her trust in the professionalsupport of Martin Audio systems. Complete Audio has supported herpowerful and multi-faceted voice with the company’s line array duringher concert in the sold-out Berlin Arena.

The first shows scheduledwith the new Martin Audiosystem are gigs with JoeCocker on his next rhythm &soul live performance, andthe tour of Wir sind Helden,one of Germany’s mostfamous ‘new generation’ pop bands.

Steve Todeskino (left) and AtlanticAudio’s Joe Kuel

Living Rivers,Living Sound

Nestled away in the heart of Ballymena lies one of thecountry’s most forward-thinking churches, Living Rivers.Already broadcasting on INI (Sky channel 678) this churchrequired a sound system that would grow alongside it.

After a number of options were presented to them theydecided to run with the Martin Audio W8LM line array system.The sub bass units are located to the left and right of the mainraised pulpit area.

This was the first install of its kind in Ireland, utilising just oneline array stack centrally located to provide an excellent soundcoverage throughout the church.

As the church grows, so the system can be extended toprovide additional coverage as necessary.

Pats Bar Gets SatisfactionPats Bar in Enniskillen contacted ReaSound to provide a complete audio-visual overhaul, having spent years usinglocal companies who were unable tosatisfy their needs.

The building comprises of three mainareas — the main bar area on theground floor, a restaurant on the firstfloor and a nightclub leading from therestaurant to the rear. At night thewhole bar comes alive — but it requiredan audio-visual experience that wouldretain their customer base.

The first step was the complete re-fit ofthe nightclub. As this is a multifunctionalspace it was proposed that two soundsystems be installed side by side, one fordaytime and function room use, the

Elim ChurchGets AQ

Elim Enniskillen was one of the first churches in Ireland toutilise the new Martin Audio AQ Series install speaker systems.The newly-built church comprises of many parts in a singlebuild, including Sunday school rooms, meeting rooms, ministerroom etc. Additional areas in the building have been providedwith sound and vision as required.

The church is delighted with the crystal clear sound providedby the four AQ10 and the two AQ 212 bass units, cleverlylocated under the pulpit area. At the centre of the control isan Allen & Heath GL3300 24-channel console.

This church has a healthy praise band, a softly spoken ministerand computer playback — not easy for any sound engineer atthe best of times, but adequately covered with Martin Audio.

other for nightclub levels.

The daytime system comprises of fourMartin Audio Blackline F8 speakercabinets, while after dark the systemconverts to four Martin Audio F12 andtwo Martin Audio S218 subs. A MartinAudio EP1300, MA2.8 and MA4.2 arethe driving force behind the install.

Meanwhile, the main bar area andrestaurant area utilises 12 Martin AudioF8 enclosures and five EM150 sub bassunits, driven by six EM1300 poweramps.

A host of LED fixtures, including an LEDdancefloor, LCD panels, projectors andlighting equipment, helped transformthis venue into the talk of the town.

Rea Sound, Martin Audio’s distributors in Ireland, have been responsible for a number of recent installationsin both the leisure hospitality and houses of worship sectors.

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T-Mobile Drive-In Movie

London Legend Gets AQ6 Rig

As part of their current Street Movies viral marketingconcept, designed to provide a new experience fortheir customers, T-Mobile have recreated a drive-inmovie set on a plot of land opposite Birmingham’sMillennium Point.

Over the course of a month the site, set up like anold car lot, is presenting The Dukes of Hazzard on a47ft screen. Visitors can sit on (or inside) classicCadillacs, tune into the soundtrack on a specially-assigned FM channel and wallow in a world of classicAmericana, with crashed saloons and buckingbroncos.

As one of the lead agencies, Presentation ServicesLtd (PSL) successfully tendered for a specificationthat extended way beyond their normal remit andrequired them to produce the entire technicalelement of the programme.

Incorporating conventional 35mm and digital projection, audio,lighting and pyrotechnics it also encompassed temporarypower, commissioning the projection screen and constructingthe 60 ramps on which the cars parked.

For the audio element they turned to Capital Sound Hire, whoprovided Martin Audio W8LC line arrays, stacked four deepunder the projection screen, as the basis of the 5.1 system.These carried the main movie soundtrack (and pop videos) aswell as live feeds, and were complemented by four stacks of

Experienced soundengineer and systemintegrator François Parérecently completed aprestigious installation atthe legendary Londonm e m b e r s c l u b ,Annabel’s.

An institution of societyclubbing in the capitalsince being set up byMark Birley in 1963, thevenue recently tookdelivery of a new MartinAudio sound system —supplied by dealers LMCAudio to fulfill a design

conceived by François’ company, Sonotec Ltd.

“While competitive systems were proposed by other installers,Sonotec were awarded the contract on the strength of thedesign,” he said.

W8C for left/right and rear-fills plus eight Martin WSX subs inthe centre — all driven by a Midas Venice. Capital Sound Hire’screw were Mark Clements and Matt Harman-Trick and theproject manager for PSL was Pod Bluman.

T-Mobile worked in association with Motorola to ensure thatcustomers were able to capture their experience with thelatest mobile phones, and viewers were encouraged to zapSMS text messages (and images from camera phones) whichwere relayed onto the split projection screen.

François was clear about his system configuration — but it wasonly after attending a listening demo at Martin Audio that hediscovered the perfect satellite box in the new ultra-compactAQ6. He has thus used 24 of the enclosures distributed aroundthe venue.

Although the venue will stage live concerts he said he wasconcerned about the DJ’s propensity for Left/Right panning.“The club wanted good quality, clean L/R imaging throughoutthe venue — and the AQ6’s provided the answer.”

The AQ6’s are thus being used as delays and satellites boxes inthe restaurant, lounge and private room areas. In the loungethey are complemented by a concealed AQ210 sub —controlled via Martin’s dedicated AQX system controller —while elsewhere system EQ is set in the BSS Minidrive.

“The AQ6’s are perfect because the frequency response goesdown further that the EM15’s which I had been consideringoriginally,” assesses François. “It has a warm sound and is non-intrusive.”

Roma Gets New Lease

It took more than 100volunteers and a lot ofgoodwill and passion fromthe local authorities to bring‘Roma’ — as it is known bythe locals — back to itsoriginal state as the multi-cultural, multi-purpose hallfor which it was conceived byits founders.

Built in the late 1920's, thisart deco movie palace servedfor many years as one of thefirst and most impressivecinemas in the Antwerpneighbourhood. However,decreasing interest in movieswith the arrival of televisionsaw Roma refashioned into amulti-purpose hall. The 2,000seat horseshoe-shapedauditorium, which wasmodelled on Hollywoodmovie theatres, survived as aconcert venue during the1970's and attracted bignames like Paul McCartney,AC/DC and Ry Cooder. Buteven James Brown couldn'tprevent Roma from shuttingdown, and in 1982 all pastglory was extinguished.

However, after more than 20years of closure and neglect,cultural organisations andlocal authorities got togetherwith the people to give Romaa new lease of life, asvolunteers started to rebuildthe impressive venue.

At the same time Pieter Nys(from rental company D-Rent) was asked to come upwith a workable soundsolution. As one of Belgium’smost intensive Martin Audiousers, Pieter Nys contactedAmpco Belgium’s StevenKemland and in view ofdifficult acoustics and a tightbudget, a rental option wasproposed. This option gaveeveryone involved a chanceto experiment with differentappoaches before buying.

The venue’s grand openingsaw one of the first publicoutings of Martin Audio'sthen new W8LC’s. Thefollowing two years saw testsnot only with W8L andW8LM (both flown andstacked), but also W8C’s andWT2’s.

One major concern was thebehaviour of subs in thevenue. Because of buildingrestrictions (Roma is aclassified and protectedbuilding) it was impossible toacoustically treat the venuebut after countless demo'sand experiments, MartinAudio, Ampco Belgium andD-Rent joined forces tocontrive a solution in in April2005.

As a result, Roma became theworld’s first venue to takepossession of the new W8LD

line-array downfill, the mainsystem consisting of four W8L’sand a single W8LD per side.

“Because of the powerfullow end of the W8L, there isno further need for subs, andthe downfill is so impressivein this venue that we don’trequire frontfills to cover thefirst few rows,” explainPieter Nys and StevenKemland. Mounted in front ofthe balcony they opted forfour W8LM’s and a singleW0.5 a side, with thepossibility of isolating thatset-up from the main systemwhen the venue is used as acinema.

Roma’s sound engineer KrisVan Steen explains, “After

two years of extensivetesting, we have finally gotwhat we wanted — a flexiblemulti purpose sound systemthat can be used for all kindsof situations from theatre tocinema to concerts.

“Not only our technical staff,but all visiting musicians,sound engineers and ouraudiences are absolutelydelighted with the quality ofthe sound system,” explainsPaul Schijvens, manager ofRoma. “Another veryimportant issue for us wasthat it fitted our budget. Andin that respect it’s thumbs upfor all parties involved.”

DM Audio Celebrates Eurovision’s 50th

Stockholm-based DM Audiosuccessfully completed itssixth Eurovision Song Contestat the Sports Palace in Kiev(which was celebrating itsown 50th anniversary).

The team (led by Lars Wern)decided — in conjunctionwith the Ukraine set designerMykhailo Illko, lightingdesigner Per Sundin and themulticamera director SvenStojanovich — to reconfigurethe front of the stage as noprovision had been made fora monitor pit. The pit wascovered with a transparentperspex mesh and allmonitor speakers — eventhe concealed ones — wereperspex versions of theMartin Audio LE12JB, whichDM Audio hold in their rentalinventory.

DM used a total of sevenenclosures at the front,together with two MartinAudio WSX sub woofers toprovide good coverage of thestage.

“Once again it showed howwell the Martin LE12JBfunctions,” said Lars. “Thedifferential dispersion horn

really makes wonders inthese situations. In realitythere were many artists notusing IEM and we could nothave made the show withoutthe hidden wedges in thefront.”

With many entries usingback-up singers, who werepositioned far away from thefront line, and DM Audioused a total of six additionalMartin perspex LE12JB’s —with a crew of eight detailedto handle nothing other thanthe positioning of thesewedges.

Augmenting the floormonitors, the Swedishcompany flew a Martin AudioW8LM Mini Line arraysystem, six cabinets per side,at the stage.

Having solved the monitorsituation DM Audio thenturned their attention to thespeaker system design. “Wedecided to bring the wholefamily of Martin Audio linearrays with us and eventuallymanaged to find someacceptable points for flyingthe systems,” says Lars.

The front left and rightclusters were set up with 24x W8L speakers (12 perside). “We did not want to flyextra subwoofers,” hecontinued. “The W8L is sopowerful that I was able torely on a 12-box cluster togive us most of the requiredlow end.” However, a 12-speaker hang creates a bigdrop, necessitating DMAudio to fly the speakersdirectly from the venue’sceiling rather than themother truss that was thefoundation for everythingelse.

While the W8L systemscovered most of the seatingDM Audio neededreinforcement to the sides ofthe bleachers and opted forthe Martin Audio CompactW8LC (12 per side).

As part of the audience wassat behind the front of thestage, eight further W8LMMini Line Arrays weredeployed to cover thissection of the bleachers.Finally, two W8C’s wereused as delays (due to theshading effect of the giant

mirror hanging from theceiling).The whole systemwas under RANE control.

In addition to the line arrays afurther eight Martin AudioLE12JB’s were used asfrontfills, concealed in thestage design. Finally, 12 xMartin Audio WSX subwoofers were usedspecifically for special effects.

Lars Wern and RobertErnlund mixed the showfrom a Yamaha PM5D RH.Monitor engineers MatsWennerholm and assistantPhilip Jansson worked closelywith the artist liaison, MrBarney© (Barney Gausdal).The wireless control over thespeakers gave systemsengineer Jan Peterson theopportunity to walk thehouse and fine tune duringthe show.

Summing up the production,Lars Wern said, “The systemsounded great — probably acombination of the behaviourof the horn-loaded, well-designed Martin Audio linearrays and the QSCamplifiers which powered it.”

25

USS Buy After BallCheltenham based rentalcompany, USS (UniqueSound Systems) haverecently confirmed thepurchase of 12 Martin AudioW8LM loudspeakers and sixLE12JB stage monitorsfollowing the successful trialof other members of the LineArray family for the mainstage venue at this year’sGloucester UniversitySummer Ball.

The Summer Ball’s mainstage was set in the CentaurBuilding at CheltenhamRacecourse. The mainsystem comprised of eightMartin Audio W8LC compactline array per side augmentedby four Martin AudioHybrid™ WLX subwoofersstacked on the stage wings.This combination providedan all-horn-loaded system formaximum impact.

The W8LC system’s widecoverage and smooth off-axisresponse enabled USS to

cover the full wrap-aroundaudience with just one W8LCcolumn per side. Theloudspeaker system design

Martin Audio’s Brad Watson (left),with Mark Salter, managingdirector of USS

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.

www.martin-audio.com

The Martin Experience

was worked out using MartinAudio’s ViewPoint™ arrayoptimising software. Thisenabled Martin Audio’s JimCousins to give riggers anexact picture of the systemheight, splay angles, relevantloading information andpatch.

Headliners for this year’spacked Summer Ball wereGoldie Lookin’ Chain, andthe event also featuredperformances by Kosheenand Estelle.

Unique Sound Systems’Patrick “Paddy” Kemp wasvery happy with the

performance of the W8LC’sand the WLX subwooferssaying, “They did a sterling job.”

Among these wasthe high-valueMartin AudioBlackline range,which Jedi return totime and time again.

As a result, fourBlackline F12’s,with dedicatedflying yokes, formthe pivotaldancefloor sound,angled at 45° overthe main floor,while four BlacklineS15 subs are floor

mounted behindpurpose enclosures.Providing infill and peripheralsound (including the Chilloutarea) are eight Blackline F8’swith dedicated Martin Audioflying kit, which AndrewBaldwin commends for sheer

27

Blackline Punches High at The Scene

CAV Puts AQ Cabs Into CabotThe 1350-capacity CabotBars, a multiple-bar venuewhich dominates thepromenade at Weston-super-Mare on the UK’s west coast,has undergone a major first-phase revamp. This has seenthe complex’s massive five-bar capacity extended to six,and a new sound, lighting andmultimedia system providedby Stroud suppliers, CAV.

Cabot Bars has been a familyowned business for sixgenerations and while theproprietors wanted to reusesome of the existing soundand lighting equipment, CAVwere eager to supply a newPA system, andrecommended the AQ Seriesfrom Martin Audio.

CAV have divided thecomplex into six separate

sound zones, whichcan be fed (via a zoner)by DJ’s three nights aweek and backgroundmusic the remainder ofthe time.

Four Martin AudioAQ12’s face downover the dancefloor,supported by a pair ofBlackline S18 subs —producing around125dB at the centre.

Delivering transparentmusic at lower levelaround the bar andperipheral areas are sixof the smaller AQ5’s, andin the disco extension —which acts as a chillout room— a further four AQ5’s.

The whole system isoptimised using a dedicatedAQX controller.

“The AQ range ticked everybox,” enthused CAV projectmanager, Howard Williams.“It looks great — in stonegrey — and soundsawesome. With the clever

simplicity of use.

“We had to roll the subs outslightly but for the most partthe system is run pretty flat,with hardly any time delay.”

“You can’t fault the soundquality of Blackline, while theservice we get from MartinAudio is great,” says Jedi’sAndrew Baldwin.

The system operates underProel system management,and Jedi will use the system’sremote diagnostic capabilitiesfor permanent linemonitoring.

Surveying the new Scene —and the queues of peoplesnaking back along Halstead’sTrinity Street — PaulMaybank and John Craig aredelighted with the results.

bracketry it is quick and easyto install. Plus, when we areworking to tight deadlinessuch as this, Martin Audiobend over backwards tosupport us.”

A £200,000 conversion of theupstairs bar at Scenarios — aflagship pub in Halstead,North Essex — haspresented owners PaulMaybank and John Craig witha luxurious, self-contained

250-capacity nightclub calledThe Scene.

They called in localspecialists, Jedi Lighting &Sound, who set up a numberof sound and lightingdemonstrations.

Gem of a VenueA train station away fromSydney CBD, Kings Cross hasbeen central to — or playeda leading hand in — virtuallyevery music genre andcultural shift that hasemerged from Australia’sshores.

It’s a free wheeling, freedealing, unrestrainedentrepot of entertainment.Or is it? Certainly it was …but these days there’s a verynoticeable gentrificationaround the Cross, theroughest edges are lesssharp, the vibe less loud, theaction less fast.

Charlie Saleh has beenrunning businesses in theCross for 15 years; hepossesses a rareunderstanding of the pulse,the humanity and thecommerce that comprisesthe rich tapestry of the place.

He’s also very representativeof the cultural shift. Hisplace, the legendry Ice Box,home to some of the wildest live music and clubnights, recently underwentan extreme makeover

transforming from a hot sweaty venue toa swanky split-levelclub/ café/restaurant.

The new place iscalled Sapphire Suiteand it’s a product ofthe Kings CrossPartnership — a localchamber ofcommerce initiative.

“I knew conceptuallywhere we wereheaded,” comm-ented Charlie. “KingsCross Partnershipcontributed with expertswho helped with interiordesign, operationalworkflows and maximisingthe effectiveness of ourlimited space.”

With a sweep of his hand thattakes in the huge woodenbar, complete with waterfeature, the plush boothseating, the elegant fixturesand the extravagant menu, headds, “As you can see theresult is magnificent.

“The last thing we wereprepared to compromise on

the depths. The frontcafé/bar is covered by fourEM15’s, with a further threesecuring the rear door/entrance lobby. Backgroundmusic feeds the washrooms,kitchen and hallways.

These separate zones andthe multifunctional operationof Sapphire Club could be alltoo much for an ordinarysystem controller but notAllen & Heaths’ DR66. Witha little programming storedsettings now enable bar staffto move from coffee shop, tosophisticated café, to wineand dine, to club, all at thepush of a carefully labelledbutton.

The system was designed byAnthony Russo of TechnicalAudio Group, withinstallation and set-up byDMC. “With the Sapphire’ssuperb interior design ourobjective was to producegreat sound but visually stayout of the way,” commentedAnthony. “The F8’s gave usthe flexibility to do just that.”

Outside the footpaths arebeing widened, jackhammersare working on a renovationup the road and a couple ofthe ‘beautiful people’ await atable. Almost Dylan-esque,Charlie comments: “Thetimes they are a changing.”

was audio,” he continued.“Let’s face it, audio is one ofthe key components in thevibe and feel of a place. Evenif you were tempted to, and Iwasn’t, skimping on audioquality in the era of quality hi-fi and iPods is commercialsuicide. People know thedifference.”

In the main restaurant/bararea eight diminutive yetextremely powerful MartinAudio Blackline F8’s (8in 2-way’, line the walls, with asingle Blackline S15 plumbing

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Osan Gets Cultural UpgradeYoung-jin Electronics havecarried out a major MartinAudio installation at theOsan Cultural Center insouthern Seoul.

The theatre has beenreinforced with line arrayhangs of seven W8LMenclosures on either sideof the proscenium arch,with two Blackline H2’sforming the centre cluster.A Blackline S218 handlesthe sub frequencies oneither side of theproscenium.

The system is poweredwith a combination ofMartin Audio MA2.8 and4.2 amplifiers and systemcontrol is provided by thededicated DX-1 controller.

The facility is aimed at thelocal population of Osanprovince and can

accommodate up to 600people.

The system was designedby the venue’s experiencedsound system manager andproduction director,Kwon-O-Jin — who has awide knowledge of MartinAudio products extendingback a long way.

The mayor of OsanProvince is highlyimpressed with the set-up,in particular praising theworld class sound.“Compared with otherprovincial cultural centres,Osan is excellent; the newsound system makes theauditorium particularlysuited to musical andorchestral performanceand has enabled us to holda cultural event here on adaily basis.”

King of KingsA new complex, King Of The King hasopened in Shengzhen, featuring amassive complement of Martin Audiopower and sound reinforcementequipment.

The venue is situated in an office block,which is convenient for the executiveafter a hard day’s work, and has goodparking provision.

King of the King is being designed inthree phases — each with its ownseparate designer. The first phase hasseen the development of 37 x KaraokeTV/ VIP rooms, and was opened lastChristmas Eve. Recently the secondphase opened, consisting of a further 17deluxe VIP rooms. Although thedesigners are different in each case, bothhave adopted Ancient Egypt as theirtheme, with depiction of pharaohs.

No fewer than 46 Martin AudioF15/WF15 and 28 x F12/WF12loudspeakers were used in the first part

of the development, augmented by 11 xWS2A and 5 x S218 subwoofers.

The second phase has seen thedeployment of a further 91 Martin AudioWavefront and Blackline enclosures.

The system is EQ’d using 17 of Martin

Audio’s dedicated M3 controllers, and ispowered by 24 x Martin Audio MA2.8S,10 x MA4.2S and 10 x MA1400amplifiers.

T h e t h i r d p h a s e i s d u e f o r completion soon.

Blackline Opens The Secrets of RedboxxThe recently completed Pakuwon Trade Centre, whichstretches out to Surabaya’s city limits, recently arose as a newshopping mall, to cater for the needs of newly establishedresidents. In addition to the department stores, boutiques andrestaurants, the exterior of the four-storey Redboxx recentlyopened its doors to welcome the affluent 18-25 year oldprofessionals of this newly created suburb.

Redboxx’s owner, Mr Ardhy drafted in local consultant,distributor and installer David Saewondo of Dempo Musik inassembling a PA system that has contributed to the club’s earlysuccess. The complex is open a staggering 17 hours per day,seven days per week, in an effort to entice shoppers throughthe doors from the mall for a coffee or a meal during the dayand early evening. The downstairs restaurant and first floor

liquor store are tastefully decorated and furnished in red andblack, but it’s upon entering the club that the LF energy rampsup, due to four Martin Audio S218 subwoofers, which havebeen inserted vertically into the actual bar area.

Directly above this, mounted on wall brackets are four MartinAudio Blackline H3H three way loudspeakers, configuredhorizontally in pairs. It may initially serve as a vision from hell tothe newly appointed cocktail waitresses and bar staff asked toperform shifts from this bar area on a packed Friday night, butsurprisingly it works.

The club has been built in an elongated shape, for which a mainbar stands opposite the incoming entrance. The main stage andDJ booth are situated to the left of the servers’ bar, for which

a further array of four wall-mounted Blackline H3H speakersare situated between the stage and the main bar, as a left handcluster (to balance that above the server’s bar). Two BlacklineF15’s serve as central in-fills above the main stage, whilst twoF12’s have been installed in an upper balcony VIP area.

“Once the configuration was raised to four per side, it meantthat I couldn’t position the speakers in a traditional vertical LCRconfiguration. However, by positioning the speakershorizontally in L-R pairs, it gave the system more focus andpower. From my previous experience, when installing systemsin long wide rooms such as this, it is best to offer the bestpossible throw horizontally as the throw is short but very wideto maximise the coverage of the speaker.” Saewondo believesthe resultant coverage he has acquired from the eight Blackline

H3H and two F15 speakers supplied by PT Citra Intirama onthe floor is excellent.

“We managed to maximise the coverage of the speakers andachieved very low bass, which was what Mr Ardhy desired.Indonesians want to feel a punchy bass that hits you in the chestrather than listen to a sustained low frequency and that’sexactly what they have got here.”

General Manager Helmi is in complete agreement. “We havebuilt up quite a loyal following of customers very quickly thanksto the sound system we have put in place here. I previously rana club in Jakarta, which had a superb Martin Audio system, sowhen David initially expressed his plans for the Redboxx, Iknew it would be excellent.”

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Labuan Landing CommemoratedA Gala Night was held in Malaysiarecently to commemorate the 60th

anniversary of the Labuan Landing. The event was held in a Convention Hall

Sept 1 Raise The BarTop Japanese rental company, Sept 1, seta new standard in Japan with thepurchase of a W8L/W8LC system.

Principle of the company, and soundengineer Mr Kimura had seen thesystem in action at last year’s PALA Showin Kuala Lumpur, where he observedthat the coverage was very even, rightthrough the horizontal field, and foundthere was no compromise on thefrequency range versus dispersion. Sept1 also found the line array system riggedquickly, thereby reducing set-up timeconsiderably.

The system was supplied by Ballad,whose principle, Mr Sato, commented,“We have worked closely with Sept 1and Martin Audio and feel that therelationship between all threecompanies has become stronger withthis deal.”

The system was used on the recent tourby Kazumasa Oda, one of Japan’s leadingartists over the past 30 years.

at Financial Park, Labuan, with a guestlist of up to 500 people, including VIP’sand war veterans, who witnessed astunning performance by 8-piece band,Final Fling.

Wan Lee Music were responsible forsupplying perfect sound for a perfectoccasion. The company’s soundengineer, Nicky Chu, decided to stackfour W8LM line array enclosures on twoWSX subs per side, which proved theideal combination. The system wasdriven by QSC amplification andprocessed using the dedicated DX1processor.

The outcome, say Wan Lee Music, wasfantastic. “Since most of the guests wereadvanced in age the clarity of the systemwas soothing to their ears. Even theband members remarked on thesmoothness of the sound produced bythe W8LM line array.”

Kilmi’s Moroccan RollHaving recently changedtheir name from Kilmi Musicto Kilmi (reflecting theirexpansion into lighting andstaging) the predominantMoroccan rental operatorscontinue their incrediblegrowth. With over 100 full-time staff, the company isnow arguably the largestrental outfit in the entireregion of North Africa.

Serviced by French-basedpro audio distributors,Algam, the Kilmi operates avast rental fleet of MartinAudio enclosures, many ofwhich were deployed at therecent Festival Agadir Timitar— a multicultural musicfestival covering threeoutdoor stages andcontinuing for eight days.During this time, 400 artistesand 47 groups appearedacross the three stages.

Organised by the TimitarAssociation, the secondedition of the Agadir Timitarfestival was a big successfrom the moment Ismaël Lôperformed to an audience ofbetween 20,000 and 25,000at the opening event on themain stage.

Kilmi’s PA solution for thisstage was to fly Martin AudioW8L line array enclosureswith WSX subs and LE floormonitors for the musicians.

Stage 2 saw the Mini LineArray (W8LM) deployed,supported by WLX subs andLE monitoring. Incredibly, acomplement of just eightW8LM enclosures per sidewas sufficient to cater for anaudience of10,000.

Stage 3 was set up as aconventional auditorium-style PA for 2,000 people,using the Martin W8C Compact, with

Pic: Ahmet Kilmi (left) with Algam’sJean-Nöel Elouali (right)

WSX subs and LE monitors.

All visiting sound engineersremarked on how impressedthey had been with all thesound reinforcementsystems.

The rental company, whoaround the same timesupplied equipment to themajor international event —the Fez Festival of WorldSacred Music — has recentlyinvested in Martin Audio’sMini Line Array (W8LM) —

largely for the more personalentertainment purposes ofthe King of Morocco(Mohammed VI). They willalso supply a W8L system fora FIFA event in September,with a major headline act.

Footnote: Kilmi’s stock-holdingof Martin Audio enclosuresnow amounts to: 32 x W8L;four W8L Downfill; 16 xW8LM; 60 x WSX/WLX subs;32 x W8C; 24 x W3; 24 xWS2A subs; 50 x LE monitors;20 WM0.5 compact monitors.

33

Mumbai’s Great EscapeClub Escape is a new high end night clubin Mumbai for those looking for a blendof sophistication and fun. Ketan Singh,the venue’s CEO, and owner, Mr B.R.Shetty, have left no stone unturned intheir quest to make the experienceunforgettable.

Designed by renowned architect BobbyMukherjee of BMA under thesupervision of project manager, NitinChotalia, Club Escape’s upscale elegancemakes it a chic and trend settingentertainment venue, with intimatedécor, superior lighting and sound, aprojector screen and plasma TV.

The sound has been Installed by GrooveTemple Mumbai, a dealer of RKInternational Pvt.Ltd, the sole distributorfor Martin Audio in India.

When Groove Temple were asked toquote, a call was made by their CEO,Kaveer Shani, to Arun Kalra, director ofR.K.International, for his advice, sincethe 4,000 sq ft site had many pillars thatwould suppress the acoustics.

As a result the latter recommended asystem comprising of four Martin Audio

C516 and two CS265 for the entrance,with six EM15 and two EM150 providingthe background sound. Forming themain system are four Blackline F15 andtwo S218 subs, with the profiling set upand controlled by a dedicated DX1. The

Aligator in The DesertTechnoPro LLC, Martin Audio’sdistributor in the UAE,provided line arrayreinforcement for the recentperformance by Denmark’s DJAligator, accompanied by afour-piece band and sixdancers.

Promoted by Future Nights,the event took place at TheLodge in Dubai — a chilled-outopen-air location, with a raisedcircular dancefloor covered bya conical roof truss — and acapacity for more than 3,000people.

The event principle was Nabil Bourgeiliand the project manager, responsible forthe design, implementation, co-

ordination of the technical supplies wasSujoy Cherian. This included eightW8LC enclosures, reinforced by fourWLX subs, controlled through Martin

system (which features a top DJ spec) ispowered by QSC amplification.

Arun Kalra is now receiving endless calls fromDJ’s and professionals around the countryinquiring about the sound at Club Escape.

Audio’s dedicated DX1. Thesystem was powered by QSC,and TechnoPro, for whomKiran Pinto was audiotechnician, provided a full andeminent specification of DJplayback equipment (includingthree Technics decks and threePioneer CDJ 1000’s),automated lighting and 5Wlaser.

The staging came fromNivoflex in Germany and thespecial effects fromShoweffects, whileTechnoPro’s Elie Khader,

Zlatko Kozic and Sujoy Cherian tookresponsibility for lighting, lasers and FXrespectively).

Crossing The RubiconRubicon AS, a sound rental company located inSkjetten, has steadily been increasing its stock ofMartin Audio enclosures since last summer, to thepoint where it is now able to provide adequatecoverage for Oslo Spectrum, the main concertvenue in Norway.

After having run several different brands in theirrental stock they entered the world of Martin Audioline array technology by first acquiring ten W8LMand eight W8LC enclosures. This enabled them toundertake several festivals and other events, and tobe able to guage a positive response from soundengineers and audiences alike.

The ability to cover fairly large venues with as fewas four W8LM per side gives Rubicon great flexibility— and since they are able to send out just onetechnician with a small van, it also makes greateconomic sense.

This spring Rubicon decided to add eight W8LC’s, 12 xWLXGS and four WLX in order to cover much larger venues.The first big test was the Russetreff at Lillehammer, an outdoorevent with many high profile national artists. The result wasstunning; artists, audience and sound engineers were amazedat the sound quality and excellent coverage.

In June this year, by renting more speakers from fellow MartinAudio line array user DM Audio in Sweden, they were able toundertake a concert at the Oslo Spectrum, where Mötley Crüe

Cathedral’s Sound of Biblical ProportionsAfter 30 years of planning, Narbo Cathedral in Rogaland, Norway, wascompleted this April.

Local sound rental and installations company PA Compagniet Stavangercollaborated with the Brandsberg-Dahls architects in order to find the bestsolution, taking both aesthetics and sound quality into consideration.

The visible part of the installation consists of two arrays of four Martin AudioW8LM speakers and eight Martin Audio S18 subwoofers — all painted in thesame grey finish as the cathedral’s interior. Performers can hear their referencesound from concealed Blackline F12 monitors, while the connecting rooms andhallways are covered by several EM15’s. All speakers are powered by QSCamplification.

At the opening, the bishop remarked: “This is a cathedral of far-sighted visions— it is a landmark. It doesn’t get any better than this, neither on the inside noron the outside.”

Everyone is extremely pleased with the sound system; the sound coverage andintelligibility are exceptional.

“This is so stunning it could make anyone religious…” the local newspaper wrote!

were the headliners supported by Finnish band Nightwish.

FOH engineers representing the different bands wereextremely happy with the result; the PA had tremendouspower and covered every corner of the hall with a good,balanced sound. In fact many people — both engineers andaudience alike — remarked that this was the best sound theyhad ever heard in Oslo Spectrum … quite an accomplishmentfor a small company that is about to join the major league.

35

Hanging on The Highway

Top Venues Turn to Martin

The opening of Croatia's newhighway connecting theseashore with the capital(Split and Zagreb) wasmarked by major concertsheld simultaneously in both cities.

Major Croatian acts such asColonia, Ivana Banfic, PrljavoKazaliste, Boris Novkovic andGustafi all took part, and inZagreb’s main square, Niking

provided a Martin Audio PA.

This comprised hangs of ofseven W8L’s and the newW8LD downfill on either sideof the stage, powered byPowersoft amplification.

Niking also provided all thetrussing and lighting, and thecompany’s Robert Maceksays that the event proved tobe an unqualified success.

Audiotonas recently specifieda Martin Audio system for theMazasis Teatras in the capitalof Vilnius.

As a result, a pair of WT2’s,now form the left and rightchannels either side of thestage — flanking two furtherWT2’s which form a centralchannel cluster.

In addition, four BlacklineF12’s are used for stage rear

fills, with two WS2A subsreinforcing the bottom endand two LE400C’s providedfor stage monitoring.Elsewhere, five of the newAQ5 architectural speakersare used for infill duties aroundthe hall.

The system is powered by acombination of Martin Audioamplifiers and is processed inthe Nexia Biamp system.

At the same time Audiotonashave fitted out the LaukiniaVakarai music club, situated onthe Baltic coast in the city ofPalanga.

Originally opened in 1996 it isthe biggest club in the city,with seating for 600 and anoverall capacity for 1000people.

To mark the new season, theowner Raimondas Linkusdecided to upgrade the mainsound system. Mr. Linkus hadheard a lot about thereputation of Martin Audioand was introduced to thesound of the Blackline H3 inthe Honolulu club (covered in

a previous edition of The Edge).

He made an immediatedecision, with the result thatAudiotonas supplied a pair ofH3H Horizontal Blacklinesand two S218 subs —powered by a combination ofMartin Audio MA2.8, MA4.2and MA1.6 amplifiers. Thesystem is controlled by theBiamp Nexia SP DSP platform.

The new interior resembles atypical American theme bar,but Mr. Linkus attributes thepick-up in trade more to the refreshing sound of Martin Audio.

• SCHALLDRUCK + 49 3531 65300• SIRIUS SHOWEQUIPMENT AG + 49 6101 609500• STATION AUDIO + 49 8225 958134• SZ - SOUND VERANSTALTUNGSTECHNIK GMBH + 49 2608 944558• TAMP GMBH + 49 6533 1794• TDA RENTAL + 49 201 8339311GRAND CANARIA• RS SONOCOM SL + 34 928 77 62 14GUADELOUPE• SLP PRO SARL + 590 80 15 80HONG KONG• POWER MAX (ASIA) ENIGEERING LTD. + 852 2661 0527HUNGARY• MABA COLOR BT. + 36 1 29 051 03•• RMS AUDIO + 36 1 340 1361• ROCKGOLOYO BT. + 36 96 358 867• SZATJI LIGHT & SOUND + 36 66 415 606INDIA• THUKRAL PRODUCTIONS + 91 11 4311011• VERSATILE SOUND AND LIGHT PVT. LTD. + 91 80 3361396IRAN• ZIR O BAM AVA CO. + 98 21 88786625IRELAND• REA SOUND + 44 (0)28 8676 4059ITALY• ALIBI MUSIC SERVICE + 39 011 9084998• ALIVE MUSIC SERVICE + 39 0173 509701• ALL MUSIC SERVICE + 39 0584 770097•• ALL SERVICE + 39 0521 694348•• B.S.B. + 39 051 720625•• BIG TALU SERVICE + 39 0174 45314• BLU STUDIO + 39 079 293179• BOTTEGA DELLA MUSICA + 39 081 992509• CINQUANTASEI + 39 051 6153339• CLAPS + 39 0434 26882• CORSINOTTI RINALDO + 39 011 6193784• DIESIS + 39 0187 738354•• ELECTRA SERVICE + 39 0375 82919• ELETTRA SERVICE + 39 0141 855405• EMPORIO ON STAGE + 39 055 720794•• FAST SERVICE + 39 081 8237009• FULL SERVICE + 39 347 4123 787•• FUMASOLI SERVICE + 39 0165 35806• IMPERO MUSIC SERVICE + 39 0984 74138• JAM'S AUDIO + 39 0833 782363• LA.TO. SERVICE + 39 095 7442448• MAFFEI SERVICE + 39 0461 707852• MEZZANOTA + 39 0444 695507• MICROFASE + 39 0172 389277• MICROSISTEMI ALLESTIMENTI + 39 039 6093910• MISTER X SERVICE + 39 347 9602 838• MUSIC LIGHT INSTRUMENTS + 39 0566 56356• MUSIC SERVICE + 39 0577 306032• MUSICA E MUSICA + 39 0984 76800•• PHOENIX AUDIO + 39 041 5342349•• PIANO & FORTE + 39 0522 661506• PIU' SOUND + 39 030 2511722• PLANET SOUND + 39 010 6515952• PRO SOUND SERVICE + 39 0422 460241•• PROCOPIO NICOLA + 39 0967 86718• RADIO SATA SERVICE + 39 051 6332440• SPRAY RECORDS + 39 085 975031• T.S.S. + 39 0521 776810• W M AUDIO SERVICE + 39 0962 865013• ZOHO MUSIC SERVICE + 39 011 6645754JAPAN• SEPT 1 + 81 3 5313 8512• ISY MUSIC HOUSE + 81 3 3836 3552• USAGIYA + 81 88 652 2715KOREA• OCEAN SOUND + 82 2 6001 1155/6•• TM SOUND + 82 31 977 8157• UTO SOUND + 82 31 977 8532MALAYSIA• WAN LEE MUSIC + 60 87 412 896MEXICO D.F.•• ARCHIBALD WOLF PRODUCTIONS SA DE CV + 52 0166462-19170• ELEVOX AUDIO RENTA PROFESSIONAL + 52 0166 8818 8981• KORAGRO SA DE CV + 52 0133 3344 1334•• LARA POLANCE Y ASOCIADOS SA DE CV + 52 01-722-2131983• MIX PRO + 52 5255 5555 9751• PICA PRODUCTIONS & SUPPORT + 52 5604 7335•• RITHM & BEAT + 52 5530 9163•• SISTEMAS INTEGRALES + 52 5762 5941MOROCCO• KILMI MUSIQUE + 212 23 29 11 45NETHERLANDS• AMPCO PRO RENT BV + 31 30 2413444• EAST SOUND + 31 575 519365• MANIFESTO + 31 229 279839• PURPLE HAZE + 31 348 433787• SERVICE-CENTRUM APTRONICS + 31 315 631521• SIMPLON + 31 50 3184150• VAN SAMBEEK PA + 31 653 902690NEW ZEALAND• ACME AUDIO LTD + 64 21 828 976• PK SOUND + 64 7 843 8850• WAVEFRONT ENTERTAINMENT LTD. + 64 21 913 915NORWAY• ARTISTGRUPPEN AS + 47 55 243000• NORSTAGE A/S + 47 52 71 43 10• PA PRODUKSJONER BERGEN AS + 47 55 59 85 98• RUBICON AS + 47 6384 6610PHILIPPINES•• SUPERIOR MOTORS SUPPLY CORPORATION + 632 374 1737POLAND• MUSNICKI - SOUND + 48 22 773 24 73PORTUGAL• ACCESS ALL AREAS + 351 21 43 42 450

• PURO AUDIO + 35 121 434 3122ROMANIA• PARADIGMA PRODUCTION + 40 21 212 4800• SC FIVE'S INTERNATIONAL SRL + 40 21 312 39 43SERBIA & MONTENEGRO•• AUDIO CONSTRUCTOR + 381 21 452-842SINGAPORE• AUDIO RESOURCES PTE LTD. + 65 6732 1900• INSYNC MUSIC PRODUCTIONS + 65 6766 7458• RAZES AUDIO VISUAL LIGHTING + 65 6741 6668SLOVAKIA• ROCK CENTRUM ELECTRONICS PLUS + 421 434 36336SLOVENIA• DB TEAM D.O.O + 386 41 336 869• MEGA AUDIO D.O.O. + 386 62 314063• PLOHL MIRAN + 386 62 661 761SOUTH KOREA• AIR AUDIO + 82 53 422 6526SPAIN• AUDIODISSENY + 34 972 215 206• ELECTRIC-SO + 34 93 726 54 44• ESPECTACULOS LI-TO + 34 986 530 855•• FATSINI S.L. + 34 97 770 12 57• GL EVENTS-CCIB + 34 932 30 10 10• LUNATUS + 34 932 38 54 55• MUSIBELIOS S.L. + 34 95 234 12 51• MUSICA VIVA + 34 93 303 32 47•• PROSEC AUDIO + 34 98 598 07 01• RED TSO + 34 977 64 34 95• SEGUNDO LASER + 34 967 40 10 96•• SONER, SONIDO E ILUMINACION S.L. + 34 986 53 08 55• SONOBEXI S.L. + 34 953 76 33 37• SONOGAL + 34 981 685 230• SONORIZACIONES Z, S.L. + 34 961 20 31 11• SONOSET (MILWAUKEE AUDIO S.L.) + 34 93 372 40 53SWEDEN•• DM AUDIO AB + 46 8 97 07 85• LJUD & LJUS CONTROL AB + 46 60 514 100• MUG HYR AB + 46 31 130990• RIG HIRE AB + 46 16 153568•• SKELLEFTEA LJUDUTHYRNING + 46 910 17374• TECHNOSOUND LJUD & MUSIKSERVICE AB + 46 8 6282727SWITZERLAND• AUDIO-PHASE + 41 32 384 26 72• SOUNDHOUSE + 41 41 259 20 90• X-LIGHT & SOUND GMBH + 41 62 923 95 75TAIWAN• DINGLEY PROSOUND SERVICES + 886 7 384 3845• REYANG PROFESSIONAL SOUND CO LTD + 886 2 8797 8687• YASHIN PRO-AUDIO INC. + 886 7 322 2555TURKEY• TEMPO MUZIK LTD + 90 212 230 38 18UAE• ALMOE + 971 4 390 8390• TECHNOPRO + 971 4 267 5336UK• ATOMIC SOUND SYSTEMS + 44 (0)7778 786791• BASSET AUDIO + 44 (0)1642 652902•• CAPITAL SOUND HIRE + 44 (0)208 944 6777• CAV + 44 (0)1453 751865• CENTER STAGE + 44 (0)20 8208 1033•• FX MUSIC + 44 (0)20 8208 1771•• HAWTHORN THEATRICAL + 44 (0)1664 821111• INTASOUND P.A. + 44 (0)1905 841591• LIMIT AUDIO + 44 (0)1527 892368• PYRAMID AUDIO + 44 (0)7976 946692• RG JONES SOUND ENGINEERING + 44 (0)208 9713100• ROSSCO LTD + 44 (0)1462 431413• STAGE AUDIO SERVICES + 44 (0)1384 263629• STARSOUND SYSTEMS + 44 (0)1924 278875• TOTAL SOUND SOLUTIONS + 44 (0)1792 428181• USS + 44 (0)1242 261438• WAVELENGTH STAGE & EVENT UK + 44 (0)1527 595 444• WIGWAM ACOUSTICS LTD. + 44 (0)1706 363 400USA•• A.C.E.S. INC. + 1 518 270 4747• A.V. PRESENTATIONS + 1 985 542 9196• ASR PRO EVENTS + 1 407 767 5776• AURATEQ SYSTEMS INTERNATIONAL INC. + 1 718 861 1416• BLIZZARD SOUND + 1 920 451 1343•• DELICATE PRODUCTIONS + 1 805 388 1800• DYNAMIC PRODUCTIONS + 1 770 529 8100• EMS INC. + 1 401 331 5247• GENESIS AUDIO + 1 602 426 0930•• GO AUDIO + 1 414 764 8290•• LA SOUND COMPANY + 1 818 772 9200• MAX AUDIO + 1 401 228 4287•• MHA AUDIO + 1 301 733 9337• NORTHEASTERN PRODUCTION SYSTEMS INC. + 1 716 427 8760• OIL CAN HARRY + 1 414 355 4465• PHIL REIGH SOUND + 1 814-742-8291• PRO SYSTEMS + 1 858 430 0330• PRODUCTION SOLUTIONS INC. + 1 610 374 6998•• RALEIGH MUSIC BROKERAGE + 1 919 965 4300• ROLLING THUNDER + 1 401 331 5427•• SACRAMENTO PRODUCTION SERVICES + 1 916 481 3679•• SATIN SOUND SYSTEMS + 1 724 983 1270• SLAMHAMMER SOUND + 1 612 724 5395• SOUND CONSTRUCTIONS + 1 718 893 7352•• SOUNDWAVE PRODUCTIONS + 1 520 327 5590• SPECTRUM AUDIO INC. + 1 619 460 1785• STANCO AUDIO + 1 314 644 5557• STEED AUDIO + 1 724 779 6500•• STICHA BROTHERS + 1 608 276 5570• TECHNICAL PRODUCTIONS + 1 314 644 4000•• TECHNOTRIX + 1 815 935 0233• VERTICAL SOUND + 1 216 521 9994•• WORLD AUDIO & LIGHTS + 1 214 472 3932

Wavefront Rental Companies Around the World

AUSTRALIA• 3200 LIGHTING + 61 2 9693 1777• ANDY J SOUND + 61 8 8376 2771• AVL ELECTRONICS + 61 3 9387 1055• AVLA + 61 8 9221 1888• AVSOUND PRODUCTIONS + 61 2 9949 9000• CENTRESTATE PRODUCTIONS + 61 2 6362 0587• DAVIDSON AUDIO SERVICES + 61 2 9368 1159• DERRINGERS + 61 8 8371 1884• ENTERTAINMENT INSTALLATIONS + 61 2 4324 3873• JAZZRIGHT PRODUCTIONS + 61 2 9311 1197• JOHNSTON AUDIO + 61 3 9329 3311• MARTIN PARKS PRODUCTIONS + 61 2 6360 4411• MASTER SOUND PRODUCTIONS + 61 2 9630 6900• PHASE ONE AUDIO + 61 8 9227 7979• SIMON STAVENUITER AUDIO PRODUCTION + 61 425 795 492• STEPHEN SOUND + 61 3 9436 8981• TOP END SOUNDS + 61 8 8981 7744AUSTRIA• FOR MUSIC VERLEIH + 43 2236 71684• KRAXBERGER VERANSTALTUNGSTECHNIK + 43 7242 45193•• LTV - LICHT/TON/VIDEO + 43 662 828 989•• MAYRHOFER VERANSTALTUNGSTECHNIK + 43 7667 6090•• SHOWPARTNER VERANSTALTUNGSTECHIK + 43 676 4004404• SHOWTECH + 43 699 11594540• SOUND & LIGHT TEAM + 43 0676 405 64 27• SOUNDRISE + 43 699 11722838• TOPLAK MOBILE POWER + 43 22 39 50 58•• VIDEO & SHOW + 43 7229 81717BELGIUM• ALL AUDIO ACOUSTICS KORK BVBA + 32 475 5745 17• BIG DYNAMIC + 32 56 72 31 50• BSL + 32 93 48 80 20• D.E.E SOUND & LIGHT + 32 3 8440 92• DELTARENT NV + 32 50 49 00 81•• D-RENT + 32 3 324 02 97• FLASHLIGHT/APR + 32 11 609192• LGR (RENCKENS) + 32 11 73 44 16• PFL + 32 14 44 08 70• PHLIPPO AUDIO BVBA + 32 3 491 91 76• S2 RENT + 32 89 819250• SBE + 32 56 35 48 09• SOUND & LIGHT SYSTEMS + 32 59 27 66 46• SOUND ART PA & LIGHT SERVICES + 32 50 81 61 30• STAGE PROJECTS BVBA + 32 75 721710• STUDIO 2000 BVBA + 32 89 30 89 54CANADA• NORTHWEST PRODUCTIONS + 1 250 765 8451•• SPL SOUND + 1 250 763 3855CHINA• D & E INTERNATIONAL LTD + 852 2898 8666•• GUANGZHOU TV STATION + 86 20 8667 1161•• HUIFENG PERFORMANCE EQUIPMENT CO., LTD + 86 20 84811388• KUNMING YIFENG INDUSTRY AND TRADE CO. + 86 871 316 1287• NANJING HUIFENG PERFORMANCE EQUIPMENT LTD + 86 25 84523175• POWER MAX (ASIA) ENIGEERING LTD. + 852 2661 0527CYPRUS• V&M AUDIO + 357 22313088•• V&M ELECTRONICS + 357 2 313088CZECH REPUBLIC•• AV CENTRUM + 420 602 227357• SOUND SERVIS + 420 235364098DENMARK• DANSK LYD PRODUKTION + 45 32 95 00 77• EUROPEAN TOUR PRODUKTION + 45 363 07080• RINGSIDE TOURPRODUCTION + 45 3645 0701ESTONIA•• AUDIOTEL + 37 250 45189FINLAND• RMC TAPAHTUMATEKNIIKKA OY + 358 3 3123 7900FRANCE• ART SON ET LUMIERE + 33 4 94 03 03 52• ATC + 33 5 56 69 60 60• AUDIO CONCEPT + 33 563 39 67 86• AVANT SCENE + 33 534 63 02 60• BALLOON FARM STUDIO + 33 2 99 32 11 11•• BGM + 33 466 84 39 34• COTE BASQUE SONORISATION + 33 559 41 20 91• EURO LIVE + 33 296 743 326• FRANCK SONO + 33 164 29 26 79•• GPS + 33 251 686 900• L & S PRODUCTION + 33 384 79 00 96• LA COMPAGNIE DE LA LUMIERE ET DU SON + 33 437 40 21 60• PRODUCTION 44 + 33 2 40 52 07 07• REGIETEK + 33 134 59 32 31• REGI-SON SONORISATION + 33 555 06 20 20• RICHARD LAURIAUT ECLAIRAGE + 33 385 391 535• SCENIKAL + 33 473 77 19 62• STARS + 33 810 56 66 66• TECHNISCENE + 33 2 35 88 86 86GERMANY• ART VERANSTALTUNGSTECHNIK + 49 2332 149093• BIG BEAT PA SERVICE + 49 172 4304717•• COMPLETE AUDIO BERLIN GERMANY + 49 30 661 00 45• EVENT & VERANSTALTUNGSTECHNIK ENCHELMAIER + 49 2601 913116• GS LICHT & TON + 49 7561 986712• JA BESCHALLUNG + 49 5722 1342• KAFER PA + 49 7721 408333•• KLEMENT MEDIENTECHNIK + 49 5626 8475• KOTSCH SHOWTECHNIK + 49 36255 81901• LIVEAUDIO EVENT TECHNIC GMBH + 49 531 2335592• LWS + 49 228 946760•• MEGATEC + 49 351 8386811• MUSIK BIRKHOLZ + 49 2227 82753•• NEW NOISE TECHNIK FUR SHOW & EVENT + 49 201 8686010•• PA VERLEIH CALIMBA + 49 8441 6866• PINK NOISE + 49 2405 95441•• RAIN AGE VERANSTALTUNGSTECHNIK GMBH + 49 8191 305858• SAL EVENT TECHNIK + 49 5132 4823

•= W8 •= W8L/W8LC/W8LM