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France’s Dubbing Brothers Installs Meyer Sound for Dolby Atmos Mixing Stage

Located on the outskirts of Paris, Dubbing Brothers is a world-leading postproduction center for adapting major films into foreign languages. Its recently renovated Dolby Atmos mixing stage is now equipped with a Meyer Sound system, which has supported the dubbing and remixing of films including “Escape Plan,” “Saving Mr. Banks,” and the Dolby Atmos mix of “The Hobbit: The Desolation of Smaug.”

“When we decided to update our main 7.1 mixing room to Atmos, we wanted monitoring of the highest quality,” says Mathieu Taieb, sales director for Dubbing Brothers. “We knew other major post-production houses were using Meyer Sound for Atmos, so we arranged a session to listen to a Meyer Sound system. We were very impressed with what we heard. The sound was dynamic and precise, warm, and never aggressive. Both bass and high frequencies exhibited very high resolution.”

Supplied by Paris-based cinema audio specialist 44.1, the loudspeaker system was designed to Dolby Atmos specifications. It includes three Acheron® 80 screen channel loudspeakers, four X-800C cinema subwoofers in the front, two X-400C cinema subwoofers in the rear, and four HMS-12 and 34 HMS-10 cinema surround loudspeakers.

“I enjoy mixing on the system immensely,” says Taieb. “You can work all day on a movie with very high dynamic levels, and not feel tired or mugged by the sound. I’m continually impressed with the precision and clarity.”

Designed and supervised by Paul Henri Wagner of 44.1, the complete technical renovation of the room includes new wiring, a 244-channel/48-fader Avid System 5 mixing console, and two Pro Tools HDX systems.

Founded in 1989 and headquartered in St. Denis, Dubbing Brothers has satellite offices in the USA, Germany, Italy, and Belgium. The firm provides a complete range of audio, video, technical, and creative services for the global film and video entertainment industries. Dubbing Brothers operates under the leadership of Philippe Taieb, president and CEO, and Alexandre Taieb, general manager.

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Mezzo-Soprano Stephanie Blythe and Meyer Sound Pioneer Recording Technique with “as long as there are songs”

Constellation Optimizes Acoustic Environment for High-Resolution Music Recording

Meyer Sound has collaborated with legendary mezzo-soprano Stephanie Blythe and pianist Craig Terry in the release “as long as there are songs,” a collection of America’s greatest classics. This is the first full album to be recorded using a Meyer Sound Constellation® acoustic system and features a proprietary recording technique developed by company CEO and co-founder John Meyer. The technology provided a performance environment optimized for the artists, while giving listeners of the record an exceptionally accurate sense of being “in the room” with the performers.

“We live in a digital age when most people listen to music with high compression and limited bandwidth, and this is an issue close to musicians’ hearts,” says Meyer. “My job is to give artists like Stephanie the tools that bring her closer to her audiences. With this recording, we returned to what some may consider the ‘old school’ recording style, where musicians play together in the same room, and listeners can trust that they are hearing the performance at its fullest—nothing more, nothing less.”

The recording took place in Meyer Sound’s 57-seat Pearson Theatre. Using the room’s Constellation system with its variable acoustic capabilities, Meyer Sound engineers worked closely with Blythe and Terry to create a customized acoustic environment. During the recording, they performed comfortably without the interference of close-field microphones or headphones.

Full takes were recorded natively at 24/96 resolution. A third of the songs were captured as entire, unedited takes, with minimal edits made to the other tracks. No post-process filtering or compression was done during the capture or mastering process.

“The Meyers’ incredible spirit of generosity combined with their technology allowed us to create a recording with a sound that is honest, generous and real—a disc that magically transports listeners from their car or couch to the feeling of being at our actual live performance,” says Blythe.

The collaboration between Blythe and Meyer Sound began with an introduction of the two by Cal Performances Director Matías Tarnopolsky, who continues to serve as an advisor. Evans Mirageas served as executive producer, and Ian Watson was music editor. John Meyer led the technical team as recording consultant, working with engineers John Pellowe and Miles Rogers, both of Meyer Sound.

John Meyer has been devoted to building audio technology that faithfully reproduces and delivers sound of the highest quality to audiences worldwide. His 2005 recording of Aashish Khan and Zakir Hussain’s “Golden Strings of the Sarode” was nominated for a Grammy.

Purchase “as long as there are songs” on innova Recordings and Amazon.

Watch Stephanie Blythe video interviews here.

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Meyer Sound JM-1P & 1100-LFC Transform French Sugar Warehouse into Le Sucre Club

Le Sucre (English: The Sugar) in Lyon, France is a popular new dance club and performance venue converted from a former sugar warehouse. Supporting the club’s eclectic mix of electronic dance music and other arts performances is a potent Meyer Sound system based around JM-1P arrayable loudspeakers and 1100-LFC low-frequency control elements. The system was designed and installed by Paris-based Best Audio under the direction of Sébastien Nicolas.

“Le Sucre is a place dedicated to serving artists and the audiences, while advancing creativity and innovative musical culture in our region,” says Matthieu Lecan, director of development for Arty Farty, the non-profit arts organization that operates the club. “During planning, we had discussions with a number of people in the electronic music business, including well-known producer and DJ Laurent Garnier.”

Paris-based rental firm DUSHOW coordinated a JM-1P demo for Garnier and Arty Farty representatives. “Laurent played his own tracks through a JM-1P system, and the sound was clean, clear, and powerful,” recalls Lecan. “Meyer Sound is the best brand for what we needed. It gives us the capability to present high level techno music, as well as concerts with different styles for different audiences.”

Le Sucre’s system includes twin clusters of three-each JM-1P loudspeakers at the front, with two UPQ-1P loudspeakers each on either side of the dance floor. Low end is provided by a horizontal array of four 1100-LFC loudspeakers, while three UPJunior™ VariO™ loudspeakers supply side fill. Two more UPQ-1P loudspeakers paired with two 600-HP subwoofers flank the DJ platform, and everything is optimized and driven by a Galileo® loudspeaker management system with a Galileo 616 processor.

Since its summer opening, Le Sucre has quickly gained a reputation not only as a pristine late-night destination, but also as a cutting-edge venue for experimental shows that mix digital technology with live performances.

“Regular clubbers who are active on the blogs and forums have really taken notice,” reports Lecan. “There’s a buzz about this great new club called Le Sucre with a fantastic sound system. About 97% of our concerts are sold out before we open the doors.”

Established in 1999, Arty Farty has organized the Nuits sonores electronic music festival in Lyon since 2003. Its headquarters, along with Le Sucre, are located inside La Sucriere, an expansive complex of galleries and performance spaces devoted to contemporary art.

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Self-Powered Meyer Sound MINA a Perfect Fit for Duke University Auditorium

The historic Baldwin Auditorium on the campus of Duke University in Durham, N.C. has recently reopened following a complete interior renovation. To satisfy the varied demands of the 685-seat hall, the university has installed a self-powered Meyer Sound MINA™ line array loudspeaker system. The hall’s acoustics and reinforcement system were both designed by Norwalk, Conn.-based consulting firm Jaffe Holden.

“We’d designed the physical acoustics to be quite live, so we needed line arrays to focus sound on the audience and not excite the architecture,” explains Ben Bausher, senior consultant at Jaffe Holden. “We also wanted a minimal profile for aesthetic reasons. Finally, a self-powered solution was mandatory, as there was simply no place to put amp racks, much less a cooled equipment room. MINA was a perfect fit on all counts.”

The system comprises main left and right arrays of 10 MINA loudspeakers each, supplemented by 10 UP-4XP 48 V loudspeakers for front fill, two MM-4XP self-powered loudspeakers for side-balcony coverage, and two UPJ-1P VariO™ loudspeakers for over-balcony coverage. Four 500-HP subwoofers are recessed under the stage for vibration isolation, and a Galileo® loudspeaker management system with both a Galileo 616 and a Galileo 616 AES processor provides system drive and optimization. The system was installed by Greensboro, N.C.-based Audio & Light.

“The system coverage is exceptionally uniform,” says Richard Kless, assistant manager of theatre operations for Duke University. “What we had before was really a glorified rehearsal space, and now it’s a splendid-sounding and aesthetically gorgeous concert hall. It was an amazing transformation.”

Brian Cox, vice president of sales at Audio & Light’s installation division, adds: “As self-powered technology eliminates the need for an amplifier room, the MINA system was more cost-effective as well.”

The new system works jointly with the room’s optimized acoustics to provide impeccable sound for classical, jazz, world music, and more. These concerts are presented by the school’s own music department and Duke Performances, which sponsors touring professional artists.

The Baldwin Auditorium renovation project was designed and supervised by New York-based Pfeiffer Partners Architects in consultation with Ray Walker, Duke campus architect. Principal acousticians for Jaffe Holden were Mark Holden and Matthew Nichols.

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Netherlands’s Bazelmans AVR Expands Rental Inventory to Reach 100 Meyer Sound Loudspeakers

With its recent purchase of 1100-LFC low-frequency control elements and JM-1P arrayable loudspeakers, Veldhoven-based rental company Bazelmans AVR has grown its inventory to include more than 100 Meyer Sound loudspeakers.

“We had heard through the grapevine that the 1100-LFCs were amazing, but when we first fired up the units for testing we were dumbstruck,” says Aart Habraken, rental manager for Bazelmans AVR. “The 1100-LFC maintains linearity regardless of power levels and SPL output. It truly raises the bar for all others to follow. With the EDM [electronic dance music] market now showing keen interest in Meyer Sound, the 1100-LFC couldn’t have come at a better moment.”

Wiljan Bazelmans, founder and CEO of Bazelmans AVR, adds: “We want the best experience for our customers, not just once but every time. We decided to step up from other loudspeaker brands to Meyer Sound some years ago, and we have never looked back. It’s a win-win situation for everybody.”

The sale was made through Audio Electronics Mattijsen (AEM), Meyer Sound’s Dutch distributor. “It is very gratifying to see that a company like Bazelmans has clear ideas about quality and assertive marketing, is acting on them, and achieving success,” remarks AEM’s Eric Mattijsen. “We look forward to new and exciting projects together.”

Bazelmans AVR provides comprehensive production services for events ranging from multi-room conferences to high-end corporate events. Its inventory also includes Meyer Sound MICA® and M’elodie® line array loudspeakers, UPQ-1P loudspeakers, UPJ-1P and UPJunior™ VariO™ loudspeakers, and 500-HP, 600-HP, and 700-HP subwoofers.

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Herbie Hancock Video Interview: Experimenting with Concert Surround Sound

In summer 2013, at Stanford University’s Bing Concert Hall, keyboardist and jazz pioneer Herbie Hancock rolled out a concept he has been fascinated with for over 20 years. Using a multichannel surround system from Meyer Sound, Hancock brought the surround sound of movie theatres to a one-of-a-kind live concert experience that cannot be heard elsewhere.

To realize Hancock’s vision, Meyer Sound set up a system with 45 loudspeakers and 28 channels. The heart of the system was the SpaceMap® multichannel surround panning technology, which allowed Hancock to pan sounds around the 800-seat concert hall in real time, controlling movement via a touch-screen tablet.

Watch Hancock and Jason Rauhoff, senior digital audio products specialist for Meyer Sound, discuss the artist’s vision of surround sound in a concert setting and the technology that helped bring it to life.

Herbie Hancock Video Interview

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Peru’s First Meyer Sound LEO System Gives Engineers “A Feeling of Unlimited Headroom”

Lima-based DBLUX S.A.C. recently debuted its new Meyer Sound LEO™ linear large-scale sound reinforcement system at the Pilsen Callao Festival in Lima’s National Stadium (Spanish: Estadio Nacional). The LEO system is the first in Peru, and it supported an all-star Latin American lineup headlined by salsa superstar Rubén Blades. Covering over 120 meters of the concert field with no delay towers, the LEO system made a strong impression on veteran FOH mixers.

“I’ve worked with almost every line array from the major makers, but I’ve never before had that feeling of unlimited headroom, where there is always room for more, and uniformity is still preserved,” recounts Guillermo “Memo” Gómez, FOH engineer for Rubén Blades. “LEO is very different from other systems. The sound quality and coverage are exceptional.”

The system was purchased by Andres Cuadros and Guillermo Riera, co-owners of DBLUX S.A.C. It includes 30 LEO-M line array loudspeakers, six MICA® line array loudspeakers for down fill, 18 1100-LFC low-frequency control elements, and a Galileo® Callisto™ loudspeaker management system with four Galileo Callisto 616 array processors and one Galileo 616 AES processor.

“We invested in LEO because it sets a new standard for power and clarity in large systems,” explains Andres Cuadros. “It also integrates seamlessly with our existing Meyer Sound loudspeaker inventory so we can offer a complete high-performance system. This gives us a great competitive advantage.”

The Lima concert was the first opportunity for many engineers to mix on a LEO system. “It was an incomparable feeling,” says Ender Torres, FOH engineer for Adolescentes Orquesta. “LEO is unmatched by any other line array system­ due to its quality, versatility, sound pressure, and accurate definition at all frequencies.”

Also mixing on LEO for the first time was Jose Quique Vives, FOH engineer for Tego Calderón.  “It was one of my best mixing experiences,” he says. “The system has flat sound projection over very long distances, and is very efficient in the high frequencies. The presence of the sound made my work easy.”

Shortly after its National Stadium debut, the LEO system provided reinforcement for 30,000 people attending Festival Claro at Lima’s Plaza San Martin.

As one of the Latin America’s premier sound providers, DBLUX S.A.C. has supported performances by regional acts as well as international stars such as Paul McCartney, Elton John, and Justin Bieber.

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Meyer Sound CAL at Hong Kong University: Redefining the Musical Capabilities of Column Array Loudspeakers

The Grand Hall at the University of Hong Kong’s new Lee Shau Kee Lecture Centre has installed a sound system based around three Meyer Sound CAL™ column array loudspeakers. The power, clarity, and beam-steering flexibility of the CAL loudspeakers make them ideal not only for lectures, but also for musical performances and cinema soundtracks.

“CAL is the only steerable column array I’ve experienced that can reproduce music—even classical concerts—with such clarity and musicality,” says Y.H. Shum, director of Hong Kong-based China-Tech Engineering Co. Ltd., which handled system integration. “For spoken word or music reproduction, no other column loudspeaker comes close.”

The installation marks one of the first multi-manufacturer installations of the AVB (Audio Video Bridging) networking protocol, with the CAL loudspeakers interfacing seamlessly with the Biamp Systems Tesira platform for signal processing and networked audio distribution. The CAL loudspeakers are controlled by Meyer Sound’s Compass® control software.

The Hong Kong office of Shen Milsom & Wilkie handled audio specification for the project. “Because of the long lead time on the project, the contracts were all complete long before I first heard CAL at a trade show demonstration,” says David King, senior consultant at Shen Milsom & Wilkie. “But when I first heard them, I was not simply reassured; I was blown away.”

The hall’s reinforcement system comprises two discreetly mounted main left and right CAL 96 loudspeakers, in addition to one center channel CAL 64 loudspeaker that can be lowered into place behind a temporary cinema screen. Completing the system are 28 UP-4XP 48 V loudspeakers for surrounds, front fill, and balcony fill; seven Stella 4C installation speakers for underbalcony fill; and two USW-1P subwoofers.

“During the commissioning, we checked SPL throughout the empty room,” says King. “We measured less than 4 dB variance from FOH to the rear of the balcony, with no delayed speakers turned on. That was very impressive.”

The Grand Hall system is mixed on a Yamaha LS9 digital mixing console, which communicates with Tesira via an installed CobraNet card. An AMX control system allows efficient operator access to function presets for the hall’s different events.

“When we heard Beethoven’s Symphony No. 5 through CAL, we knew right away CAL is the most powerful and musical column array in the market,” says Paul Poon of Audio Dynamic, system supplier and coordinator of project logistics. “We are very proud to be a part of this project showcase in Hong Kong.”

New York-based Jaffe Holden provided acoustical design for the 1,000-seat Grand Hall. The architecture firm for the Lee Shau Kee Lecture Centre was Wong & Ouyang (HK) Ltd.

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Spain’s FIBES Convention Centre Chooses Meyer Sound MICA

In Seville, Spain, a Meyer Sound MICA® line array loudspeaker system has been installed in the new auditorium at FIBES Conference and Exhibition Centre (Spanish: Palacio de Exposiciones y Congresos). With its seating flexibility and sonic excellence, the FIBES auditorium is a popular venue for international conferences, major concerts, and musical theatre productions. The audio system was specified by Carlos García-Diéguez Acuña of Seville-based GD Consulting.

“We selected a Meyer Sound MICA solution based on its overall sound quality, high efficiency in compact enclosures, and the availability of strong technical support in Spain,” explains García-Diéguez. “For conferences, it delivers high clarity and intelligibility in all seats, while for concerts, it is excellent for all music styles, including folk, classical, and rock.”

The Meyer Sound MAPP Online Pro® acoustical prediction program proved to be an essential design tool for the room with reflective metal and PET-based synthetic materials for wall surfaces. “MAPP Online Pro allows us to focus the sound on the seating area and greatly minimize any destructive reflections,” says García-Diéguez.

The FIBES auditorium system is built around twin arrays of eight-each MICA loudspeakers flown underneath three 600-HP subwoofers. Four UPM-1P loudspeakers supply front fill, six UPJunior™ VariO™ loudspeakers are mounted for underbalcony fill, one UPJunior loudspeaker covers one side of the asymmetrical top tier, and a Galileo® loudspeaker management system featuring one Galileo 616 processor handles system optimization and drive. GD Consulting and Madrid-based systems integrator Vitelsa assumed project management for the installation.

The permanent house audio system is mixed on DiGiCo SD9 and SD11 digital mixing consoles, both equipped with a MaDiRack.

The FIBES auditorium is designed by renowned architect Guillermo Vázquez Consuegra. It seats up to 3,000, although moveable walls can enclose upper sections for simultaneous use as smaller meeting spaces.

Since opening, the auditorium has hosted performances by Julio Iglesias and Raphael, the Flamenco Biennial Festival, and touring productions of Beauty and the Beast and Les Misérables, among others.

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Meyer Sound M’elodie Heightens Speech and Music at Malaysian Church

Subang Jaya Assembly of God is a fast-growing Malaysian contemporary church near Kuala Lumpur. To enhance the audio quality of its celebration-style worship services, the church recently installed a Meyer Sound M’elodie® line array loudspeaker system in its 750-seat sanctuary. The new system was provided and installed by Danny Kinchang of First Live Sound, based in Petaling Jaya.

“We have certainly experienced an improvement in sound, and consequently, an improvement in the playing of the worship music team,” says Pastor Donny Tan, who takes an active role in the church’s music program. “The M’elodie system has brought strong positive motivation to the team, and resulted in a more professional presentation.”

Twin flown arrays of five-each M’elodie loudspeakers cover the auditorium, along with four UPJunior™ VariO™ loudspeakers for out fill and center down fill. Four 600-HP subwoofers in an end-fire directional array supply low end, while a Galileo® loudspeaker management system with one Galileo 616 processor provides system drive and optimization.

“The new system also has improved speech clarity,” points out Pastor Tan. “It sounds great—there is very little need to tweak the equalization, as everything is clear and distinct.

The front-end complement for the new system includes a Yamaha LS9-32 digital mixing console and an assortment of premium microphones from Sennheiser, DPA, Audio-Technica, and Shure. Kinchang and First Live Sound also designed and supervised the acoustical treatment for the room.

Subang Jaya Assembly of God’s vibrant LifePoint ministry provides Sunday worship services in English and Chinese, as well as a full spectrum of programs and activities for children, youth, young adults, and seniors throughout the week.

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