With its rapid loudness drop-off, the MLA system was created for environments such as Hyde Park. According to one sound engineer who had earlier worked with the system. The ability to ‘taper off’ the sound at the perimeter “is as if an invisible ring has been drawn around the site.”
As Colville assesses, “The ability to gain an extra 6dB of volume onsite, while keeping within the off-site maximum level of 75dB(A), provides a significant advantage. MLA is such a different system, with all of its acoustic cells individually controlled to produce phase-coherent summation in the audience areas.”
Sculpted into the oak shrubbery of the concept stage’s proscenium––the inspiration of set designers MDM working with Star Rigging––were left and right hangs of 16 x MLA elements (with a single MLD Downfill box at the base). Out fill was provided by 12 MLA (and a single MLD each side) with eight pairs of the small footprint Martin Audio W8LM Mini line arrays for front fill.
The subwoofer cardioid broadside array—made up of 32 MLX subs—was the tried and trusted “electronic arc” concept, with one back facing enclosure for every two forward-facing ones providing cancellation at the rear. “The beauty of this design,” says Colville, “is that you can adjust the horizontal dispersion and rear rejection electronically without needing to physically move anything.”
In addition there were 10 delay masts. The front two arcs of four MLA masts each contained seven elements and a single MLD. For the larger shows, two further delay towers at the back were enabled, made up of eight MLA Compacts. Critical distances were 165 feet (from FOH to stage), while the delays were set at 295 feet (from the stage), 525 feet and 688 feet (for the MLA Compacts).
In summary, Colville says, “At Hyde Park we proved how MLA technology allows us to significantly increase on-site volume while containing the sound within a strictly defined area. It’s a great result for everyone involved in the project.”
Martin Audio managing director Anthony Taylor adds: “This is a significant jewel in the crown of worldwide events; we are thrilled that Martin Audio and our MLA technology has been chosen to tackle Hyde Park’s challenging sound issues. This is a win-win for everyone involved: artists, sound engineers and the paying public get the sound performance they deserve, whilst local residents are less impacted.”
In addition to system designers Colville and Martin Audio’s Jason Baird, Capital Sound’s support team included Al Woods (crew chief), Toby Donovan (system engineer and MLA technician) and eight other crew. Account manager was Martin Connolly and project assistant was Michele Conroy. Andy Davies and Chris Pyne, from Martin Audio’s tech support team, also supported the event.