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Starlight’s Meyer Sound LEO System Powers Gyllene Tider Swedish Tour

The Swedish pop group Gyllene Tider recently embarked on its first tour in nine years, performing mostly in large outdoor stadiums throughout Sweden. For the 19-show tour, Stockholm-based sound provider Starlight provided a Meyer Sound LEO™ linear large-scale sound reinforcement system.

“The LEO system was new to me, but I was extremely impressed from the start by its long-throw capabilities,” says Anders Molund, FOH engineer for Gyllene Tider. “The detail of LEO’s sound is very revealing, even at long distances, while the system’s small size and weight are also very beneficial.

Although this was Molund’s first tour with Gyllene Tider, he has long used Meyer Sound equipment during his many tours with pop rock duo Roxette, which also features Gyllene Tider frontman Per Gessle. It was a logical decision for Molund to choose Meyer Sound again for Gyllene Tider.

“As ever with Meyer Sound, I love the way that different product lines perform well together,” says Molund. “For example, on this tour we used LEO loudspeakers with M3D line array loudspeakers, and were able to get even coverage without any problems.”

Assisted by system engineers Thomas Malbeck and Fredrik Arwidsson of Starlight, Molund mixed on a main system of 16 LEO-M and two MICA® line array loudspeakers per side, while front fill consisted of eight MICA loudspeakers and six JM-1P arrayable loudspeakers. For larger shows, outfill hangs of six M3D line array loudspeakers per side were added. Low end was provided by 24 1100-LFC low-frequency control elements in an end-fire array configuration. Drive and alignment were handled by a Galileo® Callisto™ loudspeaker management system featuring four Galileo Callisto 616 array processors and one Galileo 616 processor.

“We carried an additional 12 M3D loudspeakers to use for delay towers, but with LEO’s impressively long throw, we only had to use the delays for a few shows,” says Molund.

The touring system also included DiGiCo SD5 and SD10 consoles, while the band used microphones from beyerdynamic, DPA, Sennheiser, and Shure, as well as an Optocore fiber-based network system.

Best known for its Swedish pop hit “Sommartider,” Gyllene Tider is one of Sweden’s most successful pop acts. Since its 1985 breakup, the band has reunited several times, culminating in this most recent tour.

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New York’s Goldcrest Post Builds a “Wow” Room with Meyer Sound Cinema System

Located in New York’s West Village, film postproduction facility Goldcrest Post has recently launched Mix Theatre Q, its newest mixing room that marks a key component of the company’s growth plans. With the goal to attract new clients to Goldcrest Post, Mix Theatre Q has installed a Dolby-certified Meyer Sound cinema monitoring system.

Goldcrest Post decided it was time to expand when prominent New York audio post facility, Sound One, shuttered its business. “At the time, we had a screening room that was underutilized,” recalls staff re-recording mixer Andy Kris. “I proposed that we create what I call a ‘wow’ room. Other rooms of similar size were popping up, and I was looking for ways to give us the edge. And the Meyer Sound monitors were something that would definitely set us apart.”

With its new audio capabilities, Mix Theatre Q has received uniformly positive feedback from the professional cinema community. To date, prominent mixers who have used the Meyer Sound system in the new mixing room include Dominick Tavella, Martin Czembor, and Eric Hirsch.

“We’ve had a lot of interest from outside mixers,” notes Jim Gardner, studio manager of Goldcrest Post. “When we tell them that we have Meyer monitors in here, they respond that they know them and can trust them.”

Noteworthy projects that were mixed using the new Meyer Sound system in Mix Theater Q include the final season of HBO’s “Treme,” CBS’s “Blue Bloods,” and NBC’s “The Michael J. Fox Show.”

“On the first mixing sessions,” says Kris, “I immediately noticed the improved imaging. Because the speakers are so precise and so consistent, if you pan a sound element across the LCR speakers and into the surrounds, the character of the sound does not change. The speakers are unbelievably accurate, and create a very uniform sound field.

“You also feel their sheer power,” continues Kris. “All the low frequencies, which are often problematic in mixing rooms, are uniform across the bass spectrum.”

The Meyer Sound monitoring complement includes three Acheron® Studio screen channel loudspeakers, two X-800C studio subwoofers, 10 HMS-5 cinema surround loudspeakers, and a Galileo® loudspeaker management system with two Galileo 408 processors. The system was provided by Steven Strassberg Associates of New York, and installed by Avi Laniado, with assistance from Goldcrest Post staff engineer Bob Troeller. Acoustical design was handled by David Kahn in the New York office of Acoustic Dimensions.

Completing the room’s premium equipment package are Euphonix S5 Fusion and Avid ICON D-Control ES mixing consoles, MADI-connected Pro Tools HDX and Native systems, an NEC 2K DCI-certified digital cinema projector, and a Vevo BS65K acoustical woven screen.

“With Meyer Sound monitoring, I now have the utmost confidence when mixing,” says Kris. “There’s no more mystery about how it will sound, because I know I’m hearing everything.”

Opened in 2000, New York’s Goldcrest Post is a sister facility to Goldcrest Post in London, which has long been recognized as one of the city’s premier facilities. Both studios are part of the highly diversified, London-based Goldcrest Films enterprise that has produced or co-produced releases such as “Chariots of Fire,” “Escape from New York,” and “Gandhi.”

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Double Grammy Winner Fun. Tours with Solotech and Meyer Sound LEO

After winning the 2013 Grammy Song of the Year and Best New Artist awards, indie pop band Fun.’s “Most Nights” tour has been packing music venues across 34 North American cities throughout the summer. Montreal-based Solotech is providing the tour with a Meyer Sound LEO™ linear large-scale sound reinforcement system.

“I’d heard LEO last year at Outside Lands festival in San Francisco, and I was tickled pink when I had the opportunity to take a rig out this year,” says Gordon Reddy, FOH engineer for Fun. “It’s a great kit, with a wonderfully smooth high end. If a typical sweet high end is like table sugar, then LEO is clarified honey.”

The band’s touring system includes main arrays of 14 LEO-M line array loudspeakers per side, with low-end impact supplied by a total of 24 1100-LFC low-frequency control elements. Rounding out the system are eight UPJunior™ VariO™ loudspeakers and six UPQ-1P loudspeakers for stage lip and front corner fill, respectively. A Galileo® Callisto™ loudspeaker management system with three Galileo Callisto 616 array processors and one Galileo 616 AES processor provide system drive and alignment. David Brazeau of Solotech designed the base system configuration in consultation with Reddy.

“LEO certainly has the horsepower when you need it,” claims Reddy. “At one show in the Midwest, the promoters oversold the venue and extended the audience area out into the parking lot, over 300 feet from the stage. They made no provision for delays; fortunately the LEOs delivered all the way to the back. It was fantastic.

“It’s a great system to listen to and mix on with such a big, beefy, dominant, coherent sound,” continues Reddy. “Other systems just don’t have the focus and the clarity that comes with the linearity of LEO.”

Joining Reddy for the tour are systems engineer Jonathan Trudeau of Solotech and monitor engineer Dave Rupsch. The band is mixed on twin DiGiCo SD8 consoles, each outfitted with Waves SoundGrid plug-ins. The band uses Shure SM-58 vocal microphones on a UHF-R wireless microphone system.

Fun.’s “Most Nights” tour includes a diverse number of sheds and amphitheaters with capacities of up to 20,000. Opening the shows is the indie rock duo Tegan & Sara.

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Meyer Sound LEO Makes First Appearance at Sziget Festival

Held on Óbudai-sziget (Old Buda Island), a 266-acre island on the river Danube in northern Budapest, the annual Sziget Festival is one of the largest music festivals in Europe. Over eight days this summer, Sziget attracted 1,000 Hungarian and international artists performing at 60 venues, and welcomed a total of 362,000 fans. For the festival’s main stage, a Meyer Sound LEO ™ linear large-scale sound reinforcement system supported headliners including Blur, David Guetta, and Franz Ferdinand.

“Bringing LEO into the fray is a real leap forward, as it’s a fantastic system with a huge throw,” says Karoly Molnar, the main stage sound designer and managing director of Animative Ltd., which handled production management for Sziget. “Because the music styles are so varied at Sziget, this system is perfect. And because LEO is so linear with a flat frequency response, engineers don’t need to tweak it—they can spend all their time on the console.”

For the eighth consecutive year, London-based Capital Sound provided sound reinforcement for the festival’s main stage, with the company’s Robin Conway working onsite as project manager and Mark ‘Magic’ Ellis-Cope serving as crew chief. Equipment support was provided by Warsaw, Poland-based GMB Pro Sound, and Adam Szczęsny from GMB oversaw the rigging process.

The LEO system included two main hangs of 16 LEO-M line array loudspeakers each, as well as two out-fill hangs of eight LEO-M loudspeakers each. Providing low end were two ground stacks of 18-each 1100-LFC low-frequency control elements per side, supported by 22 700-HP subwoofers for center fill and out fill. A Galileo® Callisto™ loudspeaker management system featuring Galileo Callisto 616 array processors provided system drive and alignment.

“The festival setup has changed dramatically over the years—it’s all about coverage now, and the audience expects a great sound,” says Tamás Dragon, Sziget’s resident FOH engineer. “Not only is LEO powerful, but its throw is massive. The 1100-LFC subs have lots of carry and thump, and that nice punchy bass sound is exactly what we need.”

Molnar adds: “The feedback from engineers, managers, and festival-goers was excellent. The Galileo Callisto system made tuning the system easy, and the headroom of both the LEO-M and the 1100-LFCs was impressive. We never reached limit—that is very unusual at this festival. And we even got some nice comments from the lighting guys, who liked the small footprint and the elegant, narrow look of the arrays.”

2013 marked the 10th consecutive year that Meyer Sound equipment was used at Sziget. Systems based around M3D, MILO®, and MICA® line array loudspeakers were also used at a number of smaller stages throughout the festival.

Sziget Festival has grown dramatically since its inception in 1993 as a small student event. In 2011, Sziget won Best Major European Festival in the European Festivals Awards.

Sziget Festival Video

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Belgium’s Galaxy Studios Selects Meyer Sound Cinema System for Auro-3D Showcase

Galaxy Studios in Mol, Belgium, has recently built a new facility to showcase its proprietary Auro-3D® immersive surround sound technology. Dubbed the “AuroTorium,” this new dub stage features a 59-loudspeaker Meyer Sound cinema system that fully supports standard 5.1, Auro 11.1, Auro 13.1, and other object-based formats that use Auro-3D’s Creative Tool Suite plug-ins.

“The goal of Auro-3D is to create the most natural sound experience possible,” says Wilfried Van Baelen, co-owner of Galaxy Studios and principal developer of Auro-3D. “Of all the cinema loudspeakers I have heard, Meyer Sound systems bring the listener closest to realizing the ultimate in fully immersive sound. The fine detail doesn’t get lost.”

The AuroTorium’s monitoring system is anchored by six Meyer Sound Acheron® 80 screen channel loudspeakers, and 44 HMS-10 cinema surround loudspeakers. Six X-800C cinema subwoofers cover the LFE channel, while three additional X-800C subwoofers in the rear  of the room provide low-frequency extension for the surround channels. The system’s mixing format can be instantly re-configured with the click of a mouse.

“The fact that all Meyer Sound loudspeakers are self-powered is particularly advantageous on a dub stage,” says Van Baelen. “Although Auro-3D is primarily channel-based, we do have tools for object-based surround effects. It’s easier to do object-based sound design with self-powered systems, because all surrounds are individually addressable.”

The facility is equipped with two mixing consoles: an Auro-3D version of an AMS Neve DFC Gemini with up to 2,000 channels, or an Avid ICON D-Control, both featuring 48 faders. A full Pro Tools recording system is complemented by TC Electronic System 6000, Lexicon 960L, and Cedar DNS1000 outboard gear.

The AuroTorium can also be converted into a large, 150-seat screening room in minutes via hydraulic lifts. The production platform can be lowered into storage and replaced by VIP luxury seats.

When used as a reference screening room, the AuroTorium offers two Barco DP4K-32B projectors, a Doremi DCP server, and a large Harkness Matt Preview screen. These features combine to deliver a visual experience of up to 60 frames per second in 4K 3D. Interior and acoustic design was handled by concept-A Design.

“We designed this facility to take the next step forward in audio post for cinema,” states Van Baelen. “We wanted to define a new future for cinema sound, and the Meyer Sound loudspeakers will play a significant role in achieving that goal.”

Auro-3D is an adaptive, three-dimensional audio technology that is applicable in gaming, automotive, and home theatre. For the cinema exhibition market, Galaxy Studios’s spin-off company Auro Technologies has partnered with Barco to offer the Auro 11.1 immersive sound format.

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New Meyer Sound Tutorial Videos for CAL Column Array Loudspeaker and MAPP Online Pro

To expand its training support for product users, Meyer Sound has released two new online tutorial videos, focusing on the use of the MAPP Online Pro® acoustical prediction program and the Compass® control software for the CAL™ column array loudspeakers. These videos are available on the Meyer Sound website and on YouTube.

The CAL tutorial shows how to use the Compass control software to set up and operate the CAL loudspeakers and control their beam steering and splitting capabilities. Viewers are given an overview of initial system configuration, input selection, preset selection, and parameter modification for creating new presets.

The MAPP Online Pro tutorial introduces users to the software’s main operating modes, and guides them through the basic features of the program, and its use in loudspeaker coverage prediction.

These new product training resources complement Meyer Sound’s comprehensive education program, which dates back to the 1980s. The program offers audio education seminars and webinars for practitioners of all skill levels, and includes topics from technical fundamentals to sound system design and optimization.

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Meyer Sound LEO Eliminates Delay Towers at Sweden’s Way Out West Festival

Located in Gothenburg, Sweden’s Slottsskogen park, this year’s Way Out West was headlined by Alicia Keys, Public Enemy, and Bat For Lashes. Swedish full service event technology provider Starlight provided all lighting, staging, and sound equipment for the festival. For the main Flamingo stage, it provided a Meyer Sound LEO™ linear large-scale sound reinforcement system, which provided the long throw and headroom that allowed the crew to waive the delay support typically required in this venue. 

“The equipment we deploy is all driven by demand, and this is why we invested in LEO,” says Håkan Axlid, production manager for Starlight. “The clarity of this system at 120 meters is totally flabbergasting, and we’ve been able to eliminate all our delay towers.”

Marcus Agnesund, FOH engineer for Swedish artist Daniel Adams-Ray, concurs: “The experience was great—so much headroom and clarity meant less to worry about. With LEO, you get a completely constant EQ. Unlike many other systems, the sound doesn’t change when you turn it up, which is fantastic. The configuration here meant a lot of thump at the bottom end. I’d recommend LEO to all engineers.”

The Flamingo stage system consisted of 16 LEO-M and two MICA® line array loudspeakers per side, with nine 1100-LFC low-frequency control elements flown beside each array. Four rows of 32 700-HP subwoofers in end-fired configuration stretched across the front of the stage. Two hangs of 12 MILO® line array loudspeakers per side provided out fill. A Galileo® Callisto™ loudspeaker management system featuring four Galileo Callisto 616 array processors and one Galileo 616 AES processor provided system control and optimization.

System techs for the Flamingo stage were Starlight’s Fredrik Arwidson and Oscar Meijer.

“LEO is a great step forward,” says Meijer. “The system is very exact, and flies quickly. I’m also fond of the pull-back possibility to make the array stay angled as you wish, whether you’re taking it upwards or downwards.”

In addition to the LEO, Starlight provided a Meyer Sound M3D line array loudspeaker system for the festival’s smaller Azalea stage.

Watch Way Out West interviews here.

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Oslo Concert Hall Upgrades 27-Year-Old Meyer Sound System to MICA

The Oslo Concert Hall (Norwegian: Oslo Konserthus) in Norway has relied on the durability of its Meyer Sound equipment since 1986. A quarter century after installing eight UPA-1 and two USW-1 conventionally powered loudspeakers, the venue again turned to a Meyer Sound solution when it came time for an upgrade. As a result, a MICA® line array loudspeaker system was supplied and installed by Oslo-based AVAB CAC.

The 1,404-capacity Oslo Concert Hall regularly features a diverse schedule of classical, blues, jazz, and rock performances. The hall’s legacy Meyer Sound equipment has proven its worth, and venue management was ready for a system with more power and flexibility.

“I think it’s unique that our UPA-1 system was so old yet sounded so good—that’s what everybody who used it said,” says Jan Olsen Skare, long-time production manager of Oslo Concert Hall. “Now with the MICA, we have a system that really delivers great reinforcement for many different types of music. In terms of coverage, every seat in the house is a great seat.”

Oslo Concert Hall added 18 MICA loudspeakers, four 600-HP subwoofers, and a Galileo® loudspeaker management system with a Galileo 616 processor for system management and processing. The new components are used alongside the venue’s existing Meyer Sound inventory, including four each UPA-1P, UPM-1P, and CQ-1 loudspeakers.

“MICA delivers the high output and smooth, extended high-frequency response that Oslo Konserthus requires,” says Asle Nilsen, head of sound at AVAB CAC.

Since the audio upgrade, the concert hall has hosted many jazz and classical performances, as well as American singer/songwriters Emmylou Harris & Rodney Crowell, Melody Gardot, Nanci Griffith, and Norwegian singer Wenche Myhre.

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Meyer Sound LEO Powers Metallica’s First Shows in China

For the band’s first-ever performances in China, heavy metal legends Metallica delivered two packed shows at Shanghai’s Mercedes-Benz Arena. A Meyer Sound LEO™ linear large-scale sound reinforcement system was deployed by Ling Hua ProSLV.

“I was immediately struck by the linearity of the LEO system, even when it was pushed to very high levels,” says Freddy Kot, chief engineer for Ling Hua ProSLV. “Even with sustained readings of over 112 dB at FOH, there was no distortion. And of course, the audience was just ecstatic with what they heard.”

The system configuration for the show was handled by “Big Mick” Hughes, Metallica’s long-time FOH engineer, with assistance from consultant “dB Dave” Dennison. The core flown LEO system comprised main front hangs of 18-each LEO-M line array loudspeakers, 32 1100-LFC low-frequency control elements deployed in dual steerable arrays, and a Galileo® Callisto™ loudspeaker management system featuring four Galileo Callisto 616 array processors and one Galileo 616 AES processor.

“The mix position was placed quite a long way from the stage so as to avoid taking up good audience seats,” says Hughes. “This wasn’t really problematic as the main LEO system easily threw that far. The crowd was great and sang along to a lot of the songs, despite the language barrier.”

Rounding out FOH reinforcement were dual side hangs of 14-each MILO® line array loudspeakers, six MICA® line array loudspeakers for down fill, six MILO loudspeakers for front and lower corner fill, and 18 floor-stacked 700-HP subwoofers.

On stage, 20 Meyer Sound monitors were placed around the band’s two-level platform, with twin hangs of five-each MICA loudspeakers for side fill.

Hughes mixed behind a Midas XL8 console, while monitor engineer Bob Cowan and monitor assist Adam Correia manned Midas PRO9 and PRO2 boards. On stage, Metallica’s vocals were captured by Shure Super 55 Deluxe Vocal Microphones.

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Meyer Sound MINA Covers All Sonic Subtleties for Polish Musical Theatre

The 900-seat Musical Theatre ROMA in Warsaw, Poland has installed Meyer Sound MINA™ line array loudspeakers to support its repertoire of musical productions. Designed and supplied by Warsaw-based Polsound, the new system was installed in the historic, early-20th century auditorium just prior to the opening of its latest production, Singing in the Rain.

“Our goal for many years has been to install a Meyer Sound system, and we simply love it,” says Wlodek Kowalczyk, the venue’s principal sound engineer. “The MINA system delivers sparkling definition, and a dynamic range that covers all the subtleties of sound in musical theatre. It responds to what I wish to achieve, without compromises.”

The main FOH system comprises 28 MINA loudspeakers, which include twin left and right hangs of 11 each and a center cluster of six. Four 1100-LFC low-frequency control elements are deployed as dual end-fired arrays. Completing the Meyer Sound system are eight UPM-1P loudspeakers for front fill, two UPA-1P loudspeakers for corner fill, and a Galileo® loudspeaker management system with two Galileo 616 processors for system drive and alignment.

Polsound has also provided 24 channels of Shure ULX-D digital wireless microphones and a Shure PSM 900 in-ear monitoring system.

“The new MINA system fits the venue perfectly,” says Pawel Danikiewicz, commercial director for Polsound. “It’s surprisingly powerful, yet smaller than what was installed before. MINA sounds like a big hi-fi system.”

Originally built in 1935 as a “Catholic House” in the classic style reminiscent of Italian opera halls, the Musical Theatre ROMA auditorium was one of the few buildings in Warsaw to survive World War II. It was home to the Polish National Opera from the post-war era through 1963. Past productions at the venue include Cats, Grease, Miss Saigon, The Phantom of the Opera, and Les Misérables.

Since introduced in 2010, the MINA loudspeaker has won rapid acceptance in Poland.  In addition to Musical Theatre ROMA, Polsound has recently installed other MINA systems at Malopolski Ogrod Sztuki [Garden of Art in Malopolska] in Cracow, CK Zamek [Poznan Castle] in Poznan, and Teatr Studio in Warsaw.

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