Martin8217s Delicate Weenie Roast

Irvine, CA (June 12, 2007)--KROQ is the big alternative rock station in Los Angeles, and one of its biggest claims to fame is the annual Weenie Roast, which traditionally sports audio provided by Delicate Productions (Camarillo, CA). This year’s event, which featured headliners like Korn, Linkin Park, Social Distortion and Interpol, saw the SR company pull out its big guns--or rather, its longbows. Martin Audio Longbows, actually.
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Irvine, CA (June 12, 2007)--KROQ is the big alternative rock station in Los Angeles, and one of its biggest claims to fame is the annual Weenie Roast, which traditionally sports audio provided by Delicate Productions (Camarillo, CA). This year’s event, which featured headliners like Korn, Linkin Park, Social Distortion and Interpol, saw the SR company pull out its big guns--or rather, its longbows. Martin Audio Longbows, actually.

The annual KROQ Weenie Roast marked the first outing of Delicate Productions' new Martin Longbow line array system.The colorfully named loudspeakers are a new upgraded version of the W8L. According to Delicate system engineer/designer Bryan Bazilsky, “They’ve upgraded the high end from three drivers to four 1” drivers and increased the high frequency output by 10dB from the original box at the same power. It also throws longer than the W8L, or anything else for that matter; Martin actually designed the Longbow with stadiums and arenas in mind. I was extremely happy with them. That was the first time I was able to put them up. We got them in from England three days before with the factory crossover settings and they worked well and sounded really good.”

The actual speaker system consisted of a dozen Longbows a side with four W8LCs as underhang, side hangs of 12 W8LC per side, for outer fill, six W8LS flying subs per side and 12 WS218 sub bass cabinets ground-stacked per side, along with four pairs of W8LM for front fill.

Complementing the Martin Audio speaker arsenal were Martin’s MA 4.2 power amps and three Dolby Lake Processors. Each side of the “turntable” stage (while one band was performing, the next would be doing a line check so that there was a seamless transition from band to band) had 12 Martin LE700 wedges powered by Crest 7001 with BSS FDS334 crossovers, and a stereo drum fill consisting of two Martin FSX 2x18" sub bass and F1T cabinets. The stage had a shared sidefill which consisted of two Martin F2B bass cabinets and two Martin F2 combi mid high cabinets per side powered by the same Crest/BSS combination.

Consoles included two Yamaha PM5D-RH consoles at FOH with two more on stage for monitor duty with some of the larger acts supplying their own consoles, which included DiGiCo D5s and Digidesign Venues and Profiles. Microphones were mostly Shure.

As Bryan, sums it up, “We played with no breaks. The first band was on at 4:30 PM and 10 bands later, we were done at 11:00 PM. The crowd seemed to like it and the band engineers also really liked the system.”

Martin Audio
www.martin-audio.com