Martin Audio’s Wavefront Precision optimised line array series has won a slew of industry awards, and been a best seller for the pro audio specialist since its introduction. Partnered with the brand’s innovative DISPLAY 2 software, the range offers installers and engineers a uniquely flexible live sound solution by customising audience coverage to each venue and using scalable resolution to build systems to suit users goals and budget, in venues from outdoor festivals to worship halls.

To learn more, we quizzed Robin Dibble, Product Support Engineer at Martin Audio.

AMI: One key advantage offered by the Wavefront Precision range is that it can deliver consistent sound quality for every member of an audience or congregation, by reducing the influence of room acoustics. This is a game changer for live venues, places of worship etc. What’s the underlying science behind this line array range – is it a perfect marriage of hardware and DISPLAY software? 

Robin Dibble, Product Support Engineer: In a word – yes!

Our technology allows us to use the vertical line of drive units not entirely as a traditional line source, but as an opportunity to play with the acoustic relationship between vertically aligned speakers to change the directivity of the array in the vertical plane. Horizontally, the fixed angle directional control comes from Martin Audio’s lifelong experience with horn design.

DISPLAY 2 software looks at the vertical coverage of the array, using virtual microphone points through an auditorium’s audience regions and building profile to examine the likely output of an array in multiple physical arrangements and processing arrangements to achieve the goals set by the system designer.

These goals include the sound level attenuation from the front to back of the audience, consistent frequency response and tonality throughout the audience space and reducing the level in areas where there are no audience by as much as 20dB broadband. This significantly reduces the influence of the room’s acoustics on the sound heard by the audience.

Then we have the cherry on the top, a function we call Hard Avoid. It allows users to nominate a particular area of the venue where the system will actively reduce levels by as much as 30dB broadband with respect to the level in the audience space. This is invaluable in keeping stages quiet for cleaner mixes for better gain before feedback, or reducing reflections from a troublesome back wall, or in the case of festival sites, reducing the sound levels escaping into the surrounding environment.

The results of this processing can further be examined in a three dimensional model of the room or site in our new DISPLAY 3 software, by importing the details of the room and arrays from DISPLAY 2.

Scalable Resolution explained

AMI: Can you explain what you mean by Scalable Resolution, and why it’s a significant advance for sound professionals?

Robin Dibble: To achieve what we do with vertical control, it is necessary to process the sound differently to different regions of an array. Depending on the model of loudspeaker, we can do this by processing blocks of four, three, two or single cabinets separately using the powerful DSP in the output of our iKON amplifiers. These work according to the parameters set in them by our DISPLAY 2 software and VU-NET control software.

For example, we can drive an array of eight WPM array loudspeakers with between two and eight amplifier channels. The more amplifier channels in use, then obviously the finer degree of control we have over the sound in the room, and the more effective the achievement of each of the goals.

This allows decisions to be made by the system designer about budget vs. room requirements, with the added advantage that more amplifier channels can always be added at a later date to improve the existing system.

As an example, a couple of dance stacks in a club may not need the highest degree of control, the requirement there is for volume and impact. Whereas for a concert held in an historical church building it would be necessary to minimise the effect of the room acoustics on what the audience hear, requiring more control from the loudspeaker arrays and therefore more channels of amplification.

The commercial advantages of the approach are substantial. When it comes to system rental, users can design systems that can exactly meet specific client budgets and tour technical needs, while installations have the option to start at lower budgets and add amplification at a later stage to improve pattern control and thereby sound quality in the venue.   

Wavefront Precision case studies

AMI: Can you point to some real world case studies?

Robin Dibble: The first installation of WP series was in First Pentecostal Church in North Little Rock, Arkansas by Clark. Arrays of 16 WPC and 8 WPM provide exemplary venue coverage in a challenging environment for up to 4,500 congregation members across music styles from choral to rock. The environment included domed ceilings, stained glass windows and marble surfaces, yet using our optimisation and scalable resolution, sound quality described as comparable to that of studio monitors was achieved throughout the room.

AMI: Do the advantages offered by the Wavefront Precision family create new installation opportunities?  

Robin Dibble: It’s not so much new installation opportunities, but obviously the flexibility and affordability of Wavefront Precision system does open up more venues to be able to access array optimisation, rather than compromising the system they install with standard line array. 

AMI: Has the trade taken to the idea/freedom of incremental upgrades, as and when? 

Robin Dibble: Yes, very much so. At a rental level, live sound companies are regularly interchanging the number of amp channels used to either suit client budget, the needs of the venue or the requirements of the performance. Similarly, we see many installations starting at two box resolution with a view that in a few years’ time they can upgrade the performance of the line array system yet further, extending its life and value. 

AMI: When it comes to touring sound and corporate event hire, what are the key benefits offered by the Wavefront Precision Series?

Robin Dibble: The unique tools already outlined have the same advantages in these environments, for example with noise control and exceptional audience coverage giving any rental house deploying WP an advantage.  Scalable resolution is allowing providers to tailor rental packages to different customers’ requirements through scalable resolution, making meeting tour budgets easier whilst providing successful events.

AMI: The series is already comprehensive, but can sound pros expect some new loudspeaker additions to the range? 

Robin Dibble: As it stands the Wavefront Precision series is complete. However, as mentioned earlier we are continuing work on our 3D prediction software, DISPLAY 3 (D3). We can already import DISPLAY 2 data into D3 to showcase the system design in a 3D environment, but we are obviously working on full optimisation of line array systems natively within D3. Equally, we will be adding sound prediction for our subwoofers and point source line up, so any system can be viewed in a 3D environment, ahead of time.

Defeating sub-optimal acoustics

AMI: Many installations will be in venues with sub-optimal acoustics – which is where DISPLAY software, and features like Hard Avoid, come into their own. Can you cite any projects that could only have been served by the Wavefront Precision range?

Robin Dibble: There are a number of venues which have significantly benefited from Wavefront Precision systems, that otherwise would have probably comprised their sound system.

Jonava Cultural Centre, with its rake seating and series of arched ceiling mounts was highly susceptible to sound reflections. But the introduction of a WPC system with two box resolution and the Jonava Cultural Centre sound engineer, Valius Strakalaitis, commented, “The overall system intelligibility and consistency of coverage is just outstanding. I am very proud and delighted to be working with this system.

Another example is Oak Point Church in Michigan, a venue that had low ceilings, poor sight lines, and a dynamic stage, and the existing PA system was lacking intelligibility, pattern control and musicality.

We needed control and directivity to avoid coverage where we didn’t need it, which we get from the system’s Hard Avoid capability. The surfaces are brick and steel with a huge reflective wall at the back of the room and the PA system drops coverage a few feet beyond the operator at the back of the house while staying off the ceiling as well. “With Martin Audio, the intelligibility is so much more impressive than the previous PA. It’s an impressive sounding system by any standard. Everyone is over the moon and we’re very proud of it.” Trent Keeling, Senior Design Consultant for Advanced Audio. 

Finally, to the Shibata Civic Cultural Center in Japan. A venue is a semi-circular-shaped hall with upper balcony seats. 

Mr. Inomata from Niigata Shomei Giken, who is in charge of sound operation in the hall, commented, “This audience area has quite a unique shape, and you can see the stage from wide angles, almost 180 degrees. On the other hand, it is generally difficult to create consistent sound in a venue of this shape.”

In particular, the venue suffers acoustic problems caused by reflections to the stage, he continued. “Up to now, I had given up solving this problem because it was outside the range of adjustment. However, with the introduction of a WPM system it’s a different story, as it can clearly handle these issues and totally give the same audio experience in all the seats.

The sound characteristic is similar everywhere in the auditorium, as WPM is deployed for both proscenium and as side columns. To combine the system depends on the performance, and the ability to control between loud volume and a much smaller sound. With WPM we can provide top-class sound quality to audiences at all events.

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Martin Audio, and its family of sound engineers, installation teams and venue managers, have played a pivotal role in reviving live music over the past six months. 

Large gig or small, indoors or out, Martin Audio offers powerful solutions to deliver its signature sound, including the much lauded Wavefront Precision series, recently recognised with a Queen’s Award for Enterprise in Innovation.

The company is embarking on a campaign that celebrates its expertise, using the hashtag #MartinAudioFamily.

Martin Audio helped the inaugural Electric Woodlands dance festival  (pictured below) get off the ground this summer, bringing joyful clubbers together at Bygrave Farm, Baldock, for an 11 hour drum & bass experience held across three stages in a hidden woodland setting. 

Capital Sound supplied the PA, fitting out the largest two stages with premium Martin Audio systems.

Because the site was so remote, there were no sound restrictions, allowing attendees to enjoy an optimum performance.  

Chase & Status and Rage headlined the Big Top tent, performing through 14 MLA Compact Loudspeaker Arrays, left and right, with 12 MLX subwoofers broadside and six Martin Audio XD12 for front fill. 

A Martin Audio rig was also present on The Clearing Stage. Entertaining fans of garage and grime were eight WPS per side, driven by iKON iK42 amplifiers. Subwoofers comprised 12 SX218, while four XD12 provided front fill. 

Capital senior project manager, Martin Connolly described the WPS array as “the best weapon in the Martin Audio armoury.”  The show was so well received, it’s now looking to become an annual event.

Over in Virginia, USA, the 38th Annual Norfolk Waterfront Jazz Festival was headlined by David Sanborn and Boney James. Once again, Martin Audio’s Wavefront Precision line array proved its worth. 

Forced inside by inclement weather, partner Soundworks of Virginia set the system up in the Norfolk Scope (pictured above), transforming what is normally a sports arena with notorious acoustics into a 7,500 seated concert venue.

For the event, 12 WPL speakers per side were joined by a quartet of SXH218 subwoofers.  A CDD-LIVE 15 on each side handed out-fill coverage, to cover as many customers as possible. Running the show in 2-box resolution were iKON iK42 amps.  

Soundworks president Grant Howard says the system was a hit with visiting sound engineers: “After a couple of songs, and getting a handle on the room, they all had a great show.”

Nearby, bluegrass and string band music fans were entertained at the annual Red Wing Roots Music Festival (pictured below). Attracting around 4,500 music lovers, the five-stage festival has become a second home to Martin Audio, with rental partners Southard Audio also deploying the company’s Wavefront Precision line array system.

Southard’s Jason Misterka said: “While it is relatively easy to amplify a typical pop or rock band with a few vocal mics and a lot of DI boxes, it is much more difficult to amplify a band with all acoustic instruments and 12 or more open mics, and to bring that up to show volume for a large audience.”

The set-up used Martin Audio’s Hard Avoid feature to limit sound from the main array bleeding onto the stage, decreasing the artist’s monitor level and helping the mics sound cleaner.

On the Red Wing Shenandoah Mountain Stage, Southard Audio employed 2 x 8 WPL speaker modules on a Stageline SL320 stage, with six SXH218 subs in cardioid configuration. Four CDD-LIVE 15 provided front fills and out fills while a single CDD-LIVE 12 provided VIP fills. The whole shebang was driven by a couple of Martin Audio iK42 racks.

Similarly, the Blue Ridge Timberwright Stage featured 2 x 11 of Martin Audio’s smaller WPS modules mounted to Applied LA12-25 towers, with six SHX218 subs in cardioid configuration and a pair of further WPS for front fills.

The smaller Roots Stage featured a pair of CDD-LIVE 15 with four SXC118 cardioid subs, while The Hill Stage featured a further pair of CDD-LIVE 15 with a pair of CSX118 providing LF. 

“At a festival, you often don’t get much time to soundcheck, if at all,” explained Misterka. “So the PA needs to be pretty neutral and should ideally come out of the gate sounding like your headphone mix.”

UK event and production company dBS Solutions doesn’t need convincing about Martin Audio’s prowess. It recently acquired a WPS system to provide coverage for 2,000-plus capacity concert halls. Managing director Chris Bogg saw the potential offered by Martin Audio’s Display control software, opting to use its Hard Avoid feature on the Queen Symphonic UK tour, which consisted of a 35-piece symphony orchestra, rock band and four West End musical vocalists. “Traditional classical musicians don’t like a loud stage, and in terms of levels we were able to use Hard Avoid to remove much of that,” he said.

“I have never heard a system sounding so consistent across three or four levels or so tonally balanced, when compared with other systems we’ve used,” he enthused. “We will definitely be increasing that inventory.”

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Leading Pro Audio loudspeaker specialist Genelec is inviting UK creatives who work with sound to try its SAM (Smart Active Monitor) system at home for 10 days, free of charge, as part of a new Pro at Home initiative, so they can explore its potential as part of their own system set ups.  

The active monitors are able to adapt dynamically to any given environment Using Genelec’s room correction software and kit – GLM4, ensuring playback sounds as accurate as possible. Designed for musicians, audio engineers, producers, sound designers, DJs and vloggers, Genelec is so confident you’ll appreciate using these compact enclosures as a sonic reference, you’ll want to make the change permanent. 

The Create with Genelec proposition has been a huge hit in the Nordics and the USA,  and is now being rolled out across the UK from September. 

Take up the Pro at Home system offer and you’ll get one pair of 8330 Smart Active monitors, complete with stylish RAW finish (more on that below), and a GLM room calibration kit with microphone stand. The whole shebang is delivered in a rugged hard-shell PELI case, you’ll also get a full set of interconnects. 

So how does the Create with Genelec programme work? 

In the UK, Genelec will deliver your kit to a participating Genelec dealer. You can register your loan request with Genelec here.

When a request is received, it’s allocated to a local Genelec specialist who will then manage the logistics, delivering a system to your chosen space. At the end of the trial, that same dealer will arrange a collection. 

If you’re in the USA, or the Nordics, things work slightly differently. Genelec will send the Pro at Home kits to you direct.

Genelec is encouraging users to share their Create with Genelec SAM trial setups, so be sure to check out the hashtag #createwithgenelec on Genelec’s Instagram and Twitter channels. Finish DJ Geoff Fitzgerald enthuses about the GLM4 room calibration software – “It really makes a difference!” he says.

 The Genelec SAM 8330A: What you need to know

Genelec’s networked Smart Active Monitor systems are tailor made for media creators. With an understandable trend toward more confined working environments, reliable audio creation becomes more of a challenge as acoustic problems become more pronounced and impacts the reliability of monitoring. 

More than ever, professional audio engineers need a monitoring system able to reproduce sound neutrally, without distortion.

The Genelec SAM systems are built on the same electro-acoustic foundations of the brand’s acclaimed 1200, 8000 and 7000 Series products, but offer a unique feature set for flexible monitoring. 

Working with Genelec’s proprietary Loudspeaker Manager (GLM) network and software, the SAM series can adapt to any acoustic environment, and automatically correct for levels, delays and room anomalies.

The GLM 4 software provides the monitor control backbone for all connected SAM studio monitors and subwoofers. More than 80 can be managed on a single network.  

Options include adjustment of levels, distance delays and flexible room response compensation equalization, as delivered by the AutoCal 2 automated calibration system. 

If you need to break a system down, or move it to another studio, that’s not an issue, as all parameters and settings are stored in system setup files, or saved in each individual monitor or subwoofer.

The SAM 8330A in particular has developed an enthusiastic following amongst creatives, thanks to its power and flexibility. The active monitor boasts 100W of Class D amplification, split equally between bass and treble drivers. 

The SAM enclosure may be compact, but it offers formidable SPL (104dB, 100 Hz to 3 kHz at 1 m) and has a deep LF extension (-6dB, 45Hz – 23kHz) . Its uncoloured character will ensure you’ll always make accurate mix decisions, says the brand.

Fashioned from recycled aluminium, the special RAW aluminium colour finish that distinguishes the Pro at Home packages is particularly noteworthy. It boasts the manufacturer’s Minimum Diffraction Enclosure (MDE) design, developed in collaboration with leading industrial designer Harri Koskinen. 

The RAW 8330A requires no painting, and involves less finishing than standard painted models, making it an exceptionally environmentally friendly loudspeaker, with a unique look and feel.  

Additional features include Iso-Pod Stands and Directivity Control Waveguide (DCW) technology.

Vibration decoupling Iso-Pod stands improve sound image definition. The Isolation Positioner/Decoupler attaches to the aluminium enclosure. It has four shallow feet and is made from special lossy rubber-like material. It also allows for a ±15° tilt of the loudspeaker. The resulting vibration isolation and damping properties reduce midrange coloration.

Genelec’s proprietary Directivity Control Waveguide (DCW) has been steadily refined over more than 30 years. DCW shapes the emitted wavefront in a controlled way, minimising early reflections and providing a wide and controlled listening area, both on- and off-axis. This makes the Genelec SAM 8330A ideal for small studios and near field monitoring.

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Pro Audio specialist Martin Audio has been honoured with a Queen’s Award for Enterprise in Innovation for its Wavefront Precision optimised line arrays. 

Now in its 55th year, the Queen’s Awards for Enterprise are widely recognised as the most prestigious of business awards. Winning companies are able to use the Queen’s Awards emblem for the next five years.

The company, which employs over 60 people, is one of 205 organisations in the UK to be recognised with a prestigious Queen’s Award for Enterprise.

The Wavefront Precision range of optimised line arrays was the first passive systems to be able to set the independent coverage goals for three key parameters: Audience Area, where sound distribution should be even with respect to volume and frequency response; Non-Audience Areas, where sound should not leak in to; and Hard Avoid Areas, where sound must not leak at all. 

With a peak SPL of 133dB, the WP Line Array is designed for live sound reinforcement and installations in theatres, concert halls and houses of worship. The arrays can be deployed as front-fill, delay or side-hang support for larger Wavefront Precision systems.

The technology within these systems is protected by granted UK patent. The full story behind this line array technology can be read here. Martin Audio Wavefront Precision Line Array models can be used in conjunction with Display 3, Martin Audio’s new 3D prediction software, to further finesse venue optimisation.

Martin Audio is currently celebrating its 50th year designing and manufacturing world class professional loudspeaker systems.

Martin Audio Managing Director, Dom Harter, said: “It’s an honour to win such a prestigious award and very fitting to do so in our 50th anniversary year. Wavefront Precision arrays have become our fastest ever selling line array format suitable for both install and live sound applications and the Queen’s Award for Enterprise underlines both its innovation and commercial success.”

For more about Martin Audio’s Wavefront Precision Line Array models click here. 

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Optimal Audio, a new commercial audio brand promising a simplified ecosystem of products, has been launched by Focusrite Group.

In development for three years, the brand announced its arrival with an online event, during which Focusrite Group CEO, Tim Carroll declared Optimal Audio part of a long term strategy. Its mission is to “simplify the unnecessarily complex world of commercial audio,” said Carroll. “Now that the world is returning to some sort of normality, the timing couldn’t be better to launch.”

Optimal Audio is the Focusrite Group’s seventh brand.

The product mix comprises controllers, amplifiers and loudspeakers, designed to work seamlessly together via a web app. “Optimal Audio provides a streamlined product offering working seamlessly together to deliver high quality sound that is easy to install and can be operated by anyone, not just engineers.”

The company is headed up by Martin Audio MD Dom Harter, who will look after both brands.

“We took a long considered look at the Commercial Audio market, and it increasingly felt traditional in approach with products that were overly complicated to understand, install and operate,” said Harter at the launch. “We felt there needed to be a fresh outlook. Commercial Audio is a model that’s overly complicated to control and understand.”  

Out of the gate, Optimal Audio will focus on solutions for small to medium-sized commercial installations. Its launch offering includes four and eight-zone, powered and non-powered Zone controllers.

I/O provision is generous. The Zone 8 controller boasts 30 inputs, including HDMI with ARC, and 16 outputs.

The Optimal Audio WebApp supports system set-up, and once configured, presents venue staff with a simplified UI for daily operation.

Optimal Audio is also shipping wall-mounted ZonePad controllers, in both one-zone or four-zone formats.

There will be three SmartAmps with DSP in the line-up, with half-rack and full-rack options available, as well as a collection of loudspeakers. A five-strong in-ceiling range, dubbed Up, comprises 3-, 4- and 6-inch driver models in a neutral white finish. These will be joined by four on-wall wooden speakers called Cuboid, and two subwoofers.

Optimal Audio has named Audio Technica as its first major distribution partner for key European territories. 

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Robotic line array company PK Sound has appointed James Oliver as its new chief strategy officer.

Oliver joins the company from fellow Canadian loudspeaker specialist Adamson, with which he has spent the past seven years. 

In his new role, Oliver will be responsible for the development, communication, execution, and sustainment of strategic corporate initiatives. He has also joined the company’s ownership group.

“Joining PK was the easiest transition of my career,” Oliver said. “The culture of the organisation and technological advancements of the product line are completely in tune with the live events industry of tomorrow,” comments Oliver. “The potential I inherit from the PK Sound brand is incredible, and whatever comes next for the organization is a testament to the foundation that’s been laid before me.

“I’ve joined at a time when there are many questions in front of the live events industry; questions like, when will we go back to work? When will we be able to share life again with our peers? When can we feel the rush of an artist hitting the stage, and the swell of excitement within a large crowd of people? While we cannot control the outcome of this virus, we can control how we prepare for what’s next. This is a moment in our history where we can double down our efforts, ramp up innovation, and come back better than before.

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“Over the past year, we have piloted a significant strategic shift in the organization to capitalise on our technological advantages and reimagined the relationship between the service provider and manufacturer. The industry will be different when we return, and we intend to be at the forefront of this change.”

Jeremy Bridge, CEO and founder of PK Sound, added: “Throughout 2020, we refocused our teams and made significant investments in infrastructure, research and development, and strategy in preparation for a major push towards our goal of PK Sound becoming a top global brand in the professional loudspeaker space. As we reemerge post-pandemic, PK will be a leader in reimagining a more collaborative and mutually beneficial pro audio industry. James adds a key element to our already-deep talent pool and will execute our strategy to reshape the future of sound. We’re excited to welcome him to the PK Sound family.”

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British Hi-Fi company KEF has unveiled a new absorption technology which it describes as an acoustic ‘black hole’, able to absorb 99 per cent of sound radiating from the rear of a loudspeaker driver, thereby reducing distortion and improving clarity.

MAT, or Metamaterial Absorption Technology, is a joint development initiative with the Acoustic Metamaterials Group. MAT is described as a highly complex maze-like structure, where each of its intricate channels efficiently absorbs a range of specific frequencies. When combined, that remarkable 99 per cent absorption rating is achieved.

Traditional approaches have only allowed around 60 per cent absorption, so the resulting acoustic quality improvement is significant. The implications of MAT extend both into the pro audio world for studios and home monitoring. 

The first use of it is in KEF’s new active wireless standmount monitors, the LS50II. This bookshelf speaker features a specially designed 12th generation Uni-Q driver with MAT.

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Swedish pro audio supplier Lab.gruppen has introduced its new FA Series amplifier line, designed for commercial and industrial applications. Typical uses for these slimline 2-channel PA amplifiers include bars and restaurants, hospitality and corporate environments. 

The loudspeakers use Direct Drive Technology, said to reduce energy usage.The cabinets are also convection cooled, so no fan noise, making them ideal for silent installations. They sport an automatic power on/off feature which monitors the input signal, automatically shutting the amplifiers down when there’s nothing incoming.

Available in 2x60W, 2x120W and 2x240W configurations, connectivity includes analogue inputs with gain controls for each channel. The manufacturer suggests that they partner Tannoy install loudspeakers, like the CVS and SAT/SUB speaker ranges.

Features include a GPI remote volume control input, using an RJ-45 connector and Ethernet. The FA series is also compatible with Lab.gruppen’s CRC-V series of wall control accessories. The CRC-V is equipped with a single volume control knob, with integrated illumination, and an RJ-45 connector for use with Cat 5/6 cables.

Various mounting options are supported, with brackets bundled for surface mounting and various rack-mounting configurations. A single amp and can be housed in a half 19-inch rack or full-rack enclosure.

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Taiwanese pro audio specialist MiPro is now shipping its MA-303SG and MA-303DG portable wireless PA systems. The Bluetooth enabled speakers feature a 50W Class-D amplifier with 127mm woofer and 25mm tweeter.

Features include one or two 5.8 GHz true diversity receiver modules, with 10 auto-scannable frequencies. A one-touch Scan & Sync (ACT) button expedites channel setup.

Connectivity comprises a mixed output of wired mic, wireless mic and USB, with 3.5 mm line input able to accept an external media player or laptop.

There’s also an ID code setting, to prevent interference from the same operating channel at the venue.

The 2.7 kg speakers use an external AC switching power supply for fast battery charge, while the built-in high capacity lithium battery offers 10-hour stand-by time, after a 4-hour charge.

More over on mipro.com.tw.

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Wharfedale Pro is now shipping its new i series of installation loudspeakers. Comprising three ABS plastic models (4-, 6.5- and 8-inch), each is available in a 70v/100v or 8Ω low impedance configuration.

All i-series loudspeakers are IP54 certified, which makes them ideal in extreme environments where excess moisture or dust ingress are a risk.  A full-face aluminium front grille also gives solid protection against any physical impact damage.

To ease installation, fully adjustable steel wall mounting brackets come in the box, along with seismic restraint tethers. There’s a choice of screw terminal (on the i4) and Phoenix connections (on the i6 and i8).

The i series adopt a two-way design with a 25mm silk dome tweeter and custom Wharfedale Pro 4-, 6.5- or 8- low frequency drivers. The brand suggests they’re suitable for both music playback or voice applications.

For more visit wharfedalepro.com.

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