VTI General trading LLC, PO Box 53871, Dubai (2026)

11/01/2016

MLA AT ABU DHABI’S GRAND MOSQUE FOR RAMADAN

Sheikh Zayed Grand Mosque Center (SZGMC) in Abu Dhabi recently appointed Martin Audio customer, Almoe AV Production & Rentals, to provide the Ramadan 2015 sound system for all the indoor areas throughout the mosque — with a peak attendance of 65,000 people.

With strict coverage specifications dictated by SZGMC’s audio consultants and in-house sound engineer, the requirement was met in the Main Hall, largely by using Almoe’s Martin Audio MLA rental system for the main prayer hall. The promise of MLA being able to deliver the specific coverage from front to back with minimal reverberation was key to Almoe’s bid, as was the finished look.

“The only goal we were given was ‘to deliver consistent coverage everywhere’,” said System Designer and Technical Project Manager, Bruno Vitanza. “We showed all the prediction results and calculations in the Display software which was extremely accurate. All I needed to do was avoid all the marble and glass where possible, while trying to get direct sound to the areas needed. Martin Audio MLA has a unique way of manipulating the sound output and we were able to time align the systems to achieve a great level of intelligibility.”

Almoe’s submission also needed to show renders of the finished look of the cladding for the stacks and W8LM totems and goalposts.

In order to keep the footprint to a minimum, the system itself comprised four stacks of 3 x MLX and 5 x MLA to provide even coverage to a depth of 46m deep. As for the Martin Audio MLX enclosures these were not deployed as conventional subs. “Instead we used them as support stacks due to the linkable rigging and safety features,” explained Bruno.

The challenge in the room was to deliver prayer calls and the Imam’s voice with high intelligibility and at consistent levels down to the people praying directly in front of the MLA stack. “We ended up with a difference of 2dB between the first row at 1m to the very end of the room,” the Almoe man explained. “Although MLA is capable of providing 0dB difference between these two points, the final 2dB between A-B was necessary to keep a realistic natural reverberation in the room caused by all the beautiful marble surfaces in the hall.”

For other large indoor and outdoor areas Almoe specified the Martin Audio W8LM/W8LMD Mini Line Array System, 62 enclosures in total. The system was flown on goal posts for the corridors (in two arches) with two further arches as delay. The brackets were custom designed for Almoe’s Milos Trusses and all processing took place within Martin Audio’s dedicated DX1.5 and DX2 system controllers.

The result in all the areas was a sound extremely clean, direct and focused,” he said, But the challenges didn’t end there. As the main Prayer Hall contained several columns, to overcome the resulting acoustic shadow they opted for a wireless solution.

As for the speakers, all had to be covered and Almoe used their own Inviframe system with Joelastic material to cover all the MLA boxes, and custom Aluminium Pipe and Drape to cover the W8LM Mini Line Array System. “This allowed us to provide an extremely neat solution to satisfy the client,” said Bruno Vitanza.

“This was definitely a very challenging job, as every prayer was broadcast live during the whole holy month of Ramadan and during breaks there was a live broadcast of interviews with various personalities taking place inside the main prayer hall,” he concluded.

To see the time lapse video of the system set-up, click here.

24/09/2015

Plexineon Lights Up Topshop
Custom fixtures create cool vibe at new U.S. flagship store.

The grand opening of the new Topshop store on Fifth Avenue in New York made a big splash, attracting the likes of Beyonce and other A-listers to the brand’s first flagship in the U.S. — a 40,000-square-foot space that is only second in size to the British fashion retailer’s Oxford Street, London, store.

“It’s a very cool, contemporary brand, so of course we wanted the lighting to reinforce that fashion-forward sense,” says Kyllene A. Jones, President of Lighting Design Alliance, which designed the lighting for the new store.

LDA had previously used iLight’s Plexineon product series at five other Topshop locations, as well as on other projects. With so many previous successes, the LDA team didn’t hesitate to use the fixtures as key elements in a flagship along one of the most famed retail streets in the world.
The Design Challenge

At Topshop on Fifth Avenue, LDA saw an opportunity to use Plexineon in many different ways throughout the ample space. The challenge was to maintain continuity, while creating a stage-like setting for each of Topshop’s product lines.

“With iLight, we knew we could do an array of custom mountings, from surface mounted to recessed,” Jones says. Moreover, she could create seamless lines of light with Plexineon. “We worked with the design team to create lines of light to define the different areas, with no segments, shadows or socket lines.”

Color temperature also was key. “We needed cool temperatures to contrast with the warmer ambient lighting, to attract the eye as feature lighting or signage,” Jones says.

Finally, there was the demanding construction schedule. Having worked closely with iLight before, LDA had confidence the iLight team could deliver on time.
“With iLight, we knew we could do an array of custom mountings, from surface mounted to recessed.”
- Kyllene A. Jones
President, Lighting Design Alliance

The Plexineon Advantage

Specifying Plexineon enabled LDA to achieve exactly what they hoped within the high-profile space, where stripes of Plexineon line the storefront; stretch across ceilings like fashion runways; and create a sense of excitement around the escalator. “We also did an application where the fixtures are suspended or pendant-mounted, creating a floating grid,” Jones says.

In the end, “Plexineon achieved the look we wanted — both theatrical and cool.”

Just as important, the red carpet was rolled out on time. “Even with all the custom work and a lot of direct consultation, iLight came through.”

09/09/2015

Martin Audio loudspeakers have been specified throughout two recently commissioned cruise liners, operated by German-based TUI Cruises — a joint venture cruise line between the German leisure/tourist firm, TUI AG, and American operator, Royal Caribbean Cruises.

The latest addition Mein Schiff 4 was commissioned earlier this summer, having been built at the Meyer Turku shipyard. It followed on from Mein Schiff 3, built the previous year, and will operate routes across the Baltic Mediterranean and Caribbean seas, as well as the Canary Islands and Central America. Martin Audio systems have been fitted in all key areas across the 15 decks on both ships.

With these two 99,500 tonne, 2,506 passenger capacity vessels configured identically, installation specialists Funa International created the technical infrastructure, working with consultant Torsten Hirche, TUI Cruises’ technical director for the past six years.

In addition to Martin Audio’s flagship MLA Compact Multi-cellular Loudspeaker Array — making its marine debut — Hirche’s recommendation included mission critical solutions from across the manufacturer’s catalogue. This included OmniLine, Screen 4 and Effects 5 cinema speakers, DD6 differential dispersion technology, W8LC compact line array, XD15 and examples from the AQ architectural range — as well as special marine versions of standard speakers to withstand life out at sea.

Torsten Hirche played a critical role in the implementation. As technical director for all entertainment systems — and consultant for audio — he and Funa were able to turn the concept ideas into reality. “Although I have a very good experience in working with British audio brands, the MLA [Loudspeaker Array] which we have in the theatre, was my first time working with this awesome speaker system,” he said. “TUI Cruises is a premium product, so I also needed premium audio brands.”

Before opting for Martin Audio’s signature sound he had undertaken a number of evaluations, including shoot-outs with other leading brands. He was closely supported by Wolfgang Garçon from UnitedB, Martin Audio’s German distributors.

So what features had given Martin Audio its preferred status? Firstly it was the “honest sound” evidenced in all products, admits the consultant. “The second thing was the very cool feature of MLA, which allowed us to change the beam angle after mounting.”

As there had been no opportunity to specify this for the earlier cruise ship, the award winning system made its debut on Mein Schiff 4, with two hangs of eight MLA Compact and six DSX subwoofers designed in two batches of three. DD6’s have been used for infills and XD12 for side fills onstage, with the option of LE1200 reference monitors.

Aside from the quality of the sound and hardware componentry, Torsten Hirche knew that since life at sea is challenging at best, the systems needed to display remarkable durability over 24/7 duty cycles. “The technical equipment is expected to work hard, particularly in outdoor locations, such as the pool deck, which are extremely harsh for speaker systems. But Martin Audio has proven it can deliver good experiences with other cruise ships, and up to now I am extremely happy with them all.”

Both the ships’ multipurpose cinema and theatre needed to be configurable and switchable for live sound, as Torsten Hirche explains. “For example, in the theatre we also had to accommodate a TV show for the naming ceremony. Therefore, the approach was for a system with headroom for special requirements.”

As for the multipurpose, acoustically-treated ‘Klanghaus’ this represents another massive achievement for a cinema which doubles as a classical venue for opera and chamber music — turning it into a full philharmonic concert venue. “On one side is the world of acoustics, on the other hand the vastness of the ocean,” as the website puts it.

This space required three separate, switchable sound systems: a main Left/Right OmniLine hang, with subwoofer support for band set-up; an additional cinema surround, for when the room reverts to movie mode and an acoustic control system to set the venue for different reverberation times — for instance when a string quartet or piano soloist are performing.

The OmniLine system comprises two left/right arrays of eight elements, with AQ212 sub support, with the option of DD6 floor monitors.

The Screen 4 (and Screen Sub 1A) cinema speakers are arranged in a classic L/C/R design behind a perforated drop down screen with Effect 5 enclosures providing the surround sound. Both the OmniLine and cinema rigs can operate as stand-alone systems or be combined at the sound desk.

In addition to the theatre and cinema, Martin Audio indoor products have been specified in a total of eight bars and three lounges, many with small live stages. In the stylish Schau Bar lounge there is a larger stage for a Top 40 band set up, while Coffee House, X Lounge, AbtanzBar, Atrium Dance Bar and TUI Bar all bear the company’s products. Outdoor products with special coating for offshore, were installed on Sports Deck, Pool Deck and Sports Bar — and once again these needed to be carefully specified.

For instance, the Pool Deck features eight Martin Audio W8LC Compact Line Array in a special custom marine grade weatherproof version with high-grade stainless steel, accompanied by a flown WS218X subwoofer. Another custom design is the Martin Audio W8FVDQ (an adaptation of W8VDQ) which provides ouftills on the upper deck, where further LE1200’s are available as reference monitors.

Also provided in marine spec are AM10 and AM15 stadium/arena speakers (even though these are already weather-proofed) to ensure flawless operation in the open deck and open cinema areas.

Back inside, the dance oriented AbtanzBar a punchy, focused solution was required. “We wanted a really good sound pressure level which we have achieved with the AQ series,” Torsten Hirche confirms.

All work was carried out by TUI Cruises, along with Funa and Protones — the operators’ partner for systems maintenance — while Martin Audio also assisted with the tuning of the MLA system in the theatre.

For Martin Audio the project was instigated by product support engineers, Nigel Meddemmen and completed by Robin Dibble, who is highly experienced in cruise liner installations. Stated Dibble, “The marine world is the most hostile of environments and there are many considerations to take into account; fortunately we were able to meet all requirements from within our portfolio, and provide special order marine grade components where required.”

Summing up, Torsten Hirche says he is delighted with the way the various Martin Audio systems are functioning. “Everything is working extremely well and we have had very good experiences across the two ships. Now we look forward to commissioning the next four ships [Mein Schiff 5-8 … the last due for completion in 2019].”

He confirms that technologically, they will keep up with the times by moving to Martin Audio’s new CDD installation series, launched earlier this year, for Mein Schiff 5 and Mein Schiff 6, scheduled to launch in 2016 and 2017 respectively.

13/08/2015

One of our products..iLight ...installed at Hong Kong Lantau Island

iLight Amber and Rose Plexineon product illuminate this destination theme park in Hong Kong.

13/08/2015

Launched in 2004 as an alternative to the established mainstream music festivals, Secret Garden Party is about music, people, places and stories coming together in the most hedonistic, magical, and out-of-this world experience one could ever hope for.
Originally created by Freddie Fellowes on his family’s 6000-acre farm in Huntingdon, the festival has grown from a single stage, with a few thousand people, to around 32,000 spread over at least 15 stages.
This eclectic music and arts event surrounds a river and a lake (bearing a different eye popping sculpture each year) — and this year featured for the first time a Martin Audio MLA system on its premier stage (The Great Stage) — courtesy of Capital Sound.
Capital were introduced to the event five years ago to mitigate the site’s historic sound problems and worked again alongside environmental sound specialists, CBA. The move to MLA started when the festival organisers had been negotiating with a band that would require the extra SPL that MLA can offer, while still providing sound leakage control.
“Although the negotiations with the band fell through, the organisers decided to stick with MLA,” said Capital account manager Martin Connolly. And the move proved to be a big success.
Despite the heavy rain that had preceded the event, revellers (and their children) who arrived at the Abbots Ripon site were able to commune joyously with all the estate’s natural beauty, while listening to the music of artistes such as Jungle, Kate Tempest, The Cat Empire.
Capital’s Micky Griffiths acted as system tech and FOH support; and with two MLA hangs of 12 elements suspended from the orbit stage (supported by six MLX subs a side in 2 x 3 stacks) the sound couldn’t have been clearer or punchier. This not only delighted Griffiths, but also James Brennan (also of Red Rooster fame) who books and produces the event, and Peter Tilling, as his technical production manager.
In addition, Capital Sound was responsible for equipping a number of other premium stages with Martin Audio equipment.
Aside from The Great Stage, the aptly named Where The Wild Things Are, set outdoors among the trees, featured four MLA Compact per side on three ground stacked WS218X subs per side. At both the Psychedelia Smithsonian and The Crossroads bar venue, they deployed four W8LM and two WS218X per side.
Summing up, Martin Connolly enthused that the successful deployment of MLA had created a blueprint for the future — and adds another festival to the growing outdoor event portfolio of MLA. “Everyone was happy with it, and as a result we will now be dispensing with the delay towers entirely. Although we kept the system in for this year, we never needed to activate it.”

16/07/2015

Marani Pro Audio appoints VTi as its distributor in the UAE and GCC
Guangzhou, China - 15th July 2015 – Marani Pro Audio is pleased to announce the appointment of the company VTi General Trading LLC as the new exclusive distributor in the UAE and GCC.

VTi was established more than 15 years ago to serve as a distributor within the Professional AV & lighting industries to the very large and dynamic GCC and wider Middle East market. Over the years VTi has secured exclusive distribution of the industry’s premier brands and its mission has been to supply these brands with the best possible service.

"We are very pleased to partner with VTi in UAE and GCC," commented Michele Marani, world famous Audio DSP expert, General Manager and founder of Marani Pro Audio. "It is not often that you find an established and dynamic company with such a highly competent pre and post sales service department. The experience and prestige of VTi is a great asset for our ambitious development plan."

"In our over 15 years of operation, VTi has always been proud to offer the best possible solutions and service to our clients," comments VTi General Manager, Richard Maunder. "Our company mission is to elevate UAE vision of professional audio and lighting to the highest level. Marani Pro Audio cutting-edge DSP Controllers and Power Amplifiers perfectly fit into this philosophy, providing the highest performance solutions and uncompromising support for us to achieve our mutual goals."

About Marani Pro Audio
Founded by famous Audio DSP Expert Michele Marani, Marani Pro Audio mission is to create the most sophisticated and advanced digital process within innovative audio products allowing customers to accomplish all their system requirements for live performance and fixed installations. For more information visit www.marani-proaudio.com

14/06/2015

MARTIN AUDIO ON MAIN & SECOND STAGES AT BOTTLEROCK

Napa, CA––Delicate Productions of Los Angeles and San Francisco provided Martin Audio MLA and W8LC systems for the Main (Intel) and Second (JamCellars) stages respectively at this year’s BottleRock festival, a feast for aficionados of exceptional music, food, wine and brew.

With a diverse talent roster including Imagine Dragons, No Doubt, Robert Plant, The Avett Brothers, Foster The People, Passion Pit, Snoop Dogg, Cage, Gipsy Kings, Awolnation, Public Enemy, Preservation Hall Jazz Band, Los Lobos and The Chris Robinson Brotherhood, to name a few of the better known names, Delicate faced a challenge in providing superior audio, especially given the noise ordinance in Napa.

To handle the challenge, they set up an MLA system for the Intel main stage consisting of 16 MLA and two MLD enclosures per side for the main hang; 24 MLX subs; 12 W8LM cabinets for front fill and 8 W8LC’s for the off stage VIP hang. 16 MLA Compacts were used as delays for the Main Stage.

The second stage system consisted of 15 Martin Audio W8LC and 2 W8LCD downfill cabinets a side with 18 WS218X subwoofers and 6 W8LMD cabinets for front fills, all powered by Martin Audio MA4.2s power amplifiers.

Asked about the event, Delicate President Jason Alt comments, “BottleRock has been successful for us since its inception. This year went just as well, which was challenging because we do sound, lights and video for three stages.

“In terms of sound control, there’s a very strict noise ordinance in town, on property at FOH it’s 105dB C-weighted and beyond the festival ground it’s 65dB C-weighted, so we work with a company to handle the noise mitigation and with the artists while they’re sound checking or performing, especially those who are low frequency-dependent. We’re able to stay within those guidelines by providing real time monitoring so all an engineer has to do while mixing is look over at a screen to see if they’re within that noise ordinance zone and if they aren’t, the system will ask them to turn it down.

“The use of MLA, particularly on the main stage, which is less than 200 ft. to the nearest house, has been incredibly helpful. We do a broadside array for the main stage and steer the subs almost 90 degrees away from that side of the property because of the control Display gives you and the efficiency of the MLX. So you still literally get subwoofer in front of the barricade, but what is aiming at that house is almost a 30dB drop-off because of the way it’s steered. And we have full coverage including subs to the edge of the property because of what we can do with MLA. That’s a big part of it.

“And of course there’s the ability to steer MLA,” Jason continues, “where we’re dropping the main array off 50 or 60 feet past FOH. This year we went back to using delays to fill in some of the high end at the rear of the property, but even those are steered down about 20 feet from where the food vendors are so the listening experience is still good but you’re not screaming at them to place your order, especially in a festival that’s relying on a high end customer experience for the food and wine part of it.

Given the scope of the undertaking for Delicate, they brought a full crew including: Makato Araki (Lead Audio Systems Engineer) and Craig Robertson (System Tech), Andy Turner (FOH A1), Shaun Sebastian (MON A1), Greg Rideout (Stage Patch) and Ryan Trefethen (RF Tech) for the Main stage.

Kyle Anderson (FOH Tech), Andrew Freid (Monitor Tech), Rob Speight (Stage Patch), and Sergei Bailleul (RF Tech) worked the second stage.

Summing up about the reaction to MLA’s coverage and audio quality, Jason concludes, “Despite the wide range of artists at BottleRock––everything from rap to classic and indie rock, punk and jazz, all of the FOH engineers had a really great show. Robert Plant’s engineer Roy Williams mixed on MLA for the first time and he liked it a lot.

“It was also the first time No Doubt experienced MLA with us in a smaller environment and their front of house engineer JK (John Kerns) told us after the show that the system really performed and he got everything he needed out of it. We had a lot of positive feedback about MLA, which is not unusual at this point.

“For stage two with W8LC, we normally use MLA Compact, but the rest of the system was out on tour. And we had nothing but compliments for that too. Because W8LC performed really well and we didn’t even have to struggle to keep it within the noise ordinance limits!”

07/06/2015

MARTIN AUDIO MLA ENSURES SOUND CONTROL AT EDC NY

Martin Audio MLA systems were deployed by 3G Productions on the Main Stage (KineticField) and Stage Two (Circuit Grounds) at the Electric Daisy Carnival NY festival to provide consistent coverage front to back and exceptional audio quality to a sea of energetic fans.

Held outside MetLife Stadium in Rutherford, NJ, the fourth EDC NY festival drew an estimated 100,000 fans over two days, appealing primarily to an ultra-high energy, rave-oriented crowd moving nonstop to the rhythms and beats of trance, dubstep, hardstyle, house, hip-hop and new combinations of each.

The extensive line-up of artists ranged from mainstream to underground dance music and far beyond, including notable performances from Carl Cox & Friends, Krewella, Martin Garrix, Martin Solveig, Hardwell, AfroJack, Andrew Rayel, Brodinski, Calvin Harris, Duke Dumont, DJ Snake, Kaskade and Dixon.

In order to deliver maximum power, high end extension and low end impact on site, each MLA system consisted of 12 MLA and 2 MLD enclosures per side for the main hang; 16 MLA Compact per side for out fills; 32 MLX subwoofers across the front of the stage in a virtual sub arc and two delays of 4 MLA and 3 MLX each.

As with most festivals around the world, there are multiple opportunities for the right sound system to deliver a premium experience.

Asked why MLA was used for both the main and second stage, Event Supervisor and system designer Julio Valdez said, “3G chose MLA because we’ve been having great success in both quality and control of sound. With MLA we are able to minimize sound spill between stages and ensure even coverage to every member of the audience which means the audience get the experience they deserve. Equally MLA can also provide exceptional control for sound beyond the audience perimeter and given the proximity to neighbourhoods in this instance, it was an important factor too. Ultimately, our client, Insomniac, want the best of worlds: the best audio for the audience with minimal impact to surrounding areas.”

According to Julio, “FOH engineers and artists were impressed by MLA’s sonic impact and sound quality, while the client was very happy with the tonal quality and coverage of the PA, plus the fact that we effectively protected noise overspill into surrounding areas. Stage One metered at 103dB on site but the local neighbourhood was seeing less than 65dB and they even received a call from the Mayor who was excited about the show and the fact that they cooperated with the town about keeping within the noise ordinances.”

With a 3G crew that included eight FOH, System and Monitor techs, 3G handled three of four stages with typical professionalism and composure despite the mania surrounding both stages for the event.

Summing up EDC NY, Julio concludes, “I’m really excited about what we achieved. The audience had a crazy, wild time, artists and FOH engineers really enjoyed their sets and we were able to contain sound within the audience perimeters. This is what MLA delivers for us and our clients.”

03/06/2015

MLA TAKES THE STAGE AT ROCK IN RIO

Las Vegas, NV––For two weekends in May, Rock in Rio made its US debut in the City of Rock on the MGM Resorts Festival Grounds at the northern end of the strip.

A significant share of the music came from the Mercedes-Benz Evolution stage, equipped with a Martin Audio MLA loudspeaker system provided by Gabisom Audio Products Brazil, Rock in Rio’s longtime production company. The system itself was supplied by Las Vegas’ own 3G Productions who also assisted with setup, stage gear and production for the event.

Founded in 1985, Rock in Rio has been held in the city of origin as well as Lisbon and Madrid over the years. This year’s US festival marked an important expansion for the company and its founder Roberto Medina.

An eclectic lineup on the Mercedes Evolution stage for both the Rock and Pop weekends featured Foster the People, Gary Clark Jr., Sepultura featuring Steve Vai, Deftones, Coheed and Cambria, Jessi J., Charli XCX, Joss Stone, Magic!, Tove Lo, James Bay, Mikky Ekko and others.

The MLA system consisted of 16 MLA enclosures with one MLD per side along with 32 MLX subwoofers ground-stacked in front of the stage and 12 MLA Compact on top of the subs for additional front and ground fill. It handled the diverse lineup with ease, providing consistent coverage, clarity and smooth low-end response from front to back of the 426-foot deep audience area without any delays.

Chris Pyne, a Martin Audio engineer who specializes in MLA and worked the Rock weekend, reports, “We were able to cover the audience with more than enough SPL and then reduce it dramatically just beyond that for the VIP area near the Hilton. Equally, thanks to MLA technology and Display™, tuning was a breeze, taking less than fifteen minutes. It sounded great, every engineer was very complimentary and they all said it was one of the easiest shows they’d done. Dwayne Baker, FOH Engineer for Theophilus London told us, ‘It’s an amazing sounding rig and it was such a pleasure to mix on!’ Basically, everyone was very happy with MLA.”

Martin Audio Research & Development Director Jason Baird was on hand to answer questions about MLA and engage with FOH Engineers, Gabisom, and invited guests for a special system demo held before the Pop weekend shows.

Asked about special challenges presented by Rock in Rio, Jason explains, “The way the system was used in a typical large, flat festival layout, the most problematic aspects were the low night time temperatures and lack of humidity, which are challenges for any PA system. The resulting high frequency attenuation over distance was overcome by programming the correct parameters into Display™. The objective was maintaining those crispy, clear highs MLA is known for, but in very low humidity conditions, at distances of over 400 feet, and we managed to maintain excellent high frequency extension right to the end of the coverage pattern.”

In terms of the different musical requirements of the various artists, Jason says, “We didn't have to make any changes from one act to another. James Bay’s FOH Engineer Rob Sadler told us, ‘I didn't have to touch the graphic at all, it’s a very well set up system, and it sounded great.’

“The front fills didn’t have a lot to do,” Jason continues, “because the MLDs at the bottom of the arrays were doing such a great job. They were just needed at the center by the barriers. The MLX subs sounded very even throughout the coverage pattern and we matched the pattern of the sub array to the MLA system. It was pleasing to be standing 400 feet away and have the subs tugging slightly at your clothes, but not giving you a headache. Equally, up on stage, the spill from the MLA and subwoofer array was incredibly quiet, leading some at the demo to think we’d just pulled the faders down, yet only a few feet further forward it was producing thunderous lows.”

Concluding, Jason sums up the overall reaction to MLA by audio professionals at the product demo: “The reactions from our Latin American guests were exceptionally positive. It was nice to see genuine enthusiasm on the faces of people who’ve been in the audio business for years. First and foremost, they were excited because of the sound quality and how it is delivered over such great distances without using any delays. That was the thing they latched onto. If you stand by FOH, you expect it to be loud and sound good, but when you walk 200 ft. further away and it still sounds loud and good in a very consistent manner, that made them think differently about MLA and the products they’re currently using.”

VTI General trading LLC

11/01/2016

24/09/2015

09/09/2015

13/08/2015

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