Meyer Sound Stories 2011 | Volume ONE
MEYER SOUND STORIES | VOLUME 1 | 2011 | ii
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House of Dancing Water City of Dreams, Macau System Commissioned By: Bob McCarthy Sound Designer: François Bergeron Associate Sound Designer: Vikram Kirby Sound Provider: Solotech Equipment: MICA, M’elodie, CQ-2, 600-HP, UPJ-1P, UPJunior, UPM-1P, MM-4XP, SB-2, Constellation, Matrix3
2 D-Mitri Keeps Audio on Target for Soldier of Orange
4 MILO Means Business at Orlando’s Amway Center
6 CinemaxX Invests in EXP Systems for 60 Screens
8 Constellation Revolutionizes Miami Beach Soundscape
10 Usher on “OMG Tour” 12 Philippe Parreno’s Serpentine Gallery Exhibition 14 Vienna Philharmonic at Zellerbach Hall 16 Oscar and Golden Reel Nominees 18 Tupelo Music Hall Makes the Perfect Home for First MINA Installation
Dear Reader, We have been privileged to work closely with many passionate advocates of the performing arts as they apply new technologies to connect artists with audiences. This booklet looks at the Vienna Philharmonic Orchestra’s Bay Area performances using Constellation (page 14) and the Miami Beach SoundScape (page 8), a remarkable illustration of how AV technology helps the New World Symphony to enfold a wider audience. It is exciting to witness the rapidly evolving role of technology in the arts. Every day, more of the old barriers are broken, allowing audiences and performers to connect with a sense of intimacy and
20 Hard Rock Tulsa
immersion never before possible.
22 Berghain Nightclub Pulsates to JM-1P
For the stories in the next issue, we hope to focus on how
24 Recent Announcements 25 2011 Theatrical Productions
your work in professional audio has expanded your own horizons. We are particularly interested in hearing from you about a new technical solution to a notable audio challenge, or a sound business success story that has never been told! Please share your story by emailing us at
[email protected].
Helen and John Meyer Co-founders of Meyer Sound
Keeps Audio on Target for Revolving Audience at Soldier of Orange
D-Mitri
D-MITRI
CUECONSOLE
FEATURED PRODUCTS
The premier of Soldier of Orange
mixing and routing is managed by a Meyer
the transition from one speaker cluster
(Soldaat van Oranje) in the Netherlands
Sound D-Mitri digital audio platform with
to the next is handled seamlessly by
marks a revolution in musical theatre. The
SpaceMap multichannel surround pan-
D-Mitri, so the sound operator can focus
entire audience of over 1,100—seated on
ning, Wild Tracks audio playback, and a
on the mix.”
a turntable 33 meters across—revolves
CueConsole control surface.
during the performance, stopping 30-plus
“D-Mitri and SpaceMap were critical to
audio processing, matrixing and pre-
times in front of the surrounding sets.
making the audio work transparently
programmed panning. Two DCP core
Fourteen identical loudspeaker clusters
and to full effect,” says sound designer
processors and a DCM-2 core matrix are
provide a theatrical LCR mix with reverb
Jeroen ten Brinke of ADI Group. “Often
linked to four DAI-24 analog input and
and surround effects that progress around
the audience rotates while the actors are
DAO-24 analog output frames plus one
the clusters as the audience turns. Precise
walking in front of the sets. Fortunately,
DDIO-24 digital input/output frame. Wild
2 | 2011 | VOLUME 1 | MEYER SOUND STORIES
Fourteen D-Mitri modules handle the
“the transition from one speaker cluster to the next is handled
seamlessly by D-Mitri, so the sound operator can focus on the mix.” — Jeroen ten Brinke SOUND DESIGNER ADI GROUP
Photos: Joris van Bennekom
Tracks provides audio playback using
the audience and FOH console revolve.
is one of the best-sounding digital live
a DWTRX unit, and a DGPIO unit com-
Chiel Blaauw, a primary sound operator
systems,” says Ten Brinke, noting that
municates with the turntable automation.
and programmer of the system, notes
D-Mitri’s integration of 96 kHz sampling
Operators mix the show on a CueConsole.
D-Mitri’s flexibility. “You can program
rate converters was critical. “Other com-
Two Apple iPads are available for the RF
almost everything, such as the fade time
panies think that 48 kHz is enough, but I
tech and FOH engineer to monitor dif-
on the auxiliaries. I used it for all the moni-
can hear the difference in the mix.”
ferent channels and make adjustments
tors on nine different sets. We also used
remotely during rehearsals and the show.
SpaceMap and Wild Tracks to make flying
With
several
processors
distributed
bombs go around the theatre.”
The
D-Mitri
system
for
Soldier
of
Orange was provided by Rentall bv of the Netherlands. Roland Mattijsen of Audio
around the stage, D-Mitri can easily
Programming flexibility was not at the
Electronics Mattijsen provided project
manage audio and control data while
expense of audio quality. “I think D-Mitri
support.
MEYER SOUND STORIES | VOLUME 1 | 2011 | 3
MILO
M3D-SUB
UPA-1P
GALILEO 616 RMS
FEATURED PRODUCTS
Business at Orlando’s Amway Center
Massive MILO System Means
Fans at the Amway Center for an
by a Galileo loudspeaker management
Orlando Magic basketball game enjoy a
system with five 616 processors and an
sound system fit for an in-the-round rock
RMS remote monitoring system.
concert tour, as the permanent system here—anchored by 66 MILO line array loudspeakers—largely duplicates recent rigs used by Metallica and Céline Dion. At the Amway Center, sound plays a critical role in a venue concept that delivers the total package to fans and advertisers alike, and far exceeds the experience of
The
system
was
designed
by
Pro
Sound and Video (Florida and California)
“We said early on
with
that the
project
management
by
David
Shoemaker, in collaboration with Meyer Sound Design Services. The principal
most important thing
architect was Populous, in consultation
we could put in this
with Smith Seckman Reid and Walter P.
building was an
Moore Engineers and Consultants.
“This building is about sponsorship
“The system has exceeded our expecta-
amazing sound system . It’s the one
opportunities and fan experience,” says
tions and our expectations were high,”
thing you can’t sell,
Rick Price, assistant director of broad-
says Todd Herrbach, lead audio engineer
cast technology and services for the
for the Orlando Magic. “It’s been great
Magic and Amway Center. “With our
with loud, fourth-quarter time-out music,
massive LED scoreboard, I knew we
with player interview videos, and every-
visual experience where
would be doing visually incredible things,
thing in between.”
they had a bad audio
One of the most technologically ad-
experience, they won’t
vanced arenas in the world, Amway
be impressed.”
watching at home.
but I wanted to be absolutely sure that we had audio that was equally impressive. Now we can offer our fans the complete experience, and that includes our fantastic video working hand-in-glove with superb sound from the Meyer system.” Six 11-cabinet arrays comprise the MILO
but, if people walk away from an amazing
Center also boasts leading-edge systems for broadcasting, video production, digital signage, and IT infrastructure. According to Pro Sound and Video CEO
— Rick Price
Assistant Director of Broadcast Technology and Services
Rod Sintow, other NBA teams will be
Orlando Magic and
contingent, complemented by 24 flown
playing catch-up for a while. “The Amway
Amway Center
M3D-Sub directional subwoofers, 24
Center didn’t put in a system just to get
UPA-1P loudspeakers deployed as outer
by,” he remarks. “They have a system
ring delays, and eight more UPA-1P loud-
here that not only sets the standard for
speakers hung under the dazzling video
today but likely will do so for at least five
display. The loudspeakers are optimized
or ten years to come.”
MEYER SOUND STORIES | VOLUME 1 | 2011 | 5
Germany’s CinemaxX Invests in EXP Systems for 60 Screens
Acheron 100
Acheron LF
X-800C
HMS-10
Galileo 408
FEATURED PRODUCTS
CinemaxX Copenhagen
CinemaxX AG, a European cinema chain
CinemaxX CEO. “Investing in EXP already
“Since installing our EXP systems, our
headquartered in Hamburg, Germany,
has proven to be a wise decision, and
audiences have noticed the amazing dif-
has announced plans to equip 60 screens
working with Meyer Sound has been an
ference,” continues Gisy. “Attendance
throughout Germany and Denmark with
absolute joy.”
for our ‘MaxXimum Sound’ screens has
Meyer Sound EXP cinema loudspeaker
The largest in CinemaxX history, the
systems. The audio upgrade program is
audio upgrade project began in 2010 with
scheduled for completion by 2013.
screens in Hamburg and Copenhagen, with more recent retrofits in Berlin and
“With Meyer Sound EXP, we have an
Munich. Screens equipped with Meyer
increased noticeably.” Systems
integrator
and
installer
for
the entire program is Film Ton Technik Hannsdieter Rüttgers GmbH (FTT) of Düsseldorf, Germany.
audio component that is fully equal to
Sound EXP systems are advertised as fea-
The self-powered EXP cinema systems
the 4K digital image,” says Christian Gisy,
turing a “MaxXimum Sound” experience.
encompass
6 | 2011 | VOLUME 1 | MEYER SOUND STORIES
Acheron
screen
channel
“Since installing our EXP systems, our audiences have noticed the amazing difference.
Attendance for our ‘MaxXimum Sound’ screens has increased
noticeably.” — Christian Gisy CEO CinemaxX AG
CinemaxX Hamburg
loudspeakers, coupled with Acheron LF
satisfied with the sonic improvements,”
low frequency screen channel loudspeak-
he notes. “Quite simply, Meyer Sound is
ers. Also included are X-800C cinema
the new standard for cinema audio.”
subwoofers and HMS-10 surround loudspeakers, with precise digital optimization by the Galileo loudspeaker management system. At recent EXP upgrade location CinemaxX
CinemaxX AG, publicly traded holding company, operates cinemas in Germany and Denmark with a total of 34 cinemas, about 300 screens and approximately 80,000 seats.
Isartor in Munich, theater manager Walter Liebold is excited to be on the leading edge of film exhibition. “We are very MEYER SOUND STORIES | VOLUME 1 | 2011 | 7
Constellation Revolutionizes Outdoor Music Presentation at
CONSTELLATION
D-MITRI
M’ELODIE
M1D-SUB
Miami Beach SoundScape
MSL-4
700-HP
UPJ-1P
FEATURED PRODUCTS
Opened in 2011, the Frank Gehry–
the 756-seat New World Symphony hall.
and SoundScape was Fred Vogler of Los
designed New World Center (NWC)
Simultaneously,
video
Angeles-based Sonitus. Vogler, his associ-
and the new $13 million Miami Beach
images of the concert are digitally pro-
ate Tim Boot, and Rod Sintow and Kelly
SoundScape have raised the bar for
jected on a 75' × 100' exterior wall of
Prince of Florida-based systems integra-
music
the angular NWC structure, with the total
tor Pro Sound and Video, collaborated on
experience dubbed a “Wallcast.”
engineering specifics for SoundScape’s
presentation
in
open
public
spaces. Installed for outdoor audiences in the 2.5-acre park, the system employs
high-definition
audio.
Meyer Sound’s Constellation acoustic
The park’s architects, West 8 New York,
system with more than 160 self-powered
incorporated the Wallcast concept into
“The sound came through with crystalline
loudspeakers to replicate the immersive
the landscape design. Principal sound
and immersive clarity from the fabulous
experience enjoyed by listeners inside
designer for both the New World Center
speaker system. It will be a tough decision
8 | 2011 | VOLUME 1 | MEYER SOUND STORIES
“Every orchestra in America should check out the Wallcast concerts at SoundScape,
set a new standard for the
which
outdoor relaying of indoor musical performances.” — Anthony Tommasini
Music Critic The New York Times
now—inside or outside?” remarks NWC
distributed across the park and concealed
“We couldn’t have asked for a better
senior vice president and chief financial
inside large planters, steel columns, small
initial reception, but I think we’ve only
officer, David J. Phillips.
“media hydrants,” and the projection tower.
just begun. There’s a lot of adventure
Meyer Sound’s D-Mitri digital audio plat-
The Constellation system at the Miami
form drives SoundScape’s Constellation
Beach SoundScape uses a minimum of
system. Featuring the M’elodie line array
22 microphones inside the New World
loudspeakers, MSL-4 loudspeakers, and
Center as the acoustical starting point,
UPJ-1P VariO loudspeakers alongside
then applies VRAS processing algorithms
M1D-Sub
to tailor the sound for optimum outdoor
subwoofers
and
700-HP
subwoofers, the system elements are
yet to come, with this system and others like it that are likely to follow,” adds Fred Vogler.
listening. MEYER SOUND STORIES | VOLUME 1 | 2011 | 9
Usher on “OMG Tour” “When the MILO
with Major Tom
system is properly
a very transparent and responsive system.”
set up, it is
Usher’s globe-trotting “OMG Tour”
David “Digga” Vinnicombe, system tech
is underway as the electrifying entertainer
for the US leg.
delivers more than 50 large arena shows across North America, Europe, and Australia. To keep the party at maximum
— Tim Colvard
intensity, UK audio hire company Major
FOH Engineer
Tom Ltd is providing a brawny, all-Meyer
Usher “OMG Tour”
Sound package built around 72 MILO line array loudspeakers and 40 700-HP subwoofers, with veteran engineer Tim Colvard at the front-of-house position. “My approach with all mixing projects
Recent Tours with Meyer Sound
is to have the vocals on top, clean and clear. Once that’s established, proper placement of the instrumentation is my
Ana Gabriel | Musica Moderna André Rieu | Solotech BeBe & CeCe Winans | Blackhawk Audio Brian May | Canegreen/SSE
next goal,” says Colvard. “I try to take the whole set list into consideration to set up the dynamic structure. When the
At monitor world, Major Tom’s Simon Kemp hovers over an Avid (Digidesign) Profile console which feeds 20 Meyer Sound MJF-212A stage monitors. “I have hardly any EQ on the MJFs,” comments Kemp. “They sound fantastic straight out of the box.” The foldback system also includes JM-1P arrayable loudspeakers as side fills. The Usher “OMG Tour” gear roster features a DigiCo SD7 FOH console, API compressors, and Avalon 737 channel strips. Usher’s vocals come through a custom Crown C113a headset via Shure UHF-R wireless and a custom Shure KSM-9 handheld.
Camila | Musica Moderna
MILO system is properly set up, it is a
Major Tom was invited by Usher’s man-
Celtic Woman | Blackhawk Audio
very transparent and responsive system.”
agement to bid on audio production
Michael Bublé | Solotech Pepe Aguilar | Musica Moderna
The system for each arena is configured
Ray LaMontagne | Canegreen/SSE
from a touring inventory that includes
Robert Plant and the Band of Joy | Thunder Audio
UPJ-1P VariO and M’elodie line array
Russell Watson | Canegreen/SSE Sarah McLachlan | Solotech Star Wars: In Concert | Solotech Taylor Swift | Canegreen/SSE The Saturdays | Canegreen/SSE The Wanted | Canegreen/SSE Three Days Grace | Canegreen/SSE
loudspeakers, all tied together by a Galileo loudspeaker management system with two Galileo 616 processors.
based on the success of other tours with MILO systems. “It’s much like systems we’ve taken out on other arena tours, except for quite a few more subs,” notes Major Tom’s Chris Marsh. Other productions that have been supported by Major Tom include Rod Stewart, Donny Osmond,
“I’ve used many different systems and
Prince, the Led Zeppelin reunion concert
Meyer is the one, for me, with the best
at the O2 arena, as well as Lionel Richie,
vocal clarity,” remarks Major Tom’s
Jeff Beck, Andrea Bocelli, and more.
Usher | Major Tom
10 | 2011 | VOLUME 1 | MEYER SOUND STORIES
MILO
M’elodie
JM-1P
700-hp
upj-1p
mjf-212a
Galileo 616
FEATURED PRODUCTS
Philippe Parreno’s Serpentine Gallery Exhibition
Meyer Sound Moves to the Forefront in
ACHERON STUDIO
UPA-1P
UPM-1P
USW-1P
MM-4XP
SIM 3
FEATURED PRODUCTS
In a rare twist for the art world,
exhibition curator for the Serpentine
played through three Acheron Studio
the auditory took center stage in an
Gallery. “Philippe conceived the show as
loudspeakers.
exhibition by Algerian-born multimedia
one in which sound would be master and
artist and filmmaker Philippe Parreno at
image would be the slave.”
London’s Serpentine Gallery. As finally
At the end of “The Boy from Mars,” a voice reproduced by a surround system of UPM-1P
The 30-minute long exhibition led visi-
loudspeakers permeated the space, then
tors through immersive alternate realities
moved into an adjoining room where a bank
centered on four of Parreno’s film and
of loudspeakers sat concealed behind the
video works. “Invisibleboy,” for exam-
show’s largest screen. “It’s as if the whole
ple, derived much of its urgency from
wall, or perhaps the building, is speaking
“Sound is absolutely central to the impact
the rock soundtrack by Montreal band
to you,” observes Rattee. “It overwhelms
of the exhibition,” says Kathryn Rattee,
Godspeed You! Black Emperor and was
me every time I experience it.”
realized, a total of 40 Meyer Sound self-powered loudspeakers created an arresting—though at times purposely disorienting—listening experience.
12 | 2011 | VOLUME 1 | MEYER SOUND STORIES
“It’s as if the whole wall, or perhaps the building, is speaking to you.
It overwhelms me every time I experience it.” — Kathryn Rattee Curator Serpentine Gallery
Invisibleboy 2010 Film Stills Courtesy of Air de Paris and Centre National des Arts Plastiques
The Serpentine Gallery Photo: John Offenbach
The design for “June 8, 1968” employed
was the sound mixer, Djengo handled auto-
five UPA-1P loudspeakers, 16 MM-4XP
mation and synchronization, and Pierrick
self-powered loudspeakers, and two
Saillant designed the on-site loudspeaker
USW-1P subwoofers behind a 9 m ×
systems. London’s Autograph Sound was
4.5 m screen. Visitors stood a few feet
the supplier, with coordination by Scott
away, so the digitally matrixed sound
Arnold and installation by Ken Hampton.
sources were reproduced at the exact
Marc de Fouquières of Dispatch S.A.
spot where the corresponding image
in Paris tuned the systems using Meyer
appeared on screen.
Sound’s SIM 3 audio analyzer.
Collaborating on sound design was film sound engineer Nicolas Becker. Cyril Holtz MEYER SOUND STORIES | VOLUME 1 | 2011 | 13
Constellation Supports
Vienna Philharmonic Orchestra in Berkeley
Constellation
FEATURED PRODUCTS
This February, Vienna Philharmonic
acoustic system for the celebrated
Constellation was first implemented in
Orchestra returned to the Bay Area
Viennese sound of Mahler, Schumann,
Zellerbach Hall in 2006 to enhance the
for the first time since 1987, and deliv-
and Brahms.
hall’s physical acoustics so audiences
ered three impassioned concerts at Cal
and performers could experience each
Performances’ Zellerbach Hall on the
About the performance of Brahms’s
of the diverse programming—from jazz
University of California Berkeley campus.
Symphony
Francisco
to chamber music, classical piano recit-
To provide the appropriate acoustics
Chronicle music critic Joshua Kosman
als to opera—with optimal sound. With
for
Cal
wrote: “a vibrant musical glow—warm
the touch of a button, venue operators
Performances engaged its permanently
but steely, expansive yet detailed—filled
can expand the acoustical characteristics
installed
the reaches of Zellerbach Hall.”
of the 2,014-seat multipurpose venue to
musicians Meyer
and
audiences,
Sound
Constellation
14 | 2011 | VOLUME 1 | MEYER SOUND STORIES
No.
2,
San
“The system brings
a purity and clarity to the acoustics of the hall which otherwise would not exist, and has enabled us to
broaden the scope of our programming.” — Matías Tarnopolsky Director Cal Performances
meet the requirements of each genre,
would not exist, and has enabled us to
Baroque Orchestra, the San Francisco
making Zellerbach a truly pristine pre-
broaden the scope of our programming.”
Ethnic Dance Festival, Australia’s Circus
senter of the performing arts.
In addition to the Vienna Philharmonic
“The acoustical quality of Zellerbach Hall
performances, programs that have been
has been transformed through the use of
heard through the Constellation sys-
Constellation,” says Matías Tarnopolsky,
tem at Zellerbach Hall include the Mark
director of Cal Performances. “The sys-
Morris Dance Group, the San Francisco
tem brings a purity and clarity to the
Symphony,
acoustics of the hall which otherwise
Orchestra, Yo-Yo Ma, the Philharmonia
the
Berkeley
Oz, and many more.
Symphony
MEYER SOUND STORIES | VOLUME 1 | 2011 | 15
Oscar and Golden Reel Nominees Rely on Meyer Sound Loudspeakers The pivotal role of Meyer Sound
who relies on EXP Acheron Studios in
loudspeaker systems in film sound
his work.
production was underscored with the recent announcement of this year’s
The accomplishments of this group also were reflected in nominations for this
“My HD-1s are extremely
Oscar ® nominees for Sound Editing by
sweet sounding speakers. They’re
the Academy of Motion Picture Arts and Sciences. For four of the five nominated
fantastic at reproducing
on Meyer Sound monitors in their editing
loud, dynamic sounds
suites.
and also the subtlety
Tom Myers, co-nominee with Michael
tively, “Inception” and “True Grit.” Chris
of gentle, soft sounds.
Silvers for “Toy Story 3,” is a long-time
Boyes received two nominations, for “Iron
an irreplaceable tool in my studio.”
user of Meyer Sound’s HD-1 studio moni-
Man 2” along with “Tron: Legacy.” In the
tors and has recently upgraded to the
category of Best Sound Editing: Feature
new EXP cinema series loudspeakers.
Film Animation, Tom Myers (“Toy Story 3”)
Sound designer Richard King, nominated
was joined by Dennis Leonard, who used
They have become
films, members of the sound team relied
year’s MPSE Golden Reel Awards, presented by the Motion Picture Sound Editors. In the category of Best Sound Editing: Sound Effects and Foley in a Feature Film, Richard King and Craig Berkey again were recognized for, respec-
for “Inception,” also is a dedicated HD-1
Meyer Sound UPJ-1P VariO loudspeakers
— Richard King
user, as is Craig Berkey, nominated along
for his work on “Despicable Me.”
with Skip Lievsay for “True Grit.”
Sound designer “Inception”
The recipient of the 2011 MPSE Career
Contributing to the sonic excellence of
Achievement Award is Walter Murch,
“Tron: Legacy” (which earned official
accomplished film editor and sound
nominations for supervising sound editors
designer who was the first to mix a fea-
Gwendolyn Yates Whittle and Addison
ture film (Francis Ford Coppola’s “Tetro”)
Teague) was the film’s sound designer,
using Meyer Sound Acheron cinema
Chris Boyes, a four-time Oscar winner
loudspeakers.
16 | 2011 | VOLUME 1 | MEYER SOUND STORIES
HD-1
ACHERON STUDIO
UPJ-1P
FEATURED PRODUCTS
Tupelo Music Hall Makes the Perfect Home for First Installation of MINA Line Array Loudspeaker
MINA
700-HP
Galileo 408
SIM 3
RMS
FEATURED PRODUCTS
The world’s first installation of the
Scott Hayward. “For example, last night
and original hardwood flooring enclose a
Meyer Sound MINA line array loudspeaker
Marc Cohn was trading licks with his
space devoted to the ultimate experience
found a perfect home in the Tupelo
guitar player and it was astonishing the
of live music.
Music Hall in White River Junction, VT.
detail you could hear. It was like being
When the intimate, 250-person concert
on the stage no matter where you were
venue opened, the power and trans-
in the room.”
parency of MINA dissolved all barriers
“Meyer Sound absolutely nailed it with MINA,” states Scott Tkachuk, system designer and project manager for Rainbow
Connecting audiences with music is the
Production Services / New England Audio
founding purpose of Tupelo Music Hall, a
Tech of Atkinson, NH. “It has amazing
“The sound in the room is incredible,
4,000-square-foot space inside a former
output and headroom in a small footprint,
really,” says Tupelo Music Hall owner
railway depot. Acoustically treated walls
and the high end is just spectacular.”
between performers and audience.
18 | 2011 | VOLUME 1 | MEYER SOUND STORIES
“The MINAs are the ide al boxes for
They are small and unobtrusive, but powerful— this room.
re ally powerful. And it’s gre at to be the first to have them.” — Scott Hayward Owner Tupelo Music Hall
The system includes five MINA line array
with a Meyer Sound system based on the
loudspeakers per side, with a 700-HP
M’elodie line array loudspeakers.
subwoofer and a Galileo loudspeaker management system with one Galileo
“The MINAs are the ideal boxes for this
408 processor. Tkachuk tuned the sys-
room. They are small and unobtrusive, but
tem using a SIM 3 audio analyzer.
powerful—really powerful. And it’s great to be the first to have them,” says Hayward.
The Vermont venue is the second such venture for Scott Hayward, with the first Tupelo Music Hall opening six years ago in Londonderry, NH, a location equipped MEYER SOUND STORIES | VOLUME 1 | 2011 | 19
MICA M’elodie M1D JM-1P 700-HP 600-HP UPQ-2P UM-1P Galileo 616 Galileo 408 MAPP Online Pro
Photo: Holly Baumann Photography
FEATURED PRODUCTS
MICA Converts the Skeptics at
Hard Rock Tulsa
When The Joint, a 2,700-seat show-
at the Hard Rock was performed by Las
room at Tulsa, Oklahoma’s Hard Rock
Vegas-based R2W, Inc. The company’s
Hotel and Casino opened in 2010, it was
David Starck, principal designer for
equipped with a house audio system
The Joint’s audio, notes that the Meyer
based around Meyer Sound’s MICA line
Sound solution was a good fit for the
array loudspeakers. These arrays were
budget as well as touring artists. “We
judiciously hoisted on chain motors, as
looked at alternatives from other manu-
management wanted to offer the top-of-
facturers,” he recalls. “And like a lot of
the-line touring acts who carry their own
people, the management at first thought
production the option of flying their own
it might be too expensive. It wasn’t. We
Brothers, Bad
systems. In The Joint’s first six months
looked at the bottom line costs, they
Company with Paul
of operation, however, the MICAs have
were all within a few thousand dollars
Rodgers, Vince Gill,
never budged.
of each other.”
The all-Meyer Sound installation finds the
Starck also notes that Meyer Sound’s
Michael Bolton—
lion’s share of its power in dual arrays
MAPP Online Pro acoustical prediction
of eight MICA line array loudspeakers
program also helped tilt the final deci-
per side, bolstered in the lows by eight
sion.
700-HP subwoofers. Six M’elodie line
could use to show the client exactly
array loudspeakers serve as front fills
what sound they could expect in the
and nine M1D line array loudspeakers
room, rather than just, ‘Here’s an equip-
are set up as VIP booth delays. Wedges
ment list.’”
if they had their own production, they left it on the truck.”
are comprised of 16 UM-1P stage monitors, with two UPQ-2P narrow coverage loudspeakers and two JM-1P arrayable loudspeakers, plus 600-HP subwoofers available as drum and side fills. Drive and EQ is provided by Galileo loudspeaker management systems, with two Galileo 616 processors for the house and one Galileo 408 for the stage.
“Everybody has used the MICAs. The Doobie
Hall and Oates,
“It was a powerful tool that we
Jackson recently discovered that a
— Jason Jackson Entertainment and
complete Meyer Sound package even
Production Manager
makes converts out of some former
Hard Rock Tulsa
skeptics. “Vince Gill wanted to pull our M’elodie front fills and use his own,” he recounts. “His tour management was adamant on that when advancing the show. But after they rolled in and took a listen, they left those boxes on the
Design and integration for audio systems
truck, too. It was the first time in years
at The Joint and most other AV systems
they’d done that.”
MEYER SOUND STORIES | VOLUME 1 | 2011 | 21
Top-Ranked Nightclub Berghain Pulsates to JM-1P
JM-1P
700-HP
UPA-2P
500-HP
Galileo 616
FEATURED PRODUCTS
Berlin’s Berghain dance club has
corps of international DJs plies its trade,
700-HP subwoofers, and three UPA-2P
wrapped up its first year of operation with
using the Meyer Sound JM-1P arrayable
loudspeakers and a 500-HP subwoofer
a Meyer Sound system in its exclusive
loudspeaker system to engulf the room
provide DJ monitoring.
Panorama Bar. DJ Mag placed Berghain
with compelling and entrancing music.
are optimized and driven by a Galileo
first in its 2009 list of the world’s Top
Installed by Schalldruck of Berlin, the
100 Clubs, noting “the centre of the
sound system for the relatively intimate
techno universe lies deep inside the vast
(13 m × 4.4 m) Panorama Bar features a
“We had been asked to update the
vortex of 70 am Wriezener Bahnhof,
pair of JM-1P loudspeakers in each corner
Panorama Bar’s sound system as part of
Berlin … and its upstairs Panorama Bar,
of the dance floor. Visceral bass saturates
a partial redesign and technical upgrade
to be specific.” It is here that an elite
the space from two hidden stacks of three
of the room,” recalls Werner Eicker,
22 | 2011 | VOLUME 1 | MEYER SOUND STORIES
Both systems
loudspeaker management system with a Galileo 616 processor.
“The JM-1Ps can produce
extremely high SPL with very low distortion, and they focus all the energy on the dance floor.” — Werner Eicker
Managing Director Schalldruck
Photo: Laura Colomé
managing director of Schalldruck. “We
provide different setups, which can then
music and understand what makes a
immediately suggested a Meyer Sound
be selected to work with the DJ’s per-
club work. It really is a place where you
system based on JM-1Ps, and their per-
sonal equipment and the desired SPL.”
get lost in time and space.”
formance quickly convinced the club’s management. The JM-1Ps can produce extremely high SPL with very low distortion, and they focus all the energy on the dance floor.”
Launched six years ago as the successor to the famed Ostgut Club, Berghain is located inside a former electric power plant. Well-known club reviewer Matt Edwards (aka Radio Slave) says in DJ
Eicker also credits Galileo with a share of
Mag, “[Berghain] is the real deal, run by
the club’s success. “Galileo allowed us to
incredibly dedicated people who love MEYER SOUND STORIES | VOLUME 1 | 2011 | 23
Recent Announcements Meyer Sound’s D-Mitri and AVB Win InAVation Awards D-Mitri, Meyer Sound’s revolutionary digital audio platform,
received
the
InAVation Award for “Most InAVative Commercial Audio Product (non-loudspeaker)” at the ISE 2011 show in Amsterdam. Meanwhile, the AVB (Audio Video Bridging) networking standards, incorporated in both D-Mitri and the CAL column array loudspeaker, won the InAVation award for “Breakthrough Technology of the Year.” “D-Mitri represents not only the future of Meyer Sound digital systems, but with its open architecture, it also will be the keystone element in complex networked installations involving multiple AV and IT vendors,” says John McMahon, Meyer Sound’s executive director, digital products.
Acheron Designer Screen Channel Loudspeaker The smallest member of the EXP cinema line FEATURES • High peak power output with ultralow distortion • Exceptional fidelity and tonal accuracy is ideal for recording and mixing • Constant-Q horn yields uniform response throughout coverage area • Extraordinarily linear amplitude and phase response is ideal for critical listening environments • Seamless integration with HMS-10 surround loudspeakers and X-800C subwoofer
APPLICATIONS • Sound design suites • Small theatres • Custom, private theatres • Re-recording stages • Mixing for post production facilities
Highlights of Theatrical Productions Using Meyer Sound Musical
Sound Designer
Sound Company
Brian Ronan
Masque Sound
Sound Designer
Sound Company
Beauty and the Beast
T. Richard Fitzgerald
Shiki Theatre Company
JAPAN
Broadway American Idiot
Musical
Billy Elliot
Paul Arditti
Masque Sound
Evita
Keith Kohrs
Shiki Theatre Company
Chicago
Scott Lehrer
Production Resource Group
Ondine
Shiki Theatre Company
Ghetto Klown
Peter Fitzgerald
Sound Associates
Masakazu Kanamori, Tsuneo Yoshida
The Lion King
Steve Canyon Kennedy
Shiki Theatre Company
The Phantom of the Opera
Mick Potter
Shiki Theatre Company
How to Succeed in Business Jon Weston Without Really Trying
Production Resource Group
La Cage Aux Folles
Gareth Owen
Production Resource Group
The Sound of Music
Mick Potter
Shiki Theatre Company
Mary Poppins
Steven Canyon Kennedy
Masque Sound
Wicked
Tony Meola
Shiki Theatre Company
Million Dollar Quartet
Kai Harada
Production Resource Group
Priscilla Queen of the Desert
Jonathan Deans
Sound Associates
Paul Groothuis
Orbital Sound
Rain: A Tribute to the Beatles Abe Jacob
Sound Associates
Rock of Ages
Peter Hylenski
Netherlands Mary Poppins
Production Resource Group
Australia
Spider-Man Turn Off the Dark Jonathan Deans
Production Resource Group
Jersey Boys
Steve Canyon Kennedy
System Sound
The Addams Family
Acme Sound Partners
Production Resource Group
Wicked
Tony Meola
System Sound
The MotherF**ker with the Hat
Acme Sound Partners
Masque Sound
The Phantom of the Opera
Martin Levan
Masque Sound
Mick Potter
Stage Entertainment
Wicked
Tony Meola
Production Resource Group
Ich war noch niemals in New York - Das Musical Sister Act
Mick Potter
Stage Entertainment
Tanz der Vampire
Andreas Hammerich, Richard Ryan, Michael Weber
Stage Entertainment
Wicked
Tony Meola
Stage Entertainment
Other N. American Productions Avenue Q
Acme Sound Partners
Sound Associates
Fuerza Bruta: Look Up
Hernan Nupieri
Sound Associates
PEEPSHOW / Las Vegas
Acme Sound Partners
Masque Sound
Billy Elliot
Paul Arditti
Masque Sound
Mary Poppins
Steven Canyon Kennedy
Masque Sound
Next to Normal
Brian Ronan
Production Resource Group
U.S. Tours
Germany
Yma - zu schön, um wahr zu sein
Friedrichstadtpalast
SPAIN 40 EL MUSICAL
Javier Isequilla
Al Final del Arcoíris
Roberto Rodriguez
Avenue Q
Javier Isequilla Albert Balbé
Fluge Madrid
Rain: A Tribute to the Beatles Abe Jacob
Sound Associates
Rock of Ages
Peter Hylenski
Production Resource Group
West Side Story
Dan Moses Schreier
Production Resource Group
Bésame Mucho El Musical de Las Pasiones
Wicked
Tony Meola
Production Resource Group
Hoy No Me Puedo Levantar
Javier Isequilla
Fluge Madrid
west end
Los Miserables
Mick Potter
Autograph Sound Recording
Betty Blue Eyes
Autograph Sound Recording
MAMMA MIA! / On Tour
Bobby Aitken, Andrew Bruce
Autograph Sound Recording
Peter Pan El Musical
Mick Potter
Love Never Dies
Mick Potter
Autograph Sound Recording
Million Dollar Quartet
Kai Harada
Autograph Sound Recording
The Phantom of the Opera
Mick Potter
Blitz Communications
Shrek The Musical
Peter Hylenski
Autograph Sound Recording
Spelling Bee
Nick Lidster, Terry Jardine
Autograph Sound Recording
Umbrellas of Cherbourg
Simon Baker
Autograph Sound Recording
Wicked
Tony Meola
Autograph Sound Recording
Matthew Bournes Cinderella / On Tour
Paul Groothuis
Orbital Sound
Red Shoes
Simon Baker
Other UK Productions
MEXICO A Chorus Line Las Arpías
Miguel A. Alarcón
Mentiras Monólogos de la Vagina Un Día Salvaje AFRICA Dreamgirls
Orbital Sound
INTERNATIONAL TOURS
The Sound of Music/ On Tour Mick Potter
Orbital Sound
MAMMA MIA! / On Tour
We Will Rock You / On Tour
Sonalyst
Bobby Aitken
Fluge Madrid
Acme Sound Partners
Pro Sound
Bobby Aitken
Autograph Sound Recording
“We said early on that the most important thing we could put in this building was an
amazing sound system. It’s the one thing you can’t sell, but, if people walk away from an amazing visual experience where they had a bad audio experience, they won’t be impressed.”
— Rick Price
Assistant Director, Broadcast Technology and Services Orlando Magic and Amway Center
Orlando Magic and Amway Center Orlando, Florida System Integrator: Pro Sound and Video Project Hammer: David Shoemaker Project Executive: Kelly Prince Principal Architect: Populous Electrical Consultants: Smith Seckman Reid Structural Consultants: Walter P. Moore Engineers Front Cover Photo: Associated Press
Copyright © 2011 Meyer Sound Laboratories, Inc. All rights reserved. CueConsole, M Series, Matrix3, RMS, UPJunior, VariO, VRAS, and all alphanumeric product designations are trademarks of Meyer Sound. Acheron, Constellation, D-Mitri, EXP, Galileo, MAPP Online Pro, M’elodie, MICA, MILO, MSL-4, SIM, Meyer Sound and the Meyer Sound wave logo are registered in the United States Patent and Trademark Office, as well as in other countries. All third-party trademarks mentioned herein are the prop18.908.005.10 A erty of their respective owners. Patents pending.
i | 2011 | VOLUME 1 | MEYER SOUND STORIES