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Meyer Sound

Meyer Sound launches daily online training

Meyer Sound has announced a comprehensive daily online training programme, with company CEO John Meyer joining and leading some of the discussions.

The programme’s content aims to provide a natural progression of subject matter, giving practical knowledge as well case studies for reference, and instructors reviewing specialty tools covering solutions across all industry verticals. Attendees can choose from an à la carte menu to create ‘on demand’ programming via a weekly poll through the Meyer Sound Users Community Facebook group. 

The webinars are organised by weekly content chapters, with content presented in English on Mondays, Wednesday and Fridays by senior technical support and education specialist, Merlijn van Veen. Tuesday and Thursday session will be in Spanish, with the first session featuring Oscar Barrientos, Meyer Sound technical services manager, Latin America. 

‘Education has always been a pillar of the holistic Meyer Sound core brand philosophy of sharing knowledge,’ said John McMahon, Meyer Sound’s senior vice president of sales and marketing. ‘Recent events have put the spotlight on the importance of offering our public training not just with in-person seminars but via online platforms. Our global team was quick to respond to the need by curating an informative and engaging programme.’

The free sessions run approximately one hour, with no registration required. Upcoming training sessions are listed in the Meyer Sound events calendar at https://www.facebook.com/meyersoundlabs. The webinars are archived on YouTube at www.youtube.com/thinkingsound

Meyer Sound Constellation Optimizes Acoustics and Inspires Creativity at German University

With seating for an audience of 465, the Forum is the principal performance venue for the Hochschule für Musik und Theater (University of Music and Theater) in Hamburg, Germany. Although it has hosted a full schedule of performances since opening in 1986, the auditorium had been hampered by problematic acoustics. Fortunately, thanks to funding from a national “Innovative University” competition, the Forum recently was transformed into a world class venue for both traditional and cutting-edge performances with the installation of a Meyer Sound Constellation acoustic system. Now with a simple tap on a touchscreen, acoustics can be optimized for lectures, dramatic theater, opera, chamber music, or a symphony orchestra. The system also affords expanded opportunities for student experimentations in electronic music with dynamic 3D spatialization.

Driving the transformation on behalf of the university was Prof. Dr. Georg Hajdu. “Interestingly, the Forum was originally designed for use with an active acoustic system,” he explains, “but for technical and financial reasons it never materialized. Later attempts to modify the somewhat unbalanced acoustics by mechanical means never gave satisfactory results.”

Prof. Hajdu was already familiar with Constellation, having experienced its capabilities nearly a decade before at the University of California in San Diego. “I heard a demonstration in their black box theater and the room sounded wonderful and completely natural — until they turned off Constellation,” he recalls. “I was baffled.”

Later, during the planning stages for the Forum installation, Hajdu also heard systems at Meyer Sound in Berkeley and elsewhere in the Bay Area. “My impression was that the systems performed nicely in all contexts,” he says. “Also, I always trusted the strong research orientation of the company and I was reassured by visiting their facilities.”

For planning and construction supervision of both physical acoustics and Constellation electroacoustics, the university commissioned Graner + Partner GmbH of Bergisch Gladbach as a consultant. The firm was intimately familiar with Constellation, having partnered with Meyer Sound in 2017 on a system for the kING Culture and Congress Hall in Ingelheim.

“We started the project by first listening to some rehearsals and concerts before making any changes,” says Graner + Partner Project Engineer Dominik Schenke. “We found the acoustics were too dry for chamber and orchestral music, but too reverberant for speech, with an unpleasant coloration in the mid-frequency range. We prepared the hall for Constellation using mid-frequency absorbers to get rid of this odd ‘metallic’ sound.”
Schenke then worked collaboratively with the Meyer Sound team, led by Constellation Project Director John Pellowe, to finalize the design and engineering particulars. After the project was put to tender, the contract was awarded to Aveo Conference Systems of Wolfegg.

“A far-reaching infrastructure was put in place well in advance of the installation of 142 Constellation loudspeakers, two line arrays, near field systems and subwoofers, 48 microphones along with 30 of our custom-made I/O boxes,” says Aveo Managing Director Wolfgang Huber. “This enabled us to react quickly and precisely to the project requirements. Another critical point was the design of an easy-to-use touchpanel interface to allow the stage crew the safe operation of the Constellation system. Aveo’s programmers have implemented this challenge in the best possible way. It was a great pleasure implementing this special project as a collaborative team together with the university, Graner + Partner and Meyer Sound.”

Constellation’s small, self-powered loudspeakers are placed in overhead and lateral positions, with loudspeaker groups divided into separate zones in the hall and on the stage to create a unique blend of early reflections and late reverberations as appropriate for the audience and for the performers. Models installed include the full-range MM-4XP, UP-4XP, UPM-1XP, and UPJunior-XP as well as the MM-10XP subwoofer. The miniature condenser microphones are distributed throughout the space for capturing the ambient acoustics, with the desired acoustical signatures created by a D-Mitri digital audio platform with 22 modules, including four D-VRAS modules for hosting the patented Variable Room Acoustics System algorithm.

For performances requiring direct amplification, the Forum now provides a system comprising left and right arrays of seven each LINA compact line array loudspeakers with deep bass from two each 900-LFC and 750-LFC low frequency control elements.

According to Prof. Hajdu, the Constellation system has greatly enhanced the acoustical flexibility of the hall while opening new avenues of creativity. “The applications range from a very subtle ‘coating’ of the acoustic sound to — for dramatic effect — turning the hall into a large cathedral. One of the most desired applications is use of the Constellation loudspeakers as a multi-channel system for spatialization of up to 96 sound sources. In combination with the LINA line array loudspeakers the hall now sounds just spectacular.”

As an example he cites a concert presented in January which gave an overview of the hall’s new audio and acoustic capabilities, together with enhancement from a new LCD wall. “We used the system to recreate the sound of the church pipe organ in our organ studio. We used a 7.1 Holophone microphone and streamed the multichannel audio and video over a digital network to the Forum. This was a striking experience, with many in the audience finding it hard to believe this all took place in real time.”

Consultant Dominik Schenke also attended several opening performances. “The acoustics of the hall benefited enormously from the conversion and the Constellation system,” he says. “We heard a piano concert with beautiful chamber music acoustics, and then a choir that was wonderfully sustained by long reverberation. A theater piece was performed with different acoustics appropriate for every scene, and the 3D audio functions were showcased with experimental electronic music. The sound for the musical performances was warm, enveloping and transparent while speech was direct and clearly intelligible.”

In addition to opening new creative possibilities on campus, the Constellation system affords opportunities to collaborate via high-speed internet on experimental music projects with other Constellation-equipped institutions worldwide, including the University of California at Berkeley and Monash University in Melbourne, Australia.

Founded in 1950, Hochschule für Musik und Theater is one of the leading public universities for the performing arts in Germany. It is located at the prestigious Budge-Palais in the Rotherbaum district of Hamburg.

Fabled Newman Scoring Stage at Fox Studio Lot Upgrades with Meyer Sound Bluehorn System Monitoring

The Newman Scoring Stage, located on the Fox Studio Lot in Los Angeles, recently upgraded its control room with the installation of Meyer Sound’s Bluehorn System full bandwidth studio monitors. A seamlessly integrated system comprising three drivers in two cabinets along with proprietary digital processing, Bluehorn is uniquely capable of high acoustic output coupled with flat amplitude and phase response across the entire audible spectrum.

The Newman Scoring Stage project marks the first permanent installation of a Bluehorn System in any major commercial studio. Prior to installation, several Los Angeles scoring stages had Bluehorn System rental systems in place.

A revered industry institution for more than eight decades, the Newman Scoring Stage has hosted recording sessions for many of Hollywood’s iconic films, including The Sound of Music, The Matrix, Avatar, Pirates of the Caribbean and countless others.

After sitting idle for several years, the Newman Scoring Stage was completely refurbished in 1997 and a new 5.1 monitoring system was installed in the control room at that time. In recent years this system had been showing signs of age, but according to Denis St. Amand, recently retired as supervising engineer for the facility, there was a lack of clear consensus on a preferred replacement.

“Very few mixers were using our old installed front monitors,” says St. Amand, “but instead they were using a variety of mid-field monitors that they brought in themselves or we took from our own inventory. Needless to say, setting these [personal monitors] up was a time-consuming inconvenience for everybody.”

The momentum toward a Bluehorn solution gained traction when, at the prompting of renowned score mixer Shawn Murphy, a temporary system was brought in for a month-long trial demo.

“We had positive feedback from just about everybody who heard them, but it was really Shawn and Armin Steiner who helped me convince management to make the investment,” recalls St. Amand. “I remember the first day when Armin walked into the room with the Bluehorns. He sat down and listened for a while, then told me he was hearing things that he knew had to be there but he couldn’t really hear before. The clarity and definition were just astounding, he said. After that, he campaigned hard to have these put in.”

For screen LCR, the installation comprises three self-powered Bluehorn Systems, each with a full range loudspeaker (12” cone driver and 4” compression driver on an 80° x 50° horn) and a complementary 18” LF extension loudspeaker. The integrated Bluehorn processor applies a patented phase correction algorithm that results in flat response from 25 Hz to 22 kHz. Four HMS-12 surround loudspeakers are installed for side and rear channels while four X-400C compact cinema subwoofers — arranged in two end-fire arrays — provide ample power for LFE channels.

“Acceptance of the new Bluehorn solution has helped streamline and simplify operations here,” says Erin Rettig, currently supervising engineer for the Newman Scoring Stage. “As a group, the scoring mixers who work here have shown a great deal more confidence in how these monitors will translate their mixes to the final dubbing stage. Some have stopped bringing in their own mid-field speakers in favor of just using the Bluehorns.”

For Rettig, the shift toward increasing confidence in the new room monitors is no surprise. “Once you understand the full-bandwidth phase correction and the difference it makes in terms of accurate reproduction, you realize that there are things Bluehorn brings to the table that the others cannot. It simply paints a more transparent and accurate picture, and it certainly is in our interest to give our clients access to that benefit.”

Accuracy and translation are essential in scoring stage monitors, as any anomalies heard in the final dubbing mix can be difficult and expensive to fix. “The Bluehorn System better matches what is heard on the Fox dubbing stages,” says Marc Gebauer, chief engineer for all studios on the Fox Lot. “I find that the impressive improvements in phase response and dynamic tracking lead to a marked improvement in imaging, fidelity and transparency.”

Scores mixed using the Bluehorn System monitoring include feature films The New Mutants, Call of the Wild, and Togo and television shows Family Guy, American Dad and Agents of S.H.I.E.L.D. (final episode).

Structural modifications to the soffit and installation of the new loudspeakers were carried out under the direction of Brian McEvoy, head of facilities construction, with overall project approval and supervision by Stacey Robinson, vice president of sound operations at Fox Entertainment Group.

Other state-of-the-art technology available at the Newman Scoring Stage includes an AMS-Neve 88RS console (96 channels) with Encore 3 automation and 48 channels of Neve remote microphone preamps; an extensive collection of premium condenser and ribbon microphones from Neumann, Sennheiser, Schoeps, Royer and AKG; and a wide selection of outboard signal processing equipment. Four Pro Tools systems enable recording of up to 112 inputs with playback of 768 tracks.

The Newman Scoring Stage structure was built in 1928 for filming but was converted to a scoring stage in the early 1930’s under the direction of illustrious composer and arranger Alfred Newman, head of the studio’s music department at the time and for whom the facility was eventually named.

Meyer Sound LEO and LYON Power 50 Years of The Allman Brothers Band Celebration at Madison Square Garden

Members of the final The Allman Brothers Band lineup, dubbed “The Brothers,” came together Tuesday evening at Madison Square Garden in New York City to celebrate 50 years of The Allman Brothers Band. The Brothers included founding member Jaimoe and longtime members Warren Haynes, Derek Trucks, Oteil Burbridge, Marc Quinones, and Chuck Leavell along with guests Duane Trucks and Reese Wynans. The powerhouse band transported Madison Square Garden into the past with songs going back to the band’s original 1969 album.

The one-night show was powered by Meyer Sound solutions anchored by LEO and LYON linear line array loudspeakers, provided by rental partners UltraSound and PRG North America. The system configuration consisted of, per side (L/R), a main PA with 16 LEO loudspeakers, six flown 1100-LFC low-frequency control elements, main 180-degree arrays and 270-degree arrays of 18 LYON loudspeakers each, 18 rear LEOPARD compact loudspeakers and six center rear LEOPARD loudspeakers, eight LEOPARD for front fill, and 10 1100-LFC control elements ground-stacked.

“Bringing in UltraSound and PRG Audio with a Meyer Sound PA was the most logical option,” says Derek Featherstone, FOH Engineer of the evening and CEO of UltraSound. “This decision was based on a number of variables. Most importantly, we have deployed the same set up for at least 12 Dead & Company 360-degree shows in this same room [MSG]. We wanted to approach this one-off event by eliminating as many unknowns as possible and the Meyer Sound LEO and LYON system has performed for us successfully in this environment.”

The UltraSound and PRG teams joined forces for a night to remember with, in addition to Featherstone behind the console, monitor engineer Bobby Tis, system engineer Michal Kacunel, monitor tech Chris Bedry, and audio engineers Mike Bollella, Paul White, Dustin Lewis and Chris Rushin.

Omaha’s CHI Health Center Outfitted with Meyer Sound LEOPARD System

A new Meyer Sound system based on LEOPARD line array loudspeakers is the keystone component of a complete audio upgrade for Omaha’s up to 18,300-seat CHI Health Center arena. Now equipped with the latest in audio reinforcement technology, the venue offers an enhanced audience listening experience for a wide range of large-scale athletic, community and corporate events.

Integrated and installed by the Sports and Entertainment division of Alpha Video, the new system replaces a sturdy but dated Meyer Sound point source cluster system that had been in place since the arena first opened in 2003.

“The durability and craftsmanship of the Meyer Sound speakers outlasted most of the rest of the system,” notes Gino Meyer, manager of audio-video technology for the Omaha Metropolitan Entertainment & Convention Authority (MECA), the venue’s manager and operator. “So when it came time to upgrade to the latest in line array technology, going with a new Meyer Sound system was a no-brainer.”

CHI Health Center had worked extensively with Alpha Video on their broadcast systems, so MECA’s Meyer called on Jeff Volk, vice president of sports & entertainment, to work on solutions. System design was a collaborative effort involving Alpha Video Broadcast Design Engineer Fred Street in consultation with Meyer Sound Design Services. Although the planning process extended back to 2018, the actual installation was accomplished in two compressed time windows in summer and then late fall of 2019. The result, according to Meyer, has been a markedly improved audience experience.

“Creighton University men’s basketball is our main tenant here, so we really wanted a system with both very high intelligibility plus a really solid low end,” says Meyer, “since most of the incidental music for them is hip-hop. We really needed a system with punch, and the new Meyer Sound system definitely delivers.”

The system’s 88 LEOPARD line array loudspeakers are configured in six hangs, with four arrays of 16 each at the corners for near and far throw, and two of 12 each for the end arrays with a shorter throw. For low end impact, the 12 900-LFC low frequency control elements are deployed in four cardioid arrays, with two LF arrays of three each flown over the end LEOPARD arrays and two on the sides between the corner arrays. System drive and processing is courtesy of five GALAXY 816 network platforms, with three RMServer implementing comprehensive remote system monitoring.

The system produces remarkably uniform coverage across the full bandwidth, according to Alpha Video’s Fred Street. “Meyer Sound likes to hit within a couple dB consistently, and we’re doing that here,” he says. “Predicted maximum levels are well over 90 dB, and we’re certainly capable of doing that. We didn’t have time to do any formal intelligibility measurements, but it really wasn’t necessary. The clarity is amazing. It’s smooth, consistent and beautiful-sounding, top to bottom and all the way around.”

For Jeff Volk, the bottom line is making the sound work with the contemporary shift in sports video presentation. “It used to be just speech reinforcement in the PA, but what we’ve designed gives them a full range of music playback capability, including a lot of low frequency power. Now when the basketball team comes out, they can complement the opening video with a lot of low end punch to match the visual elements on the screen. Yet it still delivers a very high level of speech intelligibility, even when announcements are over the music.”

Testifying on behalf of the principal user of the venue is Joe Willman, director of marketing and broadcast services for Creighton University Athletics.

“The new Meyer Sound system certainly has delivered,” he says. “Whether you are courtside or in the last row, you get clear intelligibility and enhanced dynamic range. We’ve revised the way we create content for the venue, knowing that we have a lot more room to play with as far as what we’re giving the system. We’ve received compliments on the clarity of our PA announcer, and now when the opening video plays and the sound booms, the fans really know it’s game time!”

For Alpha Video’s Jeff Volk, client satisfaction is a consistent result when partnering with Meyer Sound. “Everything we do with them is a great experience,” he says. “Not only do they make great products, they back them with great engineering and great support. We couldn’t be happier with this project or the others we’re working on.”

Alpha Video’s complete overhaul of systems in the arena also included a complete network infrastructure upgrade on 10 GB fiber optic with fully redundant topology, new back-of-house systems, and new DSP and control systems. Also new are the two Yamaha consoles, with a QL5 at FOH and a QL1 at scoreboard control.

In addition to Creighton University men’s basketball, the CHI Health Center arena also regularly hosts NCAA “March Madness” basketball tournament games, NCAA Women’s Volleyball Finals, Olympic swimming trials (using large temporary pools), and the Berkshire Hathaway annual shareholders meeting. Concerts by major touring artists also are featured in the venue, though most acts will deploy their own end-stage audio production.

Meyer Sound Education Offering Free Daily Online Training Sessions

With so many in our industry confined to home as we ride out the Covid-19, the situation provides a great opportunity to brush up or hone skills online. Meyer Sound would like to support you by offering free online training.

They will provide an English-language session every Monday, Wednesday and Friday at 1800 CET/ 9:00am Pacific.

For easy access to these popular course offerings, simply click on this Zoom link to join the English sessions at the scheduled times: https://zoom.us/j/598994117

Sessions run approximately one hour, are free and no registration required.

They will list the upcoming training sessions in the Events calendar on their Facebook page.

If you miss a session, catch up at www.youtube.com/thinkingsound

Meyer Sound Loudspeakers Enhance the Natural Ambience at Helsinki Airport’s “Aukio”

Part of a new terminal extension at Helsinki-Vantaa Airport, Aukio (Finnish for “square” or “plaza”) is a relaxing, fluid space where global travelers can gently immerse themselves in the unique sounds and sights of Finland’s vast landscape. Aukio is surrounded by a gently undulating, two-meter high Samsung 4K video screen — wrapping for 75 meters around the perimeter walls — that vividly displays Finland’s outdoor scenery cycling through the four seasons. Complementing the visual panorama is a subtle yet engaging multi-channel soundtrack, reproduced with precise definition by 27 Meyer Sound self-powered loudspeakers.

In contrast to the noise and bustle of most airport concourse lounges, Aukio provides an island of aural and visual serenity. According to Joni Sundelin, director of Helsinki-Vantaa Airport, the goal of the project was to “create a showcase through which millions of international passengers will receive their first contact with Finland. The experience of Finnish design, fluency and peaceful nature will leave the traveler with a long-lasting, pleasant memory.”

High quality and perfectly balanced audio was critical in achieving this goal, principally because weary travelers can close their eyes but — short of inserting earplugs — they cannot shut out sounds. Therefore, the audio program had to be clearly present and fully supportive of the visuals, but never annoying or intrusive.

The audio, video and lighting technology package was designed and engineered by Studiotec Ltd. of nearby Espoo, Finland under the general direction of Managing Director John-Axel Stråhlman and with project management by System Specialist Kai Granholm.

“We evaluated options from two other leading loudspeaker manufacturers but in the end we determined Meyer Sound offered the best overall solution,” says Studiotec’s Granholm. “Their loudspeakers provide excellent natural sound quality, a wide choice of sizes and a range of rigging options that allowed precise placement and orientation.”

The complete Meyer Sound complement comprises 16 UPJunior and 10 UP-4XP loudspeakers with low-frequency extension from a single X-400C cinema subwoofer. The UP-4XP loudspeakers incorporate Meyer Sound’s exclusive IntelligentDC technology, with balanced audio signals and 48V DC power for the amplifiers supplied to the loudspeakers from a remote rack mount unit over a single flexible cable.

“The sound of the system naturally supports the effect of the wide, 360-degree panoramic view,” notes Granholm. “The design emphasis is on the natural beauty of Finland, including some very subtle but remarkable natural sounds. For instance, many people are surprised that the Aurora Borealis [Northern Lights] creates audible sound, usually described as crackle, sputter or hissing. The effect on all sounds is remarkable, and overall the airport management has been very pleased with the Meyer Sound system.”

In addition to the Samsung wrap-around screen and Meyer Sound loudspeakers, the complete AVL technology package also includes nine Christie video projectors, a Christie Pandora’s Box media server, and BrightSign media players.

Chief designer for the terminal extension was PES-Architects, with video display designed by Davidson Tarkela Architects in collaboration with Rune & Berg Design. OiOi Collective and Granlund Oy provided concept development and implementation of the presentation content. Tuusmet Ltd. and Visual Element Ltd. partnered with Studiotec on the display installation.

Studiotec Ltd. is a leading Finnish distributor and integrator of audio, video and lighting equipment. In business for more than 30 years and currently with a team of around 60 professionals, Studiotec serves a broad range of clients in government, broadcasting and the performing arts, as well as the cruise ship building industry.

Helsinki-Vantaa Airport is operated by Finavia, a public limited company owned by the Finnish government.

New Meyer Sound ULTRA-X20 Loudspeaker and USW-112P Subwoofer Maximize Versatility

At ISE 2020 in Amsterdam, Meyer Sound is introducing two new compact, self-powered loudspeakers that leverage a new generation of technologies to provide exceptional versatility for covering a wide range of installed and portable applications.

ULTRA-X20 Compact Point Source Loudspeaker

The new ULTRA-X20 compact point source loudspeaker is a junior-sized version of the award winning ULTRA-X40 loudspeaker introduced at last year’s ISE show. It offers the same revolutionary design principles and advanced technologies but employs smaller drivers in a lighter and more compact package — a design that is new to Meyer Sound.

The ULTRA-X20 incorporates two 5” cone drivers, one 2” diaphragm compression driver and a rotatable 110°x 50° horn in a coaxial configuration. Power comes from a highly efficient three-channel Class D amplifier with sophisticated DSP, with everything fitted inside a compact cabinet that measures a mere 7.5” / 19.5 cm wide by 19.04” / 48.4 cm high by 8.6” / 21.8 cm deep and weighs only 26 pounds / 11.8 kg. Preliminary performance specifications give an operating frequency range of 60 Hz to 18 kHz, phase response of ±45° (100 Hz – 16 kHz) and linear peak SPL of 123.5 dB measured with M-Noise.

“The ULTRA-X20 is a breakthrough in power-to-size ratio,” says Pablo Espinosa, Meyer Sound’s vice president and chief loudspeaker designer. “It is 30 percent smaller and 7 percent lighter than our UPJunior loudspeaker yet it offers equivalent output power and — thanks to the new coaxial design — much more consistent pattern control below the crossover point.”

The ULTRA-X20 may be ordered with any one of three connector panel options. The two AC powered versions both have looping Powercon connectors with choice of 3-pin XLR for audio or 5-pin XLR for audio and RMS remote monitoring. Another version is offered for integration in IntelligentDC systems (audio and remote DC powering on a single cable) and a 5-pin Phoenix connector.

Two additional variants are offered, identical except for the patterns of the rotatable horn: ULTRA-X22 (80°x 50°) and ULTRA-X23 (110°x 110°).

Transport, mounting and rigging options are offered for every conceivable application. A carry handle is standard but easily removable. Two integral M8 rigging points on each end enable use of a pole mount, single point hang, wall or ceiling mounting, or yoke mount in horizontal or vertical orientation at any angle. Four additional M6 points on the heatsink are compatible with most industry-standard wall mount brackets. A weather protected version is available with sealed connectors that eliminate the need for rain hoods.

For extended low frequency power, the ULTRA-X20 may be paired with the new USW-112P subwoofer, the 750-LFC low-frequency control element or USW-210P subwoofer. The ULTRA-X20 is natively aligned with the 750-LFC to maximize ease of use in portable applications to allow rapid deployment with minimal effort.

USW-112P Subwoofer

The USW-112P compact subwoofer packs robust low frequency performance into a slender, self-powered package measuring less than 12” / 30 cm deep. The slanted connector panel allows placement flush to walls, in vertical or horizontal orientation, making the USW-112P an ideal choice when stage or installation space is limited.

The USW-112P houses a single 12” long-excursion driver along with a highly efficient class D amplifier and advanced digital signal processing. The cabinet design features a low velocity port, based on the USW-210P, with optimized tuning for linear response and low distortion. Preliminary performance specifications include a linear peak output (measured with M-Noise signal) of 123 dB SPL across an operating frequency range of 35 Hz to 140 Hz. Phase response measures ±30° from 45 Hz to 120 Hz.

The USW-112P subwoofer measures 23.50” / 59 cm high by 13.50” / 34.3 cm wide x 11.95” / 30 cm deep. Weight is 47 pounds / 21.3 kg.

Versions of the USW-112P are offered with either direct AC powering or for integration into systems using IntelligentDC, Meyer Sound’s exclusive technology for supplying both DC power and audio from a remote, rack-mount unit over a single cable. The USW-112XP is the most powerful subwoofer offered with IntelligentDC. Optional facilities also are offered for Meyer Sound’s RMS system for comprehensive remote monitoring.

The USW-112P is supplied standard with a removable carry handle and M8 rigging points on the top and bottom. A side-mounted, 35mm/M20 thread pole mount receptacle is available as an option. Using an M20 to M8 thread adapter, the USW-112P can be flown from a single eyebolt. An optional U-bracket facilitates mounting to a truss, ceiling or wall. A weather protected version uses sealed connectors (IP-X4 or higher rating), eliminating the need for rain hoods.

“The USW-112P is an extraordinarily versatile subwoofer,” says Pablo Espinosa, Meyer Sound’s vice president and chief loudspeaker designer. “With its shallow footprint and light weight, it can go anywhere and fit anywhere, from churches and clubs to restaurants and small theatres.”

Meyer Sound Previews New Spatial Sound Tool with Spacemap Go

At ISE 2020 in Amsterdam, Meyer Sound presented preview demonstrations of Spacemap Go, a new spatial sound design and mixing tool that leverages the processing power of the company’s GALAXY network platform. Following installation of software and firmware updates for GALAXY, the new Spacemap Go iOS app will provide a flexible and easy-to-use touch pad interface for Spacemap multi-channel panning, using one or more connected iPads.

With nearly 4,000 GALAXY loudspeaker processors sold to date, Spacemap Go immediately enables this large existing user base to configure, program and implement sophisticated spatial sound mixing with unprecedented ease and cost-effectiveness.

“Although immersive sound has come into focus as a new trend, our company’s experience in sophisticated spatial sound mixing goes back more than 25 years,” says Tim Boot, Meyer Sound’s global brand strategist. “Spacemap is at the heart of the world’s largest and most complex immersive sound productions and performing arts venues, such as Cirque du Soleil’s The Beatles’ LOVE and National Sawdust in Brooklyn, NY. With Spacemap Go for GALAXY, now we can offer most of these same creative capabilities in a far more accessible and affordable solution.”

Spacemap Go can be used in a system of up to four GALAXY loudspeaker processors in any combination including GALAXY 408, GALAXY 816 and GALAXY 816-AES3, affording a wide range of input and output configurations. The iOS app will be released concurrently with updates to Compass and Compass Go control software and GALAXY firmware. All Spacemap programming and real-time operation is handled by Spacemap Go; Compass and Compass Go will continue to provide access to system parameters such as EQ and delay. Multiple iPads may be used simultaneously, allowing a single operator or multiple users to customize workflow to suit the requirements of the performance.

“Spacemap Go provides a re-imagined spatial sound design experience for a wide range of users, including FOH engineers, theatre sound designers, and musicians who want to explore spatial sound on their own terms. Spacemaps can be designed for both simple and complex multichannel installations, and Spacemap Go will provide templates to get you up and running quickly. Once configured, you’ll make complex moves in the matrix with the touch of your fingers,” says Steve Ellison, director, spatial sound. “And the matrix will always be visible, so you’ll know exactly what’s going on behind the scenes.”

Spacemap Go is compatible with automated and live on-the-fly workflows. Full integration with QLab and popular DAWs is anticipated at the time of release. Meyer Sound is also working with leading makers of digital consoles to implement control of Spacemap in GALAXY into their products. Because GALAXY utilizes OSC protocols, integration with third party controllers such as tracking systems is expected.

Spacemap Go is currently being used by Tony Award-winning sound designer Leon Rothenberg in the off-Broadway production Dracula/Frankenstein, now running in repertory at New York’s Classic Stage Company. “I have been able to automate the spatial mix in ways that I would not have been able to do without Spacemap, and certainly not as quickly. It opens up a whole new creative direction when the machine makes it easy — to move something around literally adds zero time to the process. And the possibilities are really exciting.”

Currently in beta testing, Spacemap Go will be offered as a value-added standard feature of the GALAXY network platform later this year, with the iOS app freely available from the App Store. The user need only supply the iPads required for the production.