WHY MLA WINS Glastonbury 2014
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 2 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 3 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. 4 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 5 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 6 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 7 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 8 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.” 9 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 10 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 11 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]
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