hamburger-nav-icon
region-flag-icon
Search by Category
Audio
Cameras
Cases & Bags
Computers
Conferencing
Content Management
Control
Displays
Furniture
Lighting & Studio
Mounts & Rigging
Networking & Cabling
Power
Presentation
Production
Residential
Security & Safety
Signal Management
Search by Manufacturer
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
#
Search by Category

Martin Audio Limited

P.O. Box 33009
Waterloo, ON N2T 0A2
Canada
Sponsored Ad
Project List
MLA MAKES SPECTACULAR ALBERT HALL DEBUT
Posted on Wednesday, December 21, 2011
MLA MAKES SPECTACULAR ALBERT HALL DEBUT

  RG Jones’ Simon Honywill propels Martin Audio’s award-winning system, as Classical extravaganza takes a sonic leap forward 

Sound rental company, RG Jones has been producing sound reinforcement infrastructure for the challenging Raymond Gubbay Classical Spectaculars at the Royal Albert Hall since 1993.

With production harnessing cannons, pyro and lasers in a festival type ‘Proms’ atmosphere, it has taken all of FOH engineer Simon Honywill’s expertise to keep the show’s audio fidelity evolving with each generation of new technology.

Honywill is no stranger to Martin Audio proprietary line array platforms, introducing W8L Longbow systems to the Glastonbury Pyramid stage, and taking the new award-winning MLA (Multi-Cellular Loudspeaker Array) on tour with Jeff Wayne’s War Of The Worlds.

Rigging the MLA at the Royal Albert Hall for the first time ever this month, he knew the Classical show would experience the same dynamic range and sudden transients as War of the Worlds — and in a venue notoriously difficult to control, he also knew it would clean up the room’s inherent reflections. But the performance, he said, was breathtaking — and even beyond his expectations.

“We’ve made a massive leap forward with the MLA … the results were remarkable,” reported Honywill.

With MLA-certified systems engineer Mark Edwards loading in and setting up the system, the baton was then passed to Martin Audio’s Technical Sales Support, Nigel Meddemmen to act as de facto system engineer over the four-day stint at London’s landmark concert hall. before the show went on tour.

At the RAH, the two front arrays comprised 16 element MLA hangs per side, with no downfill enclosures, since the rig’s trim height was a mighty 12.2 metres (from the lowest box) to accommodate the huge lighting rig. Side hangs comprised of arrays of nine Martin Audio W8LM mini arrays, with a single W8LMD underneath to bring coverage down as far as possible; at the same time, a central sub-bass array of six WLX was recessed under the stage apron, which was electronically curved to optimise coverage. 

Meddemmen conducted listening tests, walking the entire room to verify uniform sound balance. “The challenge was to try and match the warmth and smooth response of the MLA, a tricky task particularly on some of the operatic pieces with shrill soprano vocals which have a tendency to really show up deficiencies in the high frequency of a system.”

He added “There are always subtle changes in the level at which the orchestra are playing and my role was to ensure that every member of the audience experienced the best possible sound regardless of where they were sitting, so I had to make subtle changes to level and EQ of some of the side and front fills. The MLA was essentially the reference, it didn’t need to be touched.” 

The design software is critical in ensuring the best performance from the revolutionary MLA system. “The calculations were based on Simon’s model of the slice through the venue, and with the advantages of the new Display 2.1 software, Ambrose [Thompson, Martin Audio Electroacoustic Engineer] was able to design a system, with the correct splay angles, to provide optimum response.” 

Meddemmen believes that the new software demonstrates “a massively improved integration” with VU-Net, the control and monitoring software. “Since the optimisation EQ files are created in Display 2.1 and uploaded to the cabinets via VU-Net, transfer of the file between the applications is now a very simple drag-and-drop operation. Everything is so much more delicate and precise.”

Simon Honywill admits that he had initially had doubts about the predictions. “I worked with Ambrose on the array configuration and it was not progressively curved. I wondered whether this could be right … yet it was astounding, which is a testament to the software. 

“In fact I have never heard a system [in the RAH] that sounded so similar upstairs as down. Ambrose was also able to rationalise the coverage to effectively reduce the amount of energy hitting the balcony fronts — other systems have claimed it but this is the first to deliver.” 

close