LONDON — Insync Productions generated 3,491,000 watts of sound for the wide range of shows on which they were responsible for AV production, much of it pumped out through Martin Audio sound reinforcement systems. For a recent party in the ballroom at London’s Dorchester Hotel, Insync provided technical design, equipment and staging using a combination of their Martin Audio W8LM/W8LMD line array, WMX and WS218X subs, W8VDQ differential dispersion enclosure and LE12JB stage monitors. Insync also provided Martin Audio Blackline F12s and S218 subs for coverage in the nightclub off the main ballroom.
The artist roster included Girls Aloud, Katherine Jenkins, Ian Waite and Camilla Dallerup from Strictly Come Dancing, the Band of the Scots Guards, Corolla and Rhydian Roberts.
“We always try to set high production values, whatever the event, and for the fee people should be charged,” said Scott Tompkins, Insync Productions’ managing director, of the party commissioned by Jamie Walters & Co. “Everything we proposed we were able to deliver within the budget and to a very high standard — from set design, staging, sound, video, cameras, editing and trussing.”
He said the company also opts for “clean lines” so that no sightlines are obstructed, hence the decision to go with the Martin Audio W8LM Mini Line Array. “The reason we have it is simply because it sounds good, and we can get it up in the air,” Tompkins added.
At the Dorchester, Insync ran two hangs of three W8LMs per side, with one W8LMD Downfill at the base and a W8VDQ as audience side fill. The two ground-stacked WS218X and WMX subs were recessed and concealed under the gauze-fronted Steeldeck stage.
The system was set up using Martin Audio’s ViewPoint predictive software and processed using Martin Audio’s dedicated DX1 controllers. Powering the rig was a combination of Martin Audio MA4.2, MA2.8 and MA1.6 amps.
After the concert, guests partied into the early hours of the morning in the custom-built nightclub where four Blackline F12s were flown in each corner, with a pair of floor-mounted Blackline S218s providing LF extension.
Summing up, Tompkins said, “With all of the gear we used, this was like a mini concert. Yet it was used so discreetly we actually managed to make the ballroom look bigger than it did before. It took 10 hours to get it in, set up the rigging, line check and be ready for rehearsals at 2 p.m. –– including the Minibeam deflection tests to ensure we were working within tolerances.”
For more information, please visit www.martin-audio.com.
