New System’s Power and Precision Benefit Audiences and Venue Neighbours Alike
Hayden Homes Amphitheater in Bend, OR attracts top-tier touring artists with its stunning natural setting and superb technical facilities. Situated in the shadow of the snow-capped Cascade Mountains and bordered by the pristine Deschutes River, the approximately 8,000-capacity venue stepped up its regional drawing power this year by upgrading the house system for the summer season to Meyer Sound PANTHER large-format linear line array loudspeakers.
A sampling of artists enjoying both the scenery and sound at Hayden Homes Amphitheater (HHA) this year includes Ringo Starr and His All-Starr Band, Elvis Costello, Ziggy Marley, and Neil Young.
The new system is supplied under a multi-year contract by Tacoma, WA-based Point Source Audio. According to Point Source owner Curt Hare, who serves as the systems engineer and handles FOH for bands without their own mixer, the improvements have been appreciated by artists and audiences alike.
“Everyone has loved it,” he reports. “I’ve heard some say it’s the best system they’ve heard on the tour, and others say it’s like working on near-field monitors. Words like ‘transparent’ and ‘three-dimensional’ come up, and some engineers have told me they are using less EQ and compression on their channel strips.”
The sonic improvements did not come without challenges, however. The wide-open views and riverside ambiance pose acoustic difficulties because HHA is located in the heart of Bend’s Old Mill District, a thriving commercial and residential development. Unlike other similar venues with stages facing natural hillsides, the HHA occupies an essentially flat space with only a minimal construction-graded slope of about 2%. And the adjacent river’s scenic value is offset by a tendency to reflect mid-high frequencies.
“The layout and topography of the venue make it difficult to contain the sound within the venue boundaries,” says Hare. “I had worked with their production manager, Mike Taylor, at the Northwest String Summit and other regional festivals, and he knew I had addressed these issues at a similar venue in Washington. So, he asked me to propose a new solution.”
Taylor was confident the new PANTHER-based system would provide powerful, high-quality sound, but he also needed to convince management that the sound bleed into adjacent neighborhoods could be significantly attenuated.
“We really needed to dial in a much tighter pattern,” he says. “Meyer Sound had the technology and the team to make it happen.”
Coordinating through Meyer Sound Director of Strategic Applications Michael Maxson, Hare worked with Meyer Sound Senior Technical Support Specialist David Vincent to plot system coverage in MAPP 3D with the goal of maintaining full-bandwidth uniformity inside the fence, then dropping off steeply. “They nailed it,” Taylor says. “Now the system does exactly what we expect it to do.”
The system comprises 12 per side arrays of PANTHER loudspeakers, with ten PANTHER-M cabinets over two PANTHER-W cabinets. Bass power comes from 12 1100‑LFC low-frequency control elements arranged in cardioid configurations, while six ULTRA‑X40 compact loudspeakers supply front fill and two Galileo GALAXY Network Platforms contribute to system drive and optimization. Ten MJF‑210 high-power stage monitors are available for artist foldback.
For visiting engineers who love analog, and for his own use when mixing opening acts, Curt Hare keeps his vintage Gamble EX56 parked at HHA for the season.
With artist satisfaction, audience excitement, and community relations all on the upswing, the move to a new PANTHER-based system has proven to be a wise one. “I was confident from the outset,” says Hare, “but we did a demo session back in May to show what we could do. Management was a bit surprised that there was so much engineering and scientific data available to deal with the noise issues, as little was seen from the previous vendor.”
The change was particularly welcome for Hayden Homes Amphitheater General Manager Marney Smith. “Community relations is a massive part of the equation here at HHA,” she says. “Curt’s efforts, combined with the Meyer rig, have made it possible to provide visual ‘heat maps’ of how the sound travels and make adjustments. The reduced sound transfer into surrounding neighborhoods is noticeable.”
The recognition among touring artists also has been gratifying, she adds. “I’m not the one who lets the tours know our house rig is now PANTHER, but I’ve listened in when our production manager relays the news. It’s delightful. Offering a top-line rig adds credibility to our venue and lets artists know they can expect excellence in all aspects of production when they come to visit us.”
Some other acts benefiting from the system upgrade at HHA this year include Kenny Wayne Shepherd, Los Lobos, Indigo Girls, Cake, and Counting Crows.
Hayden Homes Amphitheater is owned by the Old Mill District with the summer season concert series booked and managed by Live Nation.
ApexPro is the premium distributor of Meyer Sound Solutions in Southern Africa, contact us for more information.
UltraSound Completes First PANTHER Club Install at Iconic San Francisco Venue
A San Francisco landmark, and arguably the most celebrated venue in rock history, The Fillmore promises to carry its iconic status into the future thanks to a complete audio upgrade anchored by a new Meyer Sound reinforcement system. Built around the flagship PANTHER large-format linear line array loudspeaker, the new system was supplied and installed by UltraSound, LLC another company with deep roots in the rich history of San Francisco’s post-1960s music scene.
Operated by Live Nation since 2007, The Fillmore treasures its legendary past while remaining focused on presenting today’s established and emerging artists in an optimum environment supported by world-class technical facilities.
“Our prior Meyer Sound system maintained our reputation for more than fifteen years,” notes Matt Lawsky, on The Fillmore staff since 1999 and principal production manager since 2011. “But it was clearly time to move forward. We had first looked at a LEOPARD solution, but the timing worked out perfectly because, just when Live Nation gave us the green light, PANTHER had come out. UltraSound recommended it, and the cost was a wash because with PANTHER we need only seven boxes per side whereas LEOPARD would require 10 or more. So, we went with the very latest Meyer Sound technology.”
When The Fillmore reopened in 1994, after a five-year closure due to earthquake damage, UltraSound installed a Meyer Sound MSL-3 system in the room. UltraSound returned in subsequent years to install MICA line arrays with M3D Subs, culminating in this year’s PANTHER system.
“It has been an honor to have provided all The Fillmore audio systems for nearly three decades,” says UltraSound CEO Derek Featherstone. “And all have been from Meyer Sound.”
For Lawsky, maintaining the strong ties with Meyer Sound was a no-brainer. “Very few venues have the luxury of being in the neighborhood of a world-class audio manufacturer,” he notes. “In fact, I could stop by the Meyer Sound factory on my way home. It would be madness not to take advantage of that.”
With a capacity just shy of 1,200, The Fillmore is categorized as a club by default as shows are general admission for an open floor with limited seating. As such, The Fillmore now becomes the first club in the world to offer a PANTHER system.
Matt Lawsky, Production Manager, The Fillmore; Michael Bailey, Senior Vice President Booking, Live Nation; Amie Bailey-Knobler, General Manager, The Fillmore; Helen Meyer, Executive Vice President, Meyer Sound; John Meyer, President & CEO, Meyer Sound; Derek Featherstone, CEO, UltraSound, LLC
“PANTHER is amazingly versatile in any environment because of its lightweight and compact size,” says Derek Featherstone. “I hope young engineers will experience PANTHER in the club environment here and then, when their bands grow to major touring acts, choose to carry it with their production.”
In addition to the seven-each PANTHER arrays, the new system also includes two ULTRA‑X40 compact loudspeakers as front corner infills plus a third ULTRA-X40 for overhead center fill. Interim bass power is supplied by six 1100‑LFC low-frequency control elements, pending replacement by the newly introduced 2100‑LFC elements later this year. Artist foldback is courtesy of ten MJF‑210 high-power stage monitors.
Contributing to the system renewal alongside Featherstone was UltraSound Operations Manager Josh Osmond, with Jason Mills serving as the on-site manager.
Michael Bailey, Live Nation Senior Vice President, has been a fixture at The Fillmore since 1987, working first for the owners at the time, soon afterward for Bill Graham Productions, and eventually for Live Nation. “When the 2100s are in, we will have the ultimate club showcase for Meyer Sound PA technology,” says Bailey. “Bands, and engineers from other clubs, can come here, listen to the system, and be inspired to upgrade the sound at similar venues around the country — or the world.”
After nearly a quarter century at The Fillmore, Matt Lawsky is well aware of the unique nature of the venue, and how its legacy affects production. “This is a relatively small room with a very high-intensity usage,” he notes. “Off-the-shelf solutions don’t work here. We have bespoke demands, and I’m grateful for the way that Meyer Sound, UltraSound, and our crew from IATSE Local 16 have worked hard to tailor this solution to our needs.”
The Fillmore’s status as a rock mecca is inescapable, but Matt Lawsky is focused on delivering an amazing experience at every show. “This is not the ‘Fillmore Museum.’ This is here, this is now. We are a working rock’n’roll dive that just happens to be exceptionally famous.”
For Meyer Sound founders John and Helen Meyer, the latest upgrade to the venue continues a long tradition of supporting the arts in the Bay Area. “We came to shows here in the sixties, so this is special,” Helen Meyer recalled at the system’s inauguration ceremonies. “We want to thank everybody from The Fillmore, Live Nation, and UltraSound for making this happen. We are Bay Area natives, and this is the kind of thing we love to do. It’s in our DNA. We hope everybody will enjoy the result.”
Over its six-decade history as a rock venue, The Fillmore has hosted not only nearly every legendary act in that genre but also luminaries of blues, jazz, soul, and rap. Today, the venue continues this tradition with a calendar of bookings spanning not only rock music and all its sub-genres but also Latin, reggae, hip-hop, R&B, and pop.
ApexPro is the premier distributor of Meyer Sound solutions in Southern Africa, contact us for more information about Meyer Sound solutions in the region.
Worth Fire & Security delivers a complete AV/security solution featuring Electro-Voice audio to Meehan’s Chophouse and adjoining Henry’s Cigar Lounge
EVID ceiling/pendant/surface-mount speakers and subwoofers provide premium sound quality across 12 zones, enhancing guest experience throughout restaurant, cigar lounge, private dining, common areas, and outdoors
EVID range offers an optimal combination of architecture-friendly aesthetics and acoustic performance
As part of the revitalization of downtown Mansfield in the south Dallas suburbs, local construction entrepreneur Tony Meehan purchased an abandoned grist mill building from the city that had also served as a local jail. After a full renovation, he created two new businesses: a fine dining restaurant called Meehan’s Chophouse, and Henry’s Cigar Lounge, an adjoining 5,000 sq-ft, members-only cigar bar. For the new facility’s technology needs, Meehan hired long-time partner Worth Fire & Security in nearby Arlington for design and installation.
“These two businesses share a lot of infrastructure, including things like kitchen and parking. They wanted to build on that approach with their technology. We did a complete AV and life safety system for them, including security cameras, audio and video systems, AV matrix control, plus data infrastructure and listed fire alarm.”
Todd Privette, President of Worth Fire & Security.
For the audio portion of the design, Worth Fire & Security focused on high-value, high-performance offerings from Electro-Voice, with a focus on the EVID line of compact installed loudspeakers. With a wide range of models to adapt to varying audio and visual needs, EVIDs were the ideal choice to provide consistent, cohesive sound across multiple listening areas, indoors and out. The Worth Fire & Security-designed system delivers background music across 12 listening zones, including the restaurant, cigar lounge, various private dining rooms, restrooms, outdoor patios and waiting areas.
“The reason we went with Electro-Voice was really the EVID line, which includes everything from flush-mount and ceiling-mount speakers to attractive pendant and flush-mount models, plus subwoofers and weather-resistant versions,” says Privette. “They have the flexibility to adapt to any room condition, are easy to install, and they look and sound great.”
The EVID C6.2 flush-mount ceiling loudspeaker was selected as the base model for background and house music, with 90 of them spread throughout the building. In areas requiring full-range fidelity, these are augmented by EVID C10.1 10” ceiling subwoofers, with a total of ten strategically placed units covering the Chophouse Bar, the main lounge in Henry’s, plus private lounges and Henry’s outside patio. In the Grist Mill private dining area, which is also equipped with a full video presentation system, audio is provided by a six pendant-style EVID P6.2 loudspeakers hung from its vaulted ceiling.
Outdoors, EVID-S8.2TB loudspeakers provide audio to the waiting areas and parking lot. “Those speakers are very nice because they can do 8 ohms or 70 volts, and each speaker has its own tap,” notes Privette. “That allowed us to put all of outdoor speakers on one circuit, using the taps to draw only the wattage needed for volume appropriate to each speaker.”
The entire system is powered by two Electro-Voice CPS 8.5 amplifiers, providing 16 channels of up to 500 watts each. The system employs 12 of those channels for independent 70-volt audio zones, with the remaining four channels powering the 8-ohm subwoofers. AV control including the audio zones is achieved via touch panels and keypads, with independent control for each business.
Meehan’s Chophouse also has a small stage area with its own sound system, used primarily for special occasions. Suitable for small music groups or DJ events, the live performance stage is equipped with a self-powered Electro-Voice sound system consisting of two ELX200-12P loudspeakers.
“Meehan’s Chophouse and Henry’s Cigar Lounge are a great addition to downtown Mansfield, and we’re proud to be a part of it,” adds Privette. “The restaurant rivals anything you’ll find in Dallas, the cigar bar is a unique attraction, and refined touches like the EVID loudspeakers ensure an outstanding dining experience.”
Associate Sound Designer Hyder Khalil Upgrades Show’s Sound With DPA Instrument and Headworn Mics
For the past 15 years, Associate Sound Designer Hyder Khalil has been crafting the breathtaking audio that brings the long-running London stage musical “Wicked” to life. Working alongside Sound Designer Tony Meola, Khalil abides by Meola’s philosophy when making shows: whether you’re working with instruments or cast members, get the mic in the correct place without being intrusive, and then get the sound as perfect as possible. With these goals in mind, microphones designed to provide authentic audio were the obvious choice when upgrading the theatre’s sound system.
DPA Microphones fit all of the sound needs for “Wicked,” offering numerous clear, natural and versatile mics. After initially integrating the DPA 6061 Subminiature Lavalier Microphones, the theatre added the brand’s 2011 Twin Diaphragm Cardioid, 4055 Kick Drum, and 4099 Instrument Mics to its lineup. “As a whole, DPA makes things easier,” Khalil explains. “You’re not fighting against the microphones—they have such a low noise floor. Compared to our old mics, the DPAs take the sound to another level; details are getting picked up where they weren’t before. Whether you want to hear those details or not is up to you but at least instead of getting lost, we now have the option to keep them in.”
Khalil first introduced the team to the 6061s, which they slowly deployed on individual performers until the entire cast was covered. “I’ve been a fan of DPA for a long time, so I knew the sound quality side of the brand was a given,” he shares. “The main challenge we were looking to solve was aesthetics. The DPA 6061 capsules are small enough to blend into the show while also high-quality enough to bring out the details and nuances of the performers’ voices.”
The detail provided by the 6061s was crucial for Khalil, who has seen numerous casts of “Wicked” and understands the importance of the miniscule differences between each actor’s performance. “It’s not that we had bad sound before, but with DPA it was an immediately noticeable difference,” he explains. “The 6061s sound as if you’re speaking to the actors face-to-face. This also helps improve the humor of the show because you can hear the little comedic changes in the actors’ voices. These mics are just raising the bar another step that wasn’t there before.”
“Wicked” is not only known for its comedic tone, the show’s soundtrack is also popular for its dramatic, sweeping ballads and energizing pop/rock hits. To account for this broad spectrum, the band and orchestra pit rely on the equally versatile microphone solutions from DPA. “We’ve had 4099s on the violin, cello and French horn for several years, and we most recently added them to the drum kit,” Khalil shares. “We’re now also using them for the toms and added 2011s on the snare top and bottom. It’s been a real improvement. The musicians love the DPAs because they’re so small and unobtrusive while playing. Plus, the sound stays consistent between performers.
“We were also lucky enough to get one of the new 4055 Kick Drum Mics, and it has been great,” continues Khalil. “With other kick drum mics, I always found that you’re essentially carving away at them to get usable sound—which becomes more of a compromise than an artistic choice. The 4055 is the first mic I’ve come across where you can actually bring out qualities in the kick drum. The mic is very versatile and acts more like a scalpel than a broad sword, allowing you to carve out little details and be selective in your sound. It’s more of a tool than just a means to an end.”
Owing to the mics’ minimal need for EQ, the sound department consistently experiments with mic placement to improve sound. “We used to always keep the 6061s in the same place,” Khalil says. “Now, we found we can shift them up and hide them and still get the same sound quality. No matter where they end up, whether buried under a hat or rigged as an ear hanger, they sound great. Same with the 4055; we tested out a couple of placements but landed on it being just outside of the drum hole.”
The “Wicked” audio team is dedicated to continually modernizing its sound system to enhance the actors’ performances. Beyond the DPA mics supplied by Sound Network, the sound department additionally relies on a DiGiCo SD7 console and a self-powered Meyer Sound PA designed by Meola and provided by Autograph Sound Recording. A TC Electronics System 6000 handles the reverbs, and various Lexicon units provide special effects throughout the show. Backstage, Sennheiser transmitters and receivers work with the DPA mics to create an excellent sound. As DPA maintains that transparent, natural audio worthy of a global favorite like “Wicked,” Khalil will continue to love and trust the brand’s solutions, saying, “Given the choice, DPA would always be my go-to.”
ABOUT “WICKED”: “One of the most successful musicals of all time” (BBC News), “Wicked” is already the 12th longest-running production in West End history. Stephen Schwartz and Winnie Holzman’s award-winning musical is based on the novel by Gregory Maguire and imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum’s beloved characters from “The Wonderful Wizard of Oz,” revealing the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming Glinda The Good and the Wicked Witch of the West. www.WickedTheMusical.co.uk
Teatri di Siena is leading the way in sustainable theatre practices by upgrading to the latest and most efficient LED systems from ETC. With support from Italy’s National Recovery and Resilience Plan (PNRR), the venue is embracing an eco-friendly option that not only benefits the planet but also enhances the audience’s theatrical experience.
In an effort to promote technological advancement and energy conservation, PNRR is extending aid to the theatre industry as it recovers from the pandemic. Teatri di Siena is seizing this opportunity by upgrading its lighting system. Seasoned electrician and lighting aficionado Andrea Garbini is leading the venue’s ongoing renewal efforts, along with colleague Michele Pisano. Together, they are making significant strides towards a sustainable and eco-friendly future for the theatre industry through the PNRR initiative.
According to Garbini, Teatri di Siena has a clear objective – to produce exceptional shows. “As the world of theatre continues to evolve, venues must be equipped with professional and reliable resources to attract and support high-quality productions,” he says. “ETC is a perfect fit. It’s a company I have established a relationship of trust and precious collaboration with, that I have gladly made available to a theatre that feels like my own.”
With the addition of 25 Lonestar fixtures and an Ion Xe 20 lighting console from the Eos family, Teatri di Siena is preparing to bring its productions to the next level. Garbini is confident that the equipment will be put to great use, especially with upcoming productions by the Accademia Chigiana later this summer. The Lonestar’s ability to create stunning visual effects and its smooth movement will add a new dimension to the performances, creating an immersive experience for the audience. Additionally, the venue is eagerly anticipating the arrival of even more ETC products to enhance its productions, including LED ColorSource Spot V fixtures and Source 4WRD Color II engines, which will transform their existing Source Four incandescent profiles into more energy-efficient color-mixing LED fixtures.
As lighting design technology continues to evolve, more and more companies are turning to the Eos system. “During the most recent season, I had the opportunity to collaborate with fellow experts who shared their unique programming styles using the same system,” comments Garbini. “It was fascinating to see the versatility and potential of Eos, especially with the latest updates that have been added. I look forward to testing out the rest of the products in the coming months and can’t wait to see how they enhance theatre and outdoor events.”
As part of the (IM) Patti Chiari project aimed at reducing environmental impact, Teatro di Siena has taken various measures such as reducing printing, eliminating plastic bottles at the bar, and planting trees to offset CO2 emissions. The replacement of lighting fixtures with energy-efficient luminaires will further reduce consumption, making it a sustainable venue. With ETC’s advanced lighting equipment, the theatre is poised to deliver exceptional shows that leave a lasting impression.
ETC is distributed and supported in Southern Africa by ApexPro. Contact Jannie De Jarger for more information.
When running a successful restaurant, attention to detail can make all the difference. From delectable dishes to impeccable service, every aspect contributes to creating a memorable dining experience. One element that often goes unnoticed but plays a crucial role in setting the right ambiance having an effective sound system.
In this article, we will explore the importance of an installed sound system and highlight the exceptional features of the HH Electronics TNi-W8PRO, a high-power, compact, and versatile loudspeaker system designed with the needs and budgets of restaurant owners in mind.
Unparalleled Sound Quality:
The HH TNi-W8PRO boasts a powerful 8-inch HH low-frequency driver with a 2-inch voice coil, delivering deep and punchy bass. Complementing this is the 1-inch Celestion CDX1-1070 high-frequency compression driver, ensuring clear and detailed highs. With this impressive combination, the sound system provides a full-range audio experience that will captivate your customers and enhance their enjoyment of your establishment.
Versatile Orientation and Mounting Options:
Designed with flexibility in mind, the HH TNi-W8PRO offers a rotatable waveguide, allowing you to use the loudspeaker in either vertical or horizontal orientation, depending on your space and layout requirements. Additionally, the system offers various mounting options, including 7 x M10 Penn-Elcom fly points and 4 x M8 mounting points for the optional TNi-BRK30 mounting bracket. This versatility enables you to optimize the sound distribution and ensure consistent audio coverage throughout your restaurant.
Reliable and Durable Construction:
Understanding the demands of a restaurant environment, the HH TNi-W8PRO is built to withstand the rigors of daily use. Enclosed in a robust wooden enclosure, the system features a powder-coated steel grille with acoustic foam backing, ensuring durability and protecting the internal components. The sleek black or white finish adds a touch of elegance that seamlessly integrates with your restaurant’s decor.
Flexible Connectivity Options:
The HH TNi-W8PRO provides flexible input connections via either an M4 barrier strip or Euroblock, giving you versatile options to connect to your audio sources. Whether you prefer a hardwired connection or a more streamlined setup, this sound system adapts to your specific needs, allowing for easy integration into your restaurant’s existing audio infrastructure.
As a restaurant owner, creating a captivating dining experience is essential for attracting and retaining customers. An installed sound system, such as the HH TNi-W8PRO, offers a range of benefits that contribute to the overall success of your establishment. With its exceptional sound quality, versatile orientation, and mounting options, reliable construction, and flexible connectivity, this system ensures that every corner of your restaurant is filled with immersive, high-quality audio. Elevate your restaurant to new heights with the HH TNi-W8PRO sound system and leave a lasting impression on your guests, ensuring they return for the remarkable experience you provide.
ApexPro is the sole distributor of HH Electronics Solutions in Southern Africa.
