Sound Stories 2009, Volume 1

Meyer Sound Stories
2009 | Volume One
MEYER SOUND STORIES | Volume 1 | 2009 | iii
To read more stories like these,
visit Sound Stories at www.meyersound.com/news
The Morning Line architectural pavilion, a
sculptural exhibit in Seville, Spain incorporating
41 MM-4XP miniature loudspeakers
Contents
2 Metallica’s “World Magnetic Tour”
4 LA Coliseum Wins Over 93,000 Fans with
SB-3F Sound Field Synthesis Loudspeaker
6 M1D System Complements Architecture of
St. Laurence Catholic Church
8 Self-Powered Line Arrays Prove Their Mettle
on Hit Musical Tours
10 Le Showcase Brightens Paris Nightlife with
Powerful Yet Cohesive Sound Reinforcement
12 ZAIA™, the First Permanent Cirque du Soleil ®
Production in Asia
14 The Warfield, Legendary San Francisco Venue,
Installs MILO System
16 André Rieu Stages Classical Spectacle for
Australia with Meyer Sound
18 New York’s Plaza Hotel is Reborn with Matrix3
20 Product Announcements
21 Worldwide Offices
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Welcome to the latest edition of
Meyer Sound Stories. As with previous issues, this edition showcases our
customers’ successes using Meyer
Sound products around the world.
From the bone-rattling sound of
Metallica to an iconic Las Vegas
attraction and dynamic soundscapes
at a landmark hotel, Meyer Sound
Stories underscore the importance
of high-quality sound in an audience’s
experience. John and I are extremely
proud that our company consistently
delivers the products and services
that fulfill the artistic goals of sound
professionals, and solutions that
are useful in the rapidly evolving
environment.
Our ultimate goal is to help customers provide the best aural experience,
whether in a sports venue, a nightclub, or a Broadway show. This issue
of Sound Stories brings some of our
customers’ success stories to life.
Enjoy!
Helen and John Meyer
Cofounders of Meyer Sound
Meyer Sound TM Array™ Gives
MILO
MICA
700-HP
MJF-212A
Galileo 616
RMS
MAPP Online Pro
SIM 3
FEATURED PRODUCTS
Metallica Even Bass Coverage
on In-the-Round Arena Tour
“World Magnetic Tour” is taking
“By creating a line array of 700-HPs,”
Metallica across the US and Europe,
says Mundorf, “and bringing them
playing arenas in the round with the
closer together, you take advantage
new TM Array configuration deploying
of the fundamental law of good sound
four center overhead arrays of Meyer
design, the basic line array principle
Sound’s ultrahigh-power 700-HP sub-
that one sound source is the best
woofers. A fresh approach to providing
possible option. This design uses that
even, powerful low-end coverage for
and the subwoofers’ omnidirectional
in-the-round concerts, the TM Array
throw pattern.”
puts bass absolutely
The system also includes eight ar-
everywhere is a first for in
delivered such exceptional results at
Metallica’s London and Berlin record
release events that the band specifically requested production to use the
rays of 12 MILO and four MICA line
array loudspeakers each, as well as
system on the arena tour.
24 MJF-212A stage monitors. System
In-the-round concerts can create a
speaker management system with five
high-energy and intimate live experi-
Galileo 616 processors. The RMS re-
ence for a large audience, but it also
mote monitoring system and a SIM 3
creates myriad problems for produc-
audio analyzer are also used.
drive is provided by a Galileo loud-
“We’d never had even sub
coverage in the round, ever.
It’s just the nature of the beast.
But the fact that the TM Array
the round. It’s just fantastic.”
— “ Big Mick” Hughes
FOH Engineer, Metallica
tion. “It’s difficult,” says “Big Mick”
Hughes, FOH engineer. “Ask any en-
“We’d never had even sub coverage
gineer that’s ever mixed in the round,
in the round, ever,” adds Hughes. “It’s
and they will all say the same thing—
just the nature of the beast. But the
it’s very difficult to get even coverage,
fact that the TM Array puts bass ab-
particularly in the low frequencies.”
solutely everywhere is a first for in the
Hughes and Thunder Audio Vice
round. It’s just fantastic.”
President Paul Owen collaborated
Pressure was high leading up to the
with Meyer Sound Technical Sup-
system’s first deployment, but the
port to solve this conundrum. The
positive feedback and the resulting
TM Array—created by Meyer Sound’s
sound quality made the crew’s efforts
Thomas Mundorf using the MAPP
worthwhile. “We’ve done this show
Online
prediction
for years with all configurations of PA,
program—offered the best solution,
and this is the most even SPL we’ve
effectively achieving the desired cov-
ever been able to achieve. We’re sold
erage with the smallest number of
on Mundorf’s design and the 700-HP
subwoofers.
subwoofers.”
Pro
acoustical
Watch our exclusive video interview at
www.meyersound.com/tmarray
MEYER SOUND STORIES | Volume 1 | 2009 | 3
LA Coliseum Wins Over 93,000 Fans
with the First Installation of Meyer Sound SB-3F Sound Field Synthesis
SB-3F MILO 700-HP MSL-4 UPA-2P RMS Galileo 616
Home of the University of Southern
California Trojans football team, the iconic LA Coliseum has recently upgraded
to a Meyer Sound point-source system,
featuring the first permanent installation
of the SB-3F sound field synthesis loudspeaker to solve the common challenge
of intelligibility in large-scale reinforcement. The stadium is now equipped to
project high-quality audio to the furthest
FEATURED PRODUCTS
seat 1,000 feet from the sound source,
and can clearly deliver the spoken word
and other presentations to the more than
93,000 seats.
“It’s hard to overstate what a difference
this new sound system makes,” reports
Jon Lee, director of marketing of LA Coliseum. “Spoken announcements are more
intelligible; music is more powerful. The
4 | 2009 | Volume 1 | MEYER SOUND STORIES
fans in the seats have a feeling of really
being in touch with what’s happening on
the field.”
Hugh O’Donovan of McCune Sound, the
system provider, shares Lee’s sentiments.
“The SB-3F is really the only solution for a
challenge like this—it projects the sound
a phenomenal distance without any loss
in intelligibility,” says O’Donovan.
Loudspeaker
“It’s hard to overstate what a
difference this new sound
system makes. Spoken
announcements are more
intelligible; music is more
powerful. The fans in the
seats have a feeling of really
being in touch with what’s
happening on the field.”
— Jon Lee
Director of Marketing,
LA Coliseum
Designed for delivering mid- and high-frequency energy over distances up to 1 km,
the high-powered SB-3F employs a total
of 448 high-powered one-inch neodymium transducers purpose-built to create a
highly directional wavefront, providing a
focused, coherent long-range sound field
with utmost clarity.
“McCune brought in a small system for
us to hear—just six MILO line array loud-
speakers, two SB-3Fs and two subs,”
says Leo Caudillo, the Coliseum’s technical director. “Within less than a minute
of them turning it on, the decision was
clear.”
Installed by the Coliseum’s in-house
team, the system comprises 12 SB-3F
loudspeakers with six each on either side
of the game clock, along with two hangs
of ten MILO loudspeakers per side. Low
end is handled by a dozen 700-HP subwoofers in rows of three and arranged
in cardioid formation with two rows in
each enclosure to reduce low-frequency
buildup on the field. Two MSL-4 and
four UPA-2P loudspeakers cover outerfill
duties for the far field and near field. A
Galileo loudspeaker management system
and the RMS remote monitoring system
are also used.
MEYER SOUND STORIES | Volume 1 | 2009 | 5
Meyer Sound M1D System Complements the Angular Architecture
of
St. Laurence Catholic Church in Texas
St. Laurence Catholic Church in
ers each. A single M1D-Sub subwoofer is
“I’ve noticed that some
Sugar Land, Texas has recently been en-
placed atop the main array at the rear and
larged and furnished with glass and stone
two M1D-Sub subwoofers are positioned
churches have sound
surfaces. As part of the upgrade, discreet
over the delayed array at the front.
systems that do well for
acoustical treatments work hand-in-hand
with a precision-calibrated Meyer Sound
the spoken word, and
system to provide markedly improved
others that are fabulous
macy than ever before.
for music, but it’s
clarity along with a greater sense of inti-
“When dealing with architecturally sensitive spaces,” says Schuermann, “if you
can get large loudspeaker performance
out of a small box that virtually disappears, that’s of tremendous value. The
“I’ve noticed that some churches have
M1D is practically invisible considering
difficult to find
sound systems that do well for the spo-
the performance it delivers.”
something that can do
music,” says Mary Thompson, the music
ken word, and others that are fabulous for
both equally well. The
Meyer Sound system
has just been
exceptional for both.”
— M
ary Thompson
Music Director,
St. Laurence
Catholic Church
director at St. Laurence. “But it’s difficult
to find something that can do both equally
well. The Meyer Sound system has just
been exceptional for both.”
CQ-2
UPJunior
UPJ-1P and UPJunior VariO loudspeakers and MM-4 miniature loudspeakers.
The system is driven by a Galileo loud-
The expanded structure, with seating ca-
installed by LD Systems of Houston un-
pacity boosted from 1,000 to 1,500, was
der the supervision of project manager
designed by John Clements, AIA, of Hous-
Clay Wisner.
ton’s Jackson & Ryan Architects. Project
architect was Gina Jaimes, Associate AIA.
Acoustical treatments and audio system
design were entrusted to, respectively,
HFP Acoustical.
M1D-Sub
and UPM-1P loudspeakers, as well as
speaker management system and was
Ashton Taylor and Bill Schuermann of
M1D
Supporting the main system are CQ-2
Thompson notes that parishioners have
marveled at the system’s almost uncanny presence and sense of intimacy.
“Because they can hear so clearly, even
sitting so far back, it helps maintain the
personal touch and warmth the church is
Schuermann’s design features two center
known for, even though our space is now
arrays of seven M1D line array loudspeak-
much larger.”
UPJ-1P
6 | 2009 | Volume 1 | MEYER SOUND STORIES
UPM-1P
MM-4
Galileo 616
FEATURED PRODUCTS
Meyer Sound Self-Powered Line Arrays Prove Their Mettle
on Hit
M’elodie
650-P
M1D
CQ-1
CQ-2
Musical Tours
600-HP
700-HP
UPM-1P
UPA-1P
FEATURED PRODUCTS
The Wizard of Oz, Photo: Joan Marcus
Once a Broadway musical goes on
tour with a grueling schedule of split
weeks and one-night stands, it imposes
extraordinary technical demands, particularly on the sound systems. To provide exemplary audio quality, reliability,
flexibility, and load-in and -out simplicity,
sound designer Shannon Slaton devised
a remarkably effective solution based on
Meyer Sound M1D and M’elodie line array
loudspeakers.
Slaton’s approach has proven its mettle
on six well-received tours—Hairspray,
My Fair Lady, The Producers, Oliver!,
Sweeney Todd, and The Wizard of Oz—
with another rig slated for an upcoming
tour of Drowsy Chaperone.
The ultracompact M1D loudspeakers are
the keystone elements in most of Slaton’s
systems. “It’s critical to have even coverage across what can be a pretty wide
room, and keep it up as close to the stage
as possible,” he says. “The M1Ds make
that possible, but you still can throw back
60 feet or more to reach under some
balconies.”
8 | 2009 | Volume 1 | MEYER SOUND STORIES
Slaton’s base configuration comprises
twin arrays of nine M1D loudspeakers
each and a center array of ten cabinets,
along with 650-P, 600-HP, and 700-HP
subwoofers, CQ-1, CQ-2, UPM-1P, and
UPA-1P loudspeakers.
The Oliver! tour employs 16 M’elodie
loudspeakers. “M’elodie is very effective
when you need a big sound out of a little
box,” observes Slaton. “But I also love the
transparency of the M1Ds. Voices come
through sounding absolutely natural.”
Theatrical Productions
Using Meyer Sound
Equipment In 2009
Hairspray, Photo: © 2006 Chris Bennion
“M’elodie is very effective
when you need a big
sound out of a little box.
But I also love the
transparency of the M1Ds.
Voices come through
sounding absolutely
natural.”
— Shannon Slaton
Sound Designer, Tours
of Hairspray, My Fair
Lady, The Producers,
Oliver!, Sweeney Todd,
and The Wizard of Oz
Sweeney Todd, Photo: © 2008 Peter Coombs Photography
Sound quality and coverage aside, Slaton
praises Meyer Sound products for their
reliability and road-friendly nature. “Because the loudspeakers are all self-powered, we have only a few small racks,”
he observes. “And we have a small backstage footprint.”
Typical production requirements stipulate
no more than eight hours for load-in and
four for load-out, but Slaton notes that
these self-powered systems “normally
WEST END
Avenue Q
Joseph and the Amazing
Technicolor Dreamcoat
The Lion King
Oliver! The Musical!
Phantom of the Opera
The Sound of Music
Spamalot
Wicked
BROADWAY
The 39 Steps
All My Sons
August: Osage County
Avenue Q
Billy Elliot the Musical
Boeing-Boeing
Hair (March 2009)
The Little Mermaid
Liza’s at the Palace...
Pal Joey
The Phantom of the Opera
Shrek the Musical
The Story of My Life
West Side Story
Wicked
Young Frankenstein
You’re Welcome America. A Final
Night with George W. Bush
OTHER N. AMERICAN PRODUCTIONS
The Night They Raided Minsky’s (LA)
The Sound of Music (Toronto)
take only four to six hours for load-in and
are back in the truck in under two.”
Such streamlined design depends on
loudspeakers that don’t require extensive
signal processing. “If you don’t like the
way it sounds right out of the box, then
you don’t want to use it,” Slaton says.
“With Meyer loudspeakers, all I need is
just a bit of gentle carving here and there,
and I can do that with the parametric EQ
in the desk.”
TOURING
Dirty Dancing – The Classic
Story On Stage
Drowsy Chaperone
My Fair Lady
Oliver! The Musical!
The Producers
Sweeney Todd
Wicked
The Wizard of Oz
AUSTRALIA
Billy Elliot the Musical
Chicago the Musical (March 2009)
Guys and Dolls (February 2009)
Wicked
Le Showcase
MSL-4 CQ-2 600-HP UPA-1P USW-1P UPJ-1P UMS-1P Galileo 616
10 | MARCH 2008 | MEYER SOUND STORIES
FEATURED PRODUCTS
Brightens Paris Nightlife with Powerful Yet Cohesive
Reinforcement from Meyer Sound
Le Showcase is remarkable not only for its historic architecture,
but also for its standing as one of the hottest entertainment venues
in Paris. Providing powerful yet controlled sound reinforcement for
Le Showcase’s main performance area, restaurant/bar, and lounge
are a range of Meyer Sound loudspeakers and the award-winning
“The live room is like a stone
tunnel, with very difficult
Galileo loudspeaker management system.
acoustics. And we do rock music,
The main performance area is long, narrow, and highly reverberant,
so we need good impact and
connected to the restaurant/bar and lounge areas by open stone
arches. “The live room is like a stone tunnel, so the acoustics are
difficult,” notes Julien Glabs, director of sound and mix engineer for
Le Showcase. “We do rock music, so we need good impact and
plenty of midrange. This Meyer Sound system gives us that.”
Sébastien Nicolas of Best Audio directed the sound design, including
four MSL-4 loudspeakers and six 600-HP subwoofers in the main
plenty of midrange. This Meyer
Sound system gives us that.”
—Julien Glabs
Director of Sound and Mix
Engineer, Le Showcase
performance area. The subwoofers are configured in two cardioid
arrays that include three 600-HP cabinets each; two subwoofers are
aimed at the audience, with the third facing the rear. The delay system
includes UPA-1P and CQ-2 loudspeakers, and floor-mounted 600-HP
subwoofers.
The bar area and the lounge are handled by UPJ-1P VariO and UPA-1P
loudspeakers, as well as USW-1P and UMS-1P subwoofers. A Galileo
system with two Galileo 616 processors provides independent audio
systems in each of three open spaces offering the ability to operate
them together from one control room.
“The key to success at Le Showcase is the Galileo,” says Nicolas.
“You can have a different application in each space, or the same
music at different levels, and change between setups very easily.
Le Showcase was a big system design challenge, but the Galileo lets
everything work together in any combination.”
The Galileo system at Le Showcase is equipped with the recently released Compass 2.1 control software, providing a convenient
graphical user interface. “The Galileo is very easy to work with,” Glabs
states. “We control both units from one wireless computer, which lets
us make changes and recall settings in seconds.”
MEYER SOUND STORIES | Volume 1 | 2009 | 11
ZAIA,
™
Meyer Sound Brings a Dream to Life in
the First Permanent Cirque du Soleil ® Production in Asia
FEATURED PRODUCTS MICA
MILO
M1D
M’elodie
700-HP
ZAIA™, the first Cirque du Soleil® resi-
her perspective, moving from the stage
dent show in Asia, is hosted in a custom-
into the house. The system employs
built, 1,800-seat theater at the Venetian in
the Matrix3 audio show control system,
Macao. It melds acrobatics and inventive
Constellation electroacoustic architecture,
visuals with otherworldly sonic landscapes
and the Galileo loudspeaker manage-
to create a multisensory experience, sup-
ment system, with the sounds mapped
ported by Meyer Sound’s innovative digital
through the Matrix3 sent to 115 Meyer
tools and loudspeaker products.
Sound
loudspeakers
throughout
the
house. The Matrix3 also functions as the
CQ-2
UPJ-1P
SB-2
Stella-4
“Constellation allows us to change the
acoustics of the room,” says Steven Dubuc,
the sound designer. “Since we can’t place
any baffles or acoustic treatments that
would interfere with the show’s acrobatic
elements, this is critical. Constellation is
also used in certain scenes, where we
want to create a larger-than-life ambience, to create an impression of traveling
through space and time.”
The show is based upon the dream of a
mixing console for the show, providing a
young girl who journeys into space. The
fully integrated digital audio environment
Provided by Montreal-based Solotech, the
sound image continually shifts to follow
for ZAIA.
system also includes a CueConsole con-
12 | 2009 | Volume 1 | MEYER SOUND STORIES
Matrix3
Theatrical Productions
Using Meyer Sound
Equipment In 2009
(Continued)
“My job as a sound designer is
AUSTRIA
The Producers
to merge the composer’s
GERMANY
Der Schuh des Manitu
Ich will Spaß!
Qi – eine Palast-Phantasie
Udo Jürgens: Ich war noch niemals
in New York – Das Musical
Wicked
musical vision with a
soundscape that complements
the show itself. With Meyer
Sound, I can utilize 150
different sources to color the
music, to localize it, rather
than simply having it come
from left or right. It’s a
dramatically expanded creative
palette, and that leads to a
truly rewarding collaboration.”
Galileo 616
Constellation
CueConsole
— S teve Dubuc
Sound Designer,
ZAIA™
HUNGARY
Dance of the Vampires
JAPAN
Wicked
SOUTH AFRICA
Beauty and the Beast
High School Musical
SPAIN
A OFFICIAL TOURING SHOWS SUPPLI ER
Enamorados Anonimos
Hoy no me Puedo Levantar (Touring)
La Bella y la Bestia
Quisiera Ser (Touring)
®
OFFICIAL du
TOURING
SHOWS SUPPLI
ER
Cirque
Soleil
Productions
Using Meyer Sound
trol surface, MICA line array loudspeakers,
Dubuc, who worked alongside assis-
700-HP subwoofers, two SB-2 parabolic
tant Jason Rauhoff and Solotech’s Bob
The Beatles® LOVE ™
“O” ®
wide-range sound beams, as well as M1D,
Barbagallo, highlights the role of Meyer
Corteo™
Quidam ®
MILO and M’elodie line array loudspeak-
Sound in his toolbox: “As a sound design-
ers, UPJ-1P VariO loudspeakers, Stella
er, I merge the composer’s musical vision
installation and CQ-2 loudspeakers.
with a soundscape that complements the
Saltimbanco ®
CRISS ANGEL®
™
Believe
OFFICIAL TOURING SHOWS SUPPLI ER
Varekai ™
show itself. With Meyer Sound, I can utilize
KÁ™
Wintuk™
“Cirque du Soleil demands precision and
150 different sources to color the music,
KOOZA™
ZAIA™
consistency for every aspect of a produc-
to localize it, rather than simply having it
La Nouba™
ZED™
tion,” says Eric Poitevin, the Venetian’s
come from left or right. It’s a dramatically
head of audio. “We run 457 shows a year,
expanded creative palette that leads to a
Mystère ®
ZUMANITY ™
and there’s no margin for error.”
truly rewarding collaboration.”
OFFICIAL TOURING SHOWS SUPPLI ER
Legendary Sound for a Legendary Venue:
Warfield
San Francisco’s
Installs
Meyer Sound MILO System
The Warfield has been a San Francisco institution since Al Jolson graced its
“The Warfield has always
been one of the premier
local music venues and
now it’s one of the best
sounding as well... The
system is incredibly
versatile too, maximizing
the execution of everything
from comedy to metal
to jazz.”
vaudeville stage in the 1920s. Throughout the 1970s and 1980s, it was home to concert promoter Bill Graham’s shows, including week-long residencies by the Grateful
Dead, and has continued to be a Bay Area favorite. This year, Goldenvoice/AEG Live
took over management of the Warfield, and embarked on a renovation that included
the installation of a powerful Meyer Sound system by Pro Media/UltraSound (PMUS).
Prior to the new installation, many performances at the Warfield over the years have
been played through a Meyer Sound MILO line array loudspeaker system provided by
PMUS. With the positive feedback about the sound quality from the engineers, the
system choice for the upgrade was obvious. “When AEG asked us to recommend a
system for permanent installation, we didn’t hesitate to recommend Meyer Sound,”
explains PMUS Director of Rentals and Touring, Derek Featherstone. “It is an incredibly
strong system and is what the Warfield deserves.”
The new system comprises left and right arrays of ten MILO and one MILO 120 line
array loudspeakers each. Low frequency is amply covered by four 700-HP subwoofers
per side under the stage with an additional three 700-HP subwoofers center-flown to
— D
avid Lefkowitz
VP, Goldenvoice
cover the upper balcony. The under balcony is covered by six M1D line array loudspeakers. Two CQ-1 loudspeakers per side provide frontfill, and a Galileo loudspeaker
management system provides system drive and processing.
“The Warfield has always been one of the premier local music venues and now it’s one
of the best sounding as well,” added Goldenvoice VP David Lefkowitz. “Every spot in
the building has perfect sound. The system is incredibly versatile too, maximizing the
execution of everything from comedy to metal to jazz.”
14 | 2009 | Volume 1 | MEYER SOUND STORIES
MILO
MILO 120
M1D
CQ-1
700-HP
Galileo 616
FEATURED PRODUCTS
André Rieu Stages a Classical Spectacle for
Australia with Dramatic Visual and Crystalline Audio from Meyer Sound
MILO MICA 700-HP MSL-4 MSL-6 CQ-1 CQ-2 UPA-1P UPJ-1P UPM-1P SB-2
FEATURED PRODUCTS
Dutch violinist and conductor André
Montreal-based Solotech met Rieu’s de-
for André’s music,” says David Brazeau,
Rieu recently brought the world’s larg-
mand for sonic excellence with a state-
Rieu’s longtime sound designer. “It’s very
est transportable set to stadiums across
of-the-art Meyer Sound system based
powerful, with wonderful articulation and
Australia, staging an unparalleled classical
around the MILO line array loudspeaker
detail, and it’s easy to manipulate. I’ve
spectacle for anticipating audiences. The
and the SB-1 parabolic long-throw sound
worked with other line arrays, but the
stunning production included a 125-meter-
beam for reaching the farthest seats in the
MILO is the one I prefer. It sounds sweet
wide (410-foot) stage with a 600-square-
vast space.
without being overly aggressive, and really
meter (6500-square-foot) ice skating rink,
André Rieu is renowned for staging con-
a gold coach pulled by six white horses,
certs with lighthearted levity, and perform-
and a full-size reproduction of Vienna’s
ers forging a connectedness and warmth
tured two arrays of 24 MILO line array
famed Schönbrunn Castle, replete with
with the audience rarely seen in orches-
loudspeakers, with low end covered by a
golden ballroom and gilded chandeliers.
tral performance. “The MILO is really ideal
dozen 700-HP subwoofers. The rig was
16 | 2009 | Volume 1 | MEYER SOUND STORIES
brings out the richness of the strings.”
The system for the Australian shows fea-
Recent Tours with
Meyer Sound
“The MILO is really ideal
for André’s music. It’s very
André Rieu
King Crimson
Buckcherry &
Avenged Sevenfold
Leonard Cohen
Casting Crowns
Lil Wayne
Metallica
Céline Dion
The Mighty Boosh
Dolly Parton
Mudvayne
Great Big Sea
Paul Weller
it’s easy to manipulate. I’ve
Kanye West
Regeneration Tour
worked with other line arrays,
kd lang
Slipknot
powerful, with wonderful
articulation and detail, and
but the MILO is the one I
prefer. It sounds sweet without
being overly aggressive, and
really brings out the richness
of the strings.”
—David Brazeau
Sound Designer, André
Rieu tour
flown behind a scrim in the “castle,” and
vided stage monitoring for the performers.
augmented by two side arrays of 16 MICA
FOH engineer Wim Van der Molen mixed
line array loudspeakers each, with eight
the shows on a Yamaha PM1D console,
additional 700-HP subwoofers. Twenty
and covered monitor mixes from FOH.
more MICA boxes provided frontfill. The
system also included four delay clusters of
MSL-4 and MSL-6 loudspeakers, while 16
SB-1 parabolic long-throw sound beams
added power and punch to the farthest
reaches of the stadiums.
Meyer Sound UPJ-1P, CQ-1, CQ-2,
UPA-1P, and UPM-1P loudspeakers pro-
Mighty Boosh, © Louise Stickland
Buckcherry
“André is a performer who really knows
what he and his audiences want to hear,
and he has an excellent understanding of
technology,” says Brazeau. “It would be
difficult, if not impossible, to deliver the
level of quality his shows demand with
anything but Meyer Sound speakers.”
The Regeneration Tour
New York’s
Plaza Hotel
is Reborn with Dynamic Soundscape
Created with Meyer Sound Matrix3
A New York landmark hosting genera-
to isolate any particular space,” Brookstein
tions of the rich and famous, The Plaza
explains. “With Matrix3, we’re able to cre-
Hotel has recently been renovated and re-
ate a multitude of different environments,
stored to its former glory, thanks to build-
some stereo and some 5.1 surround, that
ing owner, El Ad Properties and architect
are independent yet interactive.”
it’s not like simply moving
sound system in its lobby, The Plaza is
Blumenthal reports that working with the
now the first hotel to feature a dynamic
Matrix3 system was a new and intriguing
from stereo to surround.
soundscape created using Meyer Sound
experience. “I must say I was really blown
loudspeakers and Matrix3 audio show
away,” Blumenthal adds. “It’s not like sim-
control technology.
ply moving from stereo to surround. You
Gal Nauer. Boasting a new 21st-century
“They really wanted to find a way of reinventing The Plaza, while still retaining the
essence of what has made the building so
have a near limitless number of outputs to
work with, as well as depth and distance.
It’s a completely new experience.”
Aesthetics was of primary concern in
based Pro Sound, who collaborated with
selecting
Kelly Prince, also of Pro Sound; sound de-
the designated landmark. The technol-
signer Peter Hylenski; as well as Ronen
ogy had to remain largely unseen, since
Brookstein of Tel Aviv-based Barkai Benny
any changes to the lobby’s visual impact
Brookstein Ltd., to help realize the lobby’s
would meet with numerous legal hurdles.
inspired audio design for the renowned
The loudspeaker complement includes
hotel’s entrance hall.
200 MM-4 miniature loudspeakers, known
Using the Matrix3, composer Ariel Blumenthal created a series of original musical tracks for ever-changing ambiences
that morph into one another as the listener
moves throughout the lobby. The system
includes six Matrix3 processors and three
WildTracks hard disk playback units, ideal
for this acoustically challenging space.
equipment
for
new experience.”
—Ariel Blumenthal
Composer,
The Plaza Hotel
six UPM-2P loudspeakers, 11 UMS-1P
subwoofers, and 12 subwoofers customdesigned by Meyer Sound for The Plaza.
“The client is thrilled with the outcome—
it’s really the ‘wow’ effect they were looknothing like it anywhere else.”
UMS-1P
with, as well as depth and
sight. It also includes eight UPM-1P and
the lobby, it would have been impossible
UPM-2P
number of outputs to work
quality and power while remaining out of
ing for,” says Brookstein. “There’s really
UPM-1P
You have a near limitless
for the ability to provide spectacular audio
“Because of the very open architecture in
MM-4
blown away. (With Matrix3,)
distance. It’s a completely
special,” says Rod Sintow, CEO of Florida-
loudspeaker
“I must say I was really
Matrix3
FEATURED PRODUCTS
MEYER SOUND STORIES | Volume 1 | 2009 | 19
Product Announcements
500-HP
Compact High-Power Subwoofer
The self-powered 500-HP compact high-power subwoofer brings the power-to-size ratio and extremely low-distortion signature of Meyer
Sound subwoofers to a package ideal for rigging with the M’elodie line array loudspeaker to create an aesthetically pleasing array. With its
excellent bass clarity, the self-powered 500-HP provides a superior option for sound designers especially when space is a key consideration.
Features and Benefits
•Efficient, high-power, and high-excursion cone
drivers
Applications
•Theatrical sound reinforcement
• Theme parks
•Very low distortion for low-frequency clarity
•High peak power output yields excellent transient
reproduction
•Houses of worship
•Fills in large-scale installations
•Enhances low-frequency headroom for M’elodies
and UltraSeries loudspeakers
•Exceptional size-to-power ratio
Shown with
rigging.
•QuickFly rigging options for arrays and flown and
ground-stacked configurations
SB-3F
Sound Field Synthesis Loudspeaker
Designed for delivering mid- and high-frequency energy over distances up to 1km, the highpowered SB-3F employs Meyer Sound’s sound field synthesis technology with a total of 448
high-powered one-inch neodymium transducers purpose-built to create a highly directional
wavefront. The long-throw device is capable of providing a focused, coherent, long-range
sound field with utmost clarity.
Features and Benefits
•Complements large-scale Meyer Sound
systems, especially those requiring high
intelligibility at long distances
Applications
•Far-field stadium and large outdoor venues
high-frequency fill coverage
•Reliable, purpose-built Meyer Sound drivers
•Large-scale event speech and music
reinforcement high-frequency fill coverage
•Ensures minimal frequency loss over long
distances
•Speech reinforcement for long-range alerts
or announcements
•Wide dynamic range and high output
accommodate signals with high peak-toaverage ratios
Shown with optional
MYA-SB3 mounting yoke and
MCF-SB3 caster frame.
20 | 2009 | Volume 1 | MEYER SOUND STORIES
Worldwide Offices
UltraWeatherized™
Loudspeakers
Meyer Sound is committed to delivering
the latest innovations in weather protection solutions for the UltraWeatherized
MICA line array loudspeaker and 600-HP
subwoofer.
This ensures that UltraWeatherized MICA
and 600-HP loudspeakers meet the rating
of IEC IPX6 and can be installed and used
reliably worldwide, in a myriad of different
operating environments, including those
with extremely harsh weather conditions
(extreme temperatures, wind, humidity, rain,
and snow). To protect these loudspeakers,
the company employs a variety of highly
innovative manufacturing techniques and
processes at its factory in Berkeley, Calif.
Meyer Sound Headquarters
2832 San Pablo Avenue
Berkeley, California 94702
USA
T: +1 510 486.1166
F: +1 510 486.8356
[email protected]
www.meyersound.com
Meyer Sound C IS
T: +7 095 943.0091
F: +7 095 947.9140
[email protected]
Meyer Sound Nashville
T: +1 615 244.2472
[email protected]
Meyer Sound Sierra Madre
T: +1 626 836.0446
F: +1 626 836.4883
[email protected]
Meyer Sound Australia Pty Ltd
T: +61 7 3252.4433
F: +61 7 3252.3380
[email protected]
Meyer Sound Belux
T: +32 2 567.2710
F: +32 2 567.2709
[email protected]
Meyer Sound Brazil
T: +55 11 3816.0401
[email protected]
Ruby Princess Cruise Ship with UltraWeatherized
MICA and 600-HP.
Meyer Sound Canada
T: +1 250 549.2558
F: +1 250 549.2668
[email protected]
Meyer Sound España S.A.
T: +34 90 216.0245
F: +34 90 018.0762
[email protected]
Meyer Sound Lab. Germany GmbH
T: +49 2602 99908.0
F: +49 2602 99908.99
[email protected]
www.meyersound.de
Meyer Sound México S.
T: +52 55 5631.8137
F: +52 55 5630.5391
[email protected]
www.meyersound.com/spanish
Meyer Sound Portugal
T: +351 91 512.8686
[email protected]
Meyer Sound UK Ltd
T: +44 7887.777150
[email protected]
MEYER SOUND STORIES | Volume 1 | 2009 | 21
“You wake up one morning and are given the task to
birth a full-blown volcano. You need the most powerful
and dependable sound reinforcement equipment on the
planet. There is only one choice—Meyer Sound. From
a whisper to a volcanic fury, the Meyer Sound system
packs a sonic punch that brings The Volcano to life. The
result, a true union of the senses, will rattle your bones,
just like a real volcano.”
— Mickey Hart
Grateful Dead Drummer, Performer, and
Composer, The Mirage Volcano
Among the myriad spectacular sights and sounds that populate the
Las Vegas Strip, The Mirage Volcano stands tall with arguably the
world’s largest and most breathtaking fire show. The Mirage has
recently completed a multimillion-dollar renovation of The Volcano that
promises an even more astonishing and memorable experience for the
spectators, with state-of-the-art pyrotechnics and innovative audio design
supported by a complete Meyer Sound system, including self-powered
loudspeakers and audio show control.
MILO
700-HP
UPQ-1P
Matrix3
Galileo 616
FEATURED PRODUCTS
Copyright © 2009 Meyer Sound Laboratories, Inc. All rights reserved.
Compass, Galileo, MICA, MILO, M’elodie, MAPP Online Pro, Matrix3, VariO, UltraSeries, M Series, Concert Series, RMS,
TM Array, UltraWeatherized and all alphanumeric product designations are trademarks of Meyer Sound. Galileo, MILO,
LCS, SpaceMap, Meyer Sound and the Meyer Sound wave logo are registered in the United States Patent and Trademark
Office, as well as in other countries. All third-party trademarks mentioned herein are the property of their respective owners.
Patents
pending.
ii | 2009
| Volume 1 | MEYER SOUND STORIES
18.908.005.05 A
Printed on recycled paper