076 VENUE
Control is handled entirely by XTA devices, and assigned to loud- speaker management and room processing duties are five XTA 448 4-in / 8-out processors.
In a ringing endorsement of the floor monitors, Michiel Toenink said: “The monitor engineer for [Dutch band] Display asked for a double stack of wedges; but as soon as he heard we had the LE1500S he knew six would be enough.” As an experienced touring engineer, Toenink has mixed through Mar- tin Audio line array systems on many occasions and had no hesitation in specifying the W8LM for its versatility. “The system is proven and it’s in the range of what bands will ask for. I wanted the entire system, including the interface and wiring, to be foolproof.” With that brief, TM Audio Sales and Marketing Manager, Rudolf Nagtzaam, agrees that the system design largely dictated itself. “We have always had good experience with the W8LM. It’s not specifically designed for metal, soul, rock or pop but performs equally well in any genre, which is what the venue wanted.”
One of the real triumphs, he said, was the way in which the ASX coupled with the W8LM, in only the second time TM Audio has speci- fied it (the other venue being De Vorstin in Hilversum). There had been a big buzz around Ampco engineers at the prospect of the new 21-inch sub. “I think it’s because of the servo-driven tech-
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nology which has a very quick response. It’s a very forgiving system,” Nagtzaam said. “We tested these subs in our acoustically-shielded studio and had expected a ‘gap’ between the W8LM frequencies and the 21-inch... but the gap simply didn’t appear.” Michiel Toenink agreed: “They are pretty brutal but I’m surprised how high they can go in frequency.”
Having requested an XL4 as the main FOH desk, so that it is pos- sible to accommodate any visiting engineers that might still require an analogue option, TM Audio’s Jaap Pronk designed a highly flexible system, based primarily around the SD8’s, that ensured the analogue cabling lines catered for touring productions carrying the obligatory Link Multicable (and LK connectors), while at the same time offering the standard AES-EBU digital formats via the stage boxes. With stand-alone SD8’s (each of which sports an Overdrive software upgrade to provide dynamic EQ, multiband compressors, 24 graphic EQs, additional FX and a bigger matrix) in the monitor positions and a house SD8 with a 48-channel mobile connector that can travel between the respective FOH positions, Michiel Toenink uses an RME MADIface to multitrack the shows if required, with a Reaper 64-bit digital audio workstation on his laptop. “We wanted a digital desk because of the cost advantages. Looking at the quantity of hardware necessary in the analogue domain would
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