Testimonials

Testimonials (1)

Thursday, 23 February 2012 16:57

Testimonials

Written by

BST Hyde Park 2014

Jim King, Event Director, AEG Live

Headliners at Hyde Park are now performing at levels well in excess of 100dV, which was unthinkable only two years ago.”


 

Steely Dan Tour 2014

Dave Dray, Jam Magazine

“I am not sure I have witnessed such a collaboration of audio perfection on stage at one time in all my days.”


 

Glastonbury 2014

David McEwan, FOH Engineer, Nitin Sawhney

“I love it. It’s a great product, a super sounding system, lush and hi-fi, with lots of depth.”


 

Glastonbury 2014

Jamie McLuckie, FOH Engineer, The 1975

“The system sounded fat, nice clarity and nice high end too. I couldn’t really fault it.”


 

Glastonbury 2014

John Carroll, Managing Director, RG Jones

“MLA is the next generation and there’s nothing out there to match it.”


 

Lisner Auditorium, George Washington University, Washington DC

Mike Scarfe, Owner, MHA

“This technology is state-of-the-art.”


 

Redemption Church, Arizona

Tim Maughan, Redemption Church

“MLA has outperformed my expectations, which is rare.”


 

Glastonbury 2014

Ricky Ricketts, FOH Engineer, Rudimental

“It’s the first time I used MLA today. It’s very clean sounding and the subs are really nice.”


 

Classical Spectacular, Royal Albert Hall

Simon Honywill, FOH Engineer

“What I hear at front of house is what everyone in the room hears.”


 

Starlight Express, Bochum Stadionring, Germany

Riccardo van Krugten, Sound Supervisor, Bochum Stadionring

The MLA Compact never left any doubt it would handle reliably whatever kind of audio we threw at it”


 

Tokyo Dome, Japan

Iwao Tsurusawa, Director, MSI Japan

We believe MLA will now be our main weapon for the foreseeable future


 

Glastonbury 2014

Danny Evans, FOH Engineer, Elbow

It’s the first time I’ve mixed through the MLA system. It’s smooth sounding, with lots of clarity.”


 

The Killers, Battleborn 2013

Jamie Gebhard, FOH Engineer, The Killers

“Martin Audio has reinvented the wheel in terms of PA design with MLA.”


Marquee Club, Sydney

Tony Russo, RAG Australia

“The amazing ability to listen for hours on end with no fatigue is truly unique.”


Live Sound International, October 2012

Mike Scarfe, President of MHA Audio

“When we demo’d MLA, the system performed beyond my expectations, and the evenness of coverage and the amazing vocal coherence through the audience area is appreciated by my clients. I believe this system is years ahead of the rest of industry and allows MHA Audio to ensure the very best sound for its clients.” 


 

Entertainment Technology Asia – July-August 2012

Takashi ‘Shiro’ Murata, Senior FOH Engineer for MSI Japan

“It [MLA] reduced the sound reflections, which constantly annoys audiences at this venue [Tokyo Dome] and at the same time gave the promoters several thousand extra seats. The result was something that people have never experienced before. … Furthermore, Tokyo Dome frequently receives complaints of noise pollution from its neighbours. However, there was no such claim from anywhere this time. Such was the sound quality of MLA that few outside the building could have recognised what type of show was taking place inside. In addition the absence of any towers meant we could reduce the number of tour trucks, making this a really cost effective exercise. …Everybody involved in the production acknowledged that the system has produced something unique, which they had never previously experienced. As a result we have had a lot interest from major production and management companies.”


 

Mix Magazine, July 2012

Eric Roderick, FOH Engineer for the Zac Brown Band and Jagged Edge 

“We’re mixing our shows at 96k which a lot of people don’t have the opportunity to do, and with the Martin [Audio] MLA, it’s a very smooth, responsive sound system. …The MLA sound system has such a wide stereo field that we tend to have a little more space than most people to tuck things away – to keep the vocals and any other really important parts out front.”


 

Pro Sound News Europe – April 2012

Dion Davie, VME Director

“It’s a no brainer to launch it on these shows. It was an opportunity to showcase it [MLA] to a number of FOH engineers, all of whom want to experience this pioneering system …and we received great response back.” 


 

Pro Sound News, July 2012

Steve Carr, Project Manager at RG Jones

“MLA is the direction we shall be taking as it represents the future of audio.”


 

TPi February 2012

Michael ‘Ace’ Baker, Chickenfoot FOH engineer

“I heard the system at a demo in Las Vegas last summer and, like every FOH guy, I’d been wanting to try it since it first came in. The MLA is the rig for the job when we go out this summer - it sounds awesome and there was a noticeable difference. Even in 3,000 seat rooms, there’s something about the PA that creates that big rock concert sound.”


 

Pro Sound News Europe, January 2012

Michael ‘Ace’ Baker, Chickenfoot FOH engineer

“There are a lot of good systems out there but only a few have been truly groundbreaking; right now this is the one that has everyone talking about it. There will be a lot of touring ahead this year and MLA is the system I want to use from now on.”


 

AudioTechnology, Australia, December 2011

Simon Honywill, Classical Spectacular FOH engineer

“[On Classical Spectacular] we’ve made a massive leap forward with the MLA … the results were remarkable. The fact that it sounded so astounding is testament to the [Display 2.1] software. In fact I have never heard a system [in the Royal Albert Hall] that sounded so similar upstairs as down …  You could stand under the MLA on stage and not hear a thing! But at the same time this is the loudest I have been able to drive a system here without the orchestra moaning!”


 

ET.now, April 2011

Simon Honywill, War of the Worlds FOH engineer

“This is the most revolutionary product in the audio industry that I have yet encountered, bar none. I was absolutely blown away by that demo and was determined then that it should go out on this tour. The system was highlighting surprising detail and Jeff Wayne [who conceived the musical version of War of the Worlds] was gobsmacked. In fact this is the most musical PA I’ve ever heard; the consistency of the horizontal coverage is amazing and I’ve been getting an extra 5-6dB of gain on the strings. You have so much detail appearing because the audio has been mapped onto the audience area quite precisely. You have to keep pinching yourself and walking the room to prove that it’s really happening. I’m just excited to be involved in such a revolutionary product which completely and utterly changes the game.”


 

Pro Sound News Europe, April 2011 

Karel de Piere, director, FACE, Belgium

“Wherever they are sat in the festival field, each person will receive the same sound image at the same volume. With MLA, the volume can be at exactly the same level throughout the coverage area, while we can limit the sound immediately beyond that – for the neighbours or the festival campsite.”  


 

Digital Production Middle East, April 2011

Karel de Piere, director, FACE, Belgium

“What we saw was an alarming tapering off of 12dB [beyond the sound field] over the final 15 metres — to hit 90dB. People were telling me it was not possible.”


 

TPi, August 2011

Nick Foots, Capital Sound crew chief, Field Day Festival, Victoria Park

“Vanguardia seemed really satisfied with the system. It’s just what you want from a PA  — happy engineers, a really stable system and a great sound.”


 

Lighting & Sound Online, July 2010

Huw Richards, FOH engineer, iTunes Festival, London Roundhouse 2010

“The sound is completely smooth and consistent wherever you stand in the room. We mixed Faithless entirely flat and produced a fantastic sound which measured a high SPL at the desk. We went from there to an opera singer, Latin guitarist and orchestra [Mexican tenor Rolando Villazón and classical guitarist Milos Karadaglic] where we were running the system down to 95dB - and you could hear a pin drop."


 

TPI, September 2010

Huw Richards, FOH engineer, iTunes Festival, London Roundhouse 2010

 “The system sounds phenomenal. The MLA just makes everything so easy. The sub is fantastic and the whole system is incredibly stable. It has masses of headroom and does not sound strained when pushed. The vocals and instruments can be accurately placed in the mix and this does not fall part when the system is driven hard. In fact I’m hugely impressed. Martin Audio have created a bit of a beast, but it’s a tame beast.”


 

Paul Fyfe, FOH engineer, The Foals

“I found the MLA system great for overall coverage in the Roundhouse and I eagerly look forward to using it again. I was delighted to finally get to mix in one of London’s historic venues, and the Martin Audio system served me well.”


 

Fast-and-Wide, September 2010 

André Rauhut, MD, Complete Audio, Berlin

“Before touring with Fettes Brot I only had the opportunity of hearing the MLA under controlled circumstances, but out on the road everyone – the sound engineers, venue promoters and audiences – were all amazed at the sound clarity and consistency. With conditions changing daily from venue to venue, the MLA mastered even the most stringent challenges – and this ability cannot be offered by any other system worldwide. All the promises which had been made by Martin Audio worked in reality.’


 

LSI Online, September 2010

André Rauhut, MD, Complete Audio, Berlin

I now own a system which is truly unique … The MLA is a genuine technological advancement - far exceeding the commonly-hyped systems in the market, and the next step in the genealogy of line array-based systems. Martin Audio has taken an entirely revolutionary approach to designing a sound system."


 

Lighting & Sound International, July 2010

Olli Voges, FOH engineer, Fettes Brot

“Andre Luth, [Fettes Brot record producer] was really freaking out about the sound. Everything we had talked about at the predictive stage we could now hear with our own ears — including where it would taper off right before the end of the back wall. It was just so precise. In a way it was mind altering. Shows in the past [at Lanxess Arena, Cologne] have generally sounded horrible — the acoustic is really tricky … but this was by far the best sound I have achieved — I have never had such a stable sound on any tour.”


 

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