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Meyer Sound Names John McMahon New VP of Solutions and Strategy

mcmahonMeyer Sound has appointed John McMahon to the newly created position of Vice President of Solutions and Strategy.

Working closely with CEO John Meyer and Executive Vice President Helen Meyer, McMahon will oversee the broad-based strategic planning for new products, product management, and multi-product solutions across various vertical markets. McMahon’s new Solutions and Strategy Division aligns product management, design services, technical support, and education under one umbrella with a goal of creating a common understanding of strategic initiatives amongst Meyer Sound’s renowned technical and customer support teams. In addition, McMahon will continue to spearhead the digital product concept group in accelerating new digital solutions into the market.

A high point of McMahon’s leadership at Meyer Sound is his extraordinary work on the Constellation® acoustic system, which has become a significant component of the company’s growth during his tenure. The Exploratorium science museum in San Francisco, U.C. Berkeley’s Zellerbach Hall, Jazz at Lincoln Center’s Appel Room, Denmark’s Jyske Bank corporate boardroom, and the Alpensia Concert Hall in South Korea are among the many celebrated installations of Constellation worldwide.

“As our product offerings evolve and diversify, we’ll lean on John McMahon to develop organizational processes to ensure the many functions of the company are in sync,” says Helen Meyer, executive vice president and company co-founder. “His leadership will be crucial in maintaining our excellent customer responsiveness as we expand our presence worldwide.”

McMahon has been part of Meyer Sound’s executive team since 2008, leading the company’s digital engineering and technical teams to make advanced technologies like Constellation accessible to audiences worldwide. A Canadian citizen, McMahon joined Meyer Sound in 2005 during the acquisition of Level Control Systems (LCS Audio) where he served as CEO. His interest in music and technology began at the age of six, when he began tinkering with circuit boards and designing loudspeakers. This early interest provided the basis for an entrepreneurial career that included the founding of Cadence Digital Audio in 1992 and ultimately led him to Meyer Sound.

“John Meyer has pioneered a company culture that attracts customers looking for new audio solutions,” says McMahon. “In my new position, I will strive to maintain the highest standards in all that we do, at the same time defining a unified company growth strategy as we continue to push the envelope in both technology innovation and customer satisfaction. ”

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Meyer Sound SB-3F Holds Key to Long-Distance Audio Clarity at Nebraska Memorial Stadium

nebraskaTo project utmost audio clarity to the furthest of its 87,000 fans, Memorial Stadium at the University of Nebraska-Lincoln has installed 16 SB-3F sound field synthesis loudspeakers, the Meyer Sound technology for projecting mid-high frequency energy over distances of up to 1 km.

The system was designed by Mark Graham of the consulting firm Wrightson, Johnson, Haddon, & Williams. “Having the SB-3Fs greatly boosts voice intelligibility in the far seats,” reports Graham. “During the first game, when the team made a big play, I could still hear the announcements over the noise of a sell-out crowd. The boost in top-end clarity maintains good intelligibility without having to push the overall system level until it’s too loud, which usually generates complaints.”

Sixteen SB-3F loudspeakers project audio to the far opposite end of the stadium over 244 m away, while 32 MILO® line array loudspeakers provide full-range coverage of the bowl and upper decks, with six MSL-4 loudspeakers covering the seating expanse under the scoreboard. A Galileo® loudspeaker management system with two Galileo 616 processors provides system drive and alignment. All Meyer Sound components were supplied by BNY Productions of Sioux City, Iowa, with installation by Lincoln-based Electronic Contracting Company.

“At the far end, the old system was rolling off pretty steeply—well below four kHz and probably closer to two kHz,” says Graham. “Now, with the SB-3Fs, the new system is holding to five or six kHz, with some seats showing response well above that.”

Graham also notes how the new Meyer Sound system has helped overcome the stadium’s acoustical irregularities. “The band sits by the field on the lower east side, and the sound drops off steeply behind them, in the upper east deck,” he explains. “We have a five-cabinet MILO array and two SB-3Fs aimed up there, and by routing a couple shotgun mics for the band into just those speakers, it really enhances the fan experience. The STI-PA readings are just amazing for a distance of 600 feet.”

The University of Nebraska Memorial Stadium boasts an ongoing NCAA record of over 330 consecutive sellout games, stretching back to 1962.

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TrinityLife Church in Maryland: Transformation through Meyer Sound M’elodie

trinitylifeWith its new Meyer Sound M’elodie® line array loudspeaker system, TrinityLife Church in Lutherville, Md. has given new life to the congregation’s high-octane, music-centric worship services.

“We feature both choral music styles and high-energy, band-driven styles, and the M’elodie system lends itself wonderfully to both,” says Michael Smith, technical director at TrinityLife. “Our congregation feels more engaged because the sound is smooth. Even when we push up the level, you can hear everything clearly, and it never attacks you. It makes for an intimate, immersive, and enjoyable worship experience.”

The system’s main arrays each comprise 11 M’elodie loudspeakers under two 500-HP subwoofers. Six under-stage 600-HP subwoofers supply additional low end, while two UPQ-1P and six UPM-1P loudspeakers cover side galleries and close front seating, respectively. A Galileo® loudspeaker management system with one Galileo 616 processor provides drive and optimization.

George W. Raduano, senior pastor, also notices the new system’s uniform coverage and flat response. “Our pastor likes to come down and speak from the very front of the thrust stage,” says Smith. “That’s out in front of the arrays, where they start to overlap. Like most pastors, he likes to sense his voice presence in the room. The system’s incredible gain before feedback gives what he wants to hear.”

Smith also has high praise for the new system’s low-end reinforcement. “The bass is very warm, smooth, and responsive. It’s pleasing, but you’re not being beaten down by it.”

Feeding the new Meyer Sound system from FOH is a DiGiCo SD10 digital console. Other front-end gear includes an Aviom personal monitor system, a Shure PSM 900 wireless IEM system, Shure UHF-R wireless microphones, and a Countryman E6 earset microphone for Senior Pastor Raduano. Design-build services for the complete audio renovation were supplied by Special Event Services (SES) of Winston-Salem, N.C., with project supervision by Greg Slape.

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Louisville Football Stadium Delivers High-Impact Game Experience with Meyer Sound LEO

Papa JohnsTo amplify the home-game atmosphere and bring the 55,000 fans closer to the on-field action, Papa John’s Cardinal Stadium at University of Louisville has chosen the most powerful loudspeaker technology available today—Meyer Sound’s LEO™ linear large-scale sound reinforcement system with the 1100-LFC low-frequency control element and SB-3F sound field synthesis loudspeakers. Selected for its sheer power and remarkable ability to project sonic clarity and impact over long distances, the system was chosen by recently retired, long-time stadium manager K.C. Scull after experiencing the impressive LEO system at Ohio Stadium in Columbus.

“The performance of the new Meyer Sound system at Cardinal Stadium has been excellent,” reports Mike Dewees, head technician at Acoustical Audio Designs, the company contracted for operation and maintenance of the stadium systems. “There are no more complaints about not being able to understand the announcer. Now the music quality is very good throughout the bowl with consistent coverage in all seating areas, and the system has incredible headroom.”

Packed tightly into the north end scoreboard, the system features 24 LEO-M line array loudspeakers deployed in five arrays: two main arrays of eight each for the lower bowl plus two additional arrays of five and three LEO-M loudspeakers for the upper seats on the east side.

Eleven SB-3F loudspeakers throw crisp, mid-high-frequency sound to the far end seats and an upper deck terrace over 700 feet away. Eight 1100-LFC low-frequency control elements arranged in cardioid arrays supply low end, and two arrays of three-each MICA® line array loudspeakers provide additional coverage. A Galileo® loudspeaker management system with one Galileo 616 AES and two Galileo 616 processors handles drive and optimization.

According to consultant Ron Baker, the power of LEO and SB-3F helped to solve a difficult packaging problem. “Everything had to be squeezed into the same scoreboard structure as the old system,” he notes. “We had to apply creativity to shoehorn all the extra horsepower into the same small engine compartment.”

For Dewees, the extra horsepower is appreciated. “The old system was susceptible to changes in air temperature and wind,” he says. “Now, with LEO, we can get over peak crowd noise as needed with no distortion.”

Dewees notes that the additional horsepower calls for adjustments and restraint on the part of users. “Because the potential level is off the charts, our only issue so far has been getting the operators to use that power wisely.”

The new system for the stadium was designed by Ron Baker and Justo Gutierrez of Dallas-based consultants Wrightson, Johnson, Haddon & Williams. Installation of the system was contracted in two phases, with the SB-3F loudspeaker system installed by Parsons Electric of Minneapolis. The LEO system was installed by Florida-based Pro Sound & Video under the supervision of Brian Smith of the Pensacola office.

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Meyer Sound Gives Voices to Global Dissidents in @Large: Ai Weiwei on Alcatraz

AlcatrazMeyer Sound loudspeakers play a critical role in @Large: Ai Weiwei on Alcatraz, an exhibition of seven new sculpture, sound, and mixed media works by Chinese artist Ai Weiwei. The installation explores human rights and freedom of expression in the context of Alcatraz, a former federal penitentiary and now iconic historical site in the San Francisco Bay.

Widely hailed as one of the most significant art exhibitions of the year, @Large already has been featured in The New York Times, Time Magazine, and The Guardian, among others. This extraordinary $3.6 million project on Alcatraz Island was originally proposed to Ai by Cheryl Haines, executive director of the FOR-SITE Foundation and curator of the exhibition.

“Ai’s work both awes us with its grace and beauty and challenges and critiques our way of thinking—in a manner that we hope will catalyze public dialogue on many human rights issues,” says Haines.

The inspiration for the exhibition is rooted in the reality of Ai Weiwei’s life. Forbidden by authorities to travel outside of China, the artist created the works for the installation in his Beijing Studio. “The misconception of totalitarianism is that freedom can be imprisoned,” says Ai Weiwei. “This is not the case. When you constrain freedom, freedom will take flight and land on a windowsill.”

Singled out by Los Angeles Times writer Carolina A. Miranda as “one of my favorite pieces in the exhibition for its subtlety,” Stay Tuned is an intimate and evocative sound installation occupying 12 barren and deteriorating prison cells in Alcatraz’s A Block. The installation features different music or spoken recitations in each cell created by people who have been imprisoned for the creative expression of their beliefs, as well as works created under incarceration. Artists range from Dr. Martin Luther King, Jr. to the Russian rock group Pussy Riot and the South African anti-apartheid activists The Robben Island Singers.

Driving Stay Tuned are 12 compact yet powerful MM-4XP self-powered loudspeakers with IntelligentDC™ technology. As Ai insisted the loudspeakers be invisible, they are mounted behind a rusting ventilation grate. Two MM-10ACX subwoofers support music by Iranian Arya Aramnejad and Nigerian Fela Kuti. Sound design for Stay Tuned was handled by San Francisco-based Moment Audio Group, a spinoff of Earwax Productions, where sound artists and engineers Jim McKee and Jeremiah Moore worked jointly with producer Starr Sutherland.

“The quality and invisibility of the loudspeakers contribute to the work’s startlingly evocative effect,” notes Moore. “It’s only one person at a time in the cell, and the clarity of sound leads to a startling directness and intimacy.”

The MM-4XP loudspeakers also helped Moore deal with the limitations of the site. “We needed a loudspeaker with very low distortion, high power, and proven reliability, and the MM-4XP was ideal on all counts,” he says. “In addition, Meyer Sound’s exclusive IntelligentDC technology enabled us to run DC power for the amplifiers and the audio signal over a single cable from our equipment room 120 feet away. We didn’t have to sacrifice power and clarity because of long speaker cables.”

Source recordings for Stay Tuned are played on an Apple Mac mini running QLab software. Output to two MPS-488HP IntelligentDC power supplies is via an RME Fireface 400 interface augmented by an Aphex Model 141 ADAT to Analog converter.

One of the most prominent cultural figures of the 21st century, Ai Weiwei is a Beijing-based artist and activist known for his work in sculpture, installations, film, architecture, and photography. His work often responds to conditions in China, including limits placed on free speech and expression and his personal experience of incarceration.

Founded in 1979 by husband-wife team John and Helen Meyer, Meyer Sound products

are universally acclaimed as the gold standard in the professional audio industry and renowned for their accuracy and precision. Meyer Sound solutions can be found in legendary musical venues such as Royal Albert Hall, Musikverein, Concertgebouw, and Jazz at Lincoln Center, in addition to multimedia exhibits including The Morning Line pavilion in Europe and numerous soundscapes by Bill Fontana. With more than 40 patents for a range of innovative technologies and products, many of which have revolutionized the audio experience for musicians and audience, Meyer Sound is acclaimed not only for it audio engineering, design, and manufacturing process but also for its dedication to acoustic research.

@Large: Ai Weiwei on Alcatraz is scheduled to run through April 26, 2015.

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Outkast FOH Engineer Sold on Long-Throw Power of Meyer Sound LEO

outkastHip hop legends Outkast recently completed their summer tour with three sellout hometown shows in Atlanta’s Centennial Olympic Park. Dubbed “#ATLast,” the 20,000-plus crowds were supported by a Meyer Sound LEO™ linear large-scale reinforcement system as specified by FOH engineer Darcy Khan.

“The first time I’d mixed with LEO was earlier this summer at the Montreux Jazz Festival,” says Khan. “I loved the way it sounded. It was astonishingly clear, with no phasing issues, and I could walk from the stage all the way to the back and hear a nice, even wall of sound. A few weeks later, I mixed on another LEO system at the Osheaga Festival in Montreal, where I experienced the system’s long-throw power. That sold me. I knew I wanted a LEO rig for Atlanta.”

Supplied by VER Tour Sound, the Atlanta system deployed main arrays of 14-each LEO-M and side arrays of eight-each LYON™ linear line array loudspeakers. Three delay towers comprised eight MICA™ line array loudspeakers each, while 12 MINA loudspeakers provided front fill. Low end was supplied by 12 flown and 18 ground-stacked 1100-LFC low-frequency control elements. A Galileo® Callisto™ loudspeaker management system with three Galileo Callisto 616 and three Galileo Callisto 616 AES array processors provided system drive and optimization.

According to Khan, the linear characteristics of LEO helped him to maintain sonic consistency despite the extreme dynamics of Outkast’s sound. “Even if you spend all day tuning the PA, when the show starts, the crowd gets going, and you push it up to 110 dB SPL, many PA systems start to change,” he points out. “So I’m constantly fighting the mix, and that’s frustrating. But with LEO, I always hear the same qualities in the mix, whether during a soft part or going full on. It’s always even, so I can just mix and not worry about the system.”

Khan was also impressed by the musicality of the 1100-LFC loudspeakers. “I like to feel the low end, but I also want to hear the unique sound of the instruments, like the Roland TR-808 drum machine. With the 1100-LFC, I can hear that tonality all the way down to 30 or 40 Hz.”

Representing VER on-site were project manager Kyle Shepherd and system engineers Erik Rogers and Chad Fuller. Logistics were orchestrated by VER Tour Sound’s Ralph Mastrangelo and Chance Stahlhut.

Khan mixed Outkast on a DiGiCo SD10 digital console while the band used Shure UHF-R wireless microphone systems, with Antwan “Big Boi” Patton on a Sennheiser SKM 5200 wireless microphone. Monitors were mixed on a DiGiCo SD5 digital console, with the band using Shure PSM 1000 IEM systems.

Outkast have won six Grammy Awards and sold over 25 million albums. The “#ATLast” event was their first concert appearance in Atlanta in more than a decade.

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Slovakia’s Amex Audio Energizes Rental Business with Meyer Sound LYON

amexSenec-based Amex Audio s.r.o. in Slovakia has invested in a new Meyer Sound LYON™ linear sound reinforcement system as its flagship product to serve its most important customers. With LYON’s power and clarity, Amex has been hired by clients that range from Mercedes-Benz to Pohoda Festival and the Slovakian “X Factor” show.

“We already had a M’elodie® system, and were very happy with the sound of Meyer Sound products,” says Igor Demčák, managing director of Amex Audio. “We wanted that same sound coherence and linearity in our new, large-scale system. And with its power-to-size ratio and truck-space savings, LYON arrived at just the right time.”

Amex Audio’s purchase includes 28 LYON linear line array loudspeakers and a Galileo® Callisto™ loudspeaker management system with two Galileo Callisto 616 array processors. The core LYON system is augmented as needed by other Meyer Sound loudspeakers from inventory, including M’elodie line array loudspeakers, JM-1P arrayable loudspeakers, and 600-HP and 500-HP subwoofers.

“When we used the system for “X Factor” and the Pohoda Festival, the FOH engineers were curious and amazed,” reports Demčák. “‘What is this system?’ they asked. It was their first experience with LYON, and they were very happy with what they heard.”

Other recent events that have used Amex’s LYON system include the Uprising Reggae Festival featuring Shaggy, Jimmy Cliff, and Dub FX; and an electronica concert by producer/DJ Bonobo.

Founded in 1994 and operating under its current name since 2006, Amex Audio provides sound systems and full production support for corporate events and live television shows, as well as for major music festivals and concerts.

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Japan’s Takarazuka Theatre Upgrades 12-Year Meyer Sound System to M’elodie and MICA

takarazukaFollowing 12 successful years with its Meyer Sound MSL-4 loudspeakers, the Takarazuka Grand Theatre in Japan returned to Meyer Sound when it came time to upgrade. With an emphasis on exceptional audio quality and system reliability, the 2,550-seat venue chose a design based on M’elodie® and MICA® line array loudspeakers.

“In my opinion, the best equipment should be robust and reliable,” says Masaru Kirie of Takarazuka Stage Co., Ltd. “The new system’s performance lives up to the prestigious Meyer Sound brand, and the sound quality is excellent in all respects.”

The theatre’s main system is anchored by left and right lower proscenium arrays of 13-each M’elodie loudspeakers and three over-proscenium L-C-R clusters consisting of seven MICA and three M’elodie loudspeakers each. Ten 700-HP subwoofers provide low-end reinforcement, with six placed overhead and two located with each of the side arrays. All arrays are hidden behind screens and walls to stay out of sight.

In addition, 32 UPA-2P and two UPA-1P loudspeakers, four M1D line array loudspeakers, and six UPJ-1P VariO™ loudspeakers provide secondary fill, delay, and stage monitoring, while four HD-1 studio monitors are used in the control room. The entire system is driven and aligned by a Galileo® loudspeaker management system with 10 Galileo 616 processors. For special effects, signal matrixing, and Wild Tracks™ playback, the system includes a D-Mitri® digital audio platform with 24 modules.

The system was designed in consultation with Meyer Sound Japanese distributor ATL, Inc., and installed by JATO Co., Ltd. of Osaka.

Located in a suburban resort city, the Takarazuka Grand Theatre was built in 1993 to host productions of the Takarazuka Revue, an all-female theatre troupe that presents lavish, large-cast musicals based on Broadway productions and Japanese folk tales. Both the theatre’s operating company and the Revue are owned by Hankyu Hanshin Holdings, Inc.

The Tokyo Takarazuka Theatre, which serves as another home venue for the Takarazuka Revue, is also equipped with a Meyer Sound system.

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Meyer Sound MICA Provides Flexibility for Concert Series in Ancient Sicilian Amphitheatre

grecoItaly’s 2,700-year-old Teatro Greco in Sicily recently hosted a summer concert series with artists including James Blunt, Simple Minds, and Italy’s chart-topping Gigi D’Alessio. Faced with limitations for amplification in the historic amphitheatre, the audio team selected the flexible MICA® line array loudspeaker system to ensure pristine audio quality throughout the arena.

“Every time we go to the magical Teatro Greco, we are awed by the magnificence of this venue,” reports Roberto Rosu, FOH engineer for Gigi D’Alessio. “And thanks to the quality of the MICA system, the end result was amazing.”

Flown loudspeaker arrays in the historic arena were not an option, according to Freddy Dagata, audio project manager for Light and Shade di Alessandro Finocchiaro, the Aci Catena-based production provider. “We really had a chance to appreciate the versatility of a Meyer Sound system,” says Dagata. “MICA worked very well when ground-stacked, and we had amazing coverage throughout the arena. We were able to satisfy all requests of the artists and their FOH engineers, as the system perfectly handled a wide variety of pop and rock styles.”

Flanking the stage were twin stacks of eight-each MICA loudspeakers, aided by additional left and right outfill arrays of seven-each M’elodie® line array loudspeakers. Four UPM-1P loudspeakers provided front fill, while two UPA-1P loudspeakers anchored a center image on the wide stage. A Galileo® loudspeaker management system with one Galileo 616 processor supplied system drive and optimization.

Other artists heard through the Meyer Sound system during the 2014 season included Emma, Giorgia, Il Volo, and Negramaro.

Located on a mountaintop with breathtaking ocean views, the Teatro Greco of Taormina was built in the early seventh century BC, although most of the remaining stonework is from a later Roman era reconstruction. With a diameter of 120 meters, it is the second largest Greek amphitheatre in Sicily.

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Meyer Sound D-Mitri Drives Anne Frank Stage Production in Theater Amsterdam

anneAward-winning sound designer Jeroen ten Brinke has chosen the Meyer Sound D-Mitri® digital audio platform as the backbone of his design in ANNE, a dramatic presentation of the Anne Frank story in the 1,100-capacity Theater Amsterdam. With a CueConsole™ control surface, D-Mitri drives the play’s audio mixing, matrixing, and loudspeaker processing.

“Choosing D-Mitri as the foundation of the system was a no-brainer,” says Jeroen ten Brinke, who is a design parter at Audio Design International. “The audio quality is second-to-none, which is critical to bring out all the subtleties of the dialogue. It also works beautifully with both the orchestration and the sound effects, which range from whisper-quiet to wartime bombing scenes.”

Compared to most theatrical plays, the sound design in ANNE is extraordinarily intricate. Actors interact simultaneously across acoustically isolated “rooms” using wireless microphones. The room interior sets rotate on and off stage using sophisticated mechanics. As two of the acoustically isolated rooms are often on stage and active at once, hidden monitoring systems are needed for actors to hear each other on each set. In addition, dozens of loudspeakers are embedded in the sets to localize actors’ voices, as much of the dialogue is spoken in soft voices or whispers. Consequently, 24 microphone inputs are programmed in D-Mitri for balance, mixed with the original orchestral score and effects, and routed to the constantly changing outputs. Everything is then reproduced in 8.1 surround sound.

“D-Mitri coupled with CueStation™ is clearly the result of many years of experience in complex theatrical automation,” says ten Brinke. “It gives me endless flexibility during the design process. There’s never a ‘no can do’ response, no matter how demanding the request.”

The D-Mitri platform for ANNE comprises two digital I/O frames and three analog output frames, plus one DCP core processor, one general purpose I/O frame, and one analog input frame. D-Mitri is controlled via CueStation software and a CueConsole, and uses 48 input channels and 72 discrete outputs.

The audio production team also includes Chris Blaauw, assistant programmer, and Igor Milosavijevic, resident sound mixer. The system was supplied by Amsterdam-based Focus/Rent-All, with Meyer Sound distributor Audio Electronics Mattijsen facilitating the sale.

A three-time winner of the John Kraaijkamp Musical Award for Best Achievement in Design, ten Brinke also used D-Mitri in the Soldier of Orange production (Soldaat van Oranje), where a circular audience platform revolves inside a surrounding ring of expansive stage sets.

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