CASE STUDIES
Theatre and Live Productions
Unite Your Audience
The Martin Audio Experience
CASE STUDIES
Martin Audio
At Martin Audio we believe that uniting audiences
with exciting sound creates shared memories
that sear into the consciousness delivering more
successful tours, events and repeatedly packed
venues.
We achieve this by an obsessive attention to detail
on the professional sound system’s acoustic
performance, frequently challenging convention
and involving a sophisticated mix of design,
research, mathematical modelling and software
engineering, to deliver dynamic, full-frequency
sound right across the audience.
With over forty years of live sound and installation
expertise to our name, Martin Audio offers a wide
range of premium professional loudspeakers so
customers can be assured of selecting the right
system for their chosen application, whether it’s
a small scale installation or a festival for over
150,000 people.
Aylesbury Waterside Theatre
Theatre and Live Productions
Theatre, musicals and live production is in our blood
having provided sound systems for worldwide productions
including Joseph, Return to Forbidden Planet, Chitty
Chitty Bang Ban, Grease, Lord of the Dance, Dirty Dancing
as well permanent installs. At Martin Audio we recognise
the importance of intelligible speech, vocals and music
that envelops the audience, front to back, regardless of the
acoustic challenges set by the production or venue itself
and have a range of product solutions tailored to meet
these needs.
Starlight Express
When the updated production of Starlight Express opened
at Bochum’s Stadionring — celebrating 25 years since its
first performance at the specially constructed ‘Starlight
Express Theatre’ in June 1988 — it featured for the first
time Martin Audio’s new award-winning Multi-cellular
Loudspeaker Array (MLA) platform.
Advertising itself as “the fastest musical in the universe”
it fell to sound supervisor Riccardo van Krugten and
system engineer/installation manager, Georg Hentschel to
supercharge the next generation production while remaining
faithful to Martin Levan’s original sound design.
Winning a 9-strong manufacturer sound system shoot out,
MLA Compact showed its prowess for reproduction of both
music and vocals, critical for a venue that had received
complaints concerning vocal intelligibility and clarity in
parts of the auditorium. MLA Compact technology enabled
even coverage for all seats in the house, maintaining
frequency response and sound levels, whilst ensuring
outstanding tonal quality.
Overseeing the sound in Bochum since early 2010,
Riccardo van Krugten was eager that the production
remained faithful to a single system to cope with the fast
roller skating action. “We wanted a stereo set-up for the
orchestra, and a separate system for vocals, positioned
above the main performance area,” he said. “This required
a PA solution that would reproduce music and vocals
equally well.” Another issue was the need to reduce spill
and crosstalk from the PA speakers into the fast moving 25
Microport headsets.
Since the new production promised “to take audio
engineering to the highest level”, van Krugten knew that
the audience expectation today is far greater than it was
two decades ago. He was also mindful of past complaints
concerning vocal intelligibility and clarity in parts of
the auditorium. “And so we searched for a system that
would provide even coverage for all seats in the house,
maintaining frequency response and sound levels.”
That search began after Andreas Karsten had produced
a 3D EASE model of the Starlight Express Theatre. Said
Riccardo, “We ran various simulations with the existing
speakers and looked at the problems. Then we ran the
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CASE STUDIES
Starlight Express (continued)
Starlight Express
same simulations with a two conventional line array rigs
at different positions to identify whether a line source
solution could be used in this situation, before inviting
nine manufacturers for two shoot out sessions.”
To thoroughly evaluate the competing systems, Riccardo
prepared a file in ProLogic containing samples from the
show (and other vocal recordings of different tonalities)
— as well as music that everyone would recognise. “For
the second half of the session we had the Starlight rhythm
section and three cast members perform live from different
positions on stage,” he said. “In two shoot out sessions,
we heard nine different (mono) arrays rigged side by side.
The MLA Compact never left any doubt it would handle
reliably whatever kind of audio we threw at it.”
As a result, 27 MLA Compacts have been divided into
three flown L/C/R arrays of nine elements each — along
with three DSX subs ground stacked left and right of the
stage. This is designed to cover the entire auditorium
including the balcony and the middle sub on each side is
reversed to produce a cardioid pattern. The subs are set
unconventionally just outside the left and right array —
stacked on the middle track level a few metres above the
ground — and are sunk into the proscenium wall, via a
specially-designed setup.
A pair of Martin Audio W8VDQ hybrid boxes provide outfill
coverage extension of the centre array, while production
rigged a so-called ‘crossfire’ system, so that those sitting
at the sides of the auditorium would also receive a stereo
orchestra image.
Georg Hentschel explained, “Starlight has a large cast
equipped with omnidirectional lavalier mics who constantly
move around the set on three levels behind the speakers
and also in front of the PA — often directly facing the
arrays. During one particular scene, six highly amplified
singers are elevated directly behind the centre array which
mainly handles vocals. The amazing reduction in backspill
of the MLA Compact masters these challenges in a very
impressive way.The other aspect, of course, is MLA’s
outstanding tonal quality.“
He set ‘Hard Avoid’ for the areas behind the arrays where
there is a lot of singer traffic as well as to the areas
underneath the speaker systems. Further back down the
auditorium, the problems become even more complex,
with two tracks running right through the audience, who
are seated on different levels. Finally, there is a balcony
and several rows of seating at both side walls that need to
be covered.
System engineer/installation manager, Georg Hentschel,
enthused, “I challenged the system with various
optimisations to achieve the best solution, and it has
really delivered; we were able to solve many problems with
MLA’s advanced technology, and it was absolutely the right
system for the job.”
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CASE STUDIES
The War of the Worlds
The War of The Worlds
Fuelled by a significant upgrade to the original 1978
concept, Jeff Wayne’s Musical Version of The War of The
Worlds, The New Generation as it is now known, played to
packed arenas throughout the UK and Northern Europe
with Martin Audio’s MLA system creating a superior
soundscape.
“Whichever way you look at it, the production is on an epic
scale,” said Simon Honywill, FOH engineer, “and MLA has
its own outstanding performance”.
London’s O2 Arena had been a case in point. “I remember
being very impressed with the clarity of the system at the
back of the arena … around 100m from the array and 30m
above the arena floor. The house delays were unable to add
anything, not even any sparkle to the top end of the system
— and in the end I only used them at very low levels to add
a little low mid warmth. For 16 boxes a side I think that is
very impressive!”
At Cardiff Motorpoint Arena, the unique abilities of the
MLA system created the ability for a new optimisation
to reduce the reflections caused by the angled corporate
boxes. Switching between the optimisations provided
the ability to listen to the re-configured PA, all without
physically altering the PA hang. “This dramatically
reduced the reflections on the second night,” remembers
Simon Honywill.
Mark Edwards, system technician agrees, “The robustness
of the new version of VU-NET means I can zone the PA
accurately if needs be to influence or correct the tonal
balance across the audience area. The evenness of the
horizontal coverage pattern continues to amaze me,
particularly the way speech intelligibility is maintained
as you move further off axis … way beyond what I have
experienced with other systems.”
Finally, he says, the system is quick to deploy “and the
even tonality means I can tune it very quickly.”
Simon Honywill also noted, “Because the Left/Right
system is pushed wide and upstage we have used some
standard W8LM arrays as fills to boost the intensity and
energy of the imaging in the expensive seats. We’ve also
used W8LC’s as side hangs and four W8LMD built into the
set across the front, for nearfield coverage.”
“The result is that musically it has sounded a bit harder
and more aggressive — which is exactly what production
wanted,” he said. Even with a 3-tonne, 35-foot tall
Martian Fighting Machine firing real flame heat rays at
the audience and scanning them with its bug-like eyes,
it is the Martin Audio’s MLA system, the most intelligent
touring system ever, that has been responsible for the
dramatically increased level of performance and coverage
consistency — even if this is something the audience now
takes for granted!”
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CASE STUDIES
Oprah Finale
Oprah Finale
Special Event Services (“SES”) and On Stage Audio
(“OSA”) partnered for the event, and deployed what was
at the time the largest MLA system ever flown to ensure
uniform coverage throughout the arena for this highprofile production.
the venue. This would have created extreme challenges for
traditional technology, but with multi-cellular technology
you are no longer confined by the physical coverage
patterns of the array and are now able to extend coverage
both under the array and over the array all electronically.
With the ability to store up to 10 different optimisation
settings in the cabinet’s memory, for the Oprah show,
OSA were able to use two different coverage patterns
for the main array and switch between them during the
show depending on whether the presenters were using the
thrust stage.
The United Center served as both the set for the taping
of the final Oprah Winfrey Show as well as a star-studded
live concert, but the production itself offered up some
challenges. With ‘A’ list artists such as Beyoncé, Stevie
Wonder and Madonna on the main stage necessitating a
large left and right system, presenters hosted the show on
lavaliere mics from the thrust stage right in the middle of
Speaking at the time, Jim Brammer, SES President,
said, “Knowing the high level of audio quality we need
to provide for an event of this magnitude, MLA was the
obvious choice”. “And it’s a pleasure to work with Harpo
Productions as they realize the benefits MLA’s technology
will bring to this history-making production” added Jim
Risgin, OSA Vice President.
The final Oprah Winfrey Show, “Surprise Oprah! A Farewell
Spectacular,” at Chicago’s United Center was a significant
TV landmark and a star studded event. Needless to say,
therefore, that an event of this magnitude required the
highest level of audio quality.
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CASE STUDIES
Aylesbury Waterside Theatre, UK
Aylesbury Waterside Theatre
Provincial theatres can be hive of activity, but their size
and location doesn’t detract from the need for high
performance sound quality, as the installation to Aylesbury
theatre is testament too. With Ambassador Theatre Group
(ATG), the UK’s largest theatre group, running the venue,
sound reinforcement would also need to be world class,
since the Aylesbury Waterside would be a circuit venue for
the nation’s UK’s top touring productions.
Working to a specification devised by Carr & Angier Theatre
Consultants, evenly dispersed sound was of paramount
importance, since there are three audience tiers (including
fixed-seating balcony and upper balcony levels), and
optional ground floor seating wagons to enable the 1200seat auditorium to convert into a larger 1800-capacity
standing space.
Thus Northern Light (contractors) project manager Simon
Cooper decided to base his sound reinforcement solution
around Martin Audio’s purpose-designed Wavefront theatre
systems.
For the primary system, he chose 14 purpose designed
WT3 Arrayable 3-way compact theatre enclosures. These
are designed in three vertical pairs on either side of the
proscenium arch, focused onto each balcony, with a
single enclosure at the base. The proscenium system is
complemented by a centre cluster of seven W3P arrayable
compact enclosures to provide true L/C/R imaging,
while two WS18X subs, either side of the stage, add
LF extension.
Providing stage fills are Martin Audio WT15’s, while high
up the building four WT2’s and a pair of S18(F) subs are
mounted on the second lighting bridge to form the delay
system for the second balcony. Finally, under-balcony
support is provided by Martin Audio’s C6.8T ceiling
speakers — six on each level.
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CASE STUDIES
The Clapham Grand, UK
“Richard had wanted a PA that would
maximise sightlines to the stage,”
explained Matt Bate. “He always favoured
Martin Audio, as he knew this was a good
system.”
And technical manager, Dan Huxley,
added, “We wanted an industry-standard
system that was recognised by incoming
productions, so that they had the
confidence to play through the house rig.
But at the same time the system needed
to be multipurpose, as we are still utilising
the venue for club and DJ nights — and
this produces a thumping dance sound.”
The Clapham Grand, UK
Iconic London landmark, The Clapham Grand, undertook a technical upgrade
which saw the installation of a Martin Audio W8LC Compact Line Array,
reinforced with multiple Martin Audio AQ architectural loudspeakers.
Designed to reposition the 1250-capacity, 100-year-old listed Victorian
theatre from a pure party/dance venue to a leading-edge live circuit venue,
manager Richard Beck called in the hugely experienced Matt Bate, of
F1:Sound Company Limited, to carry out the refit.
Given the venue is spread across three floors, with the aid of Martin Audio’s
proprietary DISPLAY™ predictive software, Bate succeeded in getting the
sound, from just four elements per side, firing evenly across the ground
floor and to the rear of the first floor balcony (the two usable spaces). Low
extension is provided off the stage by six WS218X (2 x 18) subs, ground
stacked in threes stage left and right. F1:Sound Co bolstered the main system
with 14 ultra-compact AQ5’s (each with
two 5.25in ICT™ drivers): six deployed
to cover the upper two tiers of the middle
balcony, and eight for under-balcony on
the ground floor, where additional power
is provided by a pair of AQ10’s (with 10in
bass driver) near the bar.
Independently operated and owned, the
venue launched its new live program with
an appearance by Jamie Cullum, who
played through the new house system. The Martin Audio installation has been
an unqualified success and Richard
Beck says he believes this to be the best
live sound he has ever heard in a
London venue.
Products Featured
W8VDQ
W8LC
Compact, three-way, differential directivity system
Compact, high performance three-way line array enclosure
www.martin-audio.com/products/W8VDQ.asp
www.martin-audio.com/products/W8LC.asp
W8LM
W8LMD
Mini, high performance three-way line array enclosure
Three-way mini, vertically arrayable enclosure
www.martin-audio.com/products/W8LM.asp
www.martin-audio.com/products/W8LMD.asp
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CASE STUDIES
Products Featured
WT3
MLX
Arrayable three-way compact theatre enclosure
Multi-cellular Loudspeaker Sub-bass
www.martin-audio.com/products/WT3.asp
www.martin-audio.com/products/MLX.asp
W3P
MLA Compact
Compact three-way trapezoid system
Multi-cellular Loudspeaker Array
www.martin-audio.com/products/W3P.asp
www.martin-audio.com/products/MLA Compact.asp
WS18X
DSX
Dual-driver vented sub-bass system
Multi-cellular Loudspeaker Sub-bass
Xwww.martin-audio.com/products/WS18X.asp
www.martin-audio.com/products/DSX-F.asp
WT15 and WT2
WS218X
Compact theatre enclosures
Dual-driver vented sub-bass system
www.martin-audio.com/products/WT15+.asp
www.martin-audio.com/products/WS218X.asp
www.martin-audio.com/products/WT2.asp
S18 (F)
AQ5
Compact vented sub-bass system
Ultra-compact, wide angle system
www.martin-audio.com/products/S18+.asp
www.martin-audio.com/products/AQ5.asp
C6.8T Ceiling
AQ10
Ceiling mounted, two-way vented enclosure
Compact, full-range system
www.martin-audio.com/products/C6.8T.asp
www.martin-audio.com/products/AQ10.asp
MLA
Multi-cellular Loudspeaker Array
www.martin-audio.com/products/MLA.asp
This is just a small selection from a wealth of examples from around the
world that you can find out more about by visiting www.martin-audio.com
Martin Audio Ltd
Century Point, Halifax Road, High Wycombe
Buckinghamshire HP12 3SL, England
www.martin-audio.com
Telephone: +44 (0) 1494 535 312
Facsimile: +44 (0) 1494 438 669
Email: info@martin-audio.com