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Available for 2026 winter season

Bringing your sound to life

Systems engineering, front of house and monitors, equipment supply and independent consulting — 25+ years of it, from club rooms to festival main stages, arenas, stadiums and broadcast.

Selected credits

  • Vatican Jubilee Concert
  • Mary J Blige
  • Megadeth
  • Ed Sheeran
  • Barack Obama
  • Doja Cat
  • All together now

Services

What we're brought in to do

Most work falls into one of six areas. Plenty of projects use several at once — a festival might need the system designed, tuned and then mixed on the day.

01

System deployment

Design, deployment, alignment and voicing of the PA. Coverage prediction, then time and level alignment on site until the room is even.

  • Soundvision
  • ArrayCalc
  • Mapp3D
  • Acoustic predictions

02

System voicing

Measurement-led optimisation using dual-channel FFT. Alignment, voicing of systems lead by experienced listening

  • Smaart
  • RiTA
  • Crosslite+
  • Sub alignment
  • PA Voicing

03

FOH engineering

Front of house mixing for festivals, tours and one-off shows. Fast line checks, calm changeovers, and a mix that survives a room filling up.

  • Mixing
  • Multitrack recording
  • Tech

04

Audio consulting

Independent advice on system specification, venue acoustics and equipment procurement — with no allegiance to any one manufacturer.

  • Specification
  • Procurement
  • Acoustic review

05

Training & education

Console training, system optimisation workshops and formal teaching — live sound lecturer at Pulse College, with training delivered to working engineers.

  • One on one coaching
  • Console training
  • System workshops

06

Monitor engineering

Wedges and in-ears mixed to keep the band comfortable. Clear headroom, and a soundcheck that doesn't run over.

  • IEM management
  • Wedge tuning

Why work with us

Measured, not guessed

Plenty of systems are flown, tuned, and handed over. That approach works—until the room fills, the wind changes, or a support act arrives with a different band and a different set of requirements.

Every system leaves with comprehensive measurement data and a clear written record of what was configured, how it was set, and why. This provides the next engineer with a reliable starting point, rather than requiring them to rebuild the system from scratch.

Technical measurement is supported by experienced critical listening and a deep understanding of how each genre should sound. Every system is then refined and optimised to suit the individual act, ensuring the technical solution serves the music, the performers, and the audience.

  • 0+

    Years in live sound
  • 0+

    Manufacturer courses & seminars
  • 0+

    International festival stages in 2026

The standard

Engineered for the moment the doors open

Every system is modelled, measured, aligned and documented before the first note — because no venue, audience, or performance environment behaves exactly as the specification suggests.

System optimisation is approached as an engineering discipline, combining acoustic prediction, precision measurement, system alignment and experienced critical listening. Deployment is not simply a matter of achieving coverage or reaching a target SPL; it is about controlling the entire acoustic system — time, phase, frequency response, tonal balance, directivity and consistency — so that the system translates predictably across the audience area and remains coherent as conditions change.

To support this process, I have developed my own calculation tools and bespoke applications, designed specifically around the practical demands of live sound. These tools assist with system prediction, alignment, optimisation, data analysis and decision-making, allowing technical information to be processed quickly and consistently while leaving the final judgement where it belongs: with an experienced engineer listening to the result.

The same philosophy extends to the equipment used to deliver the work. Precision measurement systems, high-end analysis tools and professional-grade hardware are not there for appearance; they are selected because they provide the accuracy, repeatability and confidence required to make better technical decisions. Investment in the right tools allows problems to be identified earlier, systems to be optimised more precisely, and results to be delivered with greater consistency.

The objective is not simply to make a system loud. It is to make it behave.

Every deployment is treated as its own acoustic environment and its own musical requirement. The system is refined around the venue, the audience geometry, the environmental conditions and, ultimately, the character of the act. Genre, arrangement, instrumentation and artistic intent all influence the final voicing.

The result is a workflow where measurement informs the decision, calculation accelerates the process, technology provides precision, and experience provides the judgement — creating a system that is technically controlled, musically appropriate and repeatable from show to show.

Founder & lead engineer

Pedro Filipe Martins

With more than 25 years of professional experience across live sound, recording, broadcast and system engineering, Pedro Martins has built a career defined by technical excellence, relentless curiosity and a commitment to continuous learning.

His work spans some of the industry's most demanding environments, from major international tours and broadcast productions to large-scale public events and world-class venues. During 2025 alone, Pedro delivered system engineering and FOH responsibilities for the Vatican Jubilee Concert in Rome, worked on Mary J. Blige's European tour, handled monitor engineering for Megadeth's European run, and provided PA and system engineering for high-profile events featuring Barack Obama and Ed Sheeran's Spotify Billions Club. His portfolio also includes major festival productions such as Electric Picnic, Forbidden Fruit and All Together Now, alongside arena-scale productions at Dublin's 3Arena.

Beyond touring and live events, Pedro has served as project lead and technical liaison on productions for organisations including the United Nations, Rock in Rio and the World Food Programme. He has also held house engineering positions at some of Ireland's most respected venues, including 3Olympia Theatre, Vicar Street, The Academy and The Sugar Club, while contributing to broadcast and corporate productions through NEP Ireland, including Six Nations Rugby coverage, and numerous projects for Lumio.

What distinguishes Pedro's approach is a foundation built on measurement, science and an enduring fascination with sound. A certified Smaart,RiTA operator and Crosslite+, he has completed advanced training and optimisation programmes with Meyer Sound, L-Acoustics and d&b audiotechnik, and is currently pursuing an MSc in Acoustic Engineering. Alongside his professional practice, he shares this knowledge as a lecturer in Live Sound at Pulse College.

That passion for audio began long before his professional career. As a child, Pedro spent countless hours dismantling electronic toys and remote-controlled cars to understand how they worked, experimenting with wiring loudspeakers and hi-fi systems in series, and building improvised sound systems from whatever equipment he could find. By the age of twelve, he was creating live edits at house parties using multiple hi-fi systems connected together, producing mashups directly to tape and even manipulating playback speed manually to create slow-down effects long before digital audio workstations made such techniques commonplace.

At fourteen, he became the youngest fully certified DJ in Portugal, a distinction that reflected not only talent but an unusually early dedication to the craft. By sixteen, he was already producing music, edits and audio content for casinos and television productions distributed nationally and internationally. Soon after, he established his own recording studio, providing recording, production, mixing, mastering and audio restoration services, earning credits on a range of international projects.

While the scale of the productions has evolved dramatically since those early experiments, the underlying motivation remains unchanged: an enduring curiosity about sound, technology and human perception. Whether optimising a stadium-scale PA system or exploring advanced acoustic theory, Pedro continues to approach every project with the same mindset that first led him to take apart electronics as a child — a desire to understand how things work, how they can work better, and how knowledge can be transformed into exceptional listening experiences.

Technical detail

Certifications and toolset

Meyer Sound — 5 courses · L-Acoustics — 9 courses · d&b audiotechnik — 5 courses · SynAudCon 210 & 310 · Dante Level 1 & 2 · Nexo Audioversity · DiGiCo & SSL console training Berklee Applied Maths, Acoustics. Smaart, Crosslite+, Rita Operator

  • 0+

    Years in live sound
  • 0+

    Manufacturer courses & seminars
  • 0

    Irish festival stages
  • 0

    European tours · 2025

Enquiry

Tell us about the project

Send the dates, the venue and what you're working with. You'll get a considered reply within one working day.

Replies within one working day.

Details

More ways to reach us

General: info@tropicsound.net

Sales: sales@tropicsound.net

Hours: Mon–Fri, 09:00–18:00 (Dublin) On site and touring — email is usually fastest

Response: Within one working day