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Meyer Sound Debuts LYON Linear Sound Reinforcement System at ISE 2014

Meyer Sound has announced the self-powered LYON™ linear sound reinforcement system, the newest addition to the LEO™ Family of linear loudspeaker systems. Incorporating the technology of the LEO Family in a lighter and more compact package, LYON extends the advantages of highly linear self-powered systems to a broader range of venues and applications. LYON will make its debut at the ISE trade show in Amsterdam.

“With the LEO system, we have shown how a system that stays linear across all frequencies and at very high sound levels can provide a whole new listening experience for everything from the New York Philharmonic to Bassnectar,” says John Meyer, Meyer Sound’s CEO and co-founder. “By combining this high level of linearity with a more flexible package, LYON will open up many more opportunities for listeners to experience the performance advantages of a linear system.”

LYON linear line array loudspeakers are available in two versions: the LYON-M main line array loudspeaker and the LYON-W wide-coverage line array loudspeaker. Complemented by the 1100-LFC low-frequency control element and the Galileo® Callisto™ loudspeaker management system, the LYON-M can anchor a powerful system for installations in arenas and large auditoriums, as well as tours and festivals. The LYON-W can serve as down fills to augment a LYON-based system. Both LYON versions can be used to provide supplemental coverage in a LEO system.

At ISE, Meyer Sound will also show the recently announced Galileo Callisto 616 AES primary array processor, a powerful hardware and software solution for driving and aligning Meyer Sound loudspeaker array systems. Designed as a mastering tool for delivering digital audio, the Callisto processor combines versatile alignment tools like U-Shaping™ equalization and delay integration with a full suite of AES3 analog and digital inputs and outputs.

As part of the InfoComm education program at ISE, Jeff Koftinoff, Meyer Sound embedded systems and signal processing architect, will present “Deploying Large Scale AVB Networks” on February 6.

On the AVnu Alliance pavilion, AVB-capable products from Meyer Sound, Avid, and Extreme Networks will be featured in a live demo to show the power of AVB interoperability in a live sound environment. Products in the demo will include a Meyer Sound CAL™ column array loudspeaker and D-Mitri® digital audio platform, an Avid S3L live sound system and Avid Pro Tools 11 running on a laptop, as well as a switch from the Extreme Networks Summit series. Other AVnu Alliance member companies participating in the pavilion include Barco, Biamp, and Harman. Visit Hall 7 booth H195 to learn more.

Integrated Systems Europe
Booth 1-F90
Amsterdam RAI
February 4-6, 2014

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Meyer Sound LEO Powers Bassnectar 360° New Year’s Eve Show

On New Year’s Eve, approximately 17,000 “Bassheads” converged at Nashville’s Bridgestone Arena to usher in 2014 with Bassnectar, the electronic music DJ whose immersive live shows have earned him legions of devoted fans. To ensure an equal experience for all attendees, the 360-degree event featured a rotating stage, as well as the largest Meyer Sound LEO™ large-scale sound reinforcement system to date.

“The sound was spectacular, and incredibly even for an in-the-round setup,” says Brendan Hoffman, FOH engineer and production manager. “From FOH at one end of the arena up to the stage and the higher seating sections, differences were negligible. It was a gut punch on the floor and a gut punch at the top level.”

Supplied by VER Tour Sound, the LEO system comprised 96 LEO-M line array loudspeakers deployed in four arrays of 14-each for long-end throws, and four of 10-each for the short sides. Four MICA® line array loudspeakers completed each array as down fill, while eight additional MICA loudspeakers were spaced around the stage as front fill. For powerful low-end reinforcement, four arrays of 12-each 1100-LFC low-frequency control elements were flown, augmented on the floor by 12 1100-LFC loudspeakers and 20 700-HP subwoofers arranged in cardioid pairs around the circular stage.

The system was aligned and optimized by a Galileo® Callisto™ loudspeaker management system with two Galileo 616 AES and 12 Galileo Callisto 616 array processors. The low-end arrays were configured and timed to steer energy in a clean donut pattern out to the audience and away from the stage. VER Tour Sound’s Doug McKinley and Chad Fuller handled system design.

“Obviously the bottom end with all the 1100-LFCs was incredibly loud, but it was still clean with tight transients—the crux of this style of music,” points out Hoffman. “It was solid down to 28 Hz.”

Hoffman mixed on an Avid SC48 console equipped with Waves plug-ins and augmented with outboard Avalon compressor-equalizers. Monitor engineer Jayson Pietri also mixed on an SC48, while Bassnectar used a Shure wireless microphone system with an SM58 capsule. Opening the evening for Bassnectar were Zion I and ill-esha.

Social media response has been enthusiastic:

“The amount of bass that this man brings to every show he performs is unreal. The bass will have your sinuses vibrating and your ears itching… which is why people travel hundreds of miles, and wait in extremely long lines in the freezing cold, just to get a wristband to be on the floor,” writes Michael Patrick.

“I find it hard to describe the experience in words. This was my first Bassnectar experience and I am hooked. Thank you for providing me one of my most memorable life experiences—truly,” writes Jenny Hamblen Shreeve.

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Using Meyer Sound Constellation, France’s Vendéspace Doubles as a Symphony Hall and Sports Arena

In Vendéspace in western France, a Meyer Sound Constellation® acoustic system helps transform a sports arena into a premier classical music hall on demand. The audacious multipurpose building project began when the local government realized funds were available for only one structure. As a result, two seemingly contrary uses were combined into a single, architecturally daring, and cost-effective new venue.

“Most multi-purpose venues provide slight acoustic differences between shows as similar as theatre and opera, but certainly not as different as sports and symphonic music,” says Marc Asselineau, acoustician for the consulting firm Peutz France. “It was also a difficult acoustical challenge with the multiple staging and seating configurations.”

Asselineau deduced that, by building an acoustically dead space suitable for amplified music, he could use active acoustics to enhance the ambience for concerts and sporting events. Working with Martin Morillon, Vendéspace director, the team selected a Constellation system.

“We went to Laboral Teatro in Spain to hear a demonstration and listened to a chamber music rehearsal,” says Morillon. “In such a large space, we were amazed at the acoustics, balance, and volume of the music coming from only five instruments.”

Asselineau adds: “Constellation was an excellent solution for Vendéspace, as it does not introduce any coloration into the sound. It was also the most economical option, and it has demonstrated that it can cope with the extreme variability of event staging.”

The installation in the Grand Hall of Vendéspace has more seating capacity than any Constellation projects, providing 4,100 seats for sporting events such as basketball. Other entertainment events can employ either longitudinal or transverse staging. The venue’s transverse “lyric” configuration seats about 2,300 for classical music concerts, while the venue can accommodate 4,900 fans for amplified music.

The system employs 49 distributed microphones for sensing the ambient physical acoustics, and a D-Mitri® digital audio platform with five VRAS™ processors for each distinct reverberation zone. Fifty-eight UltraSeries™ loudspeakers and 12 subwoofers recreate natural room reverberation across the full audio spectrum. One early reflection zone is dedicated to a virtual orchestral shell that can be deployed when needed. Multiple presets allow use of Constellation for any staging and seating configuration.

“At our recent event on the ATP Challenger Tour, the tennis court sounded like it was right at your feet, even in distant seats,” says Morillon. “And with every concert, the conductors, musicians, and artistic directors are all convinced of the quality of the Constellation system.”

For amplified events, Vendéspace features a flexible system of 18 MICA® line array loudspeakers, eight JM-1P arrayable loudspeakers, and eight 700-HP subwoofers. The MICA loudspeaker arrays can be hung under the retractable center scoreboard for high-volume sporting events. For voice announcements, six UPJ-1P VariO™ loudspeakers in the Constellation system can be re-purposed as a distributed system with a preset. The reinforcement system was designed by Cyril Ubersfeld of Best Audio and installed by Tech Audio, both of Paris.

Future events at Vendéspace include volleyball, tennis, gymnastics, ice-skating shows, the St. Petersburg Ballet, a performance of Beethoven’s Ninth Symphony, and pop concerts by Christophe Mae and James Blunt.

Vendéspace is located near the city of La Roche-sur-Yon and is owned and operated by the General Council of Vendée. It was designed by French architect Paul Chemetov.

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LakeRidge United Methodist Church Adds MINA in Its Third Meyer Sound-Equipped Venue

LakeRidge United Methodist Church in Lubbock, Tex. has markedly improved the sound in its main sanctuary with the installation of a Meyer Sound MINA™ line array loudspeaker system. Having previously selected Meyer Sound systems for two other areas of the church, Lubbock-based Moyers Group was called upon to design and install the new system.

“Since the new MINA system was installed in the main sanctuary, everybody has noticed the difference,” says Elec Winner, the church’s director of technical ministries. “The clarity of the high end is amazing. Now everything has its proper place in acoustic space, and the coverage from front to back is completely uniform. Our senior pastor is extremely happy. The sound check before the service takes less time, and the gain before feedback is much higher.”

The new system comprises left and right arrays of seven MINA loudspeakers each, two UPA-1P loudspeakers for side fill, two 700-HP subwoofers, and one UPJ-1P VariO™ loudspeaker as a choir monitor. A Galileo® loudspeaker management system with one Galileo 616 processor provides system drive and alignment.

Completing the main sanctuary system are a Midas Legend 3000 mixing console and Shure ULX and ULX-D wireless microphone systems. An Aviom system with Westone in-ear units provides monitoring for the praise band.

LakeRidge’s multi-purpose activity center features a Meyer Sound system with two UPA-1P loudspeakers as the main system and two UPJunior VariO loudspeakers as side fills, along with two USW-1P subwoofers in a cardioid array supplying directional low end. In addition, a pair of UPJ-1P loudspeakers supports traditional services in the chapel. Moyers Group handled all three installations.

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Rumble Audio Post Supports New York Indie Filmmakers with Meyer Sound Monitoring System

With a primary focus to serve New York City’s independent film production community, Rumble Audio Post has installed a Meyer Sound cinema monitoring system. The Brooklyn post facility is now one of three Meyer Sound-equipped post houses in the New York metro area.

“My goal is to provide the highest quality audio services at rates that fit the budgets of most independent films,” says Ryan Billia, engineer and owner of Rumble. “I was determined from the outset that I did not want to compromise on the console or monitoring.”

The monitoring system for Rumble’s mixing stage includes three Acheron® Designer screen channel loudspeakers, two X-800C cinema subwoofers, six HMS-5 cinema surround loudspeakers, and a Galileo® loudspeaker management system with two Galileo 408 processors for system drive and optimization. Alternate presets in the Galileo processors allow push-button setup for television series, advertising, or web-based content. The system was supplied by Sonic Circus of Townshend, Vt.

Billia first learned of the Acheron Designer loudspeaker in news stories about the system installed in the screening room at Francis Ford Coppola’s American Zoetrope Studios.

“The Designers looked to be the perfect fit,” says Billa. “I received very strong encouragement from Marti D. Humphrey at The Dub Stage in Hollywood, a veteran who is a mentor for many of us younger mixers. He had been mixing on a Meyer system for a couple of years, and he could not recommend them enough.”

In his first months of operation, Billia mixed “Pills,” a music-laden short film directed by Craig Zobel, and two feature-length films, one of which was accepted to the Sundance Film Festival.

“I had one filmmaker tell me that with the Meyer Sound system, it was almost like he’d never really heard a film before. The sound is so tight, so focused and controlled.”

Rumble’s mixing stage includes an Avid ICON D-Control console, a complete Pro Tools HD system, a Panasonic PT-AE8000U projector, and a rack of high-end analog outboard processors for sound design applications. Room acoustics were handled by Dave Ellis of Ellis Island Design.

In addition to its main mixing stage, Rumble Audio Post offers a foley stage and a recording booth for voice-overs, ADR, and narration.

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Meyer Sound Introduces Galileo Callisto 616 AES Primary Array Processor

The new Meyer Sound Galileo® Callisto™ 616 AES primary array processor is a powerful hardware and software solution for driving and aligning Meyer Sound loudspeaker array systems. Combining versatile alignment tools like U-Shaping™ equalization and delay integration with a full suite of digital AES3 and analog inputs and outputs, the Callisto 616 AES serves as a flexible mastering tool for delivering digital audio to satellite Meyer Sound processors, including Galileo Callisto 616 processors and Galileo 616 and 408 processors.

“The Callisto 616 AES adds a new level of control in commissioning sound systems as it allows engineers to precision calibrate individual elements or zones using the satellite processors, and then they can use the AES primary processor at FOH to make further adjustments to the overall system using tools like U-Shaping,” explains Todd Meier, digital products manager at Meyer Sound. “Together with the Compass® control interface, this pairing provides the ultimate FOH system mastering tool and makes tuning sound systems much more efficient.”

The two-space, rack-mounted Callisto 616 AES includes six inputs, 16 digital outputs with eight mirrored analog outputs, and a full digital matrix processor. Working in tandem with the Compass control software, Callisto 616 AES is optimized to be a mastering tool that makes it easier to manage loudspeaker systems and shape overall system response. The U-Shaping equalization comprises five bands with adjustable slopes, widths, and gain. Five bands of complementary phase parametric filters are available on each output. An additional five bands of parametric filters and standard TruShaping® equalization are available on each input.

 

Additional features include delay integration for automatic alignment of Meyer Sound line arrays, and atmospheric correction to maintain high frequency response regardless of changes in temperature and humidity.

To assume impeccable sonic performance for analog audio signals, Callisto 616 AES employs A-D-A conversion with 24-bit resolution at 96 kHz sampling. Internal processing is at 96 kHz with 32-bit floating point resolution. Latency is fixed across all output channels regardless of processing applied, and dedicated connectors are provided for seamless integration of Meyer Sound’s SIM® 3 audio analyzer.

Galileo Callisto 616 AES will begin shipping early February.

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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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