Martin Audio W8L-W8LD-WS218X used, second hand

26pcs W8L Longbow large scale, 3-way line array enclosure
  2pcs W8LD 3-way downfill line array element
16pcs WS218X dual 18" high performance subwoofers
  4pcs W8L flying frames with riggings
12pcs Linea Research 44M20 amplifiers
  2pcs Inclinometer systems
  5pcs Ampracks with distributor
  1set Cabling.

Photos on request.

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1.01.329
Used

169,900.00 €

169,900.00 € per Set

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About this product

W8L Longbow

Large Scale, 3-Way Line Array Enclosure

The Martin Audio W8L Longbow is an evolution of the successful W8L line array system. It brings a new level of performance to the most demanding sound reinforcement applications such as outdoor festivals, sports stadiums and the largest arenas.
In the low frequency section, the 15” (380mm) Hybrid bass horn design is responsible for the tight, punchy and extended low frequency performance of the W8L Longbow. Development of a completely new ultra-long excursion driver gives the W8L Longbow the ability to displace almost twice the volume of air as the W8L when driven with the same input signal. This advance lifts the already formidable low-end performance to a new level and extends the low frequency -3dB point down to 35Hz.
The mid-horn of the W8L Longbow utilises 2 x 8” (200mm)/2” (50mm) coil drivers to produce 109dB at 1 metre for a 1 watt input. The twin 8” (200mm) mid-horn geometry and short, toroidal ‘donut’ phase plug work together to maintain a low curvature Wavefront and wide 90° horizontal coverage pattern of the mid frequencies right up the 2.5kHz crossover point.
Since the launch of the W8L, Martin Audio has developed a patent pending technology, which provides an exceptional degree of control over the curvature of the high frequency vertical wavefront. Our research has shown that even very long throw systems benefit from a small but specific amount of wavefront curvature. By coupling this technology with significant advances in high frequency device design we have created a quad-driver, high frequency system with the very high efficiency of 119dB (1W/1m). This allows the W8L Longbow to cope with the most adverse atmospheric conditions which can severely attenuate high frequencies over long distances. The new high frequency system also results in improved HF summation of cabinets in the array and a corresponding reduction of side lobes.
The proprietary rigging system of the W8L Longbow is quick to deploy and allows a wide range of array curvatures to be achieved as called up by the Display or Viewpoint array optimization software. W8L Longbow columns are hinged at the front for gapfree HF coverage. Inter-cabinet angles from 0° to 7.5° are set by a rotating splay bar at the rear of the enclosure.

W8L Longbow systems are designed to be powered by Martin Audio MA12K amplifiers.

Features
  • Large scale, three-way line array element
  • Horn loaded 15" (380mm) LF – 106dB @1W, 1m (single cabinet)
  • Twin 8" (200mm) mid-horn - 109dB @1W, 1m (single cabinet)
  • Quad 1" (25mm) HF horn - 119dB @1W, 1m (single cabinet)
  • Consistent 90º horizontal mid and HF pattern control
  • Fast, integral rigging system with variable splay angles
  • ViewPoint array optimisation software
  • Factory controller presets for a wide variety of configurations
  • Compatible with flown or ground stacked W8LS
  • Compatible with ground stacked WLX, WSXa, WS218X
Applications
  • Live Sound Reinforcement: Outdoor concerts, stadiums and indoor arenas
  • Fixed Installations

W8LD

3-Way Downfill Line Array Element

The Martin Audio Wavefront W8LD is a line array downfill enclosure which connects directly to the bottom of a W8L Longbow array and covers from the front row out to up to 20m when using two W8LD cabinets. The exceptionally wide 120° horizontal dispersion increases coverage to front row central and off-stage areas, with full pattern control maintained right up to 15kHz. The all-horn design follows the same format as the W8L Longbow and continues the extension of the line array at low,mid and high frequencies.

Features
  • High performance three-way line array downfill enclosure
  • for use with W8L
  • High power – maximum SPL 136dB continuous, 142dB peak
  • (single unit)
  • Superior bass impact – all horn design
  • Wide bandwidth – 55Hz-18kHz ±3dB (single unit)
  • True 120° (-6dB) horizontal mid and HF pattern control
  • 20° vertical dispersion
  • Smooth transition from W8LD to W8L Longbow array
  • Fast, integral rigging system, connects directly to W8L Longbow
  • Viewpoint array optimisation software
Applications
  • Used at the bottom of W8L Longbow arrays in 1’s or 2’s to cover first 20m (two cabinets)
  • Low profile sidefill, on top of W8LS
  • Premium club installations
Technical Specifications
TYPE
  • Three-way downfill line array element
FREQUENCY RESPONSE(5)
  • 55Hz-18kHz ± 3dB
DRIVERS
  • 12” (300mm)/4” (100mm) voice coil,neodymium magnet, Hybrid® bass horn loaded
  • 2 x 6.5” (165mm)/1.5” (37.5mm) coil drivers,horn loaded
  • 3 x 1” (25mm) exit neodymium magnet HF compression drivers, horn loaded
RATED POWER(2)
  • LF: 1000W AES, 4000W peak
  • MF: 200W AES, 800W peak
  • HF: 200W AES, 800W peak
RECOMMENDED AMPLIFIER MA12K
SENSITIVITY (6)
  • LF: 104.5dB
  • MF: 107dB
  • HF: 113dB
MAXIMUM SPL
  • LF: 134.5dB continuous, 140.5dB peak (calculated @ 1m)
  • MF: 130dB continuous, 136dB peak
  • HF: 136dB continuous, 142dB peak
NOMINAL IMPEDANCE
  • LF: 8 ohms
  • MF: 8 ohms in UPPER mode, 12 ohms in
LOWER mode
  • HF: 6 ohms UPPER mode, 10 ohms in
DISPERSION (-6dB)
  • 120º horizontal, 20º vertical
CROSSOVER
  • 220Hz, 2.5kHz active via DX1.5 or DX2 controller
ENCLOSURE
  • Vertical trapezoid with 10º wall angle, multilaminate birch ply construction
FINISH
  • Textured black or grey paint
PROTECTIVE GRILLE
  • Black or grey perforated steel
CONNECTORS
  • 2 x Neutrik NL8
FITTINGS
  • Proprietary rigging system, 4 x bar handles,
  • 8 x interlocking skids
DIMENSIONS
  • (W) 1314mm x (H) 490mm x (D) 755mm (inc. wheelboard) (911mm)
  • (W) 51.7ins x (H) 19.3ins x (D) 29.7ins (35.9ins)
WEIGHT
  • 95kg (209lbs

WS218X

Dual-Driver Vented Sub-Bass System

The WS218X is a high performance sub-bass system designed for use with large scale systems, in both Live and Installed applications. Featuring a 1000 Watt 18" (460mm) drive unit with magnet structure and suspension engineered for maximum linear excursion.

Features
  • Dual, direct radiating long excursion 18" (460mm) drivers
  • High temperature 4" (100mm) voice coils
  • High power – 138dB continuous, 144dB peak
  • Fitted with handles and castors
Applications
  • Medium/large scale touring systems
  • Theatre sound systems
  • Club sound reinforcement
  • Special effects sub-bass

Featuring twin, 1000 watt 18" (460mm) drive units with magnet structure and suspension engineered for maximum linear excursion.
The birch ply cabinet is fitted with six pocket handles and four 4" (100mm) castors for easy deployment. It features large area porting to reduce air noise.
WS218X subwoofers are designed to be powered by Martin Audio MA12K or MA9.6K amplifiers.

Specification
TYPE
  • Dual-driver vented sub-bass system
FREQUENCY RESPONSE
  • 35Hz-150Hz ± 3dB,-10dB @ 28Hz
DRIVERS
  • 2 x 18" (460mm)/4" (100mm) voice coil, ultra- long excursion, water resistant cone
RATED POWER (1)
  • 2000W AES, 8000W peak
SENSITIVITY (2)
  • 105dB (half space)
MAXIMUM SPL (3)
  • 138dB continuous, 144dB peak (half space)
NOMINAL IMPEDANCE
  • 2 x 8Ω

CROSSOVER

  • 70Hz-150Hz, via DX1.5 or DX2 controller
ENCLOSURE
  • 320 litre, multi-laminate birch ply
FINISH
  • Textured black paint
PROTECTIVE GRILLE
  • Black perforated steel
CONNECTORS
  • 2 x Neutrik NL8
Pin CONNECTIONS
  • LF1: 1+,1- & 2+,2-
  • LF2: 3+,3- & 4+,4-
FITTINGS
  • 4 x 4" (100mm) castors
  • 6 x pocket handles
  • 2 x front lid fittings
DIMENSIONS
  • (W) 1066mm x (H) 561mm x (D) 780mm(911mm)
  • (W) 42ins x (H) 22.1ins x (D) 30.7ins (35.9ins)
WEIGHT
  • 89kg (196.2lbs)

Used Martin Audio

Martin Audio is a World class loudspeaker systems, leading edge designs.Today, Martin Audio enjoys an international reputation for supplying superb performance ready systems across the spectrum of sound reinforcement applications.Our portfolio of products, now highly developed, meet customer requirements for every market sector.
Renowned for integrity in design, technical excellence and the longevity of its products, Martin Audio takes system creation into a further dimension. Our aim is for every member of the audience to enjoy an exceptional sonic experience.
Martin Audio systems are designed with in-built sound qualities which artists can rely on to faithfully reproduce their performance to every corner of the auditorium.
Myriad applications are served to the highest standards from the awesome power demanded by top touring acts to the enthralling theatre of classical ballet or the intimacy of a small theme bar.
Martin Audio: World class loudspeaker systems, leading edge designs.

Active: Powered. An active crossover is electrically powered and divides the line-level signal prior to amplification. An active speaker includes an active crossover and built-in amplifier. Amplifier: A component that increases the gain or level of an audio signal.Balanced Input: A connection with three conductors: two identical signal conductors that are 180 degrees out of phase with each other, and one ground. This type of connection is very resistant to line noise. Bandpass: A two-part filter that cuts both higher and lower frequencies around a center band. A bandpass enclosure cuts high frequencies by acoustic cancellation and low frequencies by natural physical limitations on bass response. Bandwidth: In audio, the range of frequencies a device operates within. In video, the range of frequencies passed from the input to the output. Bandwidth can also refer to the transmission capacity of an electronic communications device or system; the speed of data transfer…very important when planning a meeting for the attendees to stay connected. Bass: Low frequencies; those below approximately 200 Hz. CD: Compact Disc. Ubiquitous digital audio format. Uses 16-bit/44.1-kHz sampling rate PCM digital signal to encode roughly 74 or 80 minutes of two- channel, full-range audio onto a 5-inch disc. Channel: In components and systems, a channel is a separate signal path. A four-channel amplifier has at least four separate inputs and four separate outputs.Crossover: A component that divides an audio signal into two or more ranges by frequency, sending, for example, low frequencies to one output and high frequencies to another. An active crossover is powered and divides the line-level audio signal prior to amplification. A passive crossover uses no external power supply and may be used either at line level or, more commonly, at speaker level to divide the signal after amplification and send the low frequencies to the woofer and the high frequencies to the tweeter. Crossover Frequency: The frequency at which an audio signal is divided. 80 Hz is a typical subwoofer crossover point and is the recommended crossover point in theatrical and home THX systems. Frequencies below 80 Hz are sent to the subwoofer; signals above 80 Hz are sent to the main speakers.Decibel (dB): A logarithmic measurement unit that describes a sound's relative loudness, though it can also be used to describe the relative difference between two power levels. A decibel is one tenth of a Bel. In sound, decibels generally measure a scale from 0 (the threshold of hearing) to 120-140 dB (the threshold of pain). A 3dB difference equates to a doubling of power. A 10dB difference is required to double the subjective volume. A 1dB difference over a broad frequency range is noticeable to most people, while a 0.2dB difference can affect the subjective impression of a sound.Delay: The time difference between a sonic event and its perception at the listening position (sound traveling through space is delayed according to the distance it travels). People perceive spaciousness by the delay between the arrival of direct and reflected sound (larger spaces cause longer delays).Diaphragm: The part of a dynamic loudspeaker attached to the voice coil that produces sound. It usually has the shape of a cone or dome.Diffusion: In audio, the scattering of sound waves, reducing the sense of localization. In video, the scattering of light waves, reducing hot spotting, as in a diffusion screen.Digital Audio Server: Essentially a hard drive, a digital audio server stores compressed audio files (like MP3 or WMA). Most include the processing to make the files, and all have the ability to play them back.Dispersion: The spread of sound over a wide area.Distortion: Any undesired change in an audio signal between input and the output.Dolby B: A noise-reduction system that increases the level of high frequencies during recording and decreases them during playback.Dolby C: An improvement on Dolby B that provides about twice as much noise reduction.Dolby Digital: An encoding system that digitally compresses up to 5.1 discrete channels of audio (left front, center, right front, left surround, right surround, and LFE) into a single bitstream, which can be recorded onto a DVD, HDTV broadcast, or other form of digital media. When RF-modulated, it was included on some laser discs, which requires an RF-demodulator before the signal can be decoded. Five channels are full-range; the .1 channel is a band-limited LFE track. A Dolby Digital processor (found in most new receivers, preamps, and some DVD players) can decode this signal back into the 5.1 separate channels. Most films since 1992's Batman Returns have been recorded in a 5.1 digital format, though a number of films before that had 6-channel analog tracks that have been remastered into 5.1.Dolby EX: An enhancement to Dolby Digital that adds a surround back channel to 5.1 soundtracks. The sixth channel is matrixed from the left and right surround channels. Often referred to as 6.1. Sometimes referred to as 7.1 if the system uses two surround back speakers, even though both speakers reproduce the same signal. Software is backwards-compatible with 5.1 systems, but requires an EX or 6.1 processor to obtain additional benefit.Dolby Pro Logic: An enhancement of the Dolby Surround decoding process. Pro Logic decoders derive left, center, right, and a mono surround channel from two-channel Dolby Surround encoded material via matrix techniques. Dolby Pro Logic II: An enhanced version of Pro Logic. Adds improved decoding for two-channel, non-encoded soundtracks and music. Driver: A speaker without an enclosure; also refers to the active element of a speaker system that creates compressions and rarefactions in the air.DSP: Digital Signal Processing. Manipulating an audio signal digitally to create various possible effects at the output. Often refers to artificially generated surround effects derived from and applied to two-channel sources.DTS: Digital Theater Systems. A digital sound recording format, originally developed for theatrical film soundtracks, starting with Jurassic Park. Records 5.1 discrete channels of audio onto a handful of laser discs, CDs, and DVDs. Requires a player with DTS output connected to a DTS processor.DTS ES: An enhanced version of the 5.1 DTS system. Like Dolby's Surround EX, a sixth channel is added. In some cases (DTS ES Discrete), the sixth channel is discrete. Software is backwards-compatible with 5.1 systems, but requires an ES or 6.1 processor to obtain additional benefit. Neo: 6 is a subset of DTS ES that creates 6.1 from material with fewer original channels.Dynamic Range: The difference between the lowest and the highest levels; in audio, it's often expressed in decibels. In video, it's listed as the contrast ratio.Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both. Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it's in phase with the input and negative when it's out of phase. Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details). Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level. Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.Gain: Increase in level or amplitude.Gooseneck: This refers to amicrophone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies; lowering sliders cuts (attenuates) the affected frequencies.High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.KHz: Kilohertz or one thousand Hz.Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.Line Array: A group of speakers that have been arrayed or “built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies. Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range. Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers. Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.Phase: Time relationship between signals; it's all relative.Power Output: A measure, usually in watts, of how much energy is modulated by a component.Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.surround processor portion of the receiver and the input of the amplifier portion of the receiver.Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television's tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal. RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square's set of values. A reasonably accurate method of describing an amplifier's power output. Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better. Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language. Sound field: The total acoustical characteristics of a space, such as ambience; number, timing, and relative level of reflections; ratio of direct to reflected sound; RT-60 time; etc. Speaker: A component that converts electrical energy into acoustical energy. SPL: Sound-Pressure Level. Measured in dB. Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX Select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman's eXperiment, after the engineer who drafted the original standard, or is named after the company's founder George Lucas' first movie, THX 1138. Nobody agrees on which.

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