WHY MLA WINS
Glastonbury 2014
WHY MLA WINS
MLA deliver Glastonbury’s highest permitted sound levels yet
UK – Martin Audio’s groundbreaking Multi-Cellular Loudspeaker Array (MLA) system has made Glastonbury history by
delivering the highest sound levels to the audience without exceeding noise pollution levels beyond the perimeter.
Metallica
Arcade Fire
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WHY MLA WINS
Robert Plant
Making its Glastonbury debut, the system deployed on the
Pyramid Stage was impressive in every respect, utilising cabinets
from the entire MLA™ range of loudspeakers. This comprised a
total of 72 MLA for the main hangs, eight MLA Compact for stereo
infill at the pit barrier and four delay positions of 14 MLA each.
The latest addition to the range, the MLA Mini, also featured,
providing stereo infill behind the FOH control structure and
onstage coverage of artists’ guest viewing platforms. A massive
broadside array of 38 MLX stretched across the entire width of
the stage to provide sub-bass support to the entire system.
The company’s unique MLA technology enables very fine control
of how each array covers its designated audience area. Acoustic
cells housed within each cabinet are independently controlled by
their own amplifier and DSP channel, a total of six in each MLA.
This control allowed system engineer Mark Edwards to specify
exactly what SPL and frequency response was required across the
audience, with the intelligent software automatically controlling
the array to produce that result. This amounted to just a 6dB
drop off over the 300m long audience area, with incredibly even
frequency response.
Elbow
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WHY MLA WINS
“
this is the first time such high levels have
been achieved in the history of Glastonbury
Jason Baird, R&D Director Martin Audio
“We used our proprietary computer software to figure out
how to drive each cell in each array to direct sound just
at the audience, and then cut it off sharply just beyond
the audience to dramatically reduce noise pollution,” says
Martin Audio’s R&D Director Jason Baird. “As a result,
headliners including Arcade Fire and Metallica could play
at 104-105dBA – this is the first time such high levels
”
have been achieved in the history of Glastonbury as noise
limits are really strict.”
More than 150,000 fans listened to headline acts Metallica,
Arcade Fire, and Kasabian, as well as The 1975, Elbow,
Rudimental, Nitin Sawhney, and Dolly Parton, mixed on
the MLA system.
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WHY MLA WINS
Metallica
Having persuaded the festival production in 2007 that RG
Jones was the right company to run audio services on the
Pyramid Stage, Simon Honywill said, “I have believed that
MLA was the right system for the Pyramid since I first
heard its extraordinary fidelity and learnt about its unique
abilities. Having used it at the past two Glastonbury Abbey
shows, it was natural to suggest to Dick Tee and his team
that it should take its rightful place on this iconic stage.
I think it has more than proved itself here – I spent a
considerable amount of time out in the audience and have
never heard the field covered so well. And people in the
crowd were openly complimentary about the volume and
clarity too.”
Lily Allen
Dolly Parton
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WHY MLA WINS
“
When I first used it I thought ‘woah’
there’s some serious horsepower here
Mick Hughes, FOH Engineer, Metallica
There was also effervescent praise from the stream of FOH
engineers over the weekend.
One of the biggest draws of the weekend was Metallica,
engineered by Mick Hughes: “MLA is a new system to me, a
”
new experience. I was surprised how easy it was to get the mix
I wanted out of it. When I first used it I thought ‘woah’ there’s
some serious horsepower here. It just sounded really alive; I
wouldn’t shy away from using it again.”
Metallica
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WHY MLA WINS
“
One of the most enigmatic
performances was from
Lana Del Ray, engineered
by Max Bisgrove: “In half
a song, I could get out
what I needed from the
MLA system. Great clarity,
great power, it’s by far
my favourite Glastonbury
mixing experience so far.”
Dave McEwan, FOH sound
engineer for Nitin Sawhney,
remarked:
“Glastonbury
was the first time I’ve used
the big MLA, and I’m really
impressed - great imaging,
3D, even 4D sound. You
can dive in and enjoy, it’s
another sort of PA! I’m
hoping to use this at the
Royal Albert Hall for Nitin
in September. I love it; it’s
a great product, a super
sounding system, lush and
hi-fi, with lots of depth.”
“
Great clarity, great
power, it’s by
far my favourite
Glastonbury mixing
experience so far
”
Max Bisgrove, FOH Engineer,
Lana Del Ray
I love it; it’s a great
product, a super
sounding system,
lush and hi-fi, with
lots of depth
”
Dave McEwan, FOH Engineer,
Nitin Sawhney
“
Rudimental
First time
I used MLA
today, it’s
very clean
sounding,
and the subs
are really
nice
”
Ricky Ricketts,
FOH Engineer,
Rudimental
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WHY MLA WINS
“
the system
sounded fat,
nice clarity
and nice
high end too.
I couldn’t
really fault it
“
”
Elbow
It’s the first time I’ve mixed
through the MLA system,
it’s smooth sounding, with
lots of clarity
”
Danny Evans,
FOH Engineer, Elbow
Jamie McLuckie,
FOH Engineer, The 1975
The 1975’s engineer, Jamie
McLuckie, adds: “At some
festivals you have to tweak the
bottom end, but MLA was nice
and easy. The system sounded
fat, with nice clarity and nice
high end too. I couldn’t really
fault it.”
The 1975
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WHY MLA WINS
For John Carroll, MD of
RG Jones, Glastonbury
has been the affirmation
of what he’s known for
some time: “Martin
Audio’s MLA is the next
generation and there’s
nothing out there to
match it. Our continued
support from Martin
Audio is second to
none.”
“
”
Martin Audio’s MLA is the next generation and
there’s nothing out there to match it
John Caroll, Managing Director RG Jones
“
it’s been the showcase
for everything that
Martin Audio and MLA
stand for
”
Jason Baird, R&D Director Martin Audio
Summing up, Jason Baird says: “It was my
career highlight back in 2008 working on
our very first Glastonbury, but with MLA this
year, it’s been topped. To see the massive
audiences in complete unison front to back
enjoying the performances, combined with
the constant stream of smiling faces at FOH,
it’s been the showcase for everything that
Martin Audio and MLA stand for.”
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WHY MLA WINS
MLA – Multi-Cellular Loudspeaker Array
The multiple award-winning MLA, MLA Compact and
MLA Mini systems represent a new direction in the way
loudspeaker arrays are configured and controlled. They
deliver much more consistent sound across the audience
compared to previous technologies, such as line array.
With line array, sound levels and frequency response can
vary widely, depending on the distance from the array.
This is because line array technology generally aims to
produce coherent wavefronts as they exit from the speaker
grilles — often way up in the air in real-world applications.
The system-tech then ‘manages’ whatever comes out of
the array using simple zoned EQ and by scrolling through
preset libraries to find a ‘best-fit’ set-up when the sound
arrives on the audience floor.
MLA (Multi-cellular Loudspeaker Array) technology
completely reverses the situation specifying exactly what
SPL and frequency response is required at the front rows,
the mix position and the rear seats, and then using this
information to automatically control the array to produce
that result.
With MLA technology, cellular drive is combined with fast,
automated intelligent software to hold both frequency
response and SPL’s within a very tight window from the
front rows to the rear balconies.
AUTOMATED SOFTWARE
Each full-size MLA enclosure has 6 separate channels of
onboard DSP and Class D amplification — 1 for LF, 2 for
midrange and 3 for HF to control and drive each individual
cell. An MLA array of 24 enclosures has 144 cells, each
independently controlled by DISPLAY2.1™ automated
intelligent software.
With every cell under computer control, MLA systems are
not bound by the 3dB decrease in SPL with doubling of
distance that is associated with line array. Normally an
MLA array is programmed to be 3-4dB quieter at the rear,
compared to the front, but it can achieve exactly the same
level throughout if desired.
MLA cellular drive
DISPLAY2.1 calculates the array tilt and splay angles in
2-3 minutes. Whilst the array is being rigged, it calculates
the DSP filter coefficients which will achieve the specified
result. Once rigged, the DSP parameters 3,600 per MLA
enclosure are uploaded via the inbuilt U-NET™ digital
network.
‘Hard avoid’ areas such as behind and below the array,
ceilings, balcony edges and beyond the venue perimeter
can be programmed in. Vertical coverage can also be
fine-tuned electronically in-situ to cope with changing
environmental conditions and last-minute changes in
rigging height.
Automated optimisation
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WHY MLA WINS
MLA SYSTEM
MLA COMPACT
MLA system components comprise the MLA 3-way array
enclosure, MLD downfill and MLX Sub-bass. MLA is a fullyintegrated system, with Class D amplification, U-NET™
control network and DSP all integrated within each enclosure
– simplifying set-up and eliminating long, heavy-gauge
cable runs.
Scalable and versatile, MLA Compact brings MLA technology
to the wide range of applications that do not require the full
power and throw of the MLA. Its compact size belies its output
capabilities – a 12-box MLA Compact array can easily deliver
full rock SPL’s in a 5000 seat venue, whilst a 24-box array will
approach the output of many ‘full-size’ systems.
An MLA touring system is complete and ready-to-use, with
enclosures, flying hardware, software, cabling, flight cases and
training all included in the system package.
The MLA Compact is partnered by either the DSX groundstacked, powered sub-bass, or the DSX-F flying version.
FEATURES
FEATURES
• Cellular array with built-in amplification, DSP and digital
networking
• Cellular array with built-in amplification, DSP and digital
networking
• 6 dedicated Class D amplifier channels per enclosure for
individual powering and DSP control of individual cells
• 5 dedicated Class D amplifier channels per enclosure for
individual powering and DSP control of individual cells
• Switch mode power supply with PFC (Power Factor
Correction) and global mains voltage operation
• Switch mode power supplies with PFC (Power Factor
Correction) and global mains voltage operation
• Three-way all-horn design delivers LF/MF/HF peak SPL’s of
140/139/145 dB @ 1m from a single enclosure
• Three-way all-horn design delivers LF/MF/HF peak SPL’s of
135/135/135 dB @ 1m from a single, compact enclosure
• Fast, integral flying system for suspension of up to 24
enclosures
• Fast, integral flying system for suspension of up to 24
enclosures
• True 90° (-6dB) horizontal constant directivity, mid and
high frequency pattern control. Consistent and usable out
to 120° (-10dB)
• True 100° (-6dB) horizontal constant directivity, mid and
high frequency pattern control. Consistent and usable out
to 130° (-10dB)
• 60Hz-18kHz ± 3dB full bandwidth frequency response
• 65Hz-18kHz ± 3dB full bandwidth frequency response
APPLICATIONS
APPLICATIONS
• Large-scale touring sound reinforcement for outdoor
festivals, stadiums, arenas and concert halls
• Premium touring sound reinforcement for medium-size
venues
• Premium fixed installations in concert halls, theatres and
sports venues
• Fixed installations in concert halls, theatres, ballrooms
and HoW
• Side hang for MLA festival and arena systems
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WHY MLA WINS
MLA MINI
The ultra-compact MLA Mini brings revolutionary MLA cellular
technology to smaller scale portable and installed sound
applications. It’s very small footprint and light weight make it
the system of choice for small-to-medium venues. MLA Mini
is designed as a complete system, with complementary MSX
mini-sub power plant, which houses networking, DSP and
9 channels of Class D amplification necessary to power and
control itself and 4 MLA Mini enclosures.
FEATURES
• Cellular array format with amplification, DSP and digital
networking housed in companion MSX sub-bass
• 2 Class D amplifier channels per enclosure for individual
powering and DSP control of LF and HF cells
• Switched mode power supplies with PFC (Power Factor
Correction) and global mains voltage operation
• Two-way design delivers LF/HF peak SPL’s of 130/129dB @
1m from a single, ultra-compact enclosure
• Fast, integral flying system for suspension of up to 16 MLA
Minis
• True 100° (-6dB) horizontal constant directivity
• 6Hz-18kHz ± 3dB frequency response
APPLICATIONS
• Small-to-medium scale theatres, live music venues and
Corporate AV events
• Fixed installations in concert halls, ballrooms and HoW
• Infill for larger systems
Download full product brochures:
MLA http://www.martin-audio.com/mla.pdf
MLA Compact http://www.martin-audio.com/mla_compact.pdf
MLA Mini http://www.martin-audio.com/mla_mini.pdf
For more information about MLA, training and relevant contacts please visit 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: [email protected]