Every so often a new technology emerges that overtakes previous technologies — and in time replaces them. Just as line array took over from point-source clusters over 20 years ago, Martin Audio’s revolutionary award-winning Multi-cellular Loudspeaker Array [MLA] technology is reinventing the way loudspeaker arrays are configured and controlled.
With it has come an unsurpassed control of sound with pristine fidelity and huge output capability — bringing the FOH engineer and the audience together in a more powerful, involving experience.
We believe MLA will now be our main weapon for the foreseeable future. Iwao Tsurusawa, Director, MSI Japan
MLA is the next generation and there’s nothing out there to match it. John Caroll, Managing Director RG Jones
MLA is without question one of the finest sounding PA systems in the world, if not the finest. Jim Brammer, President, SES
Some describe it as magic, but in its simplest terms each MLA Array has up to 144 individual acoustic elements [cells], each with its own onboard amplifier and DSP, which can be optimised by software to deliver the sound across the audience to meet the sonic goals required for any space.
It remains the only system on the market to allow multiple sonic goals to be prioritised and optimised accordingly. For example, not only can MLA generate an even sound field over the audience, it can contain it as well — significantly reducing the influence of the room.
‘Hard avoid’ areas ─ such as behind and below the array, ceilings, balcony edges and beyond the venue perimeter ─ can also be programmed in. Vertical coverage can even be fine-tuned electronically in-situ to cope with changing environmental conditions and last-minute changes in rigging height, without having to re-rig.
With incredibly easy-to-use and highly accurate predictive software [DISPLAY] doing all the grunt work with the system, the FOH engineer retains full artistic control and can enjoy mixing the show in the full knowledge that the sound created at the mix position will be heard everywhere throughout the audience.
Such is the confidence that MLA can bring, that significantly less time is spent setting up the system and even less time is spent walking the room.
What really knocks me out about MLA is that you can really control it so it’s not splattering off a back wall or cluttering up the lower balcony. Robert ‘Nitebob’ Czaykowski, Road Manager, Steely Dan
One of MLA’s biggest features for me is the confidence it gives you as you walk the venue and the mix sounds the same from front to back. I don’t have to walk the venue as much during the show, and I don’t always have that kind of confidence with other PAs. Micah McFadden FOH Engineer, Needtobreathe
To be able to reprogram where the sound is being sent in a venue without having to physically change how the system is flown is quite remarkable. Bob Coke, FOH Engineer, Black Crowes
MLA’s ultimate accolade is its audio perfection. Pristine fidelity, vocal clarity, sonic impact and huge output capability brings the FOH engineer and the audience together in a powerful, involving experience.
Put simply, MLA is an FOH engineer’s delight. It is incredibly clean and transparent and responsive to the smallest EQ changes. With no large-format compression drivers to harden the sound, it presents the engineer with a neutral canvas whatever the artist or music genre.
With MLA, the level from the front to the rear of the seating area changes considerably less than with a traditional speaker system, and the tonal quality is significantly more uniform. Knowing that people in the cheap seats are getting the whole mix is so great! Ken Newman, FOH Engineer, Barry Manilow
MLA gives me dynamic range, clarity and definition so that I’m able to position and layer sounds in the stereo field which you can really hear. Mark Dowdle, FOH Engineer, Steely Dan
I was truly amazed by the sound quality and coverage and it doesn’t colour the sound in any way, which is great. Jim Ebdon, FOH Engineer, Maroon 5
In reproducing sound for many venues and outdoor festivals, there is often a conundrum: how can audience sound levels be delivered at a sufficiently high level for an immersive and rewarding experience, while at the same time respecting surrounding areas and residents?
In the past, sound levels for the audience have often had to be held down in order to safeguard surrounding areas, but this can leave audiences and the FOH engineer unhappy and threaten the ongoing viability of such events.
MLA’s unique ability to control noise escape beyond the site perimeter, while maintaining pristine fidelity and high sound pressure levels for the audience, means that FOH engineers don’t have to constantly worry about sound levels. So they can focus on what they do best — mixing — translating to a better audience experience too.
We are pleased that even in challenging wind conditions we were still able to operate at levels unimaginable three years ago. To achieve this and reduce local resident complaints for the third year running is a huge success for the event. The work undertaken by Capital and Martin Audio has again strengthened Hyde Park's position as the best outdoor venue in the world. Jim King, Senior Vice President, Live Events, at AEG
What I really liked about the PA is that even at the volume limit for the festival it sounded big and full. I thought it went really well and I also listened to all the other bands during the day and they sounded great too. Toby Francis, FOH Engineer, Kanye West
|MLA||Three-way cellular drive, active array element||Multi-Cellular Loudspeaker Array||DOC||DWG|
|MLD||Three-way cellular drive, active array element||Multi-Cellular Loudspeaker Array Downfill||DOC||DWG|
|MLX||Hybrid® horn/reflex subwoofer||2 x 18" Sub for MLA||DOC||DWG|
|MLA - Flying Frame||HAM03208||DWG|