An ultra-compact, vertically arraying loudspeaker enclosure. Designed to be used in a variety of modes with the option of two enclosures pole-mounted, three to six enclosures ground-stacked, or between four and eighteen cabinets combined in flown array configuration.More Details
First showing for CADAC at ABTT: (L-R) CADAC Sales Manager Rob Hughes and LMC Audio Systems Managing Director Paul Hinkly
Cadac Holdings Ltd., Luton, Beds. UK. CADAC is set to capitalize on its successes at the ABTT Theatre show with LMC Audio Systems Ltd., and at InfoComm with its Cadac Audio North American sales and distribution arm.
Speaking after his company’s first public showing of the CDC eight digital audio console, at ABTT, LMC Audio Systems Managing Director Paul Hinkly said, “There was tremendous interest, both among the theatre sound fraternity and the growing number of concert touring and corporate AV visitors to the show. The ever increasing variety of premium pro-audio products and technological convergence across pro-audio sectors is attracting more and more of these customers to ABTT.”
Moving forward, LMC Audio Systems’ sales team is embarking on an extensive demonstration programme across the UK, to all market sectors. “With its ‘next generation’ gesture-based touch screen operation, stunning sound quality, and network scalability and connectivity,” continues Hinkly, “the CDC eight offers considerable operational and performance advantages to our customers in all sound production sectors. For the theatre sound sector in particular, CADAC is a name that has fallen off the radar in recent years for a lot of people. A large part of our task is reintroducing them to the brand and the new digital offering.”
Meanwhile the company used InfoComm as a platform to promote its recently extended product line and new North American division, Cadac Audio Ltd. US and Canada. Post InfoComm, the division’s General Manager Paul Morini stated, “CADAC created a big impression with attendees at this year’s InfoComm, with the new dedicated US and Canada operation, a new look booth, new software development, lots of new product, and the presence of the company’s engineering and marketing crew.
“Apart from generating interest in the updates and ongoing developments of CDC eight and its newly acquired systems capabilities, we were there to make connections and establish alliances, most importantly in creating our sales and marketing network. The coming weeks and months will see the fruits of these efforts, as we roll out the sales network across all States.”
When Martin Audio rental stockist, dBS Solutions, was tasked by production company, Sell a Door Theatre Company, to design a sound system that would take the touring version of the long-running West End show Avenue Q across the UK, the company’s MD Chris Bogg was faced with his stiffest challenge in the company’s nine year history.
Not only was this puppet-based production the largest tour the company had undertaken, but the size of venues would vary enormously; and on tours where truck space is at a premium, trucking the minimum amount of kit, while keeping the production scalable, was crucial.
The Warrington based company’s relationship with Martin Audio dealers, LMC Audio Systems was also critical, and the latter’s sales manager James Lawford was able to put a creative deal together that enabled Bogg to secure the new generation theatre system that he had been wanting.
In the era after the Wavefront WT3 theatre boxes, Martin Audio has now introduced the versatile, sophisticated and purpose designed XD12 and DD6 (Differential Dispersion) technology, each with rotatable horns, and voiced for musical theatre.
The dBS owner admits, “I bought the XD12s and DD6s specifically for this tour. We were always looking to add more Martin Audio boxes to our fleet [to complement the 16-box W8LM system] but what made it affordable was securing this tour. It meant I was able to design the sound around exactly what the show required, without compromise, rather than base the spec on what we had in our inventory — and XD12 was the box I wanted to use.” Run with the DD6 and WS18X single 18in subs, he also saw it as a legacy system that would open the door to further similar projects.
“I had heard demos of the DD6 cabinets and colleagues had passed comment on how great they were, while the XD12 was the right size and dispersion, and sounded great when demoed,” summarised Chris Bogg.
Although on larger shows, such as Manchester Palace, the company had fielded all eight XD12s and DD6s in their hire fleet, venues like the Swan Theatre, High Wycombe called on five DD6’s to be placed along the stage lip as front fills, with a further pair of the ultra-compact boxes rigged on the flanks of the stalls to provide outfills to complement the in-house delay boxes, Run passively, six of the multi-angled, lightweight XD12s were rigged, three a side and focused into the stalls and balcony tiers.
In venues with very wide stalls sections where two boxes are used, the rotatable horn is used discerningly to create even coverage without comb filtering or exciting the walls of the venue. “For instance, in some cases the 80° x 50° configuration would be too wide when paired with another box if it wasn't for the fact that they are rotatable,” notes Bogg. “This speaker also runs down to 60-70Hz with an EQ boost at 65 Hz. We remove this in the stalls, but leaving it in place between 3dB and 6dB in the upper tiers allows for a fuller rounder sound whilst eliminating the need for extra subs in these areas.”
At the same time he draws attention to the DD6’s exemplary HF pattern control and the fact that it can be used in portrait or landscape configuration. “They are perfect for fills or delays — and I like the Differential Dispersion technology element as well as the universal brackets, which can be used in both orientations; this means we don’t need to carry two sets of brackets.”
Anything that lightens the weight and rigging time on tour is appreciated. Another huge bonus, hit on by both Bogg and his touring sound operator Joe Green, is the SpeakOn group switch on the back of the DD6, which saves them from carrying additional heavy copper cable.
In essence Martin Audio has provided four Neutrik NL-4 SpeakOn connectors and a two-way switch, which allows the technician to choose which pair of circuits in the 4-core cable the speaker is powered by. Two sets of four can be run on a single stereo amplifier in a single NL-4 run, allowing left-right alternation or for delay purposes, inner-and-outer or near-and-far circuits.
For Joe Green this solution is perfect. “While I have enjoyed working with all the Martin Audio kit this switch on the DD6 is certainly my favourite item; we can make use of the second set of pins and run one four core cable for delay and front fills — running two feeds down one cable.”
The remainder of his touring control is based around a Midas Pro 1 mixer with the show (including all cues for AV and video click tracks) stored in a QLab software environment, which MIDI triggers the console, along with Sennheiser Evolution 500 series radio mics, DPA 4061s mics for the cast and personal monitors for the six-strong pit band.
Proof of concept having been established — much to the satisfaction of production manager, Will Mauchline — Chris Bogg is already looking ahead to the future. “The XD12/DD6 combination covers everything I would want for theatre, and the XD12 is voiced similar to our W8LM line arrays — which is brilliant for our future work. And the passive or bi-amped option gives us further flexibility.”
In fact dBS Solutions have already been asked to undertake further work for Sell A Door as a result of this tour, and as a result of Avenue Q (as well as other work) they have been nominated for the Technical Theatre Awards hire company of the year.
For more information about XD12 and DD6 and to organise a demo, contact LMC Audio Sales: email@example.com
LMC has installed a NEXO GEO S12 system into Birmingham Christian Centre, fulfilling an exacting project brief for the client.
The main requirements for the venue, specified by LMC Birmingham’s technical field sales manager Tim Bamber, were that the main system should provide even coverage, good speech intelligibility and unobtrusive aesthetics. As the front of house position is right at the back of the hall, it was especially important to provide consistent frequency response and SPLs throughout the entire room. The GEO 12 allowed LMC to achieve this within 3dB dB-A, with an equal amount of mid-to-upper range energy at the back as at the front. This ensures that the engineer mixing the service can carry out his job without subjecting the congregation to unnecessarily high volume levels.
Another criterion was that the flown main speakers should provide a full range, punchy sound without too much reliance on sub bass. The centre’s previous system lacked headroom and the subwoofers - located beneath the stage with a tendency to be uncontrolled and ‘boomy’ - were used to compensate.
LMC designed a system consisting of left and right hangs of GEO S12, each comprising two S1210 and one S1230 modular cabinets. The hall was producing large amounts of reverberation, and this has been minimised by using these highly directional loudspeakers and designing the system to cover only the required areas. The line array system also directs vertical energy away from the high ceiling. The speakers in the left and right hangs were fitted with 120 degree flanges as the room is very wide.
Two further S1230s, one per side, have been flown vertically for outfill to the extreme sides of the venue. Two RS15 subwoofers are installed underneath the stage, while four PS8 monitors across the front of the stage provide front fill. The system is being driven by two NXAMP 4x4 Powered TDControllers.
James Lawford, sales manager at LMC Birmingham who handled the technical specification and document proposal, also carried out loudspeaker predictions using NEXO NS-1 simulation software. “This allowed the exact configuration to be determined before a speaker was even installed,” he says. “The real world performance matched the prediction with great accuracy.”
Running down to 85hz, the GEO S12 cabinets can provide most of the bass energy the system needs, with the RS15 subs used to add weight to the bass guitar, kick drum and low keyboard sounds.
“The spoken word is of critical importance in a church environment, so intelligibility was key to this installation,” says Lawford. “The GEO S12 system provides crystal clear speech coverage across the whole room. The addition of front fills helps locate the perceived sound source back to the stage instead of overhead for the people closest to the stage. The addition of front fills also ensures the church leadership, sitting on the front row, can hear!”
Finally, the solution proved cost-effective for the centre. “NEXO products are extremely high quality but represent excellent value for money,” says Lawford. “The modular rigging system requires only the necessary parts to be purchased. And buying a high quality system saves money in the long term by not needing upgrades in the foreseeable future.”
Cadac Holdings Ltd., Luton, Beds. UK. CADAC announces the appointment of LMC Audio Systems as an official UK dealer with immediate effect. The leading live audio sales company will be showing CADAC’s new CDC eight-16 digital production console at the ABTT Theatre show.
Speaking for LMC Audio Systems, Managing Director, Paul Hinkly, says, “This is a chance to work in meaningful partnership with a genuinely premium UK brand, meaning, not only top quality products from first class people but also a common purpose, to transfer the technical and commercial responsibilities and values, so expertly acquired through decades of leadership in the theatre market, to all engineers, PA co’s and venues who similarly deserve and demand such respect and support for their investments and businesses.”
Louisa Hinkly, Marketing & PR Manager, adds, “When we learned of CADAC’s re-positioning for all live market applications, we became very interested. Not only does CADAC complement LMC’s leadership position in live audio markets, it directly meets the requirements of customers looking for superior-quality audio and commercial returns.”
As well as the CADAC CDC eight, CADAC UK Sales Manager Rob Hughes will also be on the LMC Audio Systems stand at ABTT: “We are extremely pleased that LMC has joined our new UK sales operation. The company is justifiably held in the highest regard by industry professionals and brings a wealth of experience in selling consoles to all sectors of the live audio market. I have had the pleasure of working with them in the past and experienced, first hand, the sheer professional integrity, enthusiasm, and premier customer support that are the hallmarks of their operation. LMC will be a key asset in our UK market development strategy.”
The CDC eight-16 features 128 channels, 48 bus outputs and 16 fully automated faders, coupled with an exceptionally intuitive user interface built around the large-format touch screen control surface and (the CDC eight-32 features 32 faders and dual touch screen surfaces). The CDC eight’s sound quality is the result of CADAC’s legendary mic pre combined with a time-aligned, phase-coherent mix bus architecture, featuring sub-0.4 millisecond latency, from analogue inputs on stage to analogue outputs on stage. With a far less menu dependent operating system than other digital consoles, the CDC eight offers an unparalleled user experience combined with exceptional audio quality.
The optional CDC MC Router enables audio networks of up to 3072 channels of 24-bit /96kHz audio to be easily configured, comprising multiple I/O stage boxes and CDC consoles. The CDC MC MADI Bridge enables the integration of any third party MADI hardware into the system.
PA company MLS Audio turned to DPA’s d:vote™ 4099 Instrument Microphones to amplify a 10-piece orchestra in a venue with 95% reflective surfaces. As a company that prides itself on delivering great quality sound, Portsmouth-based MLS Audio has no hesitation in specifying the best equipment on the market to achieve its desired results.
It is therefore no surprise that, when faced with a tricky sound reinforcement project, the company turned to DPA Microphones for help.
Sound engineer and MLS Audio founder Guy Morris says: "The car manufacturer Bentley was holding a private corporate event at the Royal Exhange in London and we were approached by event organiser, Beyond Certainty, to handle the audio. The original brief was for ‘a few singers and a band’. This became ‘a few singers placed around the room on podiums with a band at one end’ to the final translation of ‘six opera and West End show artists and a 10-piece orchestra'."
Given the architecture of the Royal Exchange this wasn't as easy as it might seem. The roof alone is 50m high, while the interior has 95% reflective surfaces thanks to ample use of glass, marble, stone and tiles.
"The artists had already specified that their preference was to use headset microphones and immediately chose single ear versions of DPA's d:fine™ Headset Microphones," Morris says. "The orchestra, however, was another issue because we had 10 instruments to amplify in a space that was acoustically very challenging. We also had very limited set up time because the Royal Exchange is open to the public until 6pm and Bentley's event was due to start at 7pm."
A lot of discussion took place, during which various microphone placement options were considered. Despite the temptation to deal with the time constraints by going for a simple spot mic set up, it was obvious that the acoustics of the venue - and the fact that the artists were on IEMs - demanded a different solution.
"The artists required total clarity from different parts of the orchestra for their performances and spot mics in that acoustic environment just weren't going to deliver that," Morris says. "We spoke to James Lawford at LMC Audio Systems, our preferred equipment supplier, and he suggested DPA d:vote™ 4099 Instrument Microphones."
MLS Audio bought DPA's recently introduced d:vote™ Classic 10 Touring Kit, which incorporates 10 d:vote microphones, adapters and cables, as well as a selection of 25 clips for a variety of instruments.
"The selection of instrument mounts was marvellous," Morris says. "There were even two magnetic mounts for placing inside a piano with the lid open or shut. This was very useful as our orchestra was using a Baby Grand piano (shut), three violins, a viola, a cello, an upright bass, a flute and an Oboe."
Musicians are notoriously precious about their valuable instruments and are understandably wary of using clips in case they cause damage. However the DPA mounts were so intuitive that Guy Morris had no trouble persuading this orchestra to use them.
"The mounts are made of a non-abrasive rubber material that every musician was happy to use," he says. "In fact, I got the feeling they had used d:vote 4099 Instrument Microphones before because they were all able to place and fit the mount themselves with hardly any guidance from the sound crew."
Morris adds that the benefits of using DPA microphones was obvious from the outset.
"With every mic offering the same consistent neutral sound, it was a simple tweak of EQ to suit each instrument. The gain was ample with a quiet noise floor, and the placing of the mic (although critical for some instruments as they are of a directional, supercardioid pattern) offered excellent results."
Morris used the included XLR connection, via DPA's microdot connector, which allows for various interfaces and wireless systems.
"This was really useful as each violinist needed to easily unplug between their performances and take their instruments away to ensure they were correctly tuned for the next set," Morris says. "Getting a good balance of so many instruments close miked in a very limited time for both the orchestra on the FOH and for the singers hearing it in their IEMs would normally take far more time than we had available. The d:vote 4099 Instrument Microphones played a big part in getting us ready in time before the doors opened and the guests came in."
Apart from sound quality and versatility, Morris says the other advantage of using DPA d:vote's was that the orchestra looked very tidy on stage. No mic stands were visible and the singers were able to hear their key instruments, while guests were treated to some excellent renditions of West End show classics.
"The DPA d:vote microphones were a true problem solver for our challenging scenario and the all important factor was a satisfied end client," Guy Morris adds.
Julian Rees, Technical Director at Production Plus, at their warehouse facility in Hertfordshire with the Inspired Audio Axis AX12 wedges.
Hertfordshire-based production, entertainment and event-management company, Production Plus, recently put an Inspired Audio Axis AX12 loudspeaker system through its paces. The system, supplied by LMC Audio, was used on a high profile event with a contemporary artist who had minimal staging and space for technical equipment.
Julian Rees, Technical Director of Production Plus, comments, “With Axis AX12 our client’s expectations were met with limited visual impact, allowing clean sight lines whilst also keeping the artist/engineers happy in terms of performance.” He continues, “A large section of our work is to supply artiste technical specs to meet riders, however, these need to be acceptable to our corporate clients – not always an easy trade off! A problem we have long had is artistes wanting large wedges on stage. Axis AX12 gave us the solution of bi-amp wedges in a small format whilst delivering the level and quality expected by the artist.”
The wedges delivered in terms of audio performance, Rees noting, “The AX12 gave excellent feedback rejection with a sound that really cut through on the stage.” With trucking space and weight becoming a premium these days, the wedges and amps brought added benefits in overcoming these issues, meaning that for Production Plus they ticked all of the boxes.
JP Cavaco, Sales Manager at LMC London, comments, “Production Plus’s need for a compact bi-amp monitor that would satisfy the client’s requirements (minimum visual impact) as well as the artist’s (maximum audio quality) was perfectly met by the Axis AX12. In terms of quality, Inspired Audio’s dedication to delivering premium audio solutions is evident throughout their range, from the components and materials they use to the design and manufacturing processes they employ. A fine example of British engineering at it’s best.”
Rees notes, “We wanted to demo the Axis monitors from Inspired Audio because they had the pedigree and legacy from Chris Scott we knew and understood. The amplifier is a known quantity and just reinforced the brand as a serious contender on our shortlist. In terms of service and supply, the usual excellent LMC service was included. JP ensured we had all the kit in good time for prep and, as always, was happy to listen to our requirements and feedback on products.”
Chris Scott, Design Director of Inspired Audio comments, “I have great respect for Julian and his team at Production Plus, they are just consummate professionals. I’m so proud to be working with them and delighted that AX12 are being specified on this kind of project. Corporate A/V is a strong growth area for Inspired, so this just helps to build upon that momentum.”
For more information and to arrange a demonstration of Axis AX12, contact LMC Sales on: London, +44 (0)20 8743 4680 or Birmingham, +44 (0)121 359 4535 or email: firstname.lastname@example.org.
For further information about the Axis system range and other products from Inspired Audio, visit the Inspired Audio website.
For more information about Production Plus’s services, contact Julian Rees: email@example.com or telephone: 01462 684001
There are hundreds, if not thousands of videos and courses online all offering valuable advice on microphone technique, but nothing beats actually getting hands-on when it comes to learning what works (and what doesn't) in real live situations.
We invite you to join us for a hands-on Microphone Techniques Workshop with hosts JP Cavaco (LMC Audio Systems), Bo Brinck (DPA Microphones) and Adam Pierce (Sound Network). We will be focusing on improved mic techniques primarily for the live environment, but also how this crosses over into recording studio situations.
PLEASE NOTE: We've had an overwhelming response to our Free Mic Techniques Workshop and have decided to make a change of venue to better accommodate everybody.
The workshop will now be held at Union Chapel in Islington.
Full address: Union Chapel, Compton Ave, London, N1 2XD. (click for map)
This central location is easy to get to, the nearest station being Highbury & Islington which is on the London Overground and the Victoria Line.
As a result we've also had to drop the third (16:00 - 18:00) session, so will be inviting these attendees to either of the earlier sessions as there's now plenty of space! Please feel free to invite anyone you know who may benefit from a workshop like this to register on our website.
LMC Audio Mic Techniques Workshop:
Where: Union Chapel, London - Compton Ave, London, N1 2XD
When: Thursday 22 May
Times: There will be two sessions over the course of the day.
These are 11am - 1pm and 2pm - 4pm.
Register to attend: There are still a limited number of spaces available, so please register all attendees on our website.
Click here to register.
For any further information, please don't hesitate to contact us. We look forward to seeing you there!
X Factor runner-up, Jahmene Douglas, performing at Oasis Leisure Centre, Swindon using the Martin Audio W8LM system
Event production and hire company, Epic Production Services, have recently invested in Martin Audio W8LM and WS218X, supplied by LMC Audio London.
Matt Rogers, Director of Swindon-based Epic Production Services, did his research before investing in the system, which was purchased from LMC’s extensive used equipment stock. Having already used and become familiar with Martin Audio products, he wanted to ensure that W8LM would offer the same level of audio quality. He was not disappointed. “From the start it became evident that you could hear every detail of the mix through the W8LM system and at no point did I find I was compromised in what I wanted to achieve,” says Rogers. “Vocals sit naturally on top with Martin Audio’s very crisp and clear high end, whilst the WS218x’s offer a massive bottom-end kick.”
Last year, X Factor runner-up, Jahmene Douglas, sang at Epic’s local ‘Best of Swindon’ event using the W8LM system, to rave reviews. Having compared W8LM with alternative market offerings, Rogers found that the Martin Audio system best met his business needs, commenting:
“After trying out many different systems I chose to invest in Martin Audio W8LM because of its flexibility and its outstanding clarity. The system’s performance is unbelievable. When the bands and clients we’ve worked with have first taken a look at its small footprint and compact size they simply don’t think that it will be loud and clear enough. However, the doubts quickly disappear once they’ve heard it. Every time we turn it on everyone’s shocked at its capability and it receives so many compliments. In terms of logistics, its compact size also means that we save on truck space and time setting it up, making it a very efficient system for us to deploy.”
One of Epic Production’s clients, Keith Newman, Chairman at Broad Town Big Gig based in Wiltshire, for which Epic will be deploying W8LM again this summer, comments:
“We are a small, intimate outdoor festival that prides itself not only on presenting great local and national bands and artists, but also delivering a top quality audio experience for those artists and our audience. Our reputation has been built upon these principals, which is why we have utilised Epic Production Services for the last 6 years, and have been delighted with the use of the Martin Audio products. Now, with the Martin Audio W8LM's, the enhancement to the sound quality has been extraordinary, allowing us to further improve the experience.”
Discussing upcoming events, Rogers adds, “We will chiefly be using the system for live music events and already have many bookings for the summer, including Calne Festival and Broad Town Big Gig. We’ll also be working with loads of local talent, supporting up-and-coming artists such as Josh Kumra and George Wilding, who has recently been played for the first time on BBC Radio 2. I really wanted a system that could be as flexible as possible and with the W8LM I have just that; we can use it for theatre, conference and club applications as well as touring, truly maximising on the return.”
JP Cavaco, Sales Manager at LMC London, comments: “I’m delighted that Epic Productions have chosen to invest in Martin Audio’s W8LM line array system. It’s a well proven product from a British loudspeaker manufacturer that continues to offer a compelling mix of sound quality, durability and ‘hireability’.”
Rogers’ experience in working with LMC has been very positive:
“LMC have been absolutely amazing. I worked with JP on our upgrade for over a year trying out different solutions to find the one that best suited and each time came back to the Martin Audio W8LM. Throughout the entire process I have had as much support as I needed and LMC’s understanding of where I wanted to take my company and make it future proof has been second to none. It’s a great business relationship but also a great friendship. I certainly know I won’t regret choosing LMC and look forward to working with them in the future, and expanding our stock of Martin Audio.”
Simon Bull, International Sales Director for Martin Audio, comments, "This sale is a testament to both the quality and longevity of W8LM, and clearly the result of a positive collaboration between LMC and Epic productions. We're delighted for the support, and we're confident that W8LM's versatility will match the needs of Epic's busy and varied summer line up of events."
For more information about Epic Production Services’ events and services, visit their website: www.epic-productions.com.
For all new and used equipment enquiries, contact LMC Sales: firstname.lastname@example.org.
For further information about the W8LM range, and other products from Martin Audio, visit the Martin Audio website.
DB Audio’s MIDAS PRO6 digital console at FOH, used for the ‘secret’ Prince gigs at the Electric Ballroom, Camden
Taking it from one of the few remaining venues in London to use an all-analogue system, to one of the highest-spec digitally-lead venues in town, long-established rental & production company, DB Audio, have invested in a pair of MIDAS PRO6 digital consoles for front-of-house and monitor duties at the Electric Ballroom in Camden.
Supplied by LMC Audio, the consoles were recently deployed for the first of Prince’s ‘secret’ gigs, held at the historic live music venue.
As a well-known rock ‘n’ roll circuit venue, which the company have an almost thirty-year association with, DB Audio had seen their fair share of digital consoles coming through the Electric Ballroom over recent years, but only a few had impressed compared to the older analogue system that they were running on FOH & MONS.
Richard Waterhouse, who owns and runs DB Audio in partnership with his brother, Steve Waterhouse, comments, “Our primary concern in running the house system at the Electric Ballroom has always been to achieve the best quality of sound we can. This aim, coupled with using only top quality experienced engineers, means that for visiting artists, engineers and promoters we regularly exceed their expectations of the venue.”
As touring engineers have brought their systems into the Electric Ballroom to link-up with the venue’s Martin Audio Wavefront rig, DB Audio have gained valuable hands-on experience using all of the leading brands of digital console. “The one which stood out from the rest in terms of sound quality was MIDAS”, explains Waterhouse, “and when we saw increasing numbers of engineers touring with their own PRO2 and PRO1 consoles, we felt the time was now right to invest in our own.”
Richard and Steve got in touch with LMC Audio to discuss the current market options. “We took them through the next generation of systems coming through from the major brands and narrowed the choice down to MIDAS PRO series”, explains Will Hinkly, Technical Field Sales at LMC Audio London. “Even though these are established systems within the market, they are proven in the field both in terms of sound quality and their flexibility and scalability, catering to almost every eventuality. It was important to Richard and Steve that the system was industry standard and would tick the ‘rider friendly’ box in order to accommodate all of the high profile touring artists coming into the Electric Ballroom.”
Deciding to opt for separate front of house and monitor consoles, the Waterhouse’s knew which MIDAS PRO Series desk would serve their application best, “The Midas PRO series embodies scalability with the PRO3 upgradeable to PRO6 and PRO9 through the addition of extra processing cards”, says Richard. “For us, the logical entry point was PRO6, upgrading our old 48 channel analogue system to 64 channels digital. Our philosophy has always been that the quality of sound on stage is just as important as front of house, so the decision to invest in two PRO6 consoles was easy.” Other factors which played a part in their choice were the ease of integrating a multi channel JoeCo Black Box recording system via a Klark Teknik DN9650 network bridge, and the simple convenience of being able to stand in front of their stage monitors and adjust 6 band parametric EQ using an iPad.
Hinkly says, “Once the choice was made we went to work on putting together the bespoke system which resulted in a configuration of PRO6 consoles. We organised a demo up in Kidderminster and, once delivered, performed additional on-site training for their most frequent engineers. This was an excellent indication to me of how the smaller PRO series consoles had infiltrated the market. Every PRO series desk shares exactly the same interface menu and utilises the same channel strip function, allowing engineers who were confident with PRO1 right the way up to PRO9 to get stuck in and establish a mix quickly and efficiently.”
Hinkly also introduced Fineline Media Finance to DB Audio, a well-respected asset finance specialist within the industry, that LMC have worked with on numerous occasions over the years. “Jon Openshaw, Area Sales Manager at Fineline Media Finance, returned a very suitable package to work with for the Midas PRO6 system that DB Audio could go forwards with”, comments Hinkly.
DB Audio’s first gig using the new system was with Black Rebel Motorcycle Club on 3rd February and the increase in sound quality far exceeded their expectations. “We can attribute this both to the quality of the pre-amps and the MIDAS design for sample accurate end-to-end phase coherence through the console,” explains Waterhouse. The day after this gig, they were requested to provide an 'open sound check' by Prince's management for a gig the following night. On arrival, Steve found that Prince's engineer wanted to run monitors, in-ears and FOH from the front of house console. “Running monitors from FOH would have been an almost impossible task using our old system but with the new PRO6 it amounted to a simple re-patch,” he adds.
The new system uses the Midas AES50 network protocol transporting both Audio and Data across Cat5. The I/O configuration is made up of a DL351 stagebox loaded with 56 mic/line inputs and 8 analogue line outputs. This is housed on-stage with the Monitor console, configured with two 8ch analogue output cards and one 8ch AES/EBU card. This is complimented by the FOH desk which is configured with a standard 8 analogue line input card, 8 mic/line input card and an 8 analogue line output card.
“Our Midas PRO6 consoles are now the heart of our system, with channel dynamics really easy to use and reverbs which sound lush and expensive, we are impressed by the quality of what's on offer and we are fully committed to digital technology”, adds Richard.
With this being the first of Prince's 'pop up gigs' in iconic London venues, much publicity was generated. Whilst most gig reviews don't mention sound quality (unless there are problems), one reviewer in ‘The Guardian’ noted the comments of a fan who attended the gig: “I’ll be buying the album but I just wonder if the songs are going to sound this good." (Quinn, B., 5th February 2014, The Guardian online: http://www.theguardian.com/music/2014/feb/05/prince-plays-secret-london-gigs)
Richard Waterhouse comments, “Our association with LMC Audio goes back many years, dealing with Paul Hinkly soon after LMC started trading. All of our major purchases have been made through them and we value their impartial advice and expertise.
In our business reputations are always hard earned and LMC have delivered time and again with the sort of service professionals expect: sales, demos and loans, repairs and servicing, trade-ins and a good used equipment list and above all knowledgeable staff able to offer top quality support to their customers.
We see our role at the Ballroom as providing the tools and opportunity for every visiting musician to give the best show they can and we are lucky to have made many good friends along the way.”
For more information and to arrange a demonstration of MIDAS PRO Series, contact LMC Sales on: London, +44 (0)20 8743 4680 or Birmingham, +44 (0)121 359 4535 or email: email@example.com.
For further information about the MIDAS PRO Series system range and other products from MIDAS, visit the MIDAS Consoles website.
For more information about DB Audio’s services contact Richard or Steve Waterhouse at: firstname.lastname@example.org or telephone: 01327 342459 or visit the DB Audio website.
Dave ‘Lofty’ Lockhart, owner of Codex Audio, with ‘The Blockheads’ and the Inspired Audio Optima 5 line array system
Midlands-based production and rental company, Codex Audio, has recently invested in an Inspired Audio Optima 5 array system, supplied by Inspired Audio UK distributors, LMC Audio.
Dave ‘Lofty’ Lockhart, owner of Codex Audio, is system technician, tour manager and head sound engineer (amongst others!) for ‘The Blockheads’ with whom he is deploying the Optima 5 line array.
Inspired Audio Design Director, Chris Scott, comments, “That Lofty has invested in the system is great news on a number of fronts; firstly he values the scalability of the system in a way that we had hoped the market would and, secondly, having a seasoned engineer of his calibre using the system will give us invaluable feedback at the factory.
Lofty carefully chooses every detail and element of the signal chain, so, choosing Inspired Audio for a crucial part of that chain is a big step forward for the brand, and we are delighted to have him on board as part of the Inspired Audio team.”
Codex Audio first tried out an Optima 8 system, a medium-format version of the Optima family of line-arrays, during summer 2013 when the system was put through its paces at Cambridge Rock festival. Whilst the system itself passed with flying colours, in follow-up conversation with Lofty, LMC Birmingham’s Tim Bamber and James Lawford soon recognised that what Lofty really needed was an ultra compact Optima system for those gigs that required all of Codex’s equipment to fit into a ‘Sprinter’ van. At this point, the focus of the conversation shifted to Optima 5.
Lofty comments, “When LMC brought Optima 5 over for me to listen to I was very impressed with how well such a small box performed. Scalability, flexibility and sound quality all are excellent features of this system, and along with the support I know I will receive from the LMC team it seemed like a logical step for me to take.”
Lofty attended LMC’s Inspired Audio listening event at Aylesbury Waterside Theatre in September 2013. Here, he had another opportunity to listen to the capabilities of the system and, importantly, a chance to speak with Chris Scott himself. Scott comments, “After some demo gigs with Codex regulars ‘The Blockheads’, I met up with Lofty at the listening day. This provided us with a great opportunity to have a play with the kit, demonstrate my take on system design and to understand Lofty’s needs.”
Bamber, Technical Field Sales at LMC Birmingham, says, “Lofty is an out and out audiophile so we had no qualms with Codex Audio being one of the very first to listen to Inspired Audio. At this premium level, whilst many customers remain fearful of stepping outside of the overly dominant brands, Lofty is confident in being one of the first to step into a new venture with Inspired Audio and LMC. By critically analysing the sound quality that Optima 5 delivers, he has let his ears (and his cheque book) make the decision and to pioneer the Inspired Audio system is a positive move forwards for Codex.”
Since taking delivery of the system Lofty has been very happy with the quality of the sound that such a compact box creates, using it for several events at The Mill Arts Centre in Banbury, including audio for film playback and the recent production of Aladdin, as well as a number of ‘The Blockheads’ shows.
Lofty comments, “With a tiny footprint at both the gig and in the van, plus a wonderfully transparent sound allied to great projection, Inspired Audio really delivers on sound quality and commercial returns. The icing on the cake is that Optima 5 can be scaled up to cover larger shows as well. For me, it ticks all of the boxes.”
For more information and to arrange a demonstration of Optima 5, contact LMC Sales on: London, +44 (0)20 8743 4680 or Birmingham, +44 (0)121 359 4535 or email: email@example.com.
For further information about the Optima 5 system range and other products from Inspired Audio, visit the Inspired Audio website.
For more information about Codex Audio’s services, contact Dave ‘Lofty’ Lockhart: firstname.lastname@example.org or telephone: +44 (0)1327 354777
Martin Audio OmniLine installed inside Ivor Crewe Lecture Hall at Essex University (photo credit: Dee Couchman, MD at Scan Audio)
LMC Audio supports Scan Audio in providing flexible solution
A Martin Audio OmniLine system has recently been installed in the Ivor Crewe Lecture Hall (ICLH) at Essex University. Supplied by LMC Audio and installed by Scan Audio, the micro-line array system was identified as being the perfect solution for the application, from the word go.
The decision was rubber stamped by Tessa Rogowski, Head of Customer Services, Information Systems, at Essex University. “I first saw the product at ISE and spoke with technical staff from Martin Audio about the specific problems we have with the 1,000 seat lecture theatre — namely hard surfaces, and the fact that the only place to hang speakers was behind the microphones, causing the resultant feedback headaches.”
She continued, “There was no question in my mind that this difficult problem needed to be solved once and for all. Martin Audio were the first people who actually appeared to understand my problems, and had the technology to ensure that the installation would be carried out correctly, first time.”
The resulting OmniLine sale of 64 elements was handled by LMC Audio London, where Technical Sales Supervisor, Sam Simon-Norris, oversaw the project.
Following an initial visit from Martin Audio’s Peter Child to discuss OmniLine, it quickly became obvious to him that this was the perfect system to install at the ICLH. “With fantastic sound and sleek styling, I could see that it would complement the contemporary nature of the building brilliantly,” he stated.
The OmniLine system will primarily be used for voice amplification in the theatre, which is used for high profile graduation ceremonies, conferences and lectures. However, a further challenge is that the theatre can also split into two self-contained 500-seat spaces when the positioning of the speakers would automatically change, since they are hung on the walls that would move during the transformation.
This was addressed by Nigel Meddemmen, Martin Audio sales support, who carried out venue predictions as an accurate 2D slice using the OmniLine Software. The calculations enabled him to position the arrays to ensure best possible response and generate the required rigging, inter-module angles and equalisation. These peculiar challenges, he noted, “actually made OmniLine an excellent choice.”
Other challenges included the use of a variety of microphones in front of the PA system — including tricky omnidirectional lavalier mics, which tend to be favoured by university lecturers — plus the insistence on wall-mounting the arrays as the roof structure had not been rated for a flown system.
The biggest problem posed, however, was the fact that the rear walls of the hall move — splitting the auditorium via a central removable divide when it needs to open up. A total of four OmniLine arrays were specified to cover each of the two sides, and yet maintain pattern control across exactly the same area when the room is functioning as a single large space. However, the front wall in each of the two halves is hinged, and when moved backwards, would swing the outside arrays inward to leave gaps in the coverage at the sides whilst producing a troublesome coverage overlap in the centre between the two ‘inner’ arrays.
The solution was to fix the vertical coverage of the arrays but to leave a degree of play in the horizontal alignment which would normally be tightened off once commissioned to prevent any movement. An ‘angle stop’ system was therefore designed to slot behind the standard OmnLine wall mount brackets, to make it easy to accurately reposition the arrays when the room configuration changes.
Summarises Sam Simon-Norris, “Nigel’s solution for overcoming the two-zone problem was as ingenious as it was practical – utilising an additional bracket to allow the arrays to be swung from one position to another, giving optimum coverage in both modes. This really was a breakthrough for the project, and left us with no doubts that this system would be the perfect choice for the ICLH.”
For the installation itself, Simon-Norris chose long-standing LMC Audio client Scan Audio, to carry out the work. The company’s MD, William (Dee) Couchman, comments, “We have worked with LMC since the early 1990’s and have always been very well supported with great product choice, support and demonstration equipment when needed. We had previously worked successfully together on projects for other educational institutions, and while the University of Essex was new to us, the project looked particularly interesting and we were keen to try out the new compact OmniLine system.”
The installation itself was carried out over four days, including one day to decommission the existing large custom column speakers and a small line array.
Couchman confirmed, “The main challenges included fitting the four line arrays of 16 OmniLine modules to the two large moveable projection walls. The tops of the arrays were only a few centimetres beneath the stage ceiling area so we used specialist hoist equipment to enable us to precisely move these into position above the supporting brackets whilst avoiding damaging the projection surface.
“The software setting provided by the design software required only minor adjustment to produce a clear intelligible sound for this mainly speech-based reinforcement system,” he continued. “Music reproduction was surprisingly full range from such a compact line array, which blended very well with the interior of the hall.”
Nigel Meddemmen also confirmed that OmniLine had proven to be an excellent choice for this application. In addition to solving the University’s sound problems he notes that OmniLine is also visually unobtrusive, the curved lines and neutral grey colour helping the system to blend, and not detract from the focus of the venue … in this case the university lecturers.
All of which is a source of great satisfaction for Tessa Rogowski. “It is exactly what I was hoping for,” she said, “… clear vocal reproduction even at the back of the hall in the seats positioned immediately in front of a significantly noisy HVAC outlet … and there is no feedback.
“From those with experience of the previously appalling sound, this time when they entered the room, and we turned on the volume, they universally walked round the hall with silly grins on their faces. Sad though this is, we don’t get compliments, we have just stopped getting complaints — and trust me this makes it more than worthwhile.
As for the installation process, I was most impressed. We could only give the installation team the smallest time frame to undertake the work — as the hall is booked at least six months in advance — and despite this all the work was completed on time.”
But the final word comes from Sam Simon-Norris. “This is just the sort of application for which OmniLine was designed and feedback from the university staff suggests that it has met and exceeded the initial brief on all counts.”
For more information and to arrange a demonstration of Martin Audio OmniLine contact LMC Sales on: London, +44 (0)20 8743 4680 or Birmingham, +44 (0)121 359 4535 or email: email@example.com.
For further information about the OmniLine system range and other products from Martin Audio, visit the Martin Audio website: http://www.martin-audio.com/.
For more information about Scan Audio’s services, email Dee Couchman at firstname.lastname@example.org or telephone: +44 (0)1737 778 620.
L-R: Tyler Baxter – Technical assistant Hertford Theatre; Tom Meehan – Sound designer (freelance) for Hertford Theatre Pantomime;
Carl Skeats – LMC Audio; Alex Antonis – Technical Manager Hertford Theatre; Dan Smith – Technical assistant Hertford Theatre.
One of many ancient towns swallowed by the London commuter belt, Hertford has managed to maintain a real sense of its own identity, its preserved medieval heart and resistance to town centre shopping arcades ensuring it stands out from the many identikit population centres which surround the capital. A strong sense of community is centred on the Hertford Theatre, where a new Yamaha CL3-based audio system has transformed the house sound.
In common with many provincial venues, the Hertford Theatre is council-run and stages a wide variety of events - focusing on drama, comedy, lectures, community events and films. The production centrepiece of the year is the annual pantomime, which runs throughout December and early January, often with two shows a day.
“By the end of last year everything on the sound side was life expired, it had reached a crucial point where we had no choice but to do something,” says the theatre’s Technical Manager Alex Antonis. “The pantomime, in particular, places great demands on the audio facilities, but even the amateur companies and semi-pro youth theatres that use the venue were needing more channels.
“We also found that, in order to cut costs, more and more visiting productions are not touring with sound equipment, they are just using house systems. We knew that we could make things a lot easier for them by having a modern setup.”
With the theatre’s old analogue system ready to be consigned to history, Alex and his small team knew that digital was the way forward. They spoke to LMC Audio’s Carl Skeats, who guided them through the available options. Yamaha was an obvious choice and, after attending one of LMC’s CL series training seminars, they chose a CL3 mixing console and a pair of R-series i/o units.
“Cost-wise, the system worked out roughly the same as analogue, but you can do a lot more and it delivers excellent sound quality,” says Alex. “Of the three systems we looked at, the CL series definitely had the edge for live mixing. We also heard a lot of good comments about it, about how robust and proven the technology is.”
He continues, “It was also very important for us that Yamaha is such an industry standard. We needed something that visiting engineers either know or can learn very quickly. We only have a technical team of three and so don’t have a lot of time to babysit people.”
LMC supplied the system, which is fully redundant, with Carl Skeats and Yamaha’s Karl Christmas following up with an in-house training session.
“We now have a system that will last us many years before it needs upgrading and is very straightforward to expand if necessary,” says Alex. “I’m a lighting engineer, but I’ve found the CL3 very fast to get to grips with. It’s a pleasure to use and everyone is loving it. To be honest we can’t keep some people off it!”
For more information about Yamaha CL Series systems contact LMC Sales on +44 (0)20 8743 4680 or email: email@example.com and visit the Yamaha website www.yamahacommercialaudio.com for more details about Yamaha Commercial Audio products.
We invite you to join us for the Inspired Audio Listening Event taking place at Aylesbury Waterside Theatre on Tuesday 24 September 2013
Meet Chris Scott, Design Director at Inspired Audio, and the team from LMC Audio at the state-of-the-art Aylesbury Waterside facility, where you will be guided around the multi-purpose space and invited to listen to the Inspired Audio range in an assortment of must-hear configurations.
An interactive delivery will explain the design approach adopted by Inspired Audio and the value to the end user of this integrated package of system amplifier, enclosure and networked system control, that is central to the Inspired philosophy. We will aim to not only deliver clarity of sound, but also clarity of control options that enable connection via, USB, Ethernet, WIFI or via a Dante enabled network.
The event will introduce Optima array, which will include, flown drops of the compact Optima 8 and the ultra-compact Optima 5 in flown, stacked and stand mounted configurations. This will be supported by the point source Axis range in both the primary monitor mode, as well as pole mounted to illustrate the ranges inherent flexibility. All this will be underpinned by Scott’s already renowned range of bass and sub-bass enclosures. Come and learn about premium quality Inspired Audio loudspeakers and amplifiers, integrating together seamlessly to deliver consistently impeccable sound quality across all applications.
- Flown & ground-stacked Optima line arrays in ultra-compact and medium formats
- Compact line-array and point source pole-mount systems
- Point source and distributed presentation systems
- Axis Stage Monitoring applications
- Lecture theatre highly raked seating application
What: Inspired Audio Listening Event
When: 24 September 2013
Where: Aylesbury Waterside Theatre
Time: 10am - 5pm
Sessions: 11am - 1pm & 2pm - 4pm
Lunch and light refreshments provided
TO REGISTER FREE FOR THE EVENT CLICK HERE
For more information about Inspired Audio visit the LMC Audio website
We look forward to seeing you there!
The Science Museum is one of the three major museums on Exhibition Road, South Kensington, London, in the Royal Borough of Kensington and Chelsea. The museum is a major London tourist attraction, attracting 3 million visitors annually and is world renowned for its historic collections, awe-inspiring galleries and inspirational exhibitions. As well as its many exhibits, the museum provides educational and outreach resources and science shows for schools and community groups throughout the UK. As a multi award-winning corporate event venue, the Science Museum offers large and small scale facilities for conferences, product launches, meetings and exhibitions.
Whilst recently considering improvements to the audio-conferencing provision in its Director's Suite, it was to be expected that the Science Museum's authorities would settle for nothing less than the highest quality possible. LMC Audio Systems were invited to address the issues at hand and LMC asked POLARaudio to consult with them in finding the right solution.
The Director's Suite at the Science Museum is used for internal board meetings and major internal conferencing events. In addition, the facility hosts meetings of pre-eminent members of the scientific community as well as offering a facility for discussions involving other museums and galleries. LMC have enjoyed a very successful relationship with the Science Museum for some years, contributing to the easy decision that the museum had to make in opting for LMC to specify Beyerdynamic Quinta.
Offering three frequency bands, Quinta can silently, seamlessly and automatically switch to an interference-free frequency range should the need arise. There is a high level of wireless encryption associated with the system which provides protection against unauthorised listening and from a user's perspective, its operation is safe and straightforward. The control unit of the Quinta system meets all the requirements regarding the latest regulations of the European Telecommunications Standards Institute (ETSI) and can be integrated into existing or new building computer networks that comply with the IEEE 802.1 IT standard (AVB). The numerous functions with which a conference may be controlled include simple operation and configuration via Smartphone or tablet PC.
Should the system need to be moved or stored for any reason, set up and take-down time is very short and the storage/transport cases (which also act as charging units) are appropriately rugged. The hardware installed at The Director's Suite comprised a Quinta CU Central Control Unit servicing 1 MU 23 Chairman Gooseneck Microphone unit and 11 MU 21 Delegate Gooseneck Microphone units, as well as attendant chargers and antennae. Following a straightforward installation of the system, LMC offered the client training in its use. The response from the Science Museum's technical and non-technical staff was universally positive and pointed towards the fact that the system had exceeded their expectations. They commended Quinta for its user friendliness, citing in particular the complimentary reactions they received from conference participants.
LMC Audio Systems representative Joao-Paul Cavaco (JP) was in no doubt that Quinta was the right fit for the Director's Suite:
"It goes without saying that at such a prestigious facility there is no room for anything "It goes without saying that at such a prestigious facility there is no room for anything less than excellence in conferencing provision - we are, after all talking about the Science Museum! Quinta, quite apart from its wide-ranging technical merits, offers a level of user-friendliness and flexibility that's very, very hard to beat."
John McFarlane, AV Engineer, Science Museum Group (Science Museum, National Media Museum, National Railway Museum, Museum of Science and Industry, Manchester) commented on the service received by LMC Audio Systems “When I’ve worked with LMC on previous events at the Science Museum, they have been very supportive and provided quality guidance on which audio equipment works best in our very difficult live spaces. This type of problem solving is outstanding and really makes you feel valued as a customer. I wouldn’t hesitate to recommend JP and LMC to anyone working in the AV world.”
For further information about Beyerdynamic Quinta and to book a demonstration, contact LMC Audio Sales or call London: +44 (0) 20 8743 4680, Birmingham: +44 (0) 121 359 4535.
For more information on POLARaudio's product portfolio visit www.polaraudio.co.uk.
One of the MLA Compact stacks at the Bristol International Balloon Fiesta. Left to right: Rylan Machin and Wayne Barker (with Paul Hinkly seated).
With the sale of an MLA Compact System 36 to Oxford-based W E Audio, Martin Audio has boosted its UK-based network of Multi-cellular Loudspeaker partners to four.
W E Audio’s experienced MD, Wayne Barker, has long favoured new technology adoption, and by becoming the first UK customer for this flown Compact system the company has kept that reputation intact.
Deciding it was time to retire their existing front line system he first discussed his options with Tim Bamber, who handles technical sales at the Birmingham office of LMC Audio Systems, the Martin Audio dealers.
Remembers Bamber, "When Wayne initially discussed the possibility of a new loudspeaker system, I believed it had to be a solution that would match the quality of service that W E Audio offers. I knew that an investment in a technology-led, multi-cellular array system such as MLA Compact, as well as giving them a step-up in size and capability, would benefit W E Audio for years to come, and give them a unique place in the pro-audio rental market.”
And when Barker visited Prolight+Sound Show in Frankfurt this spring with co-director Rylan Machin — and met Martin Audio MLA advocate Simon Honywill — he was immediately convinced of the wisdom of this recommendation.
The meeting with Simon Honywill had been particularly poignant. For Machin had earlier studied for his degree in live sound at dBs Music (formerly Deep Blue Sound) in Plymouth, where Honywill and Jim ‘Tiger’ Parsons had been his tutors. “Once we started talking to Simon it immediately backed up Tim’s suggestion and made perfect sense to invest in a pioneering new system rather than one that had served its time,” said Rylan.
W E Audio’s reasons for adopting MLA, with its unique controllability, had been entirely logical. “We specialise in providing site public address and noise abatement — and so we needed a system that was musically versatile, with an output that belied its size, and would open up a lot of doors,” says Wayne. “We believe that ownership of this system will enable us to undertake more contracts in the sector and become a benchmark for local authority work.”
Specialising in this sector — and having seen MLA’s impact in controlling offsite noise pollution at the British Summer Time Festival in Hyde Park — they knew that a system that had been sanctioned by both Westminster Council and noise measurement consultants Vanguardia would be noted by local authorities up and down the country.
That event was particularly poignant, since it also became the first outing for W E Audio’s MLA Compact — sub-hired to Capital Sound for use as the rear delay sound towers.
As for LMC Audio, they have been W E Audio’s ‘go to’ supplier for a number of years. “They have provided us with a lot of our kit from digital mixing desks to accessories. The support we receive is phenomenal — they are real deal-makers,” says Wayne.
LMC Audio MD Paul Hinkly, recalls. “Transacting the complex quarter million pound deal was challenging — yet the real excitement is still to come, as we witness W E Audio’s deployment of MLA Compact’s unique capabilities across their portfolio of clients and applications.”
After debuting the MLA system at Hyde Park it immediately went out to Summer Pops at Buxton Opera House and then onto the high profile Bristol International Balloon Fiesta, where six stacks of four MLA Compact and two DSX subs were groundstacked in a networked ring around the 680m circumference site. It then headed to the Bournemouth Air Festival — where once again it formed the core of WE Audio’s site-wide public address system.
Summing up, Wayne Barker says, “This system is pure black magic. With it we will now be able to do any type of show — from a small town hall to the Royal Albert Hall.
“It’s great to be a Martin Audio partner — in fact the wheel has turned full circle. It was Pete Skan (Pete Howard) who first introduced me to Martin Audio all those years ago — and I’d like to dedicate the purchase of this system to him.”
For more information about W E Audio, visit their website: www.weaudio.co.uk.
To speak to a member of the LMC team about the MLA Systems range, and to arrange a demonstration, contact: firstname.lastname@example.org.
For more about Martin Audio, please click to www.martin-audio.com.