Following a successful stint in North America, the Australian Pink Floyd Show (TAPFS) tribute band has returned to the UK for its DarkSide50 Tour 2023. This celebrates 50 years since Pink Floyd’s original Dark Side Of The Moon tour.

Significantly, the tour will also marry Martin Audio’s latest state-of-the-art Wavefront Precision line array technology, as fielded by 22live—who handle all audio production for TAPFS—and the original rig conceived by Martin Audio founder, Dave Martin and Bill Kelsey for that 1973 tour.

The idea of recreating this for arguably the greatest cover band on the road today came from Chris Hewitt (of CH Vintage) who floated the idea back in April.

Hewitt is known for having salvaged and curated much of the iconic equipment that toured concert halls and festivals in the 1960s and 70s, and selected items from his emporium can frequently be seen on show, lovingly restored, at major trade conventions.

He had already created Pink Floyd’s Live at Pompeii rig for that momentous event’s fiftieth anniversary in 2021 (which appeared at the 2022 PLASA Show in London). But in April this year he decided to take it further. Having discussed the idea of revisiting the Dark Side concept with Focusrite chairman, Phil Dudderidge, it was a later conversation at this year’s PLASA Show, in the depths of Olympia, that sealed the deal.

Of course, it also needed approval from the band, who in any case have long used Chris Hewitt’s resource for authentic components for the band’s guitar cabs (in order to capture Dave Gilmour’s precise original tone). He wasted no time in getting back in contact with Australian Pink Floyd founders, Stephen McElroy (aka Steve Mac), Jason Sawford and Lee Smith—who had themselves witnessed some of Hewitt’s Pompeii recreation. They were in favour of the idea, as were promoters SJM and the band’s management.

As a result, the 1973 rig will be on static display inside the venue foyers. But what does it comprise? Centrepiece is the legendary Kelsey / Martin 2 x 15 bins, (two 15” drivers vertically stacked rear facing) which were the first  production cabs Dave Martin ever made (after earlier attempting, but failing, to develop a 4 x 15).

Notes Chris Hewitt, “The Martin 2 x 15 Mk1 is the bin that launched the legendary Martin 1 x 15 W bin which became part of the modular system, along with the MH212 Philishave mid. It was realised that 2 x 15 Mk 1 cabs were heavy and didn’t always fit through venue doors, so Martin made a quick design decision to saw it in half horizontally.

“We are taking four of these original Kelsey / Martin bins, loaded with JBL K140s, and the midrange  for Pink Floyd in 1973, which was covered by silver flares with a mixture of Vitavox S2, Electro-Voice 1829 horns and JBL 2402 bullets. We also have those along with Phase Linear 400 amplifiers.”

Also on show are original Sennheiser MD409N vocal mics of the type used at Pompeii and on the DSOTM tour, and some of the original Pink Floyd flight cases in Hewitt’s possession, manufactured by the long-serving CP Cases.

It was hoped that when the doors open at each venue, the general public will be allowed in to view the foyer display only. The exhibit will also be available for an early sneak preview for holders of the special VIP packages, who arrive for soundcheck and ‘meet and greet’ with the band.

22live are happy to be a part of this retrospective, and in particular their hire director (and co-founder Paul Timmins) whose relationship with TAPFS extends back through many tours. “It’s unique that while we are providing the new technology of Wavefront Precision, with all its advantages of scalability and optimisation, in the auditoriums, out in the foyer we are connecting back to the original rig through which fans heard the soundtrack fifty years ago. It just shows how far the technology has come.”

For more information: https://martin-audio.com

Martin Audio has announced nine new products including the portable series, FlexPoint, in an online special event presentation that primarily targets the premier rental market. With state-of-the-art acoustic design and technical innovations throughout, the FlexPoint series sets a new benchmark in performance and versatility for compact, standalone loudspeakers.

FlexPoint systems deliver the very highest quality sound to match the expectations of prestige venues and top-flight touring artists, while their passive two-way configuration heeds the need to reduce running costs and amplifier count.

Comprising five models — all with highly flexible deployment — the FlexPoint series covers a vast range of professional applications. These range from live sound reinforcement, theatre sound, and corporate AV to distributed sound systems and immersive environments. From the miniature FP4 to the powerful FP15, FlexPoint loudspeakers are compact and discreet, and  provide ultimate clarity, detail, and coverage at all sound levels — and all without affecting sight lines or detracting from venue architecture.

Coaxial point source technology lies at the heart of FlexPoint systems, delivering smoother and more consistent response off-axis than traditional two-way systems. But Martin Audio has gone further with exemplary dispersion patterns by incorporating a two-stage waveguide within the magnet structure. This waveguide maintains wide constant horizontal coverage out to very high frequencies, while the perimeter of the cone acts as the horn mouth, enabling pattern control to a lower frequency. Drivers can also be rotated without the need for any tools increasing their deployment options and ease of use out on the road.

FlexPoint Systems can be used in conjunction with SX series subwoofers to extend low-frequency performance and impact, and it was this range that also saw two new additions announced. The SX115 is a single 15-inch subwoofer and the SX215 is a double 15-inch subwoofer — both models allowing for pole-mounting of a FlexPoint system. This now means that the SX series comprises a single and double 10-inch, 12-inch, 15-inch, and 18-inch — as well as a cardioid 15-inch and 18-inch, and the ultimate subwoofer performance of the Hybrid horn/reflex loaded SXH218.

Finally, in keeping with the name, FlexPoint systems support a flexible electronics package, and for the optimum sound performance, Martin Audio iKON amplifiers with onboard DSP are recommended. Primarily for larger installations however, Martin Audio VIA amplifiers, in conjunction with a DX4.0 system controller, are compatible. For smaller installations utilising FP4, FP6, and FP8, a combination of VIA amplifiers and the newly announced DX0.4 or DX0.6 controller are a cost-effective option. The DX0.4 is a 2-input, 4-output controller, while the DX0.6 is 2-input, 6-output.

Dom Harter, managing director, summed up by saying, “Alongside Wavefront Precision optimised line arrays and TORUS constant curvature arrays, the exciting FlexPoint series completes a trio of premium loudspeaker categories, our finest live sound offering in the company’s history, delivering the Martin Audio signature sound experience for everything from an intimate gig to the largest of festivals. The addition of the two new SX subwoofers also completes a full complement of low-end solutions, while the two new controllers provide additional flexibility and cost efficiency when required.”

All nine products will start shipping no later than June, but some products will be available earlier.

Martin Audio has announced the latest major update to its 3D prediction software, featuring a new sub array tool that user trials have declared as “astonishingly powerful”, as well as a host of additional features and workflow improvements.

DISPLAY 3 is a powerful tool for both live and installation projects, working seamlessly with SketchUp for sophisticated venue modelling, thus allowing for simpler venue and shape creation. Incorporating many of Martin Audio’s line array, constant curvature, point source and subwoofer solutions, Display 3 is ideal for cohesive system design and prediction in a 3D environment.

For the first time, this latest beta version incorporates a new sub array tool enabling rapid design of ground deployed linear arrays of subwoofers. Traditional techniques have been employed to determine the EQ required to approximate and steer far-field beams. Emphasis has been placed on the speed of design using a handful of parameters, rather than requiring manipulation of individual loudspeakers and associated EQ elements.

In this version, two sub array types are supported with ‘Broadside Stack’ and ‘Castellated’ configurations. For Broadside Stacks any sub loudspeaker can be selected, while for Castellated scenarios only subs which have cardioid settings available can be utilised — but more will be added over time.

Castellated arrays have three styles defined as Presets, with ‘Bookend’ where the end parts of the array are two boxes high; ‘Buttress’ where the array is one box high at the ends; and ‘Uniform’ consisting of an array of L shaped elements. Beam width can be set from 1 degree to 180 degrees, where setting to 1 degree will generate the narrowest beam possible from the array and by incrementing the width users can get closer to the coverage required.

Ambrose Thompson, Research Director, commented, “While it is the first iteration of this sub array tool, I believe it already sets a new benchmark in prediction software, and I’m delighted that user trials have also re-confirmed this.”

The Beta 5 release also includes other notable updates including the following: an early version of a tool to display the frequency response at any position on a surface; flown deployments of Martin Audio’s latest product, Torus 8; a new control in the Loudspeaker Property Inspector to optionally constrain aiming angles to those available for the pin locations in the lift bar; default speaker insertion heights, and the inclusion of BlacklineX point source and subwoofer solutions.

Summing up, Thompson said, “This is a significant update to Display 3 that I’m confident our users around the world will relish. As with all things software, there are always new developments required and we are already hard at work on the next set of updates.”

The patent covers the use of Martin Audio’s differential dispersion coaxial drive units and the continuation of their waveguide shape to form the baffle, as seen in the XE monitors to achieve the desired HF coverage.  The geometry of the static HF horn, the LF cone/moving waveguides and the static baffle combine to form a single HF horn.

The XE stage monitor series comprises the XE300 and XE500, both delivering perfect monitor sound with a defined coverage pattern that allows the artist freedom of movement, while reducing overlap with adjacent monitors.

Coaxial Differential Dispersion technology allows the artist to stand directly over the monitor or further back, without significant changes in SPL or tonal balance. It produces the optimal coverage pattern over a listening plane at head-height and helps to contain the sound within that region.

The now patented contour-moulded static third waveguide increases the size of the horn mouth to maintain pattern control downwards and avoid spill outside the desired coverage area. Its rolled contour reduces diffraction and further improves pattern consistency at the lower end of the HF passband.

Managing director, Dom Harter, commented, “Even though XE monitors were introduced in 2017, it always takes time to secure a patent, but we are delighted that our continuing innovation has once again been recognised and I couldn’t be prouder of our R&D team.”

For applications that typically require a throw between 15-30m (50-100ft), a full-blown line array is not always practical, optimal or affordable. Conversely, a point source solution may not be sufficient in coverage and SPL.

TORUS is a constant curvature array designed to fill that gap, combining optimised coverage, SPL profile and cost efficiency.

However, Dom Harter, managing director, said, “It is much more than just another constant curvature array. TORUS was in development for three years in a bid to further the acoustic concept and performance achievable.

“Typically, constant curvature arrays have adjustable horizontal dispersion but their performance can vary considerably in terms of tonality and effectiveness of coverage when different dispersions are selected. Equally, many lack sufficient sensitivity in the mid-band frequency, critically important for voice projection and clarity. They also can suffer from comb filtering. TORUS fundamentally addresses these areas and more.”

Each TORUS cabinet is designed for a flexible horizontal dispersion pattern and this can be manually adjusted between 90°, 60° or 75° (asymmetrical) via the unique Dynamic Horn Flare. This not only moves and locks the waveguide but also adjusts the horn mouth, including the low diffraction termination into the baffle, to ensure correct geometry and optimal performance in each of those settings.

The Dynamic Horn Flare is moved by a rotating mechanism accessible from the front grille so is easy and intuitive, while leaving the grille design to be both smart and fully protective of the drivers within.

A vertical pattern of either 15° or 30° is achieved via two separate cabinet types: T1215 and T1230, respectively. These cabinets can also be combined to fit venue and coverage requirements.

TORUS features a phase plug mounted in front of the 12” neodymium driver to increase mid-band sensitivity, and along with three 1.4” HF polymer dome neodymium compression drivers, the sonic performance is not compromised even when driven at higher SPL.

TORUS is also the first product to take full advantage of DISPLAY 3, Martin Audio’s all new prediction and optimisation software, and the second big announcement from the event.

DISPLAY 3 is set to be a powerful tool for both live and installation projects. It works seamlessly with Sketchup for sophisticated venue modelling or allows for more simple venue and shape creation. Initially, DISPLAY 3 will natively support prediction and optimisation of TORUS, with line arrays being imported from DISPLAY 2. Over time, however, DISPLAY 3 will incorporate all Martin Audio line array, point source, ceiling and subwoofer solutions for a complete self-contained system design and prediction platform.

Summing up, Harter said, “Through the pandemic we had a proactive approach with continuation of R&D and the belief that companies that consistently add value to their customers will have a brighter future. The introduction of TORUS enables Martin Audio to compete in more applications and DISPLAY 3 will develop further to be a leading 3D design and prediction software that enhances the working lives of installation and live event professionals.”

TORUS will start shipping worldwide from April and similarly, DISPLAY 3 will have a public release at that time.