Meyer Sound Stories 2009 | Volume TWO

three decades of

thinking sound 1979 | 2009


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The Miracle Mile Shops at Planet Hollywood Resort & Casino

Photo: Steve Spatafore


2 Meyer Sound Gives Morrison Planetarium an Otherworldly Experience

4 Buckcherry and Avenged Sevenfold Tour with MILO

6 M’elodie Line Array Transforms Landmark Berlin Theatre

8 Meyer Sound Complements Peak Experience at Austria’s Intersport Bründl

10 Calgary’s Max Bell Theatre a “Venue for All Seasons” with Matrix3 and Constellation

Welcome to the latest edition of Sound Stories! We have always made it a priority to listen to our users, whose feedback and suggestions have inspired us to engineer

14 Celebrity Solstice Sets Sail with Meyer Sound Systems 16 350,000 Celebrate Experience Gospel Concert in Lagos 18 Mississippi State Stadium Chooses MILO 20 Warhol Live: Meyer Sound Brings the Artist’s Musical Vision to Life

innovative products. As we enter into our 30th year of business, we continue to listen as customers share how they use Meyer Sound systems to successfully tackle audio challenges. This booklet outlines a few of these stories: from a state-of-the-art music venue in Germany to a competitive football stadium in Mississippi; from a unique shopping experience in the Austrian Alps to a

22 Mexico’s Auditorio Nacional Eyes More Top Ticket Sales Rankings

massive worship event in Africa.

24 Cirque du Soleil ® Brings CRISS ANGEL ® Believe ™ to Luxor Las Vegas

innovative, reliable audio solutions

26 Meyer Sound Loudspeakers Prove Essential at Tucson’s Faith Tabernacle

without the creative work and input from

It has always been our goal to create for delivering the best live experience possible. We couldn’t have achieved it you. Thank you for taking this journey with us.

28 Introducing the Meyer Sound Cinema Experience


29 Worldwide Offices Helen and John Meyer Co-founders of Meyer Sound

CQ-1 UPJ-1P UPM-1P UMS-1P UPQ-1P 750-P MVC-5 X-800 Matrix3 2 | MARCH 2008 | MEYER SOUND STORIES


At California Academy of Sciences, Meyer Sound Gives

Morrison Planetarium

an Otherworldly Experience Morrison Planetarium, a key attraction within San Francisco’s all-new California Academy of Sciences, has been designed from the ground up to offer the most com-

“Meyer Sound is a

pelling outer space experience one can have without leaving planet Earth.

premium brand and

“With 290 seats and a 78-foot seamless projection screen, this is the world’s biggest

the people we worked

digital planetarium and, as far as I’m aware, it also has the world’s most powerful

with really l ived up

planetarium audio system,” comments Blair Parkin, founder and managing director of Brighton, UK-based Visual Acuity (, the technology consultant

to their name. They

1P VariO loudspeakers provide surrounds, along with another UPJ-1P loudspeaker

listened to our needs , too k our ideas onboard,

mounted at the zenith of the dome. The low-frequency content is handled by eight

and in some cases

to the project. Three CQ-1 loudspeakers act as the main left-center-right (LCR) system and nine UPJ-

X-800 extended range subwoofers. Matrix3 audio show control allows the system to be configured to suit the wide range of content played at the planetarium. John Monitto,

made suggestions to improve them. A s a

Meyer Sound’s director of technical support, handled system layout. “There are a number of different playback modes which the Academy will use,” says

company, they are very

Parkin. “We have an in-house show called Fragile Planet, with music composed by Mi-

knowledgeable , but

chael Stearns. In this show, we are using the audio system dynamically, moving chan-

also very friendly to

nels around the dome. This uses the full 13.1 channels. The reason we have a speaker at the zenith is that we wanted to spatialize audio over people, not just around them.”

work with.” — Dean Do

Dean Do, assistant director of A/V Electronics at the Academy, says: “Meyer Sound is

Assistant director of

a premium brand and the people we worked with really lived up to their name. They

a/v electronics

listened to our needs, took our ideas onboard, and in some cases made suggestions

California academy of

to improve them. As a company, they are very knowledgeable, but also very friendly to


work with.” Morrison Planetarium’s architect was Pritzker Prize-winning Renzo Piano Building Workshop of Genoa, Italy; installation contractor was Nashua, N.H.-based Sky-Skan. Ove Arup & Partners served as the project’s engineering and sustainability consultant. Beyond the planetarium, systems integrator BBI has installed UltraSeries loudspeakers in the Hearst Forum 3D theatre, and for the Water Planet exhibit in the Academy’s aquarium.


BuCKCherry and Avenged Sevenfold push for power and clarity with meyer sound Milo





Galileo 616



When Buckcherry and Avenged

obnoxious, yet also be smooth and linear,”

MILO line array loudspeaker from Meyer

Sevenfold united for their co-headlining

Paul observes.


One of the hottest-selling tickets in the

“Overall, the decision to use Meyer speak-

world tour, Avenged’s FOH Engineer Nigel Paul and his Buckcherry counterpart

US for the past several months, the tour

ers took about five seconds, because of

Stephen Shaw chose a Meyer Sound sys-

features opening acts Saving Abel, Papa

both Nigel’s and my previous experience

tem as they realized both bands shared

Roach, and Shinedown, playing to crowds

using the cabinets,” notes Shaw. “Both of

the same philosophy—a powerful sound

ranging from 5,500 to 17,000 strong. Tay-

these bands have a real throwback sound,

emphasizing clarity above all else. “It’s

lor, Mich.-based Thunder Audio is provid-

so the MILO is ideal, given its smooth, flat

quite possible to crank it up without being

ing the sound system based around the



Recent Tours with Meyer Sound “To get a precise mix

André Rieu Britney Spears

you need comp lemen-

Buckcherry & Avenged Sevenfold

tary tools. W ith some

Celiné Dion

systems when you go a bit higher, they get a bit ragged, but M eyer

outstanding R esponse an D a R ticu l ation at any sp l .” has

Celtic Woman Dave Matthews Band The Dead The Enemy Il Divo Kylie Minogue Leonard Cohen Lil’ Wayne Metallica Mudvayne Paul Weller

— Nigel Paul

Peter Maffay

FOH Engineer Avenged sevenfold

The Pretenders Slipknot Udo Jürgens Wise Guys André Rieu

The system is based on left and right ar-

“We first used Meyer on the last Avenged

rays of 16 MILO line array loudspeakers,

tour,” says Paul, “and everybody loved it,

with twin arrays of up to eight MICA line ar-

especially the band. Meyer really helps

ray loudspeakers for side hangs, and four

me keep every sound onstage clean and

UPJ-1P VariO loudspeakers for frontfill. A

distinct. To get a precise mix you need

Galileo loudspeaker management system

complementary tools. With some systems

assists system processing, with tuning

when you go a bit higher, they get a bit

courtesy of the SIM 3 audio analyzer.

ragged, but Meyer has outstanding re-


sponse and articulation at any SPL.”


M’elodie Line Array Transforms Landmark Berlin Theatre,

Friedrichstadtpalast With the regeneration of a united

loudspeaker, CQ-1 and CQ-2 loudspeak-

“When we were

Berlin almost complete, Meyer Sound’s

ers, and MM-4 miniature loudspeaker.

p lanning this

M’elodie line array loudspeakers are tak-

The central line array is comprised of

ing center-, left-, and right-stage at the

eight M’elodie loudspeakers, supported

Friedrichstadtpalast, one of Berlin’s key

by three 700-HP subwoofers. The left and

theatres. Boasting the largest indoor stage

right hangs each consists of ten M’elodie

three different

in the world, at 2,542 square meters, the

loudspeakers, also underpinned by three

systems. We had

Palast features staging and rigging intrica-

700-HP subwoofers on each side. A

cies capable of hosting the most outlandish

centre-left and a centre-right hang, used

productions, including the venue’s current

for the orchestral program, each uses six

revue—a Las Vegas-inspired spectacular

M’elodie loudspeakers. These two ar-

entitled Qi: A Palace Fantasy.

rays provide greater stereo definition for

upgrade we had tenders out with

each system for three months, and after that time I and all the crew

The Palast had previously used other Mey-

live music across the venue, leading to a particularly smooth, linear response.

here conc luded

er Sound loudspeakers prior to installing

it had to be a M ’ e l odie system . ”

the M’elodie system. “When we were plan-

The system is managed by Meyer Sound’s

ning this upgrade we had tenders out with

Galileo loudspeaker management system

three different systems,” says Technical Di-

with three Galileo 616 processors. RMS

rector Franz-Josef Münzebrock. “We had

remote monitoring system provides ex-

the systems for three months each, and

tensive system status and performance

after that time, all the crew and I concluded



— Franz-Josef Münzebrock Technical Director Friedrichstadtpalast

that it had to be a M’elodie system. Previously it was mostly MSL-4s in here, but I’ve also used many other brands. I find that Meyer’s products consistently provide that extra clarity, especially when speech is an important application of the house.”





“Our intention is to increase the number of visiting productions using our sound system over the next year,” notes Münzebrock, “making full use of the obvious advantages of yet another of our Meyer Sound purchases—a SIM 3 audio ana-

The newly installed audio system is based

lyzer. Once an engineer has used Meyer

around Meyer Sound’s M’elodie line array

Sound, they never forget.”






Galileo 616


Photo: Stephan Gustavus







Meyer Sound Complements Peak Experience

at Austria’s

Intersport Bründl

Nestled below Austria’s breathtak-

The main merchandising spaces and ad-

ing 3,200 meter-high Kitzsteinhorn, Inter-

joining open-air terrace are covered by 86

“Music can change

sport Bründl is a “lifestyle sport house”

Meyer Sound MM-4 miniature loudspeak-

the mental state to

and features a vast array of outdoor attire

ers. Low-end energy comes from eight

and equipment, as well as an elegant café,

UMS-1P subwoofers and one USW-1P

relaxing lounge, open fireplace, climbing


ma k e buying easier , and the

rock, video game parlor, and 3D cinema. More than 100 Meyer Sound loudspeakers are installed at the sports house to provide foreground music that owner Cristoph Bründl notes as an integral part of the ambience and an effective sales tool. “Music can change the mental state to make buying easier,” claims Bründl, “and the high quality of the Meyer Sound system helps relax customers’ mood immediately.”

“The MM-4 is perfect for this application,” Peterstorfer notes, “because it provides


Quality of the Meyer Sound system he lps

pure, uniformly balanced sound through-

relax customers’

out the building without calling attention

mood immediately.”

to itself.”

Sound moves very much to the foreground in the lounge, where up-tempo

— Cristoph Bründl Owner Intersport Bründl

sounds emanate from two UPJ-1P VariO loudspeakers and another USW-1P subwoofer. “It’s really like a club atmosphere

For the audio and video systems for the

when you turn up the levels,” says

project, Bründl enlisted Wels, Austria-

Peterstorfer. “Some groups have used it

based Kraftwerk Living Technologies after

for social events, and every now and then

a successful Meyer Sound installation in

a DJ will plug in for dancing. All of this in

another shop in Ischgl, Austria.

a sports shop!”

“Based on that experience—as well as

Topping off the total immersion experi-

demos at Kraftwerk’s showrooms—the

ence, Intersport Bründl features an inti-

clients were convinced that only a Meyer

mate yet high-tech 3D cinema. Multichan-

Sound solution would provide the quality

nel surround sound is provided by three

they required,” says Kraftwerk’s manager

UPJunior VariO loudspeakers and four

for retail and hospitality systems, Florian

MM-4 loudspeakers with solid bass from

Peterstorfer, who was responsible for cre-

a UMS-1P subwoofer.

ating the audio system to support Bründl’s marketing concept.



Max Bell Theatre

A “Venue for all seasons” with

meyer sound matrix3 and constellation

electroacoustic architecture

With the recent addition of Meyer

ues like the Max Bell Theatre, the Meyer

Sound Constellation electroacoustic archi-

Sound Constellation system provides an

tecture, the Max Bell Theatre in Calgary,

effective solution without the steep costs

Alberta’s EPCOR Centre has become an

and complicated logistics associated with

exceptionally flexible multipurpose venue

architectural alterations. The Constellation

for all seasons.

system allows venue operators to modify their room acoustics at the press of a but-

“We needed a solution

From fall through spring, Meyer Sound’s

ton, allowing them to host a wide range of

invo lve the audience in mu ltipl e acoustical environments ,

Matrix3 audio show control and 113

events with the acoustics most appropri-

self-powered loudspeakers function as a

ate for them.

that would

do-it-all surround and effects system for supporting plays and musicals by the Max

“We used Constellation’s concert hall

Bell Theatre’s resident company, Theatre

capabilities as a selling point to man-

Calgary. When the venue opens for other

agement,” observes Jamieson, “since

performances, the Constellation system

it makes the room ideal for a variety of

transforms the intimate 750-seat prosce-

non-reinforced acoustical music perfor-

wasn’t anything else

nium theatre into an acoustically luxuriant

mances. Normally a proscenium theatre

avail able that would

small concert hall.

doesn’t work for that, as the sound disap-

and there simply

a llow us to do that

pears into the stage house overhead.” “We needed a solution that would involve

and still have all

the audience in multiple acoustical envi-

The addition of Constellation adds an en-

the options to wor k

ronments, and there simply wasn’t any-

tirely new dimension to the Max Bell The-

thing else available that would allow us

atre’s possibilities. Along with a virtual or-

to do that and still have all the options

chestra shell, the acoustically dry theatre

to work with pure theatrical applications,”

now has a variety of acoustical setting op-

extremely p leased with

says Jack Jamieson, a 20-year veteran

tions that suit the needs of presentations

the results.”

sound engineer at EPCOR Centre. “We

ranging from live theatre to symphonic

are extremely pleased with the results.”

concerts. The Constellation system at

with pure theatrica l appl ications . We are

— Jack Jamieson

Max Bell Theatre offers a total of ten re-

Sound Engineer EPCOR Centre

The acoustics that sound best for one

verberation settings (from 1.2 seconds up

type of performance are not necessarily

to two full seconds) and separate zones

ideal for all kinds. For multipurpose ven-

for the stage and room presets. continued on next page


“We needed a solution that would involve the audience in multiple acoustical environments, and there simply wasn’ t anything else available that would allow us to do that and still have all the options to work with pure theatrical applications.

extreme ly p l eased with the We are


— Jack Jamieson Sound Engineer EPCOR Centre

FEATURED PRODUCTS M1D CQ-1 700-HP UPA-1P UPM-1P UPJ-1P UMS-1P Stella-4 Matrix3 SIM 3 Constellation CueConsole


Max Bell Theatre (continued )

continued from previous page

Chris Jacko, head of sound for Theatre

The main reinforcement system compris-

loudspeaker is individually addressable

Calgary, reports that he was startled by

es M1D line array loudspeakers, CQ-1

from the 112 analog outputs of the nine

the difference Constellation makes. “I re-

and UPA-1P loudspeakers, and 700-HP

Matrix3 processors. The front-end system

member that, just after the tuning, we had

subwoofers. A combination of UPM-1P,

a ballet rehearsal in here with just a solo

UPJ-1P VariO, Stella-4 loudspeakers,

piano. It was awesome to walk around

and UMS-1P subwoofers serve double

“I’m absolutely loving the Matrix3 system

and hear that one piano completely fill the

duty as both a surround/effects system

I have here,” says Jacko. “It’s almost ri-

whole room.”

and are used as part of the Constella-

diculously flexible. I never have to say ‘no’

tion electroacoustic architecture. Each

to sound designers because there’s re-


is controlled by a CueConsole modular control surface.

Theatrical Productions Using Meyer Sound Equipment In 2009 WEST END Joseph and the Amazing Technicolor Dreamcoat The Lion King Mary Poppins Oliver! The Musical Phantom of the Opera Sister Act (May 2009) Wicked BROADWAY The 39 Steps August: Osage County Avenue Q Billy Elliot the Musical Hair The Little Mermaid The Phantom of the Opera Shrek the Musical The Story of My Life West Side Story Wicked You’re Welcome America. A Final Night with George W. Bush OTHER N. AMERICAN PRODUCTIONS The Sound of Music (Toronto)

ally nothing the system can’t do.” Jacko

collaborative effort by the EPCOR Centre

notes that he’s started to use Constella-

staff and Shawn Hines of Gerr Audio, with

tion for some “room sweetening” for the

installation by Allstar Show Industries of

dramatic productions, and adds that “it

Calgary and final tuning by Bob McCarthy

will really come into its own for the sum-

of Alignment and Design using the SIM 3

mer rentals.”

audio analyzer. Constellation design and tuning was handled by the Meyer Sound

Design of the main and effects/surround

TOURING Dirty Dancing – The Classic Story On Stage Drowsy Chaperone The Producers Sweeney Todd Wicked The Wizard of Oz AUSTRALIA Chicago the Musical Guys and Dolls Wicked

Constellation team.

systems at the Max Bell Theatre was a Continued on page 25


Berklee Performance Center










Celebrity Solstice

Sets Sail with Seaworthy Meyer Sound Systems The new Celebrity Solstice is the first of Celebrity Cruises’ five-ship Solstice Class fleet, with an arrestingly sleek exterior and stately amenities for 2,850 guests plus a crew of 1,500. To please the well-tuned seagoing ear, a total of 77 Meyer Sound loudspeakers are installed in ten shipboard venues where sound quality is of particular importance. The selection of Meyer Sound was a joint decision between FUNA International and Celebrity Cruises, following the successful deployments of Meyer Sound systems on several ships previously. “I’ve always liked the sound quality of the Meyer loudspeakers,” says Corporate Production Manager Wayne Tepley, a veteran of 13 years at sea as an audio engineer. “But I also appreciate the extraordinary reliability. I can’t think of a problem I’ve had with a Meyer speaker, ever. They are just rock solid. That’s critical, because you don’t want systems going down when you’re in the middle of the Atlantic.” The extensive AV and show control systems onboard Celebrity Solstice were designed and installed by FUNA International. Wolfgang Bokker and Peter Scheffler were principal designers with supporting coordination by Senior Vice President Marc Goossens. The hub of shipboard entertainment is the repertoire of musical variety shows and the-

“I’ve always l iked the S ound quality of the Meyer loudspeakers. B ut I also appreciate the

extraordinary re l iabil ity . I can ’ t think of a problem I’ve had with a Meyer speaker, ever. T hey are just ROCk solid. That’ s critical, because you don ’t

atrical spectacles at the majestic 1,115-seat semicircular theatre, powered by Meyer

want systems going

Sound CQ-1, CQ-2, and UPM-1P loudspeakers, UPJ-1P VariO loudspeakers, MM-4

down when you’re

miniature loudspeakers, and 700-HP subwoofers. Meyer Sound UltraSeries loudspeakers are installed in other spaces on Celebrity Solstice, including the 200-seat Celebrity Central venue, Ensemble and Sky Lounges, the Entertainment and Rendezvous Courts, the two children and teen spaces, Spa Motion Aerobics and the crew gymnasium, and

in the middle of the Atlantic.”

— Wayne Tepley Corporate Production

the crew disco.


“Certainly the audio quality is exceptional, but we also like them because they’re self-

Celebrity Cruises

powered, which makes them easy to install and commission,” remarks Goossens. “They sound great out of the box, so we don’t spend days EQ’ing a room.” Tepley adds that the simplicity of Meyer Sound self-powered systems—with fewer connect/disconnect points—greatly reduces the chances of failure. “If you lose a critical component, in some parts of the world it can take weeks to get a replacement,” says Tepley. “For me, the best thing about the Meyer systems is their reliability and durability.”


350,000 Celebrate

Experience Gospel Concert

in Lagos with GQ Acoustics and Meyer Sound






A powerful Meyer Sound MILO and

from throughout Africa to revel in perfor-

of 12 MICA loudspeakers per side. Low

MICA line array loudspeaker system de-

mances by award-winning artists includ-

frequencies were covered by nine 700-HP

livered 11 hours of uninterrupted prayer

ing Kirk Franklin, Donnie McClurkin, Don

subwoofers per side, along with two more

and music to an unprecedented crowd of

Moen, Fred Hammond, Kurt Carr, Chev-

at center stage, all configured in cardioid

350,000 at the annual Experience Interde-

elle Franklyn, Gospel duo Mary Mary, and

formation to prevent low-frequency build-

nominational Gospel Concert, reportedly

Muyiwa Olarewaju, UK-based recording

up near the stage. Six UPJ-1P VariO loud-

the largest concert in Africa and the largest

artist and radio presenter.

gospel musical event in the world.

speakers provided frontfill, while a Galileo

Provided by GQ Acoustics+Sound, the

loudspeaker management system with

Staged at the Tafawa Balewa Square in

main sound system deployed left and right

two Galileo 616 processors covered sys-

Lagos, Nigeria, the massive musical ex-

arrays of ten Meyer Sound MILO loud-

tem processing.

travaganza brought together worshippers

speakers each, augmented by side arrays



“No other company provides such a

high l evel of support for its products. M eyer Sound has always been there for us, at every major undertaking . The quality of their products is on ly matched by the veracity of their support.”


Galileo 616

— Peter Iriah CEO

MAPP Online Pro

GQ Acoustics+Sound

As GQ’s Peter Iriah explains, covering the

Onstage, 16 MJF-212A stage monitors,

ing. GQ Acoustics more than pulled it off,

vast expanse of the venue was a challenge

four MTS-4A full-range loudspeakers, and

and Meyer Sound is really the winner.”

that the Meyer Sound system sufficiently

four USW-1P subwoofers covered the

met. “We were initially a bit concerned

performers. System design was handled

about covering such a wide area, and had

by Dave Dennison, Meyer Sound’s techni-

originally considered a system design that

cal consultant using the MAPP Online Pro

would include five different delay stacks,”

acoustical prediction program.

Iriah points to the support from Meyer Sound as instrumental to the event’s success. “No other company provides such a high level of support for its products. Meyer Sound has always been there for

he says. “But when we turned on the system, the combined coverage of the MILO

Karo Agono, technical director of House

us, at every major undertaking. The quality

and MICA arrays made the extra delay

On The Rock, a partner congregation of

of their products is only matched by the

stacks unnecessary, and we decided to

the event, says: “What I heard was amaz-

veracity of their support.”

remove them.”








Galileo 616

MAPP Online Pro



MiSSISSIPPI State Stadium

Chooses Meyer Sound MILO Davis Wade Stadium, the 55,000-capacity home of Mississippi State Bulldog football, is now equipped with high-impact AV systems on a new scoreboard tower. The award-winning Meyer Sound MILO line array loudspeakers flood the tiered bowl with powerful and intelligible audio, while dazzling images flash across the largest HD video screen in the Southeastern Conference. The entire AV installation operates under the general supervision of Bennie Ashford, Mississippi State’s coordinator of sports television. On the quality of sound, he comments:

Abi lity to hear the Fu ll range of sounds ,

“Having that

particularly for

“We love it. It’s a huge difference from what we had before. We are now hearing true

music, is something

bass, along with exceptional clarity in the mids and highs. Having that ability to hear the

our fans T ruly

full range of sounds, particularly for music, is something our fans truly appreciate.”


The audio system at Davis Wade Stadium is designed and installed by Pro Sound,

— Bennie Ashford

Inc., headquartered in Miami, Fla. “This kind of scoreboard system is tailor-made for

Coordinator of

self-powered systems,” remarks Pro Sound engineer Dave Shoemaker, who handled

Sports Television

the design of the system. “You already have power and infrastructure right there, which makes the installation easy to do and keeps the costs down.”

Mississippi State University

The long sides of the venue are covered by twin arrays of eight MILO loudspeakers each, with a center array of three MILO 60 loudspeakers targeting the far-end center sections. An MSL-4 loudspeaker per side covers near-end seating, while 700-HP subwoofers provide full-bodied bass. Two SB-1 parabolic long-throw sound beams project astonishingly clear voice articulation to the far corners at a distance of over 500 feet. RMS remote monitoring system provides loudspeaker performance data and a Galileo loudspeaker management system is used for signal processing. Ashford admits that he was skeptical about the power potential when he first saw the compact size of the Meyer Sound components, but was quickly reassured. “The football team was at their practice field nearly a mile away, on the far side of the basketball coliseum,” Ashford recalls. “The first day we played content through the system, I got a call from a member of the coaching staff who asked, ‘What’s that sound we’re hearing?’ They were hearing it clearly that far away, and could understand everything being said. I knew right then that we had a winner.”


Celebrating the Sights and Sounds of

Andy Warhol—

Meyer Sound Brings The Artist’s Musical Vision to Life





The Warhol Live exhibition, now at

“For some exhibits, we wanted to localize

the exhibition’s focal points. And its self-

San Francisco’s de Young Museum, ex-

the sound source to a visual element,” says

powered design eliminates the need to

plores Andy Warhol’s use of music in his

Wojtowicz. “For example, having Marilyn

create a space for amplifiers.”

works. Through captivating sonic effects

Monroe’s voice coming from her portrait.

created by Philippe Wojtowicz, acclaimed

In other cases, we wanted to create an

sound designer and equipment support

ambient atmosphere that really reflected

powered MM-4XP miniature loudspeak-

from Meyer Sound, Warhol’s creations

the particular era and environment. The

ers, UPM-1P loudspeakers and UMS-1P

are brought to life, from portraits of pop

small size of the MM-4XP miniature loud-

subwoofers to provide the soundtrack for

stars and album art to his controversial

speaker allowed us to place both localized

the show’s many exhibits and deliver the

films and influential New York Silver Fac-

and ambient sources in the appropriate

powerful music of the Velvet Underground,

tory scene.

locations, without visually distracting from

David Bowie, and others.


The system includes more than 40 self-

“I’ve worked with Meyer Sound spea kers for many years , and particularly the MM-4XP, which I’ ve used for severa l exhibitions in Paris . Besides


great and being exceptiona lly discreet , they can meet the need to run for ten hours per day, six days per wee k, without a problem.”

— Philippe Wojtowicz Sound Designer Warhol Live

Curated by Stéphane Aquin, Emma

a lot of separation between exhibits, and

“Besides sounding great and being ex-

Lavigne, and Matt Wrbican, the Warhol

the MM-4XP’s very tight focus helps to

ceptionally discreet, they can meet the

minimize sound leakage between the

need to run for ten hours per day, six days

different areas.”

per week, without a problem.”







Francisco following its successful debut at the Montreal Museum of Fine Arts (MMFA), with Andrew Hope of Canadian

Wojtowicz points to the dependability of

company Gerr Audio adapting Wojtowicz’s

Meyer Sound loudspeakers as another

vision to each museum’s particular space.

critical factor. “I’ve worked with Meyer

“The MM-4XP is particularly well-suited

Sound speakers for many years, and

for this exhibition,” says Hope. “As with

particularly the MM-4XP, which I’ve used

most museum environments, there’s not

for several exhibitions in Paris,” he says. MEYER SOUND STORIES | VOLUME 2 | 2009 | 21


Auditorio Nacional

Eyes More Top Ticket Sales Rankings with New Meyer Sound MILO System After topping Billboard’s Touring

The configuration includes 38 MILO loud-

“When you consider

Awards in 2007 and Pollstar’s rankings of

speakers, 20 MILO 60 loudspeakers, and

the stature of shows

theatres and auditoriums by posting to-

two MILO 120 loudspeakers, along with

tal ticket sales of more than 995,000, the

28 700-HP subwoofers and eight UPA-1P

Auditorio Nacional in Mexico City recently


booked in here, we cannot afford to use




purchased a state-of-the-art system of 60

management system comprised of two

anything but the best

Meyer Sound MILO line array loudspeak-

Galileo 616 processors provides drive and

equipment. That is why

ers, the largest MILO system owned by


we chose Meyer Sound

any theatre or auditorium. “Many shows were bringing in their own

MI LO. O ur insistence

The Auditorio seats nearly 10,000 and is

line array systems,” observes Giancola.

on quality has placed

the Western Hemisphere’s largest audito-

“With our MILO system in-house, we will

rium that is not a religious institution. “We

save time, cut costs to the promoter, and

present everything from pop and rock to

guarantee ample power with superior

jazz and classical,” says Production Man-


us among the top venues in the world , and this new system

ager Mark Giancola. “So we needed one

a ll ows us to maintain

system that has been proven over and

that reputation . It is certainly

A strategic investment for

over to be successful with all types of music. The MILO has certainly done that.”

“When you consider the stature of shows booked in here, we cannot afford to use anything but the best equipment,” adds Giancola. “That is why we chose Meyer

According to Giancola, strong support

Sound MILO. Our insistence on quality

from Meyer Sound since first using its

has placed us among the top venues in

products in the 1990s has allowed the

the world, and this new system allows us

the future of

Auditorio to invest in this large system

to maintain that reputation. It is certainly

Auditorio Nacional.”

with confidence. “The service has been

a strategic investment for the future of

absolutely first-rate,” testifies Giancola.

Auditorio Nacional.”

—M  ark Giancola Production Manager

“They’re always right there whenever we

Auditorio Nacional

need them.”

Through the years, artists who have performed at the Auditorio include Rob-

The new MILO system can be flown in

ert Plant, Sting, Norah Jones, Pet Shop

eight different configurations and precisely

Boys, Rod Stewart, Elton John, The Cran-

aligned using the SIM 3 audio analyzer.

berries, and Barry Manilow.


“We needed a solution that would involve the audience in multiple acoustical environments, and there simply wasn’ t anything else available that would allow us to do that and still have all the options to work with pure theatrical applications.

extreme ly p l eased with the We are


— Jack Jamieson Sound Engineer EPCOR Centre


Cirque du Soleil® Brings


to Luxor Las Vegas with Meyer Sound

FEATURED PRODUCTS MICA M’elodie M1D CQ-1 CQ-2 700-HP MTS-4A UPM-1P UPA-1P SB-2 Galileo 616 Matrix3 CueConsole Photo: Tomasz Rossa, Costume: Meredith Caron

© 2008 Cirque du Soleil

CRISS ANGEL® Believe™ at Luxor Las

“The show is all about Criss Angel and his

Cirque style of sound. “This required

Vegas marries the mystifying illusions

illusions,” says Deans. Composed by Eric

extensive surround speakers, creative

of Criss Angel (of Mindfreak fame) to a

Serra, the music is supported by Matrix3

bussing, and some complex SpaceMap

stunning medley of magic and dance. As

audio show control. A CueConsole mod-

panning,” says Brian Hsieh, Deans’s as-

with other audacious Cirque du Soleil®

ular control surface manages front-of-


productions that push the limits of art-

house functions, with outputs routed to 99

istry and technology, sound plays a criti-

Meyer Sound loudspeakers. SpaceMap

cal role in CRISS ANGEL Believe. With

multichannel surround panning allows the

a Meyer Sound system provided by So-

designer to accurately place the sound

lotech, Sound Designer Jonathan Deans

where desired.

immerses the audience with a surreal and

The system delivers an arena rock sound

textured environment,” Mele notes. “The

dynamic aural environment of a haunting

for the opening Mindfreak number, and

effect really encompasses you, and brings


then seamlessly switches to a surround

you fully into the show.”


Head of Sound Rob Mele, finds the Matrix3 system an ideal platform for mixing the multilayered music and managing the production’s stringent timing demands. “The music works very well with a layered and

Continued from page 13

Theatrical Productions Using Meyer Sound Equipment In 2009

Level of P recision needed


to support the illusions is much higher than with most shows. C oordination between the various elements

GERMANY Der Schuh des Manitu Ich will Spaß! Qi – eine Palast-Phantasie Tanz der Vampire Udo Jürgens: Ich war noch niemals in New York – Das Musical Wicked HUNGARY Dance of the Vampires JAPAN Wicked

of the production is critical as you move instantly from live spoken word to music.”

— Rob Mele Head of Sound

Photo: OSA Images, Costume: Meredith Caron


NORWAY Mamma Mia! SPAIN A Enamorados Anonimos Hoy no me Puedo Levantar (Touring) La Bella y la Bestia Quisiera Ser (Touring)

© 2008 Cirque du Soleil

Mele highlights the flexible operation afford-

are M1D line array loudspeakers, CQ-1,

ed by the Wild Tracks hard disk playback of

CQ-2, UPM-1P, UPA-1P, and MTS-4A

Matrix3. “The level of precision needed to

loudspeakers, as well as SB-2 parabolic

support the illusions is much higher than

wide-range sound beams. A Galileo loud-

with most shows,” he says. “Coordination between the various elements of the production is critical as you move instantly from live spoken word to music.”

speaker management system provides

Cirque du Soleil® Productions Using Meyer Sound The Beatles® LOVE ™ Corteo

“O” ® Quidam ®

Saltimbanco ®

signal drive and processing.


Deans points out that Meyer Sound loud-





La Nouba™


Mystère ®


speakers are consistent with the high qual-

The loudspeaker configuration includes

ity expected in a Cirque du Soleil produc-

four arrays of six M’elodie line array loud-

tion. Such consistency allows the sound

speakers each for voice, two arrays of ten

designer to focus on implementing ideas,

MICA line array loudspeakers for music,

instead of constantly engaging in a search

and six 700-HP subwoofers. Also featured

and rescue mission for sound quality.

Varekai ™


Impressive Directivity of Meyer Sound Loudspeakers Proves Essential at Tucson’s

“The M eyer Sound system ’s



has gone

a long way toward

Faith Tabernacle

The first thing that visitors notice

Todd Stuve, Faith Tabernacle’s lead audio

when they enter Tucson’s Faith Tabernacle

tech, says the church had tried more than

Church, where a Meyer Sound system was

once to address the room’s challenges.

recently installed, is the view. Directly be-

“Actually, this is our fifth system, and we

hind the pulpit, the vast wall of glass looks

got it right this time,” Stuve says. “The

out onto the majestic visage of Mount

Meyer Sound system’s tight focus has

addressing the

Lemmon and the Coronado National For-

gone a long way toward addressing the

room’s biggest

est, making for a breathtaking and inspir-

room’s biggest challenges and improved

ing visual.

its sound quality in a way the other sys-

challenges and improved its sound quality in a way the other systems

With the installation of the Meyer Sound system, the sound inside this stunningly beautiful architecture now matches the

tems couldn’t. It would have saved us the hassle and costs if we had gone with a Meyer Sound solution in the first place.”

view. The church struggled for years with

The 1,200-seat sanctuary has been

couldn ’t. It wou ld

out-of-control reverberance, until it turned

equipped with three CQ-1 loudspeakers

have saved us the

to the Tempe, Ariz. offices of Sound Image

and three UPJ-1P VariO loudspeakers,

for help. As Sound Image’s Eric Johnson

all strategically hung for highly focused

explains, the church’s new Meyer Sound

coverage. Low frequencies are handled

hass le and costs if we had gone with a

system has gone a long way in addressing

by a pair of 700-HP subwoofers, and a

meyer sound solution

the room’s issues. “The room had a tremen-

Galileo loudspeaker management system

in the first place.”

dous amount of upper-midrange reflectiv-

provides critical system processing.

— Todd Stuve Lead Audio TEch Faith Tabernacle Church

ity, and intelligibility was next to nil when the music got going,” says Johnson.

Stuve says the new Meyer Sound system represents a major first step in making

“The ceiling is at least as challenging as the

Faith Tabernacle’s sanctuary sound as

glass wall,” says Johnson, describing the

good as it looks. “The room is a chal-

25-foot high wood ceiling, with its massive

lenge, but the Meyer Sound system has

beams and deep, reverberant pockets.

given us a major leap in sound quality,”

“The room still needs some acoustic treat-

he says. “The sonic clarity just blows me

ment, and they’re aware of that, but the

away. I’m very, very impressed.”

Meyer Sound system has already made a tremendous difference.”





Galileo 616



Meyer Sound Cinema Experience

“The c larity and

With the expanding entertainment options

Meyer Sound’s Cinema Experience now

at home, movie theatres will need to pro-


vide patrons with a more compelling cinema experience. Digital cinema and 3D

• Acheron 100 and Acheron 80: Screen Channel Loudspeakers

cinema take a big step toward that goal

• Acheron LF: Mid-Bass Loudspeaker

by improving the standard of presentation

• HMS-10: Cinema Surround Loudspeaker

of both picture and sound. Today’s theatre sound systems must be able to reproduce

dynamics of meyer

21st-century soundtracks in their full glory

sound ’s cinema

to deliver a rich and exciting sound experi-

enhance the who l e experience of watching movies. ”



—R  ichard King Academy Award winner, supervising sound editor, and sound designer “The Dark Knight”

• X-800C: High-Power Cinema Subwoofer In addition to loudspeakers, Meyer Sound offers accurate acoustical prediction with

Building on Meyer Sound’s 30 years of

MAPP Online Cinema; real-time system

innovation in professional sound systems,

performance data provided by the optional

the Cinema Experience line of products

RMS remote monitoring system; and cali-

was developed in collaboration with top

bration and alignment offered by the SIM 3

audio engineers in the cinema industry.

audio analyzer. The Galileo loudspeaker

Meyer Sound’s Cinema Experience fea-

management system handles signal drive

tures screen channel loudspeakers, sur-

from a theatre’s cinema processor to built-

rounds, subwoofers, and electronics that

in amplifiers within the self-powered loud-

work together to deliver utmost clarity


and power with precise, flexible control. From sound design to dubbing to exhibi-

Meyer Sound products that have been cer-

tion, Cinema Experience products provide

tified by THX include Acheron 80 and 100

a consistent, linear platform that faithfully

screen channel loudspeakers, Acheron LF

reproduces a soundtrack with the punch

mid-bass loudspeaker, CQ-1 loudspeaker,

and dynamics to hold a viewer’s attention

UPJ-1P VariO loudspeaker, HD-1 studio

and make a movie come alive.

monitor, and X-800C subwoofer.

Worldwide Offices

Meyer Sound Headquarters 2832 San Pablo Avenue Berkeley, California 94702 USA T: +1 510 486.1166 F: +1 510 486.8356 [email protected]

Meyer Sound Nashville T: +1 615 244.2472 [email protected] Meyer Sound Australia Pty Ltd T: +61 7 3252.4433 F: +61 7 3252.3380 [email protected] Meyer Sound Belux T: +32 2 567.2710 F: +32 2 567.2709 [email protected] Meyer Sound Brazil T: +55 11 3816.0401 [email protected]

Meyer Sound Canada T: +1 250 549.2558 F: +1 250 549.2668 [email protected] Meyer Sound CIS T: +7 095 943.0091 F: +7 095 947.9140 [email protected] Meyer Sound España S.A. T: +34 90 216.0245 F: +34 90 018.0762 [email protected]

Meyer Sound Lab. Germany GmbH T: +49 2602 99908.0 F: +49 2602 99908.99 [email protected] Meyer Sound México S. de R.L. de C.V. T: +52 55 5631.8137 F: +52 55 5630.5391 [email protected] Meyer Sound Portugal T: +351 91 512.8686 [email protected]


A new addition to Princess Cruises, Ruby Princess takes passengers to the scenic European and Caribbean destinations while pampering them with an extensive array of onboard entertainment activities, including “Movies Under the Stars,” an impressive outdoor poolside theatre. A Meyer Sound MICA line array loudspeaker system is installed to deliver highly intelligible audio and thrilling sound effects and music at a substantial distance while firing into strong headwinds. Meyer Sound’s UltraWeatherized protection feature ensures that the system operates reliably even in the extremely harsh weather conditions at sea.



Galileo 616


Copyright © 2009 Meyer Sound Laboratories, Inc. All rights reserved. Compass, Galileo, MICA, MILO, M’elodie, MAPP Online Pro, Matrix3, VariO, UltraSeries, M Series, Concert Series, RMS, CueConsole, TM Array, UltraWeatherized and all alphanumeric product designations are trademarks of Meyer Sound. Constellation, Galileo, MILO, LCS, SpaceMap, 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 property of their respective 2 owners. PatentsSOUND pending. STORIES i | 2009 | VOLUME | MEYER

18.908.005.06 A Printed on recycled paper