Martin Audio Longbow W8L User guide

All material © 2007. Martin Audio Ltd. Subject to change without notice.

Section 5 Application Guide
Wavefront W8L Series Line Arrays
W8LLongbow, W8LC & W8LM
with
Advice on subwoofer and front-fill alignment
Click blue text then scroll down for separate spreadsheets for
W8LD, W8LCD & W8LMD down-fill controller settings &notes.
5.1 Introduction
5.2 Specifications, outline drawings and performance plots
5.3 Line array behaviour
5.4 How many do I need?
5.5 ViewPoint™ and System control
5.6 Horizontal considerations
5.7 Subwoofers and Front Fills
5.8 Climatic effects
5.9 Delay Systems
5.10 W8L Longbow Quick Start Guide (including W8LD patch examples)
5.11 W8LC Quick Start Guide (including W8LCD patch examples)
5.12 W8LM Quick Start Guide(includes W8LMD patch examples)
General information
W8L Series Applications Guide, Version 3,December 2006
Copyright by Martin Audio Ltd 2006;all rights reserved.
Martin Audio Ltd,
Century Point, Halifax Road, Cressex Business Park, High Wycombe, Buckinghamshire. UK.
The information presented in this document is, to the best of our knowledge, correct. Martin Audio
Limited will not, however, be held responsible for the consequences of any errors or omissions.
Technical specifications, weights and dimensions should always be confirmed with Martin Audio
Limited before inclusion in any additional documentation.In our efforts to develop and improve our
products we reserve the right to change the technical specification of our products without notice. Martin
Audio Limited tries, whenever possible, to minimise the effects of product changes on equipment
compatibility.
All material © 2007. Martin Audio Ltd. Subject to change without notice.

Wavefront W8L Series Line Arrays
5.1 Introduction
Martin Audio W8L Series line arrays are next generation line array systems which combine
innovative loudspeaker design techniques with line array technology to produce a family of
very powerful line arrays with extended frequency response, smooth coverage and
maximum dynamic impact.
The series includes:
The W8LLongbow 3-way full-range line array + W8LD down-fills
The W8LC 3-way compact line array + W8LCD down-fills
The W8LM 3-way mini line array + W8LMD down-fills
W8L Longbow, W8LD, W8LC & W8LCD systems are fully horn-loaded tri-amplified
systems All sections are 8 ohms for easy paralleling in pairs.
W8LM & W8LMD systems combine direct radiating and horn-loaded cone drivers for low
and mid frequency coverage with a horn-loaded high frequency section. The system may be
bi-amplified (low/mid & high) or driven using a single amplifier channel via
its internal 3-way passive crossover. W8LMs & W8LMDs are 12 ohms for easy paralleling
in threes or fours.
Where low frequency extension is required, W8L Series line arrays will integrate
All material © 2007. Martin Audio Ltd. Subject to change without notice.

with a range of Martin Audio subwoofers including the W8LS direct radiating
subwoofer system or Martin Audio WLX and WMX Hybridtm subwoofer systems.
See section 5.7for further details on the WLX.
W8L Longbow, W8LC and W8LM systems combine patentable driver loading
techniques -researched and proven by Martin Audio over many years -with no-
compromise vertically-coupled waveguides and true constant directivity horns to
achieve a level of efficiency and coverage consistency not usually found in this popular
format. W8L Series horns develop low curvature vertical wavefronts for smooth, comb-
free coupling at practical vertical splay angles. A feature not possible with spaced,
point-source drivers.
W8L Longbow Midrange section
Wavefront W8L Series line arrays feature integral, quick deployment flyware systems
which allow progressive curvature columns of up to 16 cabinets to be assembled. By
hinging at the front rather than the rear, the rigging system minimises gaps between the
acoustic elements which would otherwise interfere with the line array effect.
Viewed from the side, W8L Series enclosures are trapezoidal in shape with 3.75ºwall
angles to allow arrays of varying curvature to be constructed. A series of inter-cabinet
splay angles from 0º to 7.5ºare selected by links at the rear of the enclosure. The 7.5º
maximum splay angle allows tight curvature at the bottom of the array. 20º W8L Series
down-fill systems are also available (click here for more information).
All material © 2007. Martin Audio Ltd. Subject to change without notice.

W8L Longbow rear rigging
Caution:
W8L Series systems should be rigged and flown by
professional riggers or trained personnel under professional
riggers' supervision. Flying professional loudspeaker systems is
not a job for amateurs!
See the appropriate Flying System User Manual for further
details.
All material © 2007. Martin Audio Ltd. Subject to change without notice.

5.2 W8L Longbow, W8LC & W8LM single enclosurespecs
(For further details, down-fill specs etc., go to www.martin-audio.com)
Specification W8LLongbow
W8LC W8LM
Type Full-range
3-way line
array element
Compact
3-way line
array element
Ultra-compact
3-way line
array element
Frequency Resp (±3dB) 35Hz-18KHz 60Hz-18KHz 60Hz-18KHz
Hor Coverage (
-
6dB)
(-10dB)
90deg
120deg
90deg
120deg
100deg
120deg
Vert Coverage (-6dB) 7.5deg 7.5deg 7.5deg
Driver complement LF: 1 x 15”
Hybridtm
horn-loaded
cone drivers
MF: 2 x 8”
horn-loaded
cone drivers
HF: 4 x 1”
horn-loaded
compression
drivers
LF: 1 x 12”
Hybridtm
horn-loaded
cone drivers
MF: 2 x 6.5”
horn-loaded
cone drivers
HF: 3 x 1”
horn-loaded
compression
drivers
LF+MF:
2 x 8” cone
drivers.
1 ported direct
radiating LF,
1 Hybridtm
horn-loaded
LF/MF.
HF: 2 x 1”
horn-loaded
compression
drivers
Rated Power LF:
1000W AES,
4000W peak
MF:
400W AES,
1600W peak
HF
200W AES,
800W peak
LF:
400W AES,
1600W peak
MF:
200W AES,
800W peak
HF
100W AES,
400W peak
Bi-amplified
LF+MF:
400W AES,
1600W peak
HF: 75W AES,
300W peak
Passive
400W AES,
1600W peak
Sensitivity (spl at 1m, 1W) LF: 106dB
MF: 109dB
HF: 119dB
LF: 103dB
MF: 106dB
HF: 109dB
Bi-amplified
LF+MF:
100dB
HF: 106dB
Passive
99dB LF rising
to 105dB HF
Max SPL (spl calc 1m)
LF:
136dB cont.,
142dB peak.
LF:
129dB cont.,
135dB peak.
Bi
-
amplified
LF+MF:
125dB cont.,
131 dB peak.
All material © 2007. Martin Audio Ltd. Subject to change without notice.

MF:
135dB cont.,
141dB peak.
HF:
142dB cont.
148dB peak.
MF:
129dB cont.,
135dB peak.
HF:
129dB cont.
135dB peak.
HF:
125dB cont.,
131 dB peak.
Passive
124dB cont.
130dB peak.
Nominal Impedance LF: 8 ohms
MF: 8 ohms
HF: 8 ohms
LF: 8 ohms
MF: 8 ohms
HF: 8 ohms
Bi-amplified
LF+MF:
12 ohms
HF:
12 ohms
Passive
12 ohms
Crossover LF to MF:
220Hz active,
MF to HF
2.7KHz active
LF to MF:
300Hz active,
MF to HF
3KHz active
LF to MF:
300Hz passive,
MF to HF
2.2KHz active
or passive
Connectors 2 x Neutrik
NL8 or PAcon
sockets
(Input & Link)
2 x Neutrik
NL8 or PAcon
sockets
(Input & Link)
2 x Neutrik
NL4 sockets
(Input & Link)
Enclosure Vertical
trapezoid
3.75 deg top &
bottom walls.
Multi-laminate
birch ply
Vertical
trapezoid
3.75 deg top &
bottom walls.
Multi-laminate
birch ply
Vertical
trapezoid
3.75 deg top &
bottom walls.
Multi-laminate
birch ply
Finish Textured paint
Textured paint
Textured paint
Grille Perforated
steel Perforated steel Perforated steel
Dimensions mm
inches
(*incl wheelboard)
(W) 1314
(H) 490
(D) 755/855*
(W) 51.7
(H) 19.3
(D)29.7/33.7*
(W) 1000
(H) 367
(D) 550/683*
(W) 39.4
(H) 14.5
(D) 21.7/26.9*
(W) 620
(H) 241
(D) 400
(W) 24.4
(H) 9.5
(D) 15.75
Weight (incl. steel hardware) 120Kg
(264lbs) 58Kg (1 28lbs) 24Kg (53lbs)
All material © 2007. Martin Audio Ltd. Subject to change without notice.

W8L Longbow & W8LS outline dimensions
(W8LSshown)
All material © 2007. Martin Audio Ltd. Subject to change without notice.

W8LC outline dimensions
All material © 2007. Martin Audio Ltd. Subject to change without notice.

W8LM outline dimensions
All material © 2007. Martin Audio Ltd. Subject to change without notice.

WLX outline dimensions
All material © 2007. Martin Audio Ltd. Subject to change without notice.

Horizontal polar responses
(Vertical response are 7.5deg line functions for W8L, W8LC & W8LM and
20deg line function for W8LD, W8LCD & W8LMD)
For further W8LD details, go to www.martin-audio.com
All material © 2007. Martin Audio Ltd. Subject to change without notice.

For further W8LCD details, go to www.martin-audio.com
All material © 2007. Martin Audio Ltd. Subject to change without notice.

For further W8LMD details, go to www.martin-audio.com
All material © 2007. Martin Audio Ltd. Subject to change without notice.

5.3 Line array behaviour
Although the vertical coverage of a single point source may be wide, when arrayed in a
straight line, multiple, acoustically small sources vector sum to form a tighter vertical
coverage pattern that narrows with increasing cluster height and frequency following
the classic law for multiple source line arrays.
* = speed of sound (m/s).Varies with temp.
Arcsin = "the angle whose sin is…"
Nd = the total height of the column in meters
All material © 2007. Martin Audio Ltd. Subject to change without notice.

Stacked general purpose horns vs low curvature line array elements
Note that individual elements have to be closely spaced to develop the benefits of a
line array. Stacking traditional, vertically formatted multi-driver cabinets (with,
typically, an LF driver near the bottom of the cabinet and an HF driver or horn near
the top) simply doesn’t work.
The following illustrations compare the poor coverage characteristics of vertically
stacked general purpose loudspeakers withproperly designed, closely coupled line
arrays elements.
The vertically spaced HF horns will have hot spots directly in front of each horn. The
outputs from these multiple elements will add or subtract in the mid and far field
depending on the wavelengthand relative propagation times.
Three tightly arrayed low curvature horns at 8kHz
Closely spaced elements will sum more coherently.
As the number of coherent elements is increased forward projection strengthens and
the side lobes decrease.
All material © 2007. Martin Audio Ltd. Subject to change without notice.

All material © 2007. Martin Audio Ltd. Subject to change without notice.

Attenuation characteristic with distance -a simplified explanation
If we consider a vertical line of cabinets with closely spaced elements, the listener will
hear the vector sum of more and more cabinets as he moves further away from a straight
line array.
6-cabinet line array showing very simplified 7.5deg mid-HF coverage
As the listener moves from left to right in the illustration above, he will hear mainly
cabinet 5, then 4+5, then 4+5+6 and so on.
These increasing source contributions partially compensate for the high attenuation rate
caused by the normal inverse square law (6dB attenuation/doubling of distance). The
line array effect exhibits a lower attenuation rate that can approach3dB
attenuation/double of distance in the near-field.
Far-field spls will increase towards the centre of the array where more elements add. The
“cylindrical” behaviour mentioned in many text books applies to theoretical line arrays
of infinite length, not to practical arrays of limited length. Cylindrical radiation patterns
are rarely found in the real-world due to practical line length limitations.
|
transition distance
>>>>>>>>>low attenuation region>>>>>>>>>>>> high attenuation region>>
As our listener moves further from the array, he will eventually reach a point where he
can hear all of the cabinets summing together. This is called the transition distance. The
attenuation rate will revert to the normal inverse square law of 6dB attenuation/doubling
of distance (+ HF air absorption) beyond this point because there are no further elements
to compensate.
In practice, of course, line array characteristics are more complex. The contribution of
individual elements will depend on their amplitude, relative phase and directivity –
especially when the array is curved to cover a practical audience shape.
All material © 2007. Martin Audio Ltd. Subject to change without notice.

Unfortunately, the line array effect can also be limited by other factors:
Real-world arrays tend to be acoustically small at low frequencies –restricting
the low attenuation region to just a few metres
Air absorption can cause excess attenuation of high frequencies and can be a
significant factor over medium to long distances as it has a linear dB
characteristic with distance (i.e. it may be quantified in dB/m)
Coupling between adjacent elements can be imperfect at high frequencies
because cabinet to cabinet spacing is significant at very short wavelengths. This
is minimised for W8L Series systems by placing the cabinet-to-cabinet hinge at
the front.
W8L Series
Note that our mid and hf designs do not try to emulate a dead straight ribbon. Practical
loudspeaker columns must have vertical coverage patterns tailored to suit the audience
size and shape and our line array systems have been designed with this in mind. The W8L
Series are deliberately designed to produce slightly curved vertical wavefronts -enough to
allow up to 7.5ºof vertical splay to be introduced between boxes but not enough to affect
straight line performance.
Curved arrays –determining inter-cabinet splay angles
Straight columns (0º splay angles) produce far-field high-mid frequency sound pressure
levels that increase approximately 6dB for every doubling of W8L quantities but, as inter-
box splay angles increase, the vector sum of multiple W8Ls decreases through 3dB for a
3º splay to 0dB (no summation) at 7.5º. This Progressive Curvature provides smooth
level coverage without amplifier channel trimming for most applications.
ViewPoint™ and DISPLAY™ software
Martin Audio’s ViewPoint and DISPLAY software calculates the optimum progressive
curvature for a given audience area. The progressive curvature produces a more consistent
frequency response from the front rows to the rear seats than the commonly used J-shaped
arrays that havea straight, long throw section at the top and a curved lower section. An
over-angular J-shaped array acts like a foreshortened straight array above a point source
array and creates vertical lobes that result in irregular coverage.
ViewPoint calculates the maximum summation point (near the top of a progressively
curved array) and aims this towards the furthest listening area. A progressive curvature
array’s HF coverage weakens dramatically above the maximum summation point so this
point is regarded as the Coverage Stop.
ViewPoint simply advises on the appropriate array geometry and controller presets for a
given 2-D room geometry. DISPLAY™ operates may be used in 2-D or 3-D and predicts
polar responses, coverage levels and frequency responses.
All material © 2007. Martin Audio Ltd. Subject to change without notice.

Coverage stop
A J-shaped array will provide irregular coverage in the near-field and mid-field audience
areas due to imperfect summation of the very straight line top section and the spherical
lower section.
Irregular coverage from a J-shaped Array (including down-fills)–
DISPLAY™ simulation
All material © 2007. Martin Audio Ltd. Subject to change without notice.