Martin Audio MLA controls audio for BST Hyde Park
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Much of this is because Martin Audio’s tightly controllable MLA PA array - the result of its advanced DISPLAY optimisation software - has been ever-present since AEG Presents took over the Park lease in 2013, making offsite noise pollution largely a thing of the past.
With system engineering back in the capable hands of Toby Donovan, who aside from last year has worked every BST, the site sound provided its usual exemplary experience for audiences. This time the tech team presided over a nine-day festival that saw acts like Pink, Guns N’ Roses, Take That, Bruce Springsteen and the E Street Band and Billy Joel headlining. Other than slightly raising the main stage side hang to avoid it obscuring the screen, Solotech UK account manager, Martin Connolly, confirmed that “everything else was exactly the same as last year.”
Nonetheless, prior to the event another BST stalwart - freelance sound consultant (and former Martin Audio R&D Director) Jason Baird - was drafted in for propagation checks, particularly with regard to the 11 delay positions, which comprised many of Martin Audio’s larger format WPL. Working with acoustic consultants Vanguardia, he patrolled the field with a walkie-talkie, providing data to Donovan to ensure the delay levels were set correctly, and that Martin Audio’s DISPLAY optimisation and predictive software was accurate and ready for showtime.
“As a result,” said Baird, “all headliners enjoyed good gigs, and were able to achieve their levels. There were many compliments from visiting engineers, but the main thing was a reduction in complaints.” This despite offsite levels being set at a challenging 75dB (LAeq5).
Two such sound engineers who were voted to have produced memorable sound quality were Gary Bradshaw (Take That) and Simon Thomas (Sabrina Carpenter).
Bradshaw has a long history working with Martin Audio and Solotech UK (then Capital Sound), mixing through many generations of the manufacturer’s frontline PA before moving over to Take That in the early ‘90s and becoming synonymous with the band’s sound ever since. At Hyde Park, MLA was able to help him solve an unforeseen problem.
Loading in during the night, for an anticipated 9am soundcheck, he was alarmed to discover that a sound curfew was in place until 10am. However, he was equally relieved to find Donovan, who system teched the last Take That tour with Bradshaw, in position.
“The (44) dancers were onstage at 9.00am, there was a band call at 9.30am and the three Take That lads appeared at 10am,” he reports. “Fortunately, we didn’t need to make any changes to the system. We listened to Gary Barlow’s vocal on A stage and then B stage… and couldn’t get his mic to feedback even when pushed way louder than needed.
“I knew Pink had safely done an A stage and B stage show and so realised I was safe to really push it without the risk of feedback. But that showed the PA was perfectly set up, aligned, and in phase. It was the perfect test of the PA, and there were no EQ changes from me.” In the end the band was able to do almost a full set run through and the result was “the gig went without a hitch,” he said, paying tribute not only to Toby Donovan but Dave Roden, supervising FOH.
But it wasn’t all about the Great Oak Stage as far as Martin Audio was concerned. Elsewhere, Solotech UK account manager, David Preston supervised three other stages around the site that carried Martin Audio: Rainbow Stage (MLA Compact, eight boxes per side with 12 SX218 subs and five MLA Compact front-fill); Birdcage Stage (WPS, six per side, driven in 1-box resolution with six SX218 and XD12 front-fills); and Cuban Garage Stage (WPS, six per side, driven in 2-box resolution, with four SX218 subs).
Venue director and co-CEO of management company, LS Events, Dave Grindle praised the efforts of BST's technical production director Mark Ward (Proper Productions) and the teams at Solotech [who also provided video and lighting] and Martin Audio: “The considerable amount of work they put in previously redesigning the stage PA hangs really paid off, with the result that no further redesigns were required this year.
“I personally walk the site - particularly when the headline act comes on stage - to satisfy myself that we are achieving the best sound coverage possible, and I have no doubt that we delivered an amazing audio experience for our audiences.”
