15 Apr, 2020 | Meyer Sound
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.
10 Apr, 2020 | Meyer Sound
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.
6 Apr, 2020 | Meyer Sound
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.
2 Apr, 2020 | Meyer Sound
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
16 Mar, 2020 | Meyer Sound
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.
6 Mar, 2020 | Meyer Sound
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.”
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