Autograph upgrades to full MLA for ‘Superstar’
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Having used a Martin Audio MLA Compact PA rig for the 2016 production, Lidster decided to change the system while auditioning the MLA Mini at a Leo Sayer concert.
“After last season finished, I looked at what I needed to do by way of streamlining, and after hearing MLA Mini I knew it would be perfect for the centre cluster,” he said.
Supported by Martin Audio’s Nigel Meddemmen, six elements of the MLA Mini were centrally deployed and at the same time Nick Lidster chose to fly the main line array higher than previously. “I wanted to focus the sound down - to ensure we got all the energy into the bowl-shaped auditorium, and at the same time minimise the spill over the back and into the Park. That’s what I felt was needed, and the lower bowl area sounded so much better as a result.”
He added: “I needed to be able to steer it towards the front of the auditorium … to around half way back where the main PA takes over.” He could also see from the Leo Sayer experience the wisdom of having all components from within one family, particularly with MLA’s controllability.
“In fact, some of the story-telling became clearer,” he said. “It was dynamic without being loud, and in Gethsemane, for instance, [with the sound imaging] Jesus is brought right into the lap of the audience.”
There were other benefits of MLA Mini, as experienced by this year’s sound operator James Hassett, foremost being its ease of tuning. “MLA Mini provided a major improvement not least because I could use it without needing to EQ it,” Nick Lidster explained. “The vocal image felt right above you and as a result I could run the front fills so much hotter this year.”
(Jim Evans)
