Meyer Sound Stories 2011 | Volume ONE


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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





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


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





bombs go around the theatre.”







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








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







Sound and Video (Florida and California)

“We said early on


that the





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.”


Germany’s CinemaxX Invests in EXP Systems for 60 Screens

Acheron 100

Acheron LF



Galileo 408


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





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.






“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





Miami Beach SoundScape





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)



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-


the angular NWC structure, with the total

tor Pro Sound and Video, collaborated on

experience dubbed a “Wallcast.”

engineering specifics for SoundScape’s





spaces. Installed for outdoor audiences in the 2.5-acre park, the system employs



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


“Every orchestra in America should check out the Wallcast concerts at SoundScape,

set a new standard for the


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


to tailor the sound for optimum outdoor




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








Galileo 616


Philippe Parreno’s Serpentine Gallery Exhibition

Meyer Sound Moves to the Forefront in








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


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.


“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



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.



to chamber music, classical piano recit-

To provide the appropriate acoustics

Chronicle music critic Joshua Kosman

als to opera—with optimal sound. With



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


the reaches of Zellerbach Hall.”

of the 2,014-seat multipurpose venue to

musicians Meyer









“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


acoustics of the hall which otherwise

Orchestra, Yo-Yo Ma, the Philharmonia



Oz, and many more.



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


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







Tupelo Music Hall Makes the Perfect Home for First Installation of MINA Line Array Loudspeaker



Galileo 408




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.


“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


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


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.”


Top-Ranked Nightclub Berghain Pulsates to JM-1P





Galileo 616


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,


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,



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


Broadway American Idiot


Billy Elliot

Paul Arditti

Masque Sound


Keith Kohrs

Shiki Theatre Company


Scott Lehrer

Production Resource Group


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


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


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


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


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


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


Yma - zu schön, um wahr zu sein



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


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


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


The Sound of Music/ On Tour Mick Potter

Orbital Sound

MAMMA MIA! / On Tour

We Will Rock You / On Tour


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.