Meyer Sound Milestones
For more than 45 years, Meyer Sound has set the standard for sound reinforcement innovation. Scroll through the timeline to discover our history of product releases, awards and accolades from 1967 to the present.
2025
ULTRA-X80 wins Sound & Video Contractor Innovative Product: Readers' Choice Award for "Installed Speakers"
Constellation Inducted into TECnology Hall of Fame
2100-LFC wins TEC Award for “Sound Reinforcement Loudspeakers” at NAMM Show
ULTRA-X80 Wins Sound & Video Contractor Best of Show Award at ISE
Launch of ASTRYA Screen Channel Loudspeaker
Meyer Sound announces ASTRYA, a new flagship cinema screen channel loudspeaker series that brings unprecedented sonic power and precision to post-production mixing studios and premium cinemas.
2024
NADIA Wins Sound & Video Contractor Innovative Product Award for "Signal Processing"
Launch of ULTRA-X80 Versatile Point Source Loudspeaker
Meyer Sound announces ULTRA‑X80, a powerful new point source loudspeaker engineered to deliver the honest sound of the ULTRA family to a bigger stage.
ULTRA-X80 wins Mix Best of Show Award at InfoComm
Constellation Inducted into TECnology Hall of Fame
2023
Launch of 2100-LFC Low-Frequency Control Element
Meyer Sound announces 2100‑LFC, a new low-frequency control element engineered to meet rapidly evolving demands for large-scale touring and installed systems.
2100-LFC wins Mix Best of Show Award at ISE
2100-LFC wins Sound & Video Contractor Innovative Products Award for “Installed Speakers”
Nebra wins Sound & Video Contractor Innovative Products Award for “Apps/Software”
PANTHER wins TEC Award for “Sound Reinforcement Loudspeakers” at NAMM Show
Nebra wins Mix Best of Show Award at InfoComm
Launch of NADIA Integrated Digital Audio Platform
Meyer Sound announces NADIA, an integrated, network-based digital audio processing and distribution platform that will power future installations of Constellation by Meyer Sound.
2022
Launch of PANTHER Large-Format Linear Line Array Loudspeaker
Meyer Sound announces PANTHER, a new large-format linear line array loudspeaker engineered to meet rapidly evolving demands for large-scale touring and installed systems.
AES75-2022 “AES Standard for Acoustics: Measuring loudspeaker maximum linear sound levels using noise” published
Meyer Sound welcomes the adoption and publication of AES75-2022, “AES Standard for Acoustics: Measuring loudspeaker maximum linear sound levels using noise.” The company recognizes that the new standard, which includes the M‑Noise test signal and an independently verifiable test procedure, marks a long-awaited breakthrough in the analysis and objective comparison of loudspeaker output levels.
PANTHER wins Sound & Video Contractor Innovative Products Award for “Installed Speakers”
Meyer Sound Demonstrates Renewed Commitment to Sustainability and Green Touring
With the introduction of the PANTHER large-format linear line array loudspeaker — the company’s first product designed and engineered from conception to completion with sustainability as a primary goal — Meyer Sound has redoubled its longstanding corporate commitment to green touring.
Global premiere of PANTHER on Ed Sheeran’s in-the-round stadium “+ – = ÷ x” Tour
Ed Sheeran’s in-the-round “+ – = ÷ x” (“Mathematics”) Tour opened with two shows in late April at Dublin’s Croke Park Stadium, which marked the global premiere of Meyer Sound’s new PANTHER large-format linear line array loudspeaker. Supplied by U.K.-based Major Tom, Ltd. and suspended from daringly conceived mast and cable net rigging, the system was anchored by 212 PANTHER loudspeakers.
PANTHER Marks Global Install Debut at Levitt Pavilion Denver
With the installation of 16 PANTHER large-format linear line array loudspeakers in early May, Levitt Pavilion Denver earned the distinction of being the first venue anywhere to offer artists and audiences the benefits of Meyer Sound’s newest reinforcement technologies.
PANTHER wins Parnelli Award for “Indispensable Technology — Audio" at NAMM Show
ULTRA-X20 wins TEC Award for “Sound Reinforcement Loudspeakers” at NAMM Show
PANTHER wins Commercial Integrator BEST Award for “Venue/Line Array Loudspeakers” at InfoComm
PANTHER wins Mix Best of Show Award at InfoComm
PANTHER wins Good Design Award
2021
Keith Yates Design Wins CTA Mark of Excellence Award for Mediterranean Theater Complex
Keith Yates Design wins CTA Mark of Excellence Award for Home Theater/Media Room Project of the Year for the installation of the Mediterranean Theater Complex with Meyer Sound cinema loudspeakers.
Launch of the Ultra Reflex Screen Channel Sound Solution for Direct View Displays
Meyer Sound has introduced Ultra Reflex, a patent-pending solution for optimum reproduction of discrete screen channel audio on large-scale direct view video displays.
First Ultra Reflex Solution Installed at Netflix Los Angeles Campus
The new Meyer Sound Ultra Reflex solution has been paired with Sony’s Crystal LED, creating the first joint installation for the two technologies at a reference-level screening room and lab on the Netflix campus in Los Angeles.
Launch of LEOPARD-M80
Meyer Sound announced the availability of the LEOPARD‑M80 narrow coverage linear line array, a new variant of the LEOPARD loudspeaker designed for focused coverage and long-throw applications.
Spacemap Go Roadshow Kicks Off in the United States
The Meyer Sound Spacemap Go US Roadshow rolled across the country through the summer and fall with stops in more than 10 cities.
Meyer Sound Appoints Sweetwater Sound as a New Authorized E-tailer
Meyer Sound appointed Sweetwater Sound of Fort Wayne, Indiana as a new authorized e-tailer for the company’s line of self-powered loudspeakers for music reinforcement and recording applications.
Meyer Sound Signs as a Platinum Supporter of the Home Technology Association (HTA)
As part of a broad initiative to boost its presence in the high-end residential cinema market, Meyer Sound signed on as a Platinum Supporter of the Home Technology Association (HTA).
Meyer Sound and Kaleidescape Announce Collaboration Ahead of CEDIA
Meyer Sound and Kaleidescape, the industry leader in delivering the finest private cinema playback experience, announced a collaboration to deliver the ultimate sonic experience to customers.
“An Evening with Michael Bublé” Tour with Spacemap Go
The North American leg of “An Evening with Michael Bublé” tour resumed with the introduction of the Spacemap Go spatial sound design and live mixing tool to smoothly and transparently track Bublé’s voice as he strolls between the main stage and B-stage.
Constellation 15th Anniversary
Meyer Sound’s Constellation acoustic system, introduced in 2006, has earned acceptance across a broadening range of applications in classrooms, boardrooms, houses of worship, and restaurants alongside the technology’s initial focus on performing arts centers and music venues.
The First Montreux Jazz Festival China Takes Place in Hangzhou
To ensure the same sonic excellence experienced for 35 years on the shores of Lake Geneva, the first Montreux Jazz Festival China collaborated with Meyer Sound.
Spacemap Go Plugins for Avid VENUE, SSL Live, and DAWs
Meyer Sound announced the introduction of new Spacemap Go plugins for digital audio workstations (DAWs), plus integration with the latest versions of Solid State Logic’s SSL Live V5.0 console software and the Avid VENUE 7 software platform.
2020
Spacemap Go Wins Systems Contractor News Product of the Year
Launch of Spacemap Go, a Breakthrough Tool for Spatial Sound Design and Mixing
Meyer Sound has officially released Spacemap Go, an industry game changer in spatial sound design and mixing. Spacemap Go can transform the thousands of Meyer Sound GALAXY Network Platform processors in the field into powerful, flexible and user-friendly tools for spatial sound design and mixing.
Steven Tanger Center Home to USA’s Largest Constellation System
The Steven Tanger Center for the Performing Arts in Greensboro, North Carolina is now the home to the largest Meyer Sound Constellation acoustic system in the United States.
Solotech and the Colosseum at Caesars Palace Win Commercial Integrator’s Integration Awards
Solotech’s work on The Colosseum at Caesars Palace wins Commercial Integrator’s Integration Awards for Best Large Venue Project.
First Live Applications of Spacemap Go
Spacemap Go spatial sound design and mixing tool is used in its first live applications at the MUTEK Montréal festival and a top college football stadium in the United States.
MAPP 3D Software Tool Adds New Dimensions to Audio System Design
Meyer Sound has announced the release of MAPP 3D, the most extensive upgrade to its industry-standard system design tool since the original MAPP Online software program was introduced in 2001.
Stanford Stadium Wins mondo*dr Awards, The Americas for Best Stadium
Stanford Stadium in Palo Alto, CA wins mondo*dr Awards, The Americas for Best Stadium. A total of 80 column array loudspeakers were installed at the stadium, using all three models in the series: the 10-foot high CAL 96 as well as the smaller CAL 64 and CAL 32 models.
The ULTRA-X20 Wins the Installation Best of Show Award at ISE
Launch of USW-112P Compact 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.
Launch of ULTRA-X20 Compact Wide Coverage Loudspeaker
BEWAKE STUDIOS in Berlin Becomes the First Recording Facility With Spacemap Go
The installation of Spacemap Go was prompted by German electronic duo Mouse on Mars, formed by Jan Werner and Andi Toma. Their facility has a separate connection to the 50 square meter main recording room — where Spacemap Go is available — which is shared with BEWAKE’s other clients.
The ULTRA-X40 Wins Front of House’s Gold Star Product Award
Front of House awards the ULTRA‑X40 as the “Best New Point Source Loudspeaker” at NAMM.
2019
A Robust Year in Touring With Meyer Sound LEO Family Systems
2019 proved to be a robust year for live sound with top tours powered by Meyer Sound solutions, including Metallica, Ed Sheeran, Dead & Company, Twenty One Pilots, Michael Bublé, Marc Anthony, and Dave Matthews Band.
Nine Trees Shanghai Future Art Centre Is First Constellation Acoustic System in China
Nine Trees Shanghai Future Art Centre is the new crown jewel for arts and culture in China’s most populous city. Located in the city’s Fengxian District and nestled deep in a forest preserve, the Centre’s organically inspired structure houses three theatre spaces equipped with Meyer Sound audio reinforcement systems. The largest auditorium also claims the first Constellation acoustic system in China.
JIExpo Theatre Becomes the Largest Constellation Venue in Asia Pacific
With a capacity of 2,500, the Jakarta International Expo (JIExpo) Theatre now ranks as the largest venue in the Asia Pacific region to offer the programming flexibility and superlative acoustic qualities afforded by Constellation.
Austria Center Vienna Installs the First ULTRA-X40 Loudspeakers
Austria Center Vienna claims the first and largest permanent installation to date of the new ULTRA‑X40 point source loudspeakers, which had not yet been released until most of the planning was complete.
ULTRA-X40 Wins Sound & Video Contractor Innovative Product Awards
Meyer Sound Partnership With National Sawdust Opens New Realms for Musical Innovation
National Sawdust elevated its reputation as a world-leading incubator of new music talent and an intimate performance venue with excellent acoustics through a partnership with Meyer Sound, unveiling their new LINA direct reinforcement, Constellation active acoustics and Spacemap dynamic spatial audio mixing systems.
The Colosseum at Caesars Palace Relaunches With New LYON System
The Colosseum at Caesars Palace relaunched to herald a new era at Las Vegas’ premier music showcase. Originally completed in 2003, The Colosseum has relied on Meyer Sound reinforcement systems supplied and installed by Solotech, a global leader in AV solutions and services. A new LYON system has been installed to support the award-winning venue and ensure that guests have an unmatched live entertainment experience with some of the world’s most celebrated superstar talent.
Bluehorn System Installed at the Newman Scoring Stage on Fox Studio Lot
The Newman Scoring Stage, located on the Fox Studio Lot in Los Angeles, upgraded its control room with the installation of Meyer Sound’s Bluehorn System full bandwidth studio monitors.
Meyer Sound Powers Tony Award-Winning Broadway Productions
Meyer Sound systems continue to power the most celebrated productions along the Great White Way, with Tony-winning shows relying on LEOPARD, LYON, and LINA systems to deliver exhilarating sonic experiences, including Hadestown, Ain’t Too Proud — The Life and Times of The Temptations, and Be More Chill.
UP-4slim Wins Systems Contractor News Product Installation Awards
UP‑4slim wins the Systems Contractor News Product Installation Awards Most Innovative Audio Hardware at InfoComm.
Galileo GALAXY Network Platform Earns Milan Certification From Avnu Alliance
Meyer Sound’s Galileo GALAXY Network Platform has been certified as fully compliant with the new, AVB-based, Milan deterministic network protocol. Milan certification, provided through Avnu Alliance, ensures that Galileo GALAXY processors will offer seamless interoperability with all other Milan-certified devices in the signal chain, regardless of function or manufacturer. GALAXY is among the first products to receive Milan certification.
UP-4slim and USW-210P Win Commercial Integrator Top New Technology (TNT) Awards
ULTRA-X40 Wins PSNEurope Best of Show Award at ISE
Launch of MPS-482HP Power Supply
The new MPS‑482HP two-channel power supply extends the flexibility and cost-effectiveness of IntelligentDC, an exclusive Meyer Sound technology that enables remote DC powering of self-powered loudspeaker systems.
Launch of UPQ-D Series of Point Source Loudspeakers
Launch of the ULTRA-X40
At ISE 2019 in Amsterdam, Meyer Sound previewed the most innovative redesign of its point source loudspeakers since the introduction of self-powered systems more than two decades ago. Designated ULTRA‑X40, the new loudspeaker series features a concentric driver configuration, new amplifier and processor technologies drawn from the LEO Family of line array loudspeakers, a rotatable horn, an extraordinary power-to-size/weight ratio, and a wide selection of versatile rigging options.
SIM II Inducted Into the TECnology Hall of Fame
Meyer Sound’s SIM II Acoustic Test and Measurement System is inducted into the TECnology Hall of Fame at NAMM.
Meyer Sound Introduces M-Noise Test Signal for Real World Loudspeaker SPL Measurements
Meyer Sound has introduced M‑Noise, a new test signal that will promote standardized measurement of a loudspeaker system’s maximum linear output. A mathematically derived test signal that effectively emulates the dynamic characteristics of music, M-Noise enables a far more accurate measurement of a loudspeaker system’s linear peak SPL in any application requiring reproduction of musical content.
2018
USW-210P Compact Narrow Subwoofer Fits Forceful Bass into a Tight Space
Meyer Sound introduced the USW‑210P Compact Narrow Subwoofer, a self-powered loudspeaker providing robust forceful low-frequency reproduction in a slender form factor that is ideally suited to space-restricted installations or very small performance stages. The dual 10-inch driver configuration produces greater output than typical single 12-inch designs, making the USW-210P a preferred alternative wherever convincing bass power must be combined with minimal cabinet width and depth.
John Meyer Leads the 39th Richard C. Heyser Memorial Lecture at AES New York
o At the 145th Annual Audio Engineering Society New York in October 2018, Meyer Sound President & CEO John Meyer led the 39th Richard C. Heyser Memorial Lecture. His keynote presentation, Taking the Room Out of the Loudspeaker: New Tools for Transparent Reproduction, discussed his long history of loudspeaker design and applications.
Meyer Sound and Roskilde Festival Enter Unprecedented Partnership
The Roskilde Festival Group and Meyer Sound have enter a unique partnership that will leverage the strengths of northern Europe’s largest continuing music festival and a world-leading supplier of professional audio systems. Beginning with the 2018 event, all stages at the Roskilde Festival deploy reinforcement systems from Meyer Sound exclusively.
UP-4slim UltraCompact Installation Loudspeaker Debuts
Meyer Sound has introduced the UP‑4slim ultracompact installation loudspeaker, a slender new solution for applications that demand impeccable performance and exceptional power-to-size ratio together with elegant aesthetics. The UP-4slim incorporates Meyer Sound’s exclusive IntelligentDC technology, integrating the inherent sonic advantages of self-powered loudspeakers with the installation ease of low voltage systems. It is the first IntelligentDC multi-way loudspeaker to be housed in an all-aluminum enclosure.
Top-grossing Broadway Shows Deploy Meyer Sound Systems
Top-grossing Broadway shows deploying Meyer Sound line arrays include The Band’s Visit, Dear Evan Hansen, School of Rock, and Frozen.
IntelligentDC Hits the Ceiling with New Ashby Series
Meyer Sound announced the introduction of the Ashby Series self-powered ceiling loudspeakers, the latest addition to a growing family of installation products incorporating the company’s exclusive IntelligentDC technology.
LINA Wins TEC Award at NAMM
LINA wins TEC Award for Outstanding Technical Achievement “Sound Reinforcement Loudspeakers” at the NAMM Show.
2017
Introduction of the VLFC Very Low Frequency Control Element
VLFC is the first large-scale loudspeaker system specifically engineered to create visceral impact at frequencies below the threshold of hearing. By focusing energy into a narrow band between 30 Hz and 13 Hz, VLFC is uniquely capable of generating extreme variations in air pressure that are sensed by the entire body as compression waves while those frequencies at the upper end of its range are perceived as thunderous bass sound.
LINA Wins Worship Facilities New Product Award
LINA Very Compact Linear Line Array Loudspeaker wins Worship Facilities New Product Awards in the Audio category for Best Small-Format Loudspeaker.
LEO Family Grows with LINA and 750-LFC
Meyer Sound’s LEO Family of linear sound reinforcement systems has been expanded with the addition of the diminutive new LINA very compact linear line array loudspeaker and companion 750‑LFC very compact low frequency control element. Easily the smallest and lightest in the series, LINA and 750-LFC bring the inherent linearity, low distortion and exceptional power-to-size ratio of LEO Family technology to a wider range of applications and venues.
Amie-Sub Completes the Amie Monitoring System
Meyer Sound announced the introduction of the Amie‑Sub compact cinema subwoofer, a self-powered unit specifically designed as the ideal complement for the Amie Precision Studio Monitor. Amie-Sub gives sound designers and sound editors working in smaller studios absolute confidence that their LFE content will translate accurately and seamlessly into the final mix as well as into commercial exhibition and home theatre distribution.
MJF-208 Wins TEC Award for Sound Reinforcement Speakers
The MJF‑208 compact stage monitor wins the TEC Award for Sound Reinforcement Speakers at the NAMM Show.
2016
Meyer Sound celebrates 30 consecutive years with Montreux Jazz Festival
The summer of 2016 marks a major milestone for both Montreux Jazz Festival and Meyer Sound. When the Festival kicks off its 50th anniversary edition on July 1, Meyer Sound celebrates thirty years of collaboration with what many consider the world’s most illustrious and eclectic annual celebration of popular music.
Galileo GALAXY network platform wins industry award
Galileo GALAXY network platform wins NewBay Media Best of Show Award at InfoComm.
Singapore American School, a Constellation Install, wins CI Integration Award
Constellation acoustic system installation in Singapore American School's auditorium wins a Commercial Integrator Integration Award for Best K-12 Project.
MJF-208 wins industry awards
MJF‑208 stage monitor wins PSN Europe Best of Show Award at Prolight + Sound and InfoComm Rental & Staging New Product Award for Best Loudspeaker for Staging Market.
Galileo GALAXY network platform
As the next generation of the Galileo processor line, the fully networkable Galileo GALAXY offers the most advanced processing power and networking standards available.
MJF-208 stage monitor
MDM-5000 distribution module
The MDM-5000 is a rack-mount unit that offers quick connection and efficient distribution of AC power, audio signals, and RMS to LEO Family systems.
Kraftwerk Living Technologies wins InAVation Award for 5D Castle Theater at Chimelong Ocean Kingdom
Austria-based Kraftwerk Living Technologies wins InAVation Award for Most InAVative International Project for system integration of the 5D Castle Theater at Chimelong Ocean Kingdom in Zhuhai, China. The theatre features 119 Meyer Sound loudspeakers driven by a D-Mitri digital audio platform.
LEOPARD wins industry awards
LEOPARD linear sound reinforcement system wins TEC Award for Sound Reinforcement Loudspeakers, SCN/InfoComm Installation Product Award for Most Innovative Audio Hardware, and Live Design Product of the Year in the Speaker System category.
2015
LEOPARD wins five industry awards
LEOPARD linear sound reinforcement system wins Commercial Integrator BEST Award for Venue/Line Array Loudspeakers, Pro Audio Group Best of Show Award at InfoComm 2015, Sound & Video Contractor Innovative Product Award, Worship Facilities New Product Award for Best Large-Format Loudspeaker, and ProSoundWeb Readers' Choice Award for Medium Format Line Arrays.
CAL wins product award
CAL column array loudspeaker wins ProSoundWeb Readers' Choice Award for best Column and Line Source Loudspeaker for the third year in a row.
900-LFC wins product award
900‑LFC low-frequency control element wins ProSoundWeb Readers' Choice Award for best subwoofer.
MJF-210 wins product award
MJF‑210 stage monitor wins ProSoundWeb Readers' Choice Award for best stage monitor.
Clinton Frame Church, a Constellation install, wins Solomon Award
Constellation acoustic system installation at Clinton Frame Church in Goshen, Ind. wins a Worship Facilities Solomon Award for Design and Installation of a Church AV System.
Warner Bros. De Lane Lea, a Meyer Sound cinema install, wins Pro Sound Award
London's Warner Bros. De Lane Lea, which features Dolby-certified Meyer Sound cinema systems installed in three of its mixing stages, wins a Pro Sound Award in the Best Broadcast Facility category.
Meyer Sound and Major Tom win Pro Sound Award for Ed Sheeran Tour
Meyer Sound and UK-based Major Tom win Pro Sound Award for Best Tour/Production Sound in the Live/Touring Sound category for Ed Sheeran's "X Tour," featuring a LEO linear large-scale sound reinforcement system.
SoundBox, a Constellation install, wins InstallAward
Constellation acoustic system installation at the San Francisco Symphony's SoundBox wins InstallAward for Best Project in the Audience Venues category.
LEOPARD line array loudspeaker
LEOPARD brings the linearity and impact of the LEO Family to a compact and versatile package, making it an ideal system for everything from mid-sized touring and live theatre to worship and live performance installations.
900-LFC low-frequency control element
The 900‑LFC offers tremendous clarity and impact inherited directly from its big brother, the 1100-LFC. It features a dual-driven amplifier and an entirely redesigned driver to provide maximum acoustic power efficiency.
MAPP XT system design tool
MAPP XT is the industry's first system design tool that allows users to design systems with truly useful loudspeaker headroom information, showing the maximum levels to which Meyer Sound loudspeaker systems can be driven while maintaining linear performance. Headroom information can be viewed from the perspectives of both traditional broadband pink noise and B-Noise, a new input signal designed to better represent the most common input spectrum in real-world applications.
Compass Go by Meyer Sound iPad app
Compass Go By Meyer Sound provides a tablet extension to the Compass control software, the primary control interface for the Galileo and Galileo Callisto loudspeaker management systems. The app turns the iPad into a portable control device for optimizing Meyer Sound systems seamlessly and accurately.
LYON wins industry award
LYON linear sound reinforcement system wins TEC Award for Sound Reinforcement Loudspeakers.
2014
John Meyer Receives 2014 InfoComm International Adele De Berri Pioneers of AV Award
CAL wins product award
CAL column array loudspeaker wins ProSoundWeb Readers' Choice Award for best Column and Line Source Loudspeaker for the second year in a row.
LYON wins three industry awards
LYON linear sound reinforcement system wins Commercial Integrator BEST Award for Venue/Line Array Loudspeakers, Pro Audio Group Best of Show Award at InfoComm 2014, and ProSoundWeb Readers' Choice Award for Large Format Line Arrays.
Musikverein, a CAL install, wins InstallAward
CAL column array loudspeaker installation at the Golden Hall of Vienna's Musikverein wins InstallAward for Best Project in the Sports and Performing Arts category.
The Exploratorium, a Constellation install, wins InstallAward
Equipped with a Constellation acoustic system, the Kanbar Forum at San Francisco's Exploratorium wins InstallAward for Teamwork in the Education category. The collaboration involved theatrical design firm The Shalleck Collaborative, systems integrator BBI Engineering, and architects at EHDD.
LYON linear sound reinforcement system
The LEO Family expands with the self-powered LYON linear sound reinforcement system. Incorporating the technology of LEO into a lighter and more compact package, LYON extends the advantages of highly linear self-powered systems to a broader range of venues and applications. LYON loudspeakers are available in two versions: the LYON-M main line array loudspeaker and the LYON-W wide-coverage line array loudspeaker.
John Meyer inducted into TEC Awards Hall of Fame
Meyer received the prestigious award at the 2014 NAMM Show, joining Frank Zappa, Phil Spector, T Bone Burnett, and 30 other luminaries who have shaped the art and science of music, recording, and sound reinforcement technologies.
The Blue Planet, a D-Mitri install, wins project awards
Featuring a D-Mitri digital audio platform and 57 Meyer Sound loudspeakers, The Blue Planet aquarium installation in Denmark receives an AV Award, an InAVate Futures Award, and a Commercial Integrator and Tech Decisions Integration Award. AV consulting and integration was provided by Stouenborg.
Meyer Sound wins East Bay Innovation Award
The East Bay Economic Development Alliance honored Meyer Sound with the 2014 Award for Engineering and Design, recognizing the company's continuing contribution to the California Bay Area's culture of innovation.
Jyske Bank corporate headquarters, a Constellation install, wins project award
The Constellation-equipped boardroom for Jyske Bank Corporate Headquarters wins AV Award for Business Installation of the Year.
2013
Compass RMS: Remote Monitoring System
Comprised of RMServer compact hardware, Compass software, and RMS modules in the loudspeakers, Compass RMS streamlines the real-time monitoring of Meyer Sound loudspeakers.
Helen Meyer named Influential Woman by San Francisco Business Times
Helen Meyer honored amongst women leaders who have risen to the highest positions in corporations, nonprofit organizations, and government agencies.
Berkeley Memorial Stadium wins project award
CAL column array loudspeaker installation at CAL Berkeley's Memorial Stadium wins AV Technology Award for Most Improved Sound System.
Comal Restaurant wins project awards
The Constellation-equipped Comal Restaurant wins AV Technology Award for Best Restaurant/Retail System and ProAV Spotlight Award for Best Hospitality/Restaurant Installation.
SFJAZZ Center wins project awards
The MINA-equipped SFJAZZ Center wins ProAV Spotlight Award for Best Arts/Entertainment Installation and InfoComm People's Choice Award.
Galileo Callisto wins product award
Galileo Callisto loudspeaker management system wins Rental & Staging Systems Product Award for Best Audio Control or Mixing Product.
MJF-210 stage monitor
The self-powered MJF‑210 stage monitor brings the remarkable sonic performance of the MJF-212A to a more flexible package.
LEO wins three industry awards
LEO linear large-scale sound reinforcement system wins Parnelli Award for Indispensable Audio Technology, PAR Excellence award for Line Array Systems/Cabinets, and ProSoundWeb Readers' Choice Award for Large Format Line Arrays
CAL wins three industry awards
CAL column array loudspeaker wins TEC Award for Outstanding Technical Achievement, AV Technology Award for Best New Product for a Transportation Environment, and ProSoundWeb Readers' Choice Award for best Column and Line Source Loudspeaker.
2012
1100-LFC low-frequency control element wins PAR Excellence Award
HD-1 inducted into TECnology Hall of Fame
First sports installation of CAL at the UC Berkeley Memorial Stadium
Forty CAL column array loudspeakers are installed in the Memorial Stadium to provide extraordinarily high speech intelligibility despite the crowd noise in the 63,000-capacity seating bowl.
First restaurant with a Constellation system
Constellation is successfully implemented at Berkeley restaurant Comal where it maintains the desired level of energized "buzz" throughout the space while still allowing intimate conversations, all regardless of occupancy levels.
LEO linear large-scale sound reinforcement system
The powerful LEO system is designed for long-throw applications, and features the LEO-M advanced linear array loudspeaker and the 1100-LFC low-frequency control element for low end content. LEO systems are driven by the Galileo Callisto array processor, which provides matrix routing, alignment, and processing.
Galileo Callisto loudspeaker management system
Designed as the perfect complement to Meyer Sound's M Series and LEO-M arrays, Callisto features delay integration for aligning loudspeaker arrays, user defined shaping filters, and simultaneous low- and high-pass filters for subwoofer control.
1100-LFC low-frequency control element
The 1100-LFC low-frequency control element is a Meyer Sound self-powered loudspeaker defined by its sonic linearity in reproducing the operating range of 28 Hz to 100 Hz. The ultralow distortion, coupled with exceptional headroom and optimized rigging options, makes the 1100-LFC a flexible tool for low-end directional applications for large-scale tours and installations.
MINA wins TEC Award for Outstanding Technical Achievement
2011
Helen Meyer receives 2011 InfoComm Women in AV Award
Helen Meyer received the 2011 InfoComm International Women in AV Award. The Women in AV Award acknowledges female AV industry professionals who represent a strong entrepreneurial spirit and excellence in technology management.
MINA wins 2011 SCN/InfoComm Installation Product Award
MINA wins Live Design Products of the Year Award
Constellation acoustic system wins MIPA Award
Constellation marked the fifth Meyer Sound product to win a MIPA Award.
John and Helen Meyer receive the MIPA Lifetime Achievement Award
Acheron Designer screen channel loudspeaker
Meyer Sound's screen channel cinema product line further expanded with the introduction of the compact Acheron Designer. Production prototypes of Acheron Designer were first used by noteworthy development partners including Skywalker Sound, Bay Films, and 20th Century Fox Sound Editorial Department.
"Everybody is very happy with the sound and headroom of the Acheron Designers. The speakers sold themselves!" says John Morris, supervising sound editor and sound designer, 20th Century Fox.
"Everybody is very happy with the sound and headroom of the Acheron Designers. The speakers sold themselves!" says John Morris, supervising sound editor and sound designer, 20th Century Fox.
D-Mitri digital audio platform wins InAVation Award
2010
CAL and D-Mitri win Good Design Award from the Chicago Athenaeum Museum of Architecture and Design
MINA compact curvilinear array loudspeaker
Meyer Sound added a compact, yet, powerful member to the acclaimed MILO family of self-powered line array loudspeakers with the introduction of MINA. MINA focuses all the advances Meyer Sound has made since the MILO debuted in 2003, including a new digital amplifier, a new REM, and improved rigging, to provide a high-fidelity sound system to small spaces.
CAL steerable column array loudspeakers
The company's first steerable column array loudspeakers, the CAL family is an accumulation of Meyer Sound engineers' years of scientific research in steering sound technology, low-distortion audio, and discrete per-element digital signal processing. CAL reproduces speech with exceptional intelligibility even in highly reverberant environments including airports and retail spaces.
2009
SB-3F named the Most Innovative Loudspeaker for Commercial Installation by Systems Contractor News and InfoComm International
JM-1P and UP-4XP win WFX New Product Awards
Acheron Studio screen channel loudspeaker
The Acheron Studio screen channel loudspeaker was added to Meyer Sound's EXP cinema loudspeakers, bringing the low distortion and transparency of the Acheron 80 screen channel loudspeaker to a smaller package for use behind a perforated screen or for direct monitoring.
UPQ wins TEC Award, MIPA Award, and Live Design Product of the Year
Meyer Sound announces D-Mitri digital audio platform
Encompassing the entire audio chain, from microphone input to loudspeaker output, incorporating multichannel distribution, recording and playback, and show control automation, D-Mitri is one of the first audio products to adopt the new AVB (audio video bridging) standard, which makes it a true real-time system that allows multiple network devices to respond to a command at the same time.
Release of loudspeaker measurement data for EASE users
With Meyer Sound's release of the high-resolution loudspeaker measurement data in the GLL (Generic Loudspeaker Library) format, users of EASE design and simulation software can model the interaction of Meyer Sound loudspeaker systems with the acoustics of rooms.
A new selection of small-footprint, powerful loudspeakers and subwoofers
To meet sound designers' need for low-visibility loudspeakers with exceptional power-to-size ratios, superior clarity and low-distortion, Meyer Sound introduced a new range of installation product offerings, including the UP-4XP ultracompact loudspeaker; MM-4XPV miniature loudspeaker with volume control; MM‑4XPD miniature loudspeaker with directional control; MM-10AC miniature subwoofer with AC connector; MM‑10ACX miniature subwoofer with built-in 48V power supply; and MM‑10XP miniature subwoofer with remote 48V power supply
JM-1P arrayable loudspeaker
The JM-1P self-powered loudspeaker is a high-Q, arrayable loudspeaker that employs Meyer Sound's patented REM technology and trapezoidal cabinet design. The JM-1P can integrate seamlessly in tightly-packed array clusters, and can be used as a high directivity point source loudspeaker either horizontally or vertically. With its scalable coverage and versatile QuickFly rigging options, the JM-1P loudspeaker is ideal for touring, rental, and fixed installations.
2008
Helen Meyer named Woman of Distinction by East Bay Business Times
The annual award celebrates 25 women who have broken barriers, served as mentors to other women, and left a mark on East Bay business.
Helen & John Meyer honored with Distinguished Achievement Award from the United States Institute for Theatre Technology (USITT)
Meyer Sound Pearson Theatre receives Architecture Award from the United States Institute for Theatre Technology (USITT)
UPJunior VariO loudspeaker wins TEC Award
UPJunior marked the sixth Meyer Sound product honored with a TEC Award.
John and Helen Meyer Scholarship
Five students became the first recipients of John and Helen Meyer Scholarship, a partnership with ESAMA (Superior School for AudioVisual Media) in Andalusia, Spain. Meyer Sound has long devoted to audio education by presenting a variety of seminars around the world and supporting training programs by industry organizations, but this award was the first program designated as a scholarship bearing the name of the company's founders.
SB-3F sound field synthesis loudspeaker
The high-powered device employs the company's leading-edge sound field synthesis technology with multiple small point sources to create a focused, coherent long-range sound field. The breakthrough product was first deployed at Céline Dion's concert in Africa and was soon installed as part of the LA Coliseum upgrade.
500-HP compact high-Power subwoofer
The self-powered 500-HP brings the power-to-size ratio and extremely low-distortion signature of Meyer Sound subwoofers to a package ideal for rigging with the M'elodie line array loudspeaker to create an aesthetically pleasing array. With its excellent bass clarity, the self-powered 500-HP provides a superior option for sound designers especially when space is a key consideration.
UPQ-1P wide coverage loudspeaker and UPQ-2P narrow coverage loudspeaker
The UPQ-1P and UPQ-2P deliver the same smooth sonic performance that has made Meyer Sound UltraSeries products the choice for Broadway productions, performance venues and nightclubs, and offer flexible functionality as a stand-alone loudspeaker or as a part of an array.
2007
MM-4XP self-powered miniature loudspeaker
Meyer Sound's experience in building the larger, high-output loudspeakers such as M'elodie and UPJunior enabled its engineering team to create a self-powered version of the popular MM-4 miniature loudspeaker introduced in 2001.
With a face measuring just four inches square, this compact product was designed for high-quality distributed systems where space is at a premium and in which a single light gauge cable can deliver both balanced audio and DC power over a long cable run of up to several hundred feet.
John Meyer receives Silver Medal Award from the Audio Engineering Society
The AES Silver Medal honors those whose work represents exceptional developments or achievements in the field of audio engineering. The award was given to John Meyer in recognition of his "outstanding achievement in source independent measurement of public address systems and the advancement of quality in sound reinforcement."
M’elodie receives MIPA Award
When the Musikmesse International Press Award for Large Format PA System was presented to M'elodie, it marked a grand slam of sorts for the MILO family of loudspeakers, since MILO, MICA, and M'elodie have now each won this award.
MJF-212A stage monitor
The self-powered MJF-212A is Meyer Sound's most powerful stage monitor, reaching uncharted levels of onstage headroom and accuracy.
2006
John Meyer nominated for GRAMMY Award for Golden Strings of the Sarode album.
On December 21, 2001, John Meyer and Meyer Sound associate "dB" Dave Dennison hung a single Neumann SM69 stereo microphone in the Kensington Unitarian Church in Berkeley, Calif. and recorded sarode master Aashish Khan and percussionist Zakir Hussain playing three traditional Indian ragas. The session, produced by Meyer and Dennison with Hussain's wife, Antonia Minnecola was released on Hussain's Moment Records as Golden Strings of the Sarode. In December 2006, the album was nominated for a GRAMMY Award as Best Traditional World Music Album.
Meyer engineered the recording using the mid/side microphone technique invented by recording pioneer Alan Blumlein. suspending a single Neumann SM69 stereo microphone above and in front of the performers, then routing the signal into a custom tunable, complementary phase M/S matrix, and recording it on a Nagra D-II digital tape recorder at a 96 kHz sample rate and 24-bit resolution.
Meyer engineered the recording using the mid/side microphone technique invented by recording pioneer Alan Blumlein. suspending a single Neumann SM69 stereo microphone above and in front of the performers, then routing the signal into a custom tunable, complementary phase M/S matrix, and recording it on a Nagra D-II digital tape recorder at a 96 kHz sample rate and 24-bit resolution.
Galileo receives Pro Audio Review Reviewer’s Pick Award
M’elodie receives Pick Hit award from Sound & Video Contractor Magazine
Constellation electroacoustic architecture launched at Zellerbach Hall
The VRAS variable room acoustic system fascinated John Meyer, who saw much potential for its use in multipurpose venues. When Meyer Sound acquired LCS Audio, VRAS was one of his strongest interests and a VRAS system had been installed in the company's Pearson Theatre.
Meyer envisioned the next step for the technology as being that customers who purchase a system would receive a turnkey system, a complete package of design and tuning services from trained specialists in acoustics and digital audio, as well as hardware components designed specifically for the needs of electroacoustic architecture. The tuning process underwent transformation to increase its efficiency and methods. The result of this holistic upgrade was dubbed "Constellation" by Grammy-winning classical music recording and live sound engineer John Pellowe, who became involved in its development.
The first Constellation system was installed into Zellerbach Hall, on the University of California Berkeley campus. Meyer Sound had a long association with Zellerbach, and the timing was perfect, as Zellerbach faced an acoustical challenge in the variety of program material on the bill of their upcoming centennial gala.
The system made a characteristically low-profile debut at the gala in Zellerbach Hall on May 12, 2006 and received enthusiastic responses. Constellation was now officially launched.
Meyer envisioned the next step for the technology as being that customers who purchase a system would receive a turnkey system, a complete package of design and tuning services from trained specialists in acoustics and digital audio, as well as hardware components designed specifically for the needs of electroacoustic architecture. The tuning process underwent transformation to increase its efficiency and methods. The result of this holistic upgrade was dubbed "Constellation" by Grammy-winning classical music recording and live sound engineer John Pellowe, who became involved in its development.
The first Constellation system was installed into Zellerbach Hall, on the University of California Berkeley campus. Meyer Sound had a long association with Zellerbach, and the timing was perfect, as Zellerbach faced an acoustical challenge in the variety of program material on the bill of their upcoming centennial gala.
The system made a characteristically low-profile debut at the gala in Zellerbach Hall on May 12, 2006 and received enthusiastic responses. Constellation was now officially launched.
M’elodie ultracompact high-power curvilinear array loudspeaker
The MILO family had grown. The original MILO loudspeaker proved a major hit, especially for its smooth, extended high-frequency response, high-power, and easy-to-use QuickFly rigging. With M'elodie (named for John and Helen's granddaughter, Elodie, sister of Milo), Meyer Sound brought those qualities to package much smaller than MILO, in fact, smaller than the M2D. Like the larger MICA loudspeaker before it, M'elodie was fast out of the gate; a popular product from its introduction. With the addition of M'elodie, the MILO family line had a complete collection of sizes and coverage variations.
MICA receives MIPA Award for Best Large Format PA System
Having received its first MIPA Award only two years before, Meyer Sound quickly repeated the performance by winning a 2005 award for the MICA compact high-power curvilinear array loudspeaker. Attendees at the Frankfurt Musik Messe/Pro Light + Sound exposition, during which the awards are presented, went to the Meyer Sound booth to check out MICA and found the company also showing the brand new M'elodie loudspeaker for the first time in Europe.
2005
Galileo loudspeaker management system
While digital audio had been around for decades, it was not until the '90s that it started to mature, and it was only after the turn of the millennium that it began seriously penetrating sound reinforcement. It was obvious that digital audio was the future, offering capabilities that were simply not possible with analog audio, but John Meyer didn't want to get Meyer Sound seriously involved with digital audio until he felt it was possible to attain the level of quality he felt qualified as "good sound." Although Meyer Sound made the SIM analyzer, the RMS remote monitoring system, and MAPP Online acoustical prediction software, the company had never made a digital device that was part of the signal chain.
Finally, around 2004, he decided the time had come and Meyer Sound embarked on a collaboration with LCS Audio, a small company making a powerful, high-quality digital audio system for theatrical sound, on a new, all-digital system drive processor. The project was headed by Perrin Meyer, John and Helen's son and the company's software R&D manager. In late 2005, the Galileo 616 processor and Compass control software for it shipped to an audio world eager to see what Meyer Sound would do in its first foray into digital audio.
The Galileo system was a breakthrough in a number of respects, including the number of inputs and outputs, its fixed latency, and its Composite EQ, which allowed corrective equalization with a minimum of phase shift.
The fact that one of the very first units was installed at Carnegie Hall underscored both the industry's confidence in Meyer Sound and its enthusiasm for Galileo's features and performance.
Finally, around 2004, he decided the time had come and Meyer Sound embarked on a collaboration with LCS Audio, a small company making a powerful, high-quality digital audio system for theatrical sound, on a new, all-digital system drive processor. The project was headed by Perrin Meyer, John and Helen's son and the company's software R&D manager. In late 2005, the Galileo 616 processor and Compass control software for it shipped to an audio world eager to see what Meyer Sound would do in its first foray into digital audio.
The Galileo system was a breakthrough in a number of respects, including the number of inputs and outputs, its fixed latency, and its Composite EQ, which allowed corrective equalization with a minimum of phase shift.
The fact that one of the very first units was installed at Carnegie Hall underscored both the industry's confidence in Meyer Sound and its enthusiasm for Galileo's features and performance.
Meyer Sound acquires LCS Audio
LCS Audio's history went back to 1992, when engineer Steve Ellison and sound designer Jonathan Deans formed Level Control Systems. In 1996, the company merged with John McMahon's Cadence Digital Audio and its product grew from a multichannel panning system into a complete theatrical digital audio system, needing only microphones and a loudspeaker system to provide sound for a production. While LCS Audio was a small company with a fanatical following amongst theatrical sound designers, it was hard-put to marshal the resources necessary to grow significantly.
Meyer Sound collaborated with LCS Audio in the creation of the Galileo loudspeaker management system, during which time it became evident that both companies could benefit by joining forces: Meyer Sound would gain an established, experienced, forward-looking digital audio team for its new initiative into that field, while LCS Audio would gain the benefit of Meyer Sound's greater resources and highly successful vision and methods.
The two companies had many similarities in their corporate philosophies and cultures, and even overlapping markets, which made the idea even more attractive. In late 2005, Meyer Sound acquired LCS Audio and took the next step down the path Galileo had established.
Meyer Sound collaborated with LCS Audio in the creation of the Galileo loudspeaker management system, during which time it became evident that both companies could benefit by joining forces: Meyer Sound would gain an established, experienced, forward-looking digital audio team for its new initiative into that field, while LCS Audio would gain the benefit of Meyer Sound's greater resources and highly successful vision and methods.
The two companies had many similarities in their corporate philosophies and cultures, and even overlapping markets, which made the idea even more attractive. In late 2005, Meyer Sound acquired LCS Audio and took the next step down the path Galileo had established.
MICA receives Pro Audio Review PAR Excellence Award
Pro Audio Review Magazine has favored Meyer Sound with numerous favorable reviews over the years, as well as awards. The magazine clearly knew a good thing when it saw/heard it, and was the first to bestow an award onto the new MICA loudspeaker.
MVC-5 Ornamental Design of a Loudspeaker
Ornamental Design for a Microphone
This design patent is for the appearance (or "ornamental design") of a microphone created as part of a development project.
Frequency Dependent Excursion Limiter
There are several ways that applying too much power to a loudspeaker driver can cause it to fail. One is overheating of the voice coil. Another one is over-excursion: when the applied voltage causes the driver to try to move further than it is mechanically able. Vented enclosures are particularly susceptible to this, especially below the tuning frequency of the enclosure, where the acoustical impedance becomes very low.
There are several methods that are often tried for protecting against this. One is a standard limiter, but at the low frequencies of concern, they are often too slow when they need to be instantaneous. Further, very short attack times can sometimes produce artifacts. Another method is a high-pass filter, but they are not very effective and can introduce significant phase shifts that degrade the sound.
Frequency-dependent limiters are a third method that has been applied. The frequency-dependent limiter triggers limiting at different levels for different frequencies, in accordance with measurements of the loudspeaker taken during the development phase to determine the maximum allowable voltage at those frequencies. In most cases, these limiters were used in open loop systems (that is, without a controller receiving feedback from the loudspeaker) and, as a result, had to be quite complex, involving matched filters and other difficult circuitry.
This patent is for a greatly simplified circuit for a frequency-dependent limiter. Clever use of feed-forward and feedback circuits eliminates the need for matched filters. Other efficiencies are introduced by circuits that combine two functions that are separate in other frequency dependent excursion limiter designs. Overall, not only is the complexity of the circuit less, the parts count is also considerably reduced.
Also addressed in the patent is the use of the limiter in a closed-loop system such as Meyer Sound's self-powered loudspeakers.
There are several methods that are often tried for protecting against this. One is a standard limiter, but at the low frequencies of concern, they are often too slow when they need to be instantaneous. Further, very short attack times can sometimes produce artifacts. Another method is a high-pass filter, but they are not very effective and can introduce significant phase shifts that degrade the sound.
Frequency-dependent limiters are a third method that has been applied. The frequency-dependent limiter triggers limiting at different levels for different frequencies, in accordance with measurements of the loudspeaker taken during the development phase to determine the maximum allowable voltage at those frequencies. In most cases, these limiters were used in open loop systems (that is, without a controller receiving feedback from the loudspeaker) and, as a result, had to be quite complex, involving matched filters and other difficult circuitry.
This patent is for a greatly simplified circuit for a frequency-dependent limiter. Clever use of feed-forward and feedback circuits eliminates the need for matched filters. Other efficiencies are introduced by circuits that combine two functions that are separate in other frequency dependent excursion limiter designs. Overall, not only is the complexity of the circuit less, the parts count is also considerably reduced.
Also addressed in the patent is the use of the limiter in a closed-loop system such as Meyer Sound's self-powered loudspeakers.
Galileo wins Rental & Staging Award for Best Audio Control/Mixing Product
MILO Front of a Loudspeaker
This design patent covers the appearance (or "ornamental design") of the front of MILO. The design is patented to prevent other companies from creating confusion in consumers with a product that looks identical.
MICA compact high-power curvilinear array loudspeaker
MICA brought the essential qualities of the MILO loudspeaker to a smaller footprint that was nonetheless powerful enough to cover medium-sized venues on its own, or to augment a MILO main system as downfill or sidefill. Released at the beginning of the 2005 summer concert and festival season, MICA made a quick mark in the industry as a "go-to" box for all but the largest gigs. Orders were shipped in dizzying numbers from the first day of its release.
MICA's QuickFly rigging introduced captive GuideALinks, which greatly improved safety by eliminating the need to ever put hands or fingers between cabinets, as well as providing the convenience of links that were permanently mounted in the rigging frame.
MICA's QuickFly rigging introduced captive GuideALinks, which greatly improved safety by eliminating the need to ever put hands or fingers between cabinets, as well as providing the convenience of links that were permanently mounted in the rigging frame.
MVC-5 graduated vertical coverage loudspeaker
The development of the MVC-5 technology was sparked by John Meyer's loudspeaker demonstration at an ashram in India. He was asked to provide the sound for one of the "small" morning services. He was allowed to provide the sound for one of the "small" morning services: about 35,000 worshippers gathered under a huge corrugated aluminum roof. He did the job with six arrays of six M1D loudspeakers each, placed strategically around the area.
Meyer realized that similar sound reinforcement scenarios were not uncommon: large, primarily flat spaces that needed even coverage best accomplished with a distributed system, such as a convention center or a church. The MVC-5 is actually a small line array in a single enclosure, with the splay angles fixed to yield graded vertical coverage, through which level stayed fairly constant as one moved towards the loudspeaker.
Meyer realized that similar sound reinforcement scenarios were not uncommon: large, primarily flat spaces that needed even coverage best accomplished with a distributed system, such as a convention center or a church. The MVC-5 is actually a small line array in a single enclosure, with the splay angles fixed to yield graded vertical coverage, through which level stayed fairly constant as one moved towards the loudspeaker.
2004
MILO receives TEC Award for Outstanding Technical Achievement, Sound Reinforcement Loudspeaker Technology
Meyer Sound's fifth TEC Award went to MILO. The following year, the MILO 120 was nominated for the same award, with MICA garnering yet another nomination in 2006, continuing Meyer Sound's streak of at least one TEC nomination in nearly every year the awards have existed.
UPA-1 inducted into the TECnology Hall of Fame
The TECnology Hall of Fame was created by the Mix Foundation to recognize those products and people who had truly changed the face of the audio industry. Its first year of induction was 2004, and the UPA-1 was voted one of the first 25 inductees to the hall. John Meyer accepted the award and spoke about the UPA-1's creation. He received a standing ovation from the distinguished industry members in attendance.
Meyer Sound builds Pearson Theatre at its Berkeley headquarters
Meyer Sound's educational seminar series, which dated back to the original "SIM School" given by Bob McCarthy starting in 1984, had never had a real home in the company's hometown of Berkeley, Calif. By 2004, the educational program was expanding substantially, along with the company in general, and the use of a local hotel for seminars was no longer viable. Discussions began about building a training theatre at Meyer Sound, and the more it was talked about, the more potential uses for such a venue came to light.
The decision was made in Spring 2004 to proceed with construction….with a deadline of late October when the company wanted to show the theatre during the Audio Engineering Society convention in San Francisco, during which time it was also holding a celebration of the company's 25th anniversary. The race was on to get the theatre built, but it was complicated by constant adjustments to the design.
As the theatre is being designed and built, John Meyer formulates and puts into practice new ideas on the building of multipurpose spaces. Events of the time, such as Meyer Sound's participation in the "Mythbusters" TV show "Brown Note" episode, influenced aspects of the how the theatre is built.
In the nick of time, the beautiful 57-seat theatre is completed. The theatre's design and equipment are unique and, after the acquisition of LCS Audio in 2005, a VRAS system is installed, the first step in the formation of Constellation electroacoustic architecture. After the death of Don Pearson, the theatre is named the Pearson Theatre in his honor.
The decision was made in Spring 2004 to proceed with construction….with a deadline of late October when the company wanted to show the theatre during the Audio Engineering Society convention in San Francisco, during which time it was also holding a celebration of the company's 25th anniversary. The race was on to get the theatre built, but it was complicated by constant adjustments to the design.
As the theatre is being designed and built, John Meyer formulates and puts into practice new ideas on the building of multipurpose spaces. Events of the time, such as Meyer Sound's participation in the "Mythbusters" TV show "Brown Note" episode, influenced aspects of the how the theatre is built.
In the nick of time, the beautiful 57-seat theatre is completed. The theatre's design and equipment are unique and, after the acquisition of LCS Audio in 2005, a VRAS system is installed, the first step in the formation of Constellation electroacoustic architecture. After the death of Don Pearson, the theatre is named the Pearson Theatre in his honor.
John Meyer receives first Parnelli Innovator Award
The 700-HP receives Pro Audio Review Magazine’s Reviewer’s Pick Award
After giving a more than enthusiastic review to the 700-HP, it was no surprise when Pro Audo Review's group of reviewers chose to award it a Reviewer's Pick Award.
Meyer Sound appears on “MythBusters” TV show
Meyer Sound products and personnel have appeared on several episodes of "MythBusters," the popular weekly television show appearing on the Discovery Channel. The quirky series, produced by Australia's Beyond Productions, combines hard science and wacky humor as its two hosts debunk or confirm various urban legends.
During the show's premiere season, "MythBusters" called on Meyer Sound Staff Scientist Dr. Roger Schwenke to confront the legend that a duck's quack doesn't echo. To debunk this myth, live duck quacks were recorded and analyzed in a meadow at a duck farm, in Meyer Sound's anechoic chamber, and in a large, empty warehouse.
Several months later the "MythBusters" team returned to Meyer Sound, recruiting both Schwenke and John Meyer to test a myth rather less suited to squeamish viewers: the so-called "Brown Note."
In yet another investigation, Schwenke was tapped a third time to help confront the myth that a wine glass can be broken by a singer producing the proper pitch. (It can.) This time, the "MythBusters" crew came to Meyer Sound's own Pearson Theatre to tape part of the sequence, which used a UPA-1P loudspeaker and a SIM 3 audio analyzer.
During the show's premiere season, "MythBusters" called on Meyer Sound Staff Scientist Dr. Roger Schwenke to confront the legend that a duck's quack doesn't echo. To debunk this myth, live duck quacks were recorded and analyzed in a meadow at a duck farm, in Meyer Sound's anechoic chamber, and in a large, empty warehouse.
Several months later the "MythBusters" team returned to Meyer Sound, recruiting both Schwenke and John Meyer to test a myth rather less suited to squeamish viewers: the so-called "Brown Note."
In yet another investigation, Schwenke was tapped a third time to help confront the myth that a wine glass can be broken by a singer producing the proper pitch. (It can.) This time, the "MythBusters" crew came to Meyer Sound's own Pearson Theatre to tape part of the sequence, which used a UPA-1P loudspeaker and a SIM 3 audio analyzer.
UPJ-1P receives Entertainment Design EDDY Award for “Sound Product of the Year”
SIM 3 receives InfoComm 2004 Pick Hit Award from Sound & Video Contractor
MILO 120 high-power expanded coverage curvilinear array loudspeaker
SIM 3 audio analyzer system
Built on almost 20 years of research and development, ongoing worldwide field testing and award-winning, breakthrough technology, the SIM 3 audio analyzer system is the next generation of acoustical audio analysis in an integrated hardware and software package. In the field or on the bench, the SIM 3 system analyzes entire sound systems as easily as it verifies the performance of individual electronic components. SIM 3 represents a major advance over previous versions of SIM, with greatly increased power and added features at a fraction of the original size and cost.
MILO receives MIPA Award for Best Large Format PA System
The mipa (Music Industry Press Association) Award is voted on by about five dozen major magazines from around the world and presented at the Frankfurt Musik Messe/Pro Light + Sound exposition. MILO was the first, but not only, Meyer Sound product to win this award.
2003
700-HP ultrahigh-power subwoofer
One of the first products ever made by Meyer Sound was the 650 subwoofer created for Francis Ford Coppola's "Apocalypse Now," and the 650's descendants, the 650-R2 and the self-powered 650-P, had become industry standards. By 2003, however, sound systems were considerably more high-powered than when those subwoofers were created. FOH mixer Lars Brogaard, having purchased a large MILO system, wanted a subwoofer to go with it that had more power than the 650-P.
After prototyping several different approaches, the 700-HP ultrahigh-power subwoofer was released in late 2003. The 700-HP had truly massive output (139 dB SPL max) and enough headroom it was nearly impossible to clip, yet very low distortion. The market responded enthusiastically and immediately, and the 700-HP replicated the success the 650-P had received years before.
After prototyping several different approaches, the 700-HP ultrahigh-power subwoofer was released in late 2003. The 700-HP had truly massive output (139 dB SPL max) and enough headroom it was nearly impossible to clip, yet very low distortion. The market responded enthusiastically and immediately, and the 700-HP replicated the success the 650-P had received years before.
M3D receives Producción Profesional and Producción Audio Award as Best Sound Reinforcement Product
Producción Profesional and Producción Audio are two of Spain's best respected trade magazines for entertainment technology. In 2003, they held their first awards ceremony in Madrid's Auditorio Sur de IFEMA. The M3D was recognized as one of the inaugural recipients of an award.
M2D receives Pro Audio Review Reviewer’s Pick Award
LD-3 compensating line driver
The eight-channel LD-3 line driver brings new capabilities to system drive processors. While it contains useful features like compensatory equalization for M Series arrays and subwoofer crossovers, the most distinctive attribute the LD-3 offers is its atmospheric compensation EQ. Feed environmental conditions into the LD-3 through its Temperature, Altitude and Relative Humidity knobs, dial-in the type of loudspeakers and throw for each section of the array, and the LD-3's RISC microcontroller retrieves response correction coefficients and uses them to apply equalization that compensates for the conditions. By utilizing multiple-variable atmospheric loss equations and pre-calculated MAPP Online stored values, the LD-3 deals with the non-linear air absorption variations caused by changing conditions.
M2D and M1D curvilinear array loudspeakers share Entertainment Design EDDY Award for Sound Product of the Year
Ever since the release of the original UPA-1, Meyer Sound loudspeakers had been synonymous with theatre, finding constant application in Broadway and West End productions, and in the increasingly numerous and elaborate productions in Las Vegas. The M2D and M1D were curvilinear array loudspeakers ideally sized for this market, which was moving quickly into the use of line arrays.
While the UPM-2P had won the hearts of the theatre community — and an EDDY award — for its brilliance in fill applications, the M1D and M2D did the same for main FOH systems, winning their own EDDY
While the UPM-2P had won the hearts of the theatre community — and an EDDY award — for its brilliance in fill applications, the M1D and M2D did the same for main FOH systems, winning their own EDDY
X-10 Loudspeaker System with Feedback Control for Improved Bandwidth and Distortion Reduction
This patent, issued to the University of California and licensed by Meyer Sound, defines the servo system used in the X-10 high resolution linear control room monitor, technology borrowed from the avionics industry. The patent defines a system for improving frequency response (magnitude and phase) in the sub-bass region of 20 – 100 Hz. Linearity is extremely difficult to achieve in this region, mostly due to three factors: non-uniformity in the magnetic field surrounding the voice coil, voice coil self-inductance variations with cone position, and the non-linear spring behavior exhibited by the surround and spider.
The system described in the patent employs a microphone mounted in front of the low-frequency driver to acquire a pressure feedback signal from the drivers' audio output. This signal is then scaled and subtracted from the audio input signal (which is also scaled) to derive a difference signal. The difference signal is passed through a series of filters to generate a correction signal that is then applied to the loudspeaker.
By placing the microphone very close and off-axis to the speaker, the delay time in the feedback is minimized, room effects do not affect the servo mechanism and cone breakup mode effects at higher frequencies are minimized (simplifying the task of modeling the driver's behavior). The filter network generating the corrected signal can be implemented digitally or with analog circuitry.
The system offers advantages over other systems commonly applied to subwoofers in order to flatten response. One system applies an equalized signal to the driver, but the signal is fixed and is not derived from feedback on the system's operation, making it unable to compensate for modifying effects such as aging or environmental factors. Another system attaches an accelerometer to the voice coil, which adds mass to a critical component.
The system described in the patent employs a microphone mounted in front of the low-frequency driver to acquire a pressure feedback signal from the drivers' audio output. This signal is then scaled and subtracted from the audio input signal (which is also scaled) to derive a difference signal. The difference signal is passed through a series of filters to generate a correction signal that is then applied to the loudspeaker.
By placing the microphone very close and off-axis to the speaker, the delay time in the feedback is minimized, room effects do not affect the servo mechanism and cone breakup mode effects at higher frequencies are minimized (simplifying the task of modeling the driver's behavior). The filter network generating the corrected signal can be implemented digitally or with analog circuitry.
The system offers advantages over other systems commonly applied to subwoofers in order to flatten response. One system applies an equalized signal to the driver, but the signal is fixed and is not derived from feedback on the system's operation, making it unable to compensate for modifying effects such as aging or environmental factors. Another system attaches an accelerometer to the voice coil, which adds mass to a critical component.
Mars assembly facility goes online
Since late 1983, all of Meyer Sound's loudspeakers had been built in the back half of its main building, now affectionately called "Earth." By the late '90s, production had grown to the point where that space was simply no longer viable. Over the course of the years, production personnel had plenty of time to form ideas about better ways the job could be done. John and Helen Meyer eventually decided to give them the chance to put those ideas into practice. Rather than bring in an outside consulting firm to design a new facility, the Meyers worked with Meyer Sound's production staff to fashion a place where loudspeakers could be built efficiently enough to meet the short turnaround times that were often required for tours and other customers with tight deadlines.
The Mars facility implements many simple, yet clever and effective ideas to streamline the assembly process while maintaining the extraordinary level of quality assurance for which Meyer Sound is known. The name followed in the tradition of planetary names established with the creation of the Saturn transducer fabrication facility.
The Mars facility implements many simple, yet clever and effective ideas to streamline the assembly process while maintaining the extraordinary level of quality assurance for which Meyer Sound is known. The name followed in the tradition of planetary names established with the creation of the Saturn transducer fabrication facility.
UPJ-1P compact VariO loudspeaker
Meyer Sound has been involved in the fixed installation market since early in the company's history. As a source of revenue, installations had grown steadily over the years. While many products finding steady use in installations had originally been designed for touring and concert use, growth in the installation market made it clear that Meyer Sound should try the opposite approach and make a product for fixed installation that could also serve touring.
The UPJ-1P employed a rotatable horn, an idea that others had done, but with one very simple and important improvement: the UPJ-1P's horn was marked to give a visual indication of which orientation had the wide coverage angle! The other major feature aimed at the installation market was a broad variety of mounting options, from pole mounting to small arrays.
The installation market loved the UPJ-1P from its release….as did the touring market, which finds the UPJ-1P ideal for fill applications.
The UPJ-1P employed a rotatable horn, an idea that others had done, but with one very simple and important improvement: the UPJ-1P's horn was marked to give a visual indication of which orientation had the wide coverage angle! The other major feature aimed at the installation market was a broad variety of mounting options, from pole mounting to small arrays.
The installation market loved the UPJ-1P from its release….as did the touring market, which finds the UPJ-1P ideal for fill applications.
MILO high-power curvilinear array loudspeaker
MILO was Meyer Sound's second generation of self-powered loudspeakers leveraging the line array effect. A number of valuable lessons had been learned from building the M3D, M2D, and M1D, and these were combined with extensive customer feedback in the design of MILO.
Named for John and Helen Meyer's grandson, the MILO loudspeaker was much lighter than the M3D. It was also a four-way system, incorporating three two-inch diaphragm compression drivers dedicated to reproducing very high frequencies. The mid-high and very high-frequency sections used the latest versions of the patented REM manifold.
MILO was capable of very high output with low distortion and an extremely smooth, extended high-frequency response. It's QuickFly rigging was improved over the M3D rigging, but the cabinet was the same width so that it could easily be rigged with M3D-Sub directional subwoofers or M3D line array loudspeakers.
When the MILO was released, it took off like a rocket, winning both high sales and multiple awards. Though Meyer Sound's business was already on a strong upswing, MILO suddenly took things to another level altogether, starting a growth spurt that has yet to subside.
Named for John and Helen Meyer's grandson, the MILO loudspeaker was much lighter than the M3D. It was also a four-way system, incorporating three two-inch diaphragm compression drivers dedicated to reproducing very high frequencies. The mid-high and very high-frequency sections used the latest versions of the patented REM manifold.
MILO was capable of very high output with low distortion and an extremely smooth, extended high-frequency response. It's QuickFly rigging was improved over the M3D rigging, but the cabinet was the same width so that it could easily be rigged with M3D-Sub directional subwoofers or M3D line array loudspeakers.
When the MILO was released, it took off like a rocket, winning both high sales and multiple awards. Though Meyer Sound's business was already on a strong upswing, MILO suddenly took things to another level altogether, starting a growth spurt that has yet to subside.
2002
M2D compact and M1D ultracompact
Meyer Sound followed the M3D with the introduction of the M2D compact curvilinear array loudspeaker, the M1D ultracompact curvilinear array loudspeaker, and their companion subwoofers (M2D-Sub and M1D-Sub). With those three models in the M Series, sound designers could create integrated systems using compatible line array products of all sizes, affording flexibility and consistent results in applications ranging from the smallest theaters or churches to the largest arenas or outdoor concerts.
After a few years, some clever M1D owners realized that they could be used outside of arrays: individual cabinets worked excellently for frontfill or under-balcony coverage. This usage of the M1D has now become commonplace.
After a few years, some clever M1D owners realized that they could be used outside of arrays: individual cabinets worked excellently for frontfill or under-balcony coverage. This usage of the M1D has now become commonplace.
Interconnectable Rigging System for Loudspeakers and Rigging Frames (patent 6,640,924)
The first patent for Meyer Sound's groundbreaking QuickFly rigging system used on the M3D, M3D-Sub, M2D and M2D-Sub.
REM Manifold for a Horn Loudspeaker
Meyer Sound applies for a patent for the REM ribbon emulation manifold waveguide, an innovative design at the heart of the mid- and high-frequency sections in Meyer Sound's line array and curvilinear array loudspeakers. The REM manifold's main advantages over other designs - lower distortion and tighter pattern control - are achieved due to its short length and exponentially increasing waveguide channels. The patent is granted in 2003.
2001
M3D line array loudspeaker
The self-powered M3D was Meyer Sound's first loudspeaker to employ the line source principle in a vertical format. (The M3D is an actual line array loudspeaker, intended to be used with little or no splay between cabinets, as opposed to the rest of the M Series products, which are designed for use in curvilinear arrays.)
While the M3D is extremely powerful and full-range, with a frequency response that goes down to 35 Hz and all the way up to 18 kHz, the real breakthroughs it exhibited came in other areas, most notably in the form of BroadbandQ technology.
Loudspeaker specifications often state horizontal coverage angles, but the reality is that horizontal coverage varies radically with frequency across the response of a full-range loudspeaker. The M3D combined two Meyer Sound advances to produce a loudspeaker that maintains a much more consistent horizontal coverage angle across its wide response.
In the low end, the directional steering technology first developed in the PSW-6 is employed to yield a cardioid coverage pattern. For the mid and high frequencies the M3D introduced the patented REM manifold, which lets high-output compression drivers deliver the kind of directional control associated with line sources. Together, these two advances comprised BroadbandQ.
While the M3D is extremely powerful and full-range, with a frequency response that goes down to 35 Hz and all the way up to 18 kHz, the real breakthroughs it exhibited came in other areas, most notably in the form of BroadbandQ technology.
Loudspeaker specifications often state horizontal coverage angles, but the reality is that horizontal coverage varies radically with frequency across the response of a full-range loudspeaker. The M3D combined two Meyer Sound advances to produce a loudspeaker that maintains a much more consistent horizontal coverage angle across its wide response.
In the low end, the directional steering technology first developed in the PSW-6 is employed to yield a cardioid coverage pattern. For the mid and high frequencies the M3D introduced the patented REM manifold, which lets high-output compression drivers deliver the kind of directional control associated with line sources. Together, these two advances comprised BroadbandQ.
UPM-2P receives Entertainment Design EDDY Award for Sound Product of the Year
Sponsored by Entertainment Design Magazine (now Live Design), the annual EDDY Awards honor outstanding contributions in the field of entertainment design and technology. In the 10th anniversary year of the EDDY awards, the UPM-2P wins Sound Product of the Year. The judges call the UPM-2P "the directional UPM we've all been asking for," and comment that "It's small, but it sounds great and it packs a punch," concluding "It's a great product because, as usual, Meyer did it right."
MAPP Online multipurpose acoustical prediction program
MAPP Online is a powerful, cross-platform, application that accurately predicts many aspects of how Meyer Sound loudspeakers will perform in a user-defined scenario, including coverage pattern, frequency response, impulse response and maximum SPL output. Its release represented a significant advance over other acoustical prediction programs in several ways. First, it is extremely accurate because it uses high-resolution measurements. Each Meyer Sound loudspeaker model in MAPP Online is based on 1/48th octave analysis of measurements taken at rotational increments of one degree. This resolution, which is higher than any other program at the time of MAPP Online's release and still higher than most, is fine enough to properly capture the complex data, that is, phase as well as magnitude characteristics, of the loudspeaker. This accuracy was confirmed by comparing predicted responses to actual measured responses of the same system described in the prediction.
Second, MAPP Online used a patented method wherein a sound designer using an Internet-connected personal computer running Java-based client software creates a scenario for prediction, specifying a number of parameters.
Once the system parameters are defined, this information is sent over the Internet to a server at Meyer Sound headquarters in Berkeley, Calif. Running a sophisticated acoustical prediction algorithm, the server predicts the sound field that the loudspeakers will produce, as well as average and peak SPL and frequency and impulse responses at specified "virtual microphone" positions.
Within a few seconds, MAPP Online generates transmits the prediction results back to the local computer as a color graphical image.
MAPP Online was available free on request and equipped Meyer Sound users with a powerful tool that allowed them to design systems in advance with confidence that the real system would perform as the prediction indicated.
In 2006, MAPP Online Pro, the next generation of this ever-evolving software, replaced MAPP Online.
Second, MAPP Online used a patented method wherein a sound designer using an Internet-connected personal computer running Java-based client software creates a scenario for prediction, specifying a number of parameters.
Once the system parameters are defined, this information is sent over the Internet to a server at Meyer Sound headquarters in Berkeley, Calif. Running a sophisticated acoustical prediction algorithm, the server predicts the sound field that the loudspeakers will produce, as well as average and peak SPL and frequency and impulse responses at specified "virtual microphone" positions.
Within a few seconds, MAPP Online generates transmits the prediction results back to the local computer as a color graphical image.
MAPP Online was available free on request and equipped Meyer Sound users with a powerful tool that allowed them to design systems in advance with confidence that the real system would perform as the prediction indicated.
In 2006, MAPP Online Pro, the next generation of this ever-evolving software, replaced MAPP Online.
MM-4 miniature wide-range loudspeaker
Sound sculptor Bill Fontana received a commission from the city of Lyon, France, to create a work of sonic art in celebration of their new tram system, in which loudspeakers would be placed in every tram stop, reproducing sound picked up by microphones in locations around the city. The problem was that there was only four inches of space between the ceiling beams of the tram shelters, not enough room for any decent-sounding loudspeaker Fontana knew of.
Fontana brought his problem to John Meyer, who was intrigued and set to work on a solution. The result was the MM-4, an incredible loudspeaker barely four inches on each side, yet with an operating frequency range from 120 Hz to 18 kHz and a maximum peak output of more than 112 dB SPL, all at extremely low distortion levels! This performance was not easy to achieve, and the design and fabrication of the MM-4's 4-inch driver is quite tricky.
The MM-4 quickly found a niche in a variety of applications requiring extremely low profile, yet high fidelity. The MM-4 has found a great deal of use providing front fill, sometimes mounted hidden below a stage lip in a theatre or in the steps in a church. It remains one of Meyer Sound's most popular products for fixed installation.
Fontana brought his problem to John Meyer, who was intrigued and set to work on a solution. The result was the MM-4, an incredible loudspeaker barely four inches on each side, yet with an operating frequency range from 120 Hz to 18 kHz and a maximum peak output of more than 112 dB SPL, all at extremely low distortion levels! This performance was not easy to achieve, and the design and fabrication of the MM-4's 4-inch driver is quite tricky.
The MM-4 quickly found a niche in a variety of applications requiring extremely low profile, yet high fidelity. The MM-4 has found a great deal of use providing front fill, sometimes mounted hidden below a stage lip in a theatre or in the steps in a church. It remains one of Meyer Sound's most popular products for fixed installation.
2000
UPM-1P receives TEC Award for Outstanding Technical Achievement, Sound Reinforcement Loudspeaker Technology
UPA-1P Arrayable Two-Way Loudspeaker System and Method
This patent describes two of the defining aspect of the UPA-1P, which are: constant directivity across frequency and the ability to be arrayed such that all speakers in the array share a common acoustic center, thus causing the array to act as a point-source in the way it radiates sound in the horizontal plane. This latter goal is achieved by creating a frequency independent focal point for the loudspeaker.
Loudspeaker systems commonly change their radiation pattern with frequency. This leads to uneven coverage and undesirable interactions between loudspeakers in arrays. The system described in the patent (which is the UPA-1P, though not specifically named as such) uses a combination of horn design, signal conditioning, and iterative prototyping to arrive at a design exhibiting frequency independence in the focal point.
The patent describes the system comprehensively, including the signal conditioning and arraying techniques.
Loudspeaker systems commonly change their radiation pattern with frequency. This leads to uneven coverage and undesirable interactions between loudspeakers in arrays. The system described in the patent (which is the UPA-1P, though not specifically named as such) uses a combination of horn design, signal conditioning, and iterative prototyping to arrive at a design exhibiting frequency independence in the focal point.
The patent describes the system comprehensively, including the signal conditioning and arraying techniques.
X-10 high resolution linear control room monitor
Meyer Sound studio monitors have often grown out of new technology development efforts. The X-10 resulted from a patent filed by the University of California as a result of a collaboration with Meyer Sound. The patent incorporates cutting-edge control technology adapted from avionics, called PSAC (Pressure Sensing Active Control), which measures the acoustic output of the system and instantaneously adjusts it to match the input signal in order to achieve near-perfect linearity. In contrast to all other monitoring systems, the X-10 exhibits extended low-frequency response that does not change with variations in level, the result of which is extremely accurate and detailed reproduction.
1999
Helen Meyer awarded a Citation by the Audio Engineering Society
PSW-6 receives TEC Award for Outstanding Technical Achievement, Sound Reinforcement Loudspeaker Technology
UPM-1P ultracompact narrow coverage loudspeaker
The powered version of the popular UPM-1 loudspeaker was very well received. The UPM-1 (reportedly standing for "Ultra Perrin Meyer," in honor of John and Helen Meyer's son, now Meyer Sound's Software R&D Manager) had always been popular in theatrical applications, as well as a fill loudspeaker in installations. Self-powering made it that much more versatile.
1998
CQ-1 wide coverage and CQ-2 narrow coverage loudspeakers
The San Francisco Opera had a conundrum. The War Memorial Opera House was undergoing a major renovation in conjunction with a seismic retrofit and wanted to put in a state-of-the-art audio system of sufficient transparency to be acceptable to purist opera fans. But the venue itself presented some severe constraints: shallow sightlines that required shallow loudspeaker cabinets, and highly reflective wall surfaces that necessitated loudspeakers with very tight pattern control.
These challenges were brought to John Meyer, who undertook a massive research effort in Meyer Sound's anechoic chamber to develop a new horn with lower distortion, excellent off-axis response, and highly controlled dispersion. Advanced modeling techniques were combined with many iterations of designs before Meyer finally came up with a design that met all of the needs.
This design was used in the creation of the CQ-1 and -2 loudspeakers, which were installed into the opera house in time for its reopening in September 1997. Although the CQ-1 and -2 were not released as products until 1998, within months of their use in the opera house, they were nominated for a TEC Award. A patent for the horn design (#5,925,856) was filed in 1997 and issued in 1999.
These challenges were brought to John Meyer, who undertook a massive research effort in Meyer Sound's anechoic chamber to develop a new horn with lower distortion, excellent off-axis response, and highly controlled dispersion. Advanced modeling techniques were combined with many iterations of designs before Meyer finally came up with a design that met all of the needs.
This design was used in the creation of the CQ-1 and -2 loudspeakers, which were installed into the opera house in time for its reopening in September 1997. Although the CQ-1 and -2 were not released as products until 1998, within months of their use in the opera house, they were nominated for a TEC Award. A patent for the horn design (#5,925,856) was filed in 1997 and issued in 1999.
PSW-6 high-power cardioid subwoofer
The PSW-6 was another breakthrough technology from Meyer Sound; a product unlike any made before. In the PSW-6, a unique six-driver enclosure (four drivers in front, two in the rear) is combined with sophisticated phase manipulation circuitry to achieve a cardioid directional pattern over its entire operating range of 30 Hz to 125 Hz. Reduced low-frequency radiation to the rear results in substantially improved definition in the audience, greater control of sound on the stage and decreased low-frequency reverberation.
1997
Self-powered UPA loudspeakers receive Theater Crafts International Sound Product of the Year Award
Improved Loudspeaker Horn
Exhaustive research in Meyer Sound's anechoic chamber brought about the horn design breakthrough described by this patent. First incorporated in the CQ-1 and CQ-2, the new design achieved unprecedented uniformity within the horn's pattern, across all frequencies of operation, without the lobing typical of most other horn designs.
SB-1 Broadband Acoustical Transmitting System
This patent was for the parabolic dish technology used in the SB-1. Applied for six months before the SB-1's release, it was issued a year after the product came out.
MTS-4 Multiple Tuned High Power Bass Reflex Speaker System
With the technology described in this patent, Meyer Sound took a quantum leap forward in boosting the efficiency of a direct radiating system to provide an optimum balance of compact size and efficiency. Rather than taking the conventional approach of using one or two drivers (usually of the same size) in a single reflex enclosure, this patent describes drivers of different sizes, each in its own acoustically isolated and specifically tuned chamber. In the MTS-4A, each driver also has its own dedicated power amplifier module and control electronics.
SB-1 parabolic long-throw sound beam
The SB-1 is the first widely available, high-power sound reinforcement device based upon a parabolic reflector. By essentially "repealing" the inverse square law, the SB-1 projects frequencies from 500 Hz to 15 kHz over extremely long distances. With the SB-1, even distant corners in large stadiums can be covered using a single point-source cluster. Technology incorporated in the SB-1 received a patent the following year (Broadband Acoustical Transmitting System).
1996
MTS-4 Self-Powered Loudspeaker (patent D375,499)
This design patent covers the appearance, or "ornamental design," as the patent puts it, of the MTS-4. A separate patent, number 5,602,367, covers the MTS-4's innovative technology.
UPA-1P compact wide coverage loudspeaker
Since the release of the original UPA-1 in 1980, this loudspeaker had become one of the most recognizable products in high-quality sound reinforcement, seeing use in theatrical productions, small venues, and as a fill loudspeaker in larger touring and concert systems. Making the UPA-1 self-powered simply perpetuated its popularity. (New improvements, such as those described in patent #5,784,474, were also introduced in powered versions.) Today, the UPA-1P and -2P continue to sell steadily and thousands are in use around the world.
650-P high-power subwoofer
The 650-P was the third generation of one of the products that got Meyer Sound off the ground and onto the map. For years, the 650-P set the standard for undistorted, high-power, very low-frequency reproduction, and it remains a popular product.
1995
MTS-4 self-powered full-range loudspeaker
The self-powered MTS-4 contained, in a single compact enclosure, the ability to reproduce the entire audio spectrum for sound reinforcement, including very low frequencies, at high output with low distortion. It was a four-way system, with each driver housed in its own acoustical chamber. The MTS-4 (later upgraded to the MTS-4A, still a current product), was the subject of several U.S. and foreign patents.
“Self-Powered Series” receives Lighting Dimensions International Sound Product of the Year Award
Acoustical Ranging Transceiver
A forerunner of the SB-1 Sound Beam, ARTS was used in conjunction with the SIM system for acoustical tests involving atmospheric inversion layer analysis. This patent covers the appearance or "ornamental design" of the device.
Self-powered MSL-4 horn-loaded long-throw loudspeaker
The MSL-4 was Meyer Sound's first self-powered, high-level sound reinforcement loudspeaker. Putting the MSL-4's 1240 watts peak output in an enclosure was an entirely different challenge than making the self-powered HD-1 studio monitor, but it represented the culmination of a decades-long quest by John Meyer to make self-powered systems.
The MSL-4 worked and was well received; even today it is considered a workhorse of the industry. In fact, the success of the MSL-4 outstripped Meyer Sound's expectations, and the company soon began converting all of its products to be self-powered.
However, the challenges of making a system like the MSL-4 were considerable and, initially, some were skeptical of its practicality. Consequently, Meyer Sound stood alone in the marketplace with its self-powered systems for nearly five years before any other manufacturers took a serious stab at the technology. Even then, others have been slow to take the leap, while Meyer Sound has perfected self-powering and made converts to it around the world.
The MSL-4's cabinet design was the subject of a design patent.
The MSL-4 worked and was well received; even today it is considered a workhorse of the industry. In fact, the success of the MSL-4 outstripped Meyer Sound's expectations, and the company soon began converting all of its products to be self-powered.
However, the challenges of making a system like the MSL-4 were considerable and, initially, some were skeptical of its practicality. Consequently, Meyer Sound stood alone in the marketplace with its self-powered systems for nearly five years before any other manufacturers took a serious stab at the technology. Even then, others have been slow to take the leap, while Meyer Sound has perfected self-powering and made converts to it around the world.
The MSL-4's cabinet design was the subject of a design patent.
Anechoic chamber built at Meyer Sound
Meyer Sound has always engaged in extensive measurement as a foundation for its R&D. For years, loudspeaker testing was done primarily in the parking lot adjoining the company's location on busy San Pablo Avenue in Berkeley. There were occasional disagreements with the neighbors on that score, and, besides, there was a limit to the precision of measurement that could be attained. (The paint marks denoting measurement angles are still visible in the parking lot.)
John Meyer decided that the needs of the research he wanted to do required that the company have its own anechoic chamber. The chamber was built in a shed that formerly housed an old gas station, a building-within-a-building. As private anechoic chambers go, Meyer Sound's is fairly large, with anechoic response allowing measurements down as low as 80 Hz.
The room is dominated by a large mechanical arm used to hold and rotate loudspeakers in fine increments for measurements such as those done to create loudspeaker models for the MAPP Online Pro acoustical prediction program. The arm was purchased from a Colorado company that makes rotation mechanisms for astronomical observatories, the only place John Meyer could find a company accustomed to making large mechanisms that could move, under program control, in small increments with high precision. Of course, the mechanism was highly customized for Meyer Sound's needs.
The first big payoff for all the investment came in the development of new horns for the CQ series of loudspeakers. The anechoic chamber is now heavily used in development, and is the location of nearly all data acquisition for the MAPP Online Pro acoustical prediction program.
John Meyer decided that the needs of the research he wanted to do required that the company have its own anechoic chamber. The chamber was built in a shed that formerly housed an old gas station, a building-within-a-building. As private anechoic chambers go, Meyer Sound's is fairly large, with anechoic response allowing measurements down as low as 80 Hz.
The room is dominated by a large mechanical arm used to hold and rotate loudspeakers in fine increments for measurements such as those done to create loudspeaker models for the MAPP Online Pro acoustical prediction program. The arm was purchased from a Colorado company that makes rotation mechanisms for astronomical observatories, the only place John Meyer could find a company accustomed to making large mechanisms that could move, under program control, in small increments with high precision. Of course, the mechanism was highly customized for Meyer Sound's needs.
The first big payoff for all the investment came in the development of new horns for the CQ series of loudspeakers. The anechoic chamber is now heavily used in development, and is the location of nearly all data acquisition for the MAPP Online Pro acoustical prediction program.
1994
HD-1 Two-Way Loudspeaker Updated : Correction Circuit & Method for Improving the Transient Behavior of a Two-Way Loudspeaker System
Method and Circuit for Improving the Polar Response of a Two-Way, Horn-Loaded Loudspeaker System
This patent concerned a system first used to establish a common, fixed acoustical center for the high- and low-frequency drivers in the UPA-1P and UPA-2P.
1992
SIM II receives R&D 100 Award from R&D Magazine
Awarded annually by R&D Magazine since 1963, the prestigious R&D 100 recognizes the 100 most significant technological achievements of the year worldwide in a variety of disciplines. Entries are judged by the editors of R&D Magazine and a panel of experts from various universities and scientific labs including MIT, NASA Lewis Research Center, Lawrence Livermore Labs and Ames Lab. Competitors for an award usually include industrial giants like Dow Chemical and Matsushita, as well as government laboratories such as the Lawrence Berkeley Laboratory.
In 1992, on the 30th anniversary of the R&D awards, Meyer Sound Laboratories received an award for the SIM System II acoustic test and measurement system. Recognition for Meyer Sound, then still a small professional audio company, was a heady accomplishment and validation for John Meyer's vision.
In 1992, on the 30th anniversary of the R&D awards, Meyer Sound Laboratories received an award for the SIM System II acoustic test and measurement system. Recognition for Meyer Sound, then still a small professional audio company, was a heady accomplishment and validation for John Meyer's vision.
1991
Correction Circuit and Method for Improving the Transient Behavior of a Two-Way Loudspeaker System
These two closely related patents describe technology that enables a two-way loudspeaker system to approach the theoretical ideal of a single point source by resolving problems the existing literature had essentially declared insoluble. The first patent deals with direct radiating systems, and covers technology incorporated in the HD-1. The second patent (applied for in 1993, two years after the first) deals with specifics related to horn-loaded systems, and defined technology soon to be incorporated into the company's self-powered series of sound reinforcement products.
SIM system II FFT analyzer
SIM System II FFT analyzer released
The introduction of the original SIM system changed the face of audio measurement by employing source independent measurement, which provided much more meaningful analysis than real-time analyzers. However, the first SIM system was built around a Bruel & Kjaer dual FFT analyzer that was not entirely optimized for the job. SIM II, built from the ground up to do source independent measurement for audio, was a huge step forward, offering three DSP engines to provide three simultaneous transfer functions, multichannel operation, constant-Q FFTs, and many other advances.
The magnitude of this breakthrough was recognized when SIM II was presented an R&D 100 Award in 1992.
The introduction of the original SIM system changed the face of audio measurement by employing source independent measurement, which provided much more meaningful analysis than real-time analyzers. However, the first SIM system was built around a Bruel & Kjaer dual FFT analyzer that was not entirely optimized for the job. SIM II, built from the ground up to do source independent measurement for audio, was a huge step forward, offering three DSP engines to provide three simultaneous transfer functions, multichannel operation, constant-Q FFTs, and many other advances.
The magnitude of this breakthrough was recognized when SIM II was presented an R&D 100 Award in 1992.
1990
Improved Ohmically Isolated Input Circuit
HD-1 receives a TEC Award for Outstanding Technical Achievement, Transducer Technology
It didn't take long for the HD-1 to have an impact. The first time it was shown publicly, at the AES convention, Hundreds of orders were placed during its first public showing at 87th AES convention in New York. There was no surprise when the HD-1 was nominated for, and won, a TEC Award, which was presented during the 89th AES in Los Angeles.
This award was Meyer Sound's second TEC. In this year, the Mix Foundation, a non-profit organization, was set up and took over the TEC Awards
This award was Meyer Sound's second TEC. In this year, the Mix Foundation, a non-profit organization, was set up and took over the TEC Awards
1989
HD-1 high definition audio monitor
The HD-1 marked a revolution in the field of studio monitoring. The first two-way device capable of an almost ideal impulse response — free from the phase distortions typical of conventional two-way systems — the HD-1 was also the company's first truly self-powered product, as the engineering team quickly realized that their ambitious design goals could be met only by creating an integrated system with all variables taken into account. With its unprecedented resolution of musical detail, the HD-1 quickly won worldwide acceptance among leading record producers, studio engineers, mastering engineers, and recording artists.
The HD-1 was never even intended to be a product; it was designed to be an in-house test source for evaluating microphones. However, in one of audio's many legendary twists of fate, Grammy-winning engineer Roger Nichols (famed for his long association with Steely Dan, among others) visited the Meyer Sound factory, happened to hear the prototype, and relentlessly implored John Meyer to make and loan him a pair to use mixing Rickie Lee Jones's Flying Cowboys album. Things took off from there. Well over 15 years later, orders continue to be filled for the HD-1.
The HD-1 was never even intended to be a product; it was designed to be an in-house test source for evaluating microphones. However, in one of audio's many legendary twists of fate, Grammy-winning engineer Roger Nichols (famed for his long association with Steely Dan, among others) visited the Meyer Sound factory, happened to hear the prototype, and relentlessly implored John Meyer to make and loan him a pair to use mixing Rickie Lee Jones's Flying Cowboys album. Things took off from there. Well over 15 years later, orders continue to be filled for the HD-1.
1988
Ohmically Isolated Input Circuit
Analog audio inputs and outputs using three-pin XLR connectors have long suffered from inconsistency between manufacturers in both wiring of connectors and in input and output circuitry. As a result, miswiring has been a constant problem that creates gain problems, AC power buzzes, and even cancellations.
Originally developed to allow a SIM audio analyzer to be inserted into a sound system without deleterious effects, this patent is for an input circuit designed to avoid the injection of AC noise and provide the same gain no matter how the output feeding it is wired. The key to the circuit is that two transformers are employed in a serial, "hum-bucking" fashion such that any two of the three input pins will properly couple through one or both transformers without gain change while rejecting common-mode signals. Further, current transformers are used, rather than voltage transformers, so that the signal level passing through the transformers never reaches levels where common problems like eddy currents, ringing, phase shift, and hysteresis are encountered.
The second patent describes an improved version of this circuit that uses a single, center-tapped transformer in place of the matched pair of transformers.
Originally developed to allow a SIM audio analyzer to be inserted into a sound system without deleterious effects, this patent is for an input circuit designed to avoid the injection of AC noise and provide the same gain no matter how the output feeding it is wired. The key to the circuit is that two transformers are employed in a serial, "hum-bucking" fashion such that any two of the three input pins will properly couple through one or both transformers without gain change while rejecting common-mode signals. Further, current transformers are used, rather than voltage transformers, so that the signal level passing through the transformers never reaches levels where common problems like eddy currents, ringing, phase shift, and hysteresis are encountered.
The second patent describes an improved version of this circuit that uses a single, center-tapped transformer in place of the matched pair of transformers.
Circuit and Method for Correcting Distortion in a Digital Audio System
Many early digital recording systems, notably the Sony PCM-F1, used high-order "brick wall" filters to prevent aliasing. Unfortunately, these filters introduced delay that varied with frequency, resulting in considerable phase distortion. This patent introduced a circuit to correct these phase anomalies and obtain a relatively constant group delay. The underlying technology behind the patent emerged from Meyer Sound's ongoing research into advanced phase correction circuits for what would become the HD-1 high-definition audio monitor.
1986
SIM receives MIX Magazine's TEC Award for Outstanding Technical Achievement, Acoustics Technology
The TEC Awards were created by the publishers of MIX Magazine in 1985 to recognize the contributions of audio professionals, not just for creative achievements like best engineering for an album recording, but also for product design. The award for SIM was Meyer Sound's first. Nearly every year has seen Meyer Sound nominated for a TEC Award, sometimes for more than one.
First Meyer Sound sponsorship of Montreux Jazz Festival
Claude Nobs had been a music promoter in Switzerland in the '60s. In 1966, he founded the Montreux Jazz Festival, which grew to become one of the world's largest and most prestigious music festivals. Nobs heard of the work John Meyer was doing at the Institute for Advanced Musical Studies and was bowled over by what he heard when Meyer played him a prototype loudspeaker that was in development. Nobs resolved right then that he and the Meyers would work together at some point.
By 1986, the festival was firmly established, growing steadily, and in need of better sound, so Nobs called the Meyers, who had established Meyer Sound by that time. The opportunity to help out an old friend and be the official sound sponsor for a well-respected, high-profile festival combined with the chance to try out new products in the field with a broad range of musical styles to make for an irresistible opportunity. So began the relationship between Meyer Sound and the festival, which continues to this day.
By 1986, the festival was firmly established, growing steadily, and in need of better sound, so Nobs called the Meyers, who had established Meyer Sound by that time. The opportunity to help out an old friend and be the official sound sponsor for a well-respected, high-profile festival combined with the chance to try out new products in the field with a broad range of musical styles to make for an irresistible opportunity. So began the relationship between Meyer Sound and the festival, which continues to this day.
Loudspeaker Enclosure: 833 studio monitor
The 833 Studio Reference Monitor system was the next step in studio monitors after the ACD monitor Meyer Sound made in the company's earliest days. The 833 utilized dedicated control electronics and advanced horn design to achieve an extremely wide dynamic range, low distortion and controlled directivity. This patent is a design patent on the shape of the 833 cabinet.
1985
John Meyer named a Fellow of the Audio Engineering Society
The Audio Engineering Society Fellowship Award is given to a member who has rendered conspicuous service or is recognized to have made a valuable contribution to the advancement in or dissemination of knowledge of audio engineering or in the promotion of its application in practice.
1984
CP-10 complementary phase parametric equalizer
The CP-10 was developed for use in conjunction with the first SIM analyzer. It was notable in that it can be set to mirror room resonance effects, providing correction for both magnitude and phase effects. The CP-10 created controversy when it was introduced, as a signal passed through two CP-10s, with the second set exactly the inverse of the first, resulted in a net phase shift of zero degrees. Some initially were reluctant to accept this measurable result because it seemed to contradict intuition. In any event, the CP-10 became one of the best respected parametric equalizers on the market.
First SIM analyzer: introduction of source independent measurement
Developed for live sound and test measurement applications, the first SIM system utilized a PC controlling a dual FFT analyzer to perform highly accurate measurement of loudspeaker systems in acoustic environments. It was widely hailed as a revolution in measurement systems, because, being comparative in nature, it allowed engineers to use, for the first time, program material — the music of a performance — as a test signal, instead of noise or tones. This meant that an engineer could continue performing system optimization throughout the event, accounting for changing acoustic conditions due to the effects of temperature, humidity and the presence of the audience.
Being an entirely new measurement method, Meyer Sound gave some training classes that proved to be the beginning of what became the company's ongoing worldwide seminar series today.
Being an entirely new measurement method, Meyer Sound gave some training classes that proved to be the beginning of what became the company's ongoing worldwide seminar series today.
1983
Meyer Sound moves to current Berkeley location
Meyer Sound started life in an industrial strip mall in San Leandro, Calif., just a few miles south of Berkeley. By late 1983, the company had outgrown the small facility. In December, Meyer Sound moved to 2832 San Pablo Avenue in Berkeley. For many years, that building housed the entire company, but today it holds only the headquarters offices and the Pearson Theatre, while engineering and production have spread into six other buildings in the area.
833 studio reference monitor
Meyer Sound was formed, in part, to market the ACD studio monitor system John Meyer had developed in Switzerland. The 833 was the first studio monitor designed and manufactured at Meyer Sound. Although it came with control electronics, it was not self-powered, in fact, issues surrounding proper amplification of the 833 provided more motivation for pursuing John Meyer's vision for self-powered systems. A companion subwoofer, the 834, was also built. The 833 became a standard large-format studio monitor and many pairs remain in active use today.
1981
Trapezoidal Loudspeaker Cabinet
John Meyer had noticed during his time at McCune Sound that the sound quality of the JM3 loudspeaker system he had designed for McCune started to go down as more cabinets were added. Why? After substantial thinking and research, he determined that there were uncontrolled interactions between cabinets at work. Meyer created the trapezoidal cabinet to facilitate precise configuration of loudspeakers into horizontal arrays with an implied point source behind them. (The cabinet shape does not impact the loudspeaker's radiation pattern, but it gives more flexibility in cabinet placement and angling.) The arrayable, trapezoidal loudspeaker cabinet was a unique concept that first appeared in the Meyer Sound UPA-1 and was granted a U.S. design patent (D271,967). It soon became widely copied and is now nearly ubiquitous.
650-R2 subwoofer
The 650-R2 was the next step in the evolution of the 650 subwoofer John Meyer had built for Francis Ford Coppola's "Apocalypse Now." The 650-R2 added a second 18-inch driver and extended response down to 30 Hz. The 650-R2 had much higher output than previous subwoofers at very low distortion. Grateful Dead bassist Phil Lesh immediately seized on the 650-R2 and made it a staple of his rig for years.
MSL-3 reinforcement loudspeaker
The MSL-10 established John Meyer's ability to make large-scale loudspeaker systems capable of low distortion, flat response, and high-output. The MSL-3 grew out of the MSL-10 and represented, in essence, an MSL-10 "slice." Because it was smaller, it could be arrayed with greater versatility. The MSL-3 also held up under tough conditions and over long periods of time: the London production of Cats used the same MSL-3s for more than 20 years! The MSL-3 became a major success, for years representing the ultimate in high-level sound reinforcement loudspeakers. Hundreds of MSL-3 cabinets are still in active use to this day.
1980
UPA-1 compact wide coverage loudspeaker
The release of the UPA-1 was a milestone for sound reinforcement in general, as well as for Meyer Sound specifically. A repackaging of the technology used in the UM-1 UltraMonitor, the UPA-1 offered several advances that could fairly be termed revolutionary. For a start, it featured a high-frequency section that fully incorporated John Meyer's method of reducing distortion by balancing non-linearities of the compression driver and horn against each other, accommodating the driver's natural behavior instead of generating distortion by trying to force it into different behavior.
Second, the UPA-1 was used with a dedicated CEU. Although the UM-1 also had a CEU, the UPA-1, which was only a year behind the UM-1, created a sensation with its performance, legitimizing for many the idea of dedicated loudspeaker processing.
Finally, there was the UPA-1's trapezoidal cabinet shape. John Meyer was espousing the benefits of point-source arrays, which were not possible to achieve with rectangular boxes. The UPA-1s trapezoidal shape allowed it to be tight-packed or splayed, but to behave as if there was a sound source emanating from behind the cabinets.
With its high output, low distortion, and small footprint, the UPA-1 had exceptionally broad applications, causing it to be widely embraced, but the theatre world, in particular, immediately began making the UPA-1 — which had been designed in part for the needs of Abe Jacobs, dean of Broadway sound designers — into a standard part of theatrical sound systems.
Second, the UPA-1 was used with a dedicated CEU. Although the UM-1 also had a CEU, the UPA-1, which was only a year behind the UM-1, created a sensation with its performance, legitimizing for many the idea of dedicated loudspeaker processing.
Finally, there was the UPA-1's trapezoidal cabinet shape. John Meyer was espousing the benefits of point-source arrays, which were not possible to achieve with rectangular boxes. The UPA-1s trapezoidal shape allowed it to be tight-packed or splayed, but to behave as if there was a sound source emanating from behind the cabinets.
With its high output, low distortion, and small footprint, the UPA-1 had exceptionally broad applications, causing it to be widely embraced, but the theatre world, in particular, immediately began making the UPA-1 — which had been designed in part for the needs of Abe Jacobs, dean of Broadway sound designers — into a standard part of theatrical sound systems.
MSL-10 loudspeaker
The MSL-10 improved on the design John Meyer had employed to build the JM10 for McCune Sound. The JM10 had been the first large-scale arrayable loudspeaker and had seen use by the Grateful Dead and others. The MSL-10 actually was created for an installation at the Oakland Coliseum, where high-quality sound was desired so that the audience and players could both clearly hear the system.
The MSL-10 was a high-power, high-Q system, powered by its own MS-10 amplifiers and M-10A controller, that provided 30-degree sections that could be combined into arrays to cover areas as wide as needed. One of the design goals was to prove the validity of the architecture, then create a product that broke the MSL-10 into smaller "chunks" that could be arrayed more flexibly. That product turned out to be the MSL-3
The MSL-10 was a high-power, high-Q system, powered by its own MS-10 amplifiers and M-10A controller, that provided 30-degree sections that could be combined into arrays to cover areas as wide as needed. One of the design goals was to prove the validity of the architecture, then create a product that broke the MSL-10 into smaller "chunks" that could be arrayed more flexibly. That product turned out to be the MSL-3
1979
UM-1 UltraMonitor
The UltraMonitor came about when Jefferson Starship and Hot Tuna sound engineer Owsley "Bear" Stanley beseeched John Meyer for a stage monitor with the clarity of the Meyer/ACD studio monitor but more power. Meyer designed the UM-1 and the first cabinets were built by Don Pearson in the shop of his young sound company, Ultra Sound. This was the beginning of an association between Don Pearson and Meyer Sound that ended up with him joining Meyer Sound's staff as an instructor for the last year and a half of his life.
The release of the UltraMonitor marked the first time a commercially available loudspeaker was accompanied by a dedicated processor, the Control Electronics Unit, or CEU
The release of the UltraMonitor marked the first time a commercially available loudspeaker was accompanied by a dedicated processor, the Control Electronics Unit, or CEU
Dedicated loudspeaker processor
A revolutionary concept when it first appeared, the Meyer Sound Control Electronics Unit (CEU) combined an active crossover circuit, frequency and phase response alignment, and protection circuits. Optimized for specific speakers, each CEU improved the overall performance and extended component life. The first CEU accompanied subwoofers designed for the 70mm release of Francis Ford Coppola's now-classic Vietnam epic, "Apocalypse Now."
The second CEU, for the UM-1 UltraMonitor, enabled the two-way stage monitor to generate extremely high output levels with low distortion, extended frequency response and unprecedented gain before feedback.
The second CEU, for the UM-1 UltraMonitor, enabled the two-way stage monitor to generate extremely high output levels with low distortion, extended frequency response and unprecedented gain before feedback.
650 subwoofer created for “Apocalypse Now”
Francis Ford Coppola wanted his epic movie "Apocalypse Now" to have the most impressive, impactful sound ever heard in a movie. To that end, in its initial release, the film toured with a custom quadraphonic sound system. One of Coppola's concerns was that the napalm explosions in the "Ride of the Valkyries" helicopter attack scene be bone-rattlingly real. John Meyer's involvement began at a Berkeley demonstration of the ACD studio monitor, at which he was showing a subwoofer that had been designed to go with the ACD. Impressed by the demo,engineer Tom Scott from Coppola's Zoetrope studio approached Meyer and asked if he could create a subwoofer for Apolcaypse. Meyer created the 650 subwoofer, containing a single 18-inch driver in a sixth-order cabinet with low-distortion response down to 30 Hz, to satisfy Coppola's need.
After one tour of the 70 mm print, however, Apocalypse went to a 35 mm release, which did not seem to present as strong a demand for a subwoofer. Meyer then showed the 650 to bassist Phil Lesh of the Grateful Dead, who immediately took an interest. Eventually, a second driver was added because the single driver had a high failure rate and the 650-R2 was born. The 650-R2 lasted until self-powering was added to make the 650-P. The 650 lineage is one of the most distinguished in the history of low-frequency reproduction.
After one tour of the 70 mm print, however, Apocalypse went to a 35 mm release, which did not seem to present as strong a demand for a subwoofer. Meyer then showed the 650 to bassist Phil Lesh of the Grateful Dead, who immediately took an interest. Eventually, a second driver was added because the single driver had a high failure rate and the 650-R2 was born. The 650-R2 lasted until self-powering was added to make the 650-P. The 650 lineage is one of the most distinguished in the history of low-frequency reproduction.
Horn Speaker and Method for Producing Low Distortion Sound
The company's first patent, issued only weeks after the Meyer Sound's founding, was the result of John Meyer's pioneering research into sources of non-linearity in horn loudspeakers. Much of this work was done during the 1970s, when Meyer was director of the Acoustics Laboratory at the Institute for Advanced Musical Studies in Switzerland. The patent describes a method for reducing distortion by a factor of ten, and was first applied to horns in the UM-1 (1979) and UPA-1 (1980)
Meyer/ACD studio monitor
After returning from Switzerland to the U.S., John Meyer was contacted by Jean-Pierre Mamin, who had worked with him at the Institute for Advanced Musical Studies. Mamin (who was also key in helping Meyer Sound get started and remains a close Meyer Sound associate) was working for a company called ACD that wanted John Meyer to build a loudspeaker for use in European discos. Meyer began a search for a driver with high linearity; a difficult property to achieve. Finally, he stumbled across one from a small Swiss company and used it to design the system for ACD.
Unfortunately, the U.S. dollar fell against the Swiss franc while this was happening and the loudspeaker he'd designed suddenly became too expensive to make for use in discos, so Meyer decided to build a studio monitor with the driver instead. Thus, the Meyer/ACD studio monitor came into being.
The ACD was a proto-self-powered system, in that it included a rack with an amplifier and processing electronics. In 1979, Meyer Sound was founded to distribute the ACD, but the price, $15,000, was extremely high for 1979, and it was difficult to sell many of them.
The ACD nonetheless accomplished two important things: first, it raised the bar for distortion and flat response in studio monitors, second, it attracted attention, which led to involvement in Francis Ford Coppola's film, Apocalypse Now, and evolution of the Meyer/ACD design into both the UltraMonitor and the UPA-1.
Unfortunately, the U.S. dollar fell against the Swiss franc while this was happening and the loudspeaker he'd designed suddenly became too expensive to make for use in discos, so Meyer decided to build a studio monitor with the driver instead. Thus, the Meyer/ACD studio monitor came into being.
The ACD was a proto-self-powered system, in that it included a rack with an amplifier and processing electronics. In 1979, Meyer Sound was founded to distribute the ACD, but the price, $15,000, was extremely high for 1979, and it was difficult to sell many of them.
The ACD nonetheless accomplished two important things: first, it raised the bar for distortion and flat response in studio monitors, second, it attracted attention, which led to involvement in Francis Ford Coppola's film, Apocalypse Now, and evolution of the Meyer/ACD design into both the UltraMonitor and the UPA-1.
Meyer Sound is founded
John Meyer had already started one loudspeaker company (Glyph), designed loudspeaker systems for McCune Sound Service (now McCune Audio/Video/Lighting), and founded an acoustics laboratory at Switzerland's Institute for Advanced Musical Studies. Having returned to the U.S. and spent a few years designing the JM10 for McCune and working on other projects, Meyer had designed the Meyer/ACD studio monitor for a Swiss company. Meyer Sound is formed to be the exclusive U.S. distributor for the Meyer/ACD system. Founded by John and Helen Meyer the day before Valentine's Day, the new company begins operations in a small industrial park in San Leandro, Calif., just a few miles from its current location.
1975
John Meyer creates JM10 system for McCune Sound Service
After closure of the Institute for Advanced Musical Studies in Switzerland, John and Helen Meyer returned to the U.S., where John resumed working with McCune Sound Service in San Francisco. Picking up where he had left off but using what he had learned in Switzerland, Meyer designed the JM10, a large-scale arrayable full-range loudspeaker system. McCune used the JM10 for many years, and several years later, after founding Meyer Sound, Meyer used it as the basis for the design of the MSL-10 loudspeaker.
1973
John Meyer goes to Institute for Advanced Musical Studies
John Meyer was established as a groundbreaking loudspeaker designer by 1973. In that year, he was offered the opportunity to found an acoustics laboratory at the Institute for Advanced Musical Studies in Montreux, Switzerland. The time Meyer spent there was quite fertile. He pursued a search to find a driver with high linearity, finally locating one. He also developed new ideas about reducing distortion in horns that led to Meyer Sound's first patent. These ideas and others came together in the design he created for the Meyer/ACD studio monitor. John and Helen Meyer also met Montreux Jazz Festival founder Claude Nobs at this time, a friendship that led to Meyer Sound sponsoring sound systems for the festival from 1986 to the present.
In 1974, economic conditions changed and the institute was forced to close.
In 1974, economic conditions changed and the institute was forced to close.
1970
John Meyer becomes a loudspeaker designer at McCune Sound Service
The quadraphonic Glyph sound system built by John Meyer and installed at the San Rafael, Calif., nightclub called Pepperland was unique. Audiences took note of it, as did the bands that played there. McCune Sound Service, a local sound rental company, also took notice of it.
At that time, there were no off-the-shelf loudspeakers manufactured for professional sound reinforcement. In fact, the need for such systems had just started to manifest itself in the last five years or so with the rise of the Beatles and large rock and roll concerts. Sound companies like McCune had to design and build their own equipment.
The Glyph system created enough of an impression that McCune offered Meyer a job designing loudspeakers for them. This turned out to be a fruitful relationship that produced the JM3 and JM10 systems and served as a platform for John Meyer to explore the ideas that he later brought to maturity at Meyer Sound.
At that time, there were no off-the-shelf loudspeakers manufactured for professional sound reinforcement. In fact, the need for such systems had just started to manifest itself in the last five years or so with the rise of the Beatles and large rock and roll concerts. Sound companies like McCune had to design and build their own equipment.
The Glyph system created enough of an impression that McCune offered Meyer a job designing loudspeakers for them. This turned out to be a fruitful relationship that produced the JM3 and JM10 systems and served as a platform for John Meyer to explore the ideas that he later brought to maturity at Meyer Sound.
1969
Quadraphonic Glyph system installed at Pepperland
In 1969, a quadraphonic Glyph system was installed at Pepperland, a nightclub in San Rafael, Calif,, in Marin County, just over the Golden Gate Bridge from San Francisco. In its short (18 months or so) existence, Pepperland saw concerts from all of the great bands of the day, who inevitably took notice of the unusually clean and loud sound coming from the odd-looking loudspeakers.
John Meyer founds Glyph Sound Systems
After Monterey Pop, John Meyer became increasingly interested in loudspeaker design, especially in the problem that no existing loudspeakers were capable of the high-power demands bands of the late 1960s were presenting. In 1969, Meyer designed a very unusual-looking system that reproduced bass frequencies with either a 4-foot by 4-foot horn and a 14-inch diaphragm driver (the MN50 with M driver) or an 8-foot-by-8-foot fiberglass horn with a 28-inch diaphragm driver. Either could be topped by a tweeter. For all the strangeness of its appearance, the new speaker, called "the Glyph," exhibited lower distortion than other systems of the day.
Glyph Sound Systems was based on Sixth Street in Berkeley, less than a mile from Meyer Sound today. Stewart Brand featured a photo of the Glyph in The Last Whole Earth Catalog, with a caption that read, in part, "The first loud sound I've heard that didn't make me want to run. I wanted to stay and shake."
Glyph Sound Systems was based on Sixth Street in Berkeley, less than a mile from Meyer Sound today. Stewart Brand featured a photo of the Glyph in The Last Whole Earth Catalog, with a caption that read, in part, "The first loud sound I've heard that didn't make me want to run. I wanted to stay and shake."
1967
John Meyer assembles system for Steve Miller at Monterey Pop Festival
In 1967, John Meyer was working at Berkeley Custom Audio, an audiophile shop in Berkeley, Calif., when a young Steve Miller came in. Miller's band was slated to play the upcoming Monterey Pop Festival and Miller, who has always been very audio-aware, wanted a better-sounding system for his bassist, Lonnie Turner. Meyer put together a horn-loaded system out of Klipsch La Scala loudspeakers, launching him on the road that would lead to Meyer Sound. Meyer and Miller remain friends to this day.
Meyer Sound Patents
From its beginning, Meyer Sound has been known as a leading innovator in performance audio products. Our list of industry firsts includes trapezoidal cabinets, dedicated loudspeaker processors, self-powered loudspeakers, source independent measurement, parabolic long-throw transducers, cardioid subwoofers, the REM manifold, Internet-enabled acoustical prediction, and more.
The technology underlying such innovations can be traced through the course of our patent history. Patents have played an important role at Meyer Sound since the company was established in 1979. Our first U.S. patent (4,152,552) was granted within weeks of the time we opened for business, and has served as a technological foundation for product development ever since.
To be valid, any claim for an intellectual (technically, “utility”) patent must mark a departure in thinking from what is generally accepted and known in the trade. But you don't have to actually make a functional device - or make anything at all, for that matter - in order to patent your idea.
At Meyer Sound, however, all our patents have been incorporated into products in some way, with tangible benefits for the professional audio community. In one sense, we use the patenting process as a framework to transform fledgling concepts into effective products. Seeking a patent disciplines our engineering team by making us more careful and thorough in our work.
Although Meyer Sound’s patent history includes several milestones in audio engineering, it doesn't tell the whole story. We haven’t sought patents on all of our new ideas. Instead we have focused our patent applications on those key concepts that define our distinctive approach to sound reproduction technology.
Patent No. / Title
Date Issued
D864,911
Arrayable loudspeaker
Arrayable loudspeaker
Oct 29, 2019
Inventors
Pablo Espinosa; Katrin Rawks; Jon M. Arneson; Michael Schneider; Paul Bunning
File Date
Jun 12, 2017Issue Date
Oct 29, 2019Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| JAPAN | 12/12/2017 | 10/26/2018 | 1618296 |
| SOUTH KOREA | 12/12/2017 | 02/21/2019 | 30-0995433 |
D864,912
Arrayable loudspeaker
Arrayable loudspeaker
Oct 29, 2019
Inventors
Pablo Espinosa; Katrin Rawks; Jon M. Arneson; Michael Schneider; Paul Bunning
File Date
Jun 12, 2017Issue Date
Oct 29, 2019Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| JAPAN | 12/12/2017 | 11/30/2018 | 1620892 |
| SOUTH KOREA | 12/12/2017 | 02/21/2019 | 30-0995435 |
10,375,484
Hearing aid having level and frequency-dependent gain
Hearing aid having level and frequency-dependent gain
Aug 6, 2019
Inventors
John D. Meyer; Toban A. Szuts
File Date
Sep 11, 2015Issue Date
Aug 6, 2019Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| SWITZERLAND | 08/14/2013 | 03/06/2019 | 2885872 |
| GERMANY | 08/14/2013 | 03/06/2019 | 2885872 |
| DENMARK | 08/14/2013 | 03/06/2019 | 2885872 |
| SPAIN | 08/14/2013 | 03/06/2019 | 2885872 |
| FRANCE | 08/14/2013 | 03/06/2019 | 2885872 |
| UNITED KINGDOM | 08/14/2013 | 03/06/2019 | 2885872 |
| ITALY | 08/14/2013 | 03/06/2019 | 502019000036366 |
| NETHERLANDS | 08/14/2013 | 03/06/2019 | 2885872 |
| NORWAY | 08/14/2013 | 03/06/2019 | 2885872 |
| SWEDEN | 08/14/2013 | 03/06/2019 | 2885872 |
| UNITED STATES | 08/14/2013 | 10/06/2015 | 9,154,889 |
| UNITED STATES | 08/31/2017 | 05/21/2019 | 10,299,047 |
10,015,583
Arrayable loudspeaker with constant wide beamwidth
Arrayable loudspeaker with constant wide beamwidth
Jul 3, 2018
Inventors
Jon M. Arneson; Katrin Rawks; Pablo Espinosa
File Date
Apr 14, 2016Issue Date
Jul 3, 20189,992,573
Phase inversion filter for correcting low frequency phase distortion in a loudspeaker system
Phase inversion filter for correcting low frequency phase distortion in a loudspeaker system
Jun 5, 2018
Inventors
Perrin Meyer; John D. Meyer
File Date
Oct 28, 2014Issue Date
Jun 5, 20189,769,575
Magnitude and phase correction of a hearing device
Magnitude and phase correction of a hearing device
Sep 19, 2017
Inventors
John D. Meyer; Toban A. Szuts; Perrin Meyer; Roger Schwenke
File Date
Jul 7, 2016Issue Date
Sep 19, 2017Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| UNITED STATES | 11/24/2014 | 07/12/2016 | 9,392,366 |
9,722,560
Filter with independently adjustable band gain and break point slopes and method of constructing same
Filter with independently adjustable band gain and break point slopes and method of constructing same
Aug 1, 2017
Inventors
David Lorente; Todd Meier; Perrin Meyer; Luke Jenks
File Date
May 31, 2014Issue Date
Aug 1, 2017D771,585
Loudspeaker
Loudspeaker
Nov 15, 2016
Inventors
Pablo Espinosa; Paul Bunning; John McGhee; Michael Schneider
File Date
Mar 18, 2015Issue Date
Nov 15, 2016Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| CANADA | 09/16/2015 | 04/12/2016 | 164384 |
| CHINA | 09/18/2015 | 05/18/2016 | ZL201530362256.2 |
| SOUTH KOREA | 09/17/2015 | 07/15/2016 | 30-0864853 |
| REGISTERED COMMUNITY DESIGN | 09/17/2015 | 09/17/2015 | 002774000-0001/000 |
D771,018
Loudspeaker
Loudspeaker
Nov 8, 2016
Inventors
Pablo Espinosa; Michael Schneider; Paul Bunning; Jon M. Arneson
File Date
Sep 2, 2015Issue Date
Nov 8, 2016D760,696
Loudspeaker
Loudspeaker
Jul 5, 2016
Inventors
Pablo Espinosa; Michael Schneider; Paul Bunning; Jon M. Arneson; Katrin M. Rawks
File Date
Sep 2, 2015Issue Date
Jul 5, 2016D760,192
Arrayable loudspeaker
Arrayable loudspeaker
Jun 28, 2016
Inventors
Pablo Espinosa; Jon M. Arneson; Katrin Rawks; Michael Schneider; Paul Bunning
File Date
Apr 14, 2015Issue Date
Jun 28, 2016D759,631
Loudspeaker
Loudspeaker
Jun 21, 2016
Inventors
Pablo Espinosa; Michael Schneider; Paul Bunning; Jon M. Arneson; Katrin M. Rawks
File Date
Sep 2, 2015Issue Date
Jun 21, 2016Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| CHINA | 03/02/2016 | 11/23/2016 | ZL201630057583.1 |
| SOUTH KOREA | 03/02/2016 | 01/06/2017 | 30-0890083 |
| REGISTERED COMMUNITY DESIGN | 03/01/2016 | 03/01/2016 | 003008465-0001 |
9,368,101
Dynamic acoustic control system and method for hospitality spaces
Dynamic acoustic control system and method for hospitality spaces
Jun 14, 2016
Inventors
John D. Meyer; Pierre Germain; Roger Schwenke
File Date
Oct 17, 2013Issue Date
Jun 14, 20169,124,969
Loudspeaker rigging system having upwardly extending connecting links
Loudspeaker rigging system having upwardly extending connecting links
Sep 1, 2015
Inventors
John McGhee; Alejandro Garcia Rubio; Pablo Espinosa
File Date
Aug 16, 2012Issue Date
Sep 1, 2015Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| BELGIUM | 08/16/2012 | 11/02/2016 | 2744370 |
| CANADA | 08/16/2012 | 10/23/2018 | 2,845,595 |
| SWITZERLAND | 08/16/2012 | 11/02/2016 | 2744370 |
| CHINA | 08/16/2012 | 07/06/2016 | ZL201280050677.5 |
| GERMANY | 08/16/2012 | 11/02/2016 | 2744370 |
| DENMARK | 08/16/2012 | 11/02/2016 | 2744370 |
| SPAIN | 08/16/2012 | 11/02/2016 | 2744370 |
| FRANCE | 08/16/2012 | 11/02/2016 | 2744370 |
| UNITED KINGDOM | 08/16/2012 | 11/02/2016 | 2744370 |
| HONG KONG | 08/16/2012 | 06/09/2017 | HK1196234 |
| IRELAND | 08/16/2012 | 11/02/2016 | 2744370 |
| JAPAN | 08/16/2012 | 09/02/2016 | 5998219 |
| LUXEMBOURG | 08/16/2012 | 11/02/2016 | 2744370 |
| NETHERLANDS | 08/16/2012 | 11/02/2016 | 2744370 |
| NORWAY | 08/16/2012 | 11/02/2016 | 2744370 |
| SWEDEN | 08/16/2012 | 11/02/2016 | 2744370 |
9,057,191
Acoustically absorptive panel
Acoustically absorptive panel
Jun 16, 2015
Inventors
John D. Meyer; Helen Meyer; Marcy Wong; Deborah Lynne O'Grady; Pierre Germain
File Date
Jan 28, 2014Issue Date
Jun 16, 2015Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| UNITED STATES | 05/11/2012 | 01/28/2014 | 8,636,104 |
8,699,737
Cooling system for loudspeaker transducers
Cooling system for loudspeaker transducers
Apr 15, 2014
Inventor
Jean-Pierre Mamin
File Date
May 4, 2007Issue Date
Apr 15, 20148,687,822
Filtering system for equalizing a loudspeaker system
Filtering system for equalizing a loudspeaker system
Apr 1, 2014
Inventor
Perrin Meyer, Pablo Espinosa, John D. Meyer, Paul Kohut
File Date
Jan 12, 2006Issue Date
Apr 1, 20148,600,097
Integrated rigging system for loudspeakers with vertically and horizontally oriented locking pin holes and dolly board placed in abutment with adjacent dolly boards
Integrated rigging system for loudspeakers with vertically and horizontally oriented locking pin holes and dolly board placed in abutment with adjacent dolly boards
Dec 3, 2013
Inventors
John McGhee; Alejandro Antonio Garcia Rubio; Dean Marshall
File Date
Jun 13, 2011Issue Date
Dec 3, 20138,428,284
Loudspeaker with passive low frequency directional control
Loudspeaker with passive low frequency directional control
Apr 23, 2013
Inventors
John D. Meyer; Jean-Pierre Mamin; Pablo Espinosa; Peter Kowalczyk
File Date
Mar 19, 2010Issue Date
Apr 23, 2013Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| CHINA | 03/19/2010 | 09/17/2014 | ZL201080020139.2 |
| HONG KONG | 12/01/2014 | 05/15/2015 | HK1169254 |
| MEXICO | 09/19/2010 | 09/18/2013 | 313362 |
8,416,017
Circuit and method for reducing noise in class D amplifiers
Circuit and method for reducing noise in class D amplifiers
Apr 9, 2013
Inventors
Peter Kowalczyk; Steven Metz; Kurt Keown; Paul Kohut; Peter J. Winship
File Date
Oct 19, 2010Issue Date
Apr 9, 2013Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| CANADA | 10/19/2010 | 11/07/2017 | 2,815,315 |
| CHINA | 06/11/2012 | 01/13/2016 | ZL201080056261.5 |
8,406,445
Loudspeaker system with extended constant vertical beamwidth control
Loudspeaker system with extended constant vertical beamwidth control
Mar 26, 2013
Inventors
Paul Kohut; John D. Meyer; Pablo Espinosa; Richard D. Herr
File Date
Oct 1, 2010Issue Date
Mar 26, 20138,238,588
Loudspeaker system and method for producing synthesized directional sound beam
Loudspeaker system and method for producing synthesized directional sound beam
Aug 7, 2012
Inventors
John D. Meyer; Perrin Meyer; Roger Schwenke; Alejandro Antonio Garcia Rubio; Paul Joseph Kohut; Richard D. Herr; Jon M. Arneson; Peter C. Soper
File Date
Jan 28, 2009Issue Date
Aug 7, 2012D658,159
Loudspeaker
Loudspeaker
Apr 24, 2012
Inventors
Gregory Thomas Janky; Treasure Lynae Hinds
File Date
Feb 11, 2011Issue Date
Apr 24, 2012D658,160
Loudspeaker
Loudspeaker
Apr 24, 2012
Inventors
Gregory Thomas Janky; Treasure Lynae Hinds
File Date
Feb 11, 2011Issue Date
Apr 24, 2012D631,867
Loudspeaker grille
Loudspeaker grille
Feb 1, 2011
Inventors
Jon M. Arneson; Paul Bunning; Pablo Espinosa
File Date
Jan 15, 2010Issue Date
Feb 1, 20117,693,296
Loudspeaker rigging system having contained maneuverable connecting links
Loudspeaker rigging system having contained maneuverable connecting links
Apr 6, 2010
Inventors
John Monitto; John McGhee; Dean Marshall
File Date
Apr 6, 2006Issue Date
Apr 6, 2010Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| UNITED STATES | 01/13/2005 | 12/15/2009 | 7,634,100 |
D599,325
Loudspeaker horn
Loudspeaker horn
Sep 1, 2009
Inventors
Jon M. Arneson; Richard D. Herr
File Date
Oct 8, 2008Issue Date
Sep 1, 2009D598,897
Loudspeaker
Loudspeaker
Aug 25, 2009
Inventors
Jon M. Arneson; Paul Bunning; Pablo Espinosa; Richard D. Herr
File Date
Oct 9, 2008Issue Date
Aug 25, 2009Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| REGISTERED COMMUNITY DESIGN | 04/09/2009 | 04/09/2009 | 1120307-0001-0002 |
7,299,893
Loudspeaker horn and method for controlling grating lobes in a line array of acoustic sources
Loudspeaker horn and method for controlling grating lobes in a line array of acoustic sources
Nov 27, 2007
Inventors
John D. Meyer; Perrin Meyer; Roger Schwenke
File Date
Feb 20, 2004Issue Date
Nov 27, 2007D547,749
Loudspeaker
Loudspeaker
Jul 31, 2007
Inventor
Perrin Meyer, John D. Meyer, Bruce T. Arasato, Alejandro Antonio Garcia Rubio
File Date
Aug 24, 2005Issue Date
Jul 31, 20077,069,219
System and user interface for producing acoustic response predictions via a communications network
System and user interface for producing acoustic response predictions via a communications network
Jun 27, 2006
Inventors
John D. Meyer; Perrin Meyer; Mark Schmieder
File Date
May 13, 2005Issue Date
Jun 27, 2006Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| UNITED STATES | 09/24/2001 | 05/17/2005 | 6,895,378 |
D523,003
Microphone
Microphone
Jun 13, 2006
Inventor
John D. Meyer, Bruce T. Arasato, Stephen B. Starkweather
File Date
Aug 23, 2005Issue Date
Jun 13, 2006D508,691
Microphone
Microphone
Aug 23, 2005
Inventors
John D. Meyer; Bruce T. Arasato; Stephen Bruce Starkweather; Peter C. Soper
File Date
Aug 12, 2004Issue Date
Aug 23, 20056,931,135
Frequency dependent excursion limiter
Frequency dependent excursion limiter
Aug 16, 2005
Inventor
Paul Kohut
File Date
Oct 9, 2001Issue Date
Aug 16, 2005D505,942
Front of a loudspeaker
Front of a loudspeaker
Jun 7, 2005
Inventors
John D. Meyer; Paul Bunning; Richard D. Herr
File Date
Feb 27, 2004Issue Date
Jun 7, 20056,668,969
Manifold for a horn loudspeaker and method
Manifold for a horn loudspeaker and method
Dec 30, 2003
Inventors
John D. Meyer; Perrin Meyer; Richard D. Herr
File Date
Jan 11, 2002Issue Date
Dec 30, 2003Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| CHINA | 09/09/2003 | 06/11/2008 | ZL02806221.3 |
6,640,924
Rigging system for loudspeakers
Rigging system for loudspeakers
Nov 4, 2003
Inventor
Ian Strachan Messner
File Date
Feb 20, 2002Issue Date
Nov 4, 2003Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| SWITZERLAND | 02/20/2002 | 04/27/2011 | 1369005 |
| SPAIN | 02/20/2002 | 04/27/2011 | 1369005 |
| FRANCE | 02/20/2002 | 04/27/2011 | 1369005 |
| UNITED KINGDOM | 02/20/2002 | 04/27/2011 | 1369005 |
| HONG KONG | 12/22/2003 | 11/25/2011 | HK1056965 |
| ITALY | 02/20/2002 | 04/27/2011 | 502011901965326 |
6,584,204
Loudspeaker system with feedback control for improved bandwidth and distortion reduction
Loudspeaker system with feedback control for improved bandwidth and distortion reduction
Jun 24, 2003
Inventors
Khalid M. Al-Ali; Andrew Packard; Benson H. Tongue
File Date
Dec 10, 1998Issue Date
Jun 24, 20036,081,602
Arrayable two-way loudspeaker system and method
Arrayable two-way loudspeaker system and method
Jun 27, 2000
Inventors
John D. Meyer; Paul Kohut; Justin Baird
File Date
Aug 19, 1997Issue Date
Jun 27, 20005,925,856
Loudspeaker horn
Loudspeaker horn
Jul 20, 1999
Inventors
John D. Meyer; Alejandro Antonio Garcia Rubio
File Date
Jun 17, 1997Issue Date
Jul 20, 19995,821,470
Broadband acoustical transmitting system
Broadband acoustical transmitting system
Oct 13, 1998
Inventors
John D. Meyer; Paul Kohut
File Date
Apr 8, 1997Issue Date
Oct 13, 19985,784,474
Method and circuit for improving the polar response of a two-way horn-loaded loudspeaker system
Method and circuit for improving the polar response of a two-way horn-loaded loudspeaker system
Jul 21, 1998
Inventors
Paul Kohut; Peter C. Soper; John D. Meyer
File Date
Nov 10, 1994Issue Date
Jul 21, 19985,602,367
Multiple tuned high power bass reflex speaker system
Multiple tuned high power bass reflex speaker system
Feb 11, 1997
Inventor
John D. Meyer
File Date
Dec 19, 1994Issue Date
Feb 11, 1997D375,499
Loudspeaker
Loudspeaker
Nov 12, 1996
Inventor
John D. Meyer
File Date
Aug 9, 1995Issue Date
Nov 12, 1996Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| GERMANY | 09/06/1995 | 11/21/1995 | M9507071.0 |
| FRANCE | 09/07/1995 | 03/14/1997 | 954834 |
| HONG KONG | 08/08/2005 | 9802016.3 |
D373,359
Loudspeaker
Loudspeaker
Sep 3, 1996
Inventor
John D. Meyer, Peter Soper
File Date
Dec 13, 1994Issue Date
Sep 3, 1996D357,678
Acoustical ranging transceiver
Acoustical ranging transceiver
Apr 25, 1995
Inventor
John D. Meyer
File Date
Oct 6, 1993Issue Date
Apr 25, 19955,377,274
Correction circuit and method for improving the transient behavior of a two-way loudspeaker system
Correction circuit and method for improving the transient behavior of a two-way loudspeaker system
Dec 27, 1994
Inventors
John D. Meyer; Paul Kohut
File Date
Nov 22, 1993Issue Date
Dec 27, 1994Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| UNITED STATES | 07/18/1991 | 02/09/1993 | 5,185,801 |
4,968,949
Ohmically isolating input circuit
Ohmically isolating input circuit
Nov 6, 1990
Inventor
Michael A. Torrano, John D. Meyer, Bill Hemsath, Felicity Seidel
File Date
Oct 17, 1988Issue Date
Nov 6, 19904,779,058
Ohmically isolated input circuit
Ohmically isolated input circuit
Oct 18, 1988
Inventor
John D. Meyer
File Date
Jul 25, 1986Issue Date
Oct 18, 19884,764,938
Circuit and method for correcting distortion in a digital audio system
Circuit and method for correcting distortion in a digital audio system
Aug 16, 1988
Inventor
John D. Meyer
File Date
Oct 25, 1982Issue Date
Aug 16, 1988Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| EUROPEAN PATENT CO | 10/24/1983 | 10/31/1984 | EP0122939A |
| JAPAN | 06/25/1984 | 08/16/1988 | JPS59501930A |
D282,255
Loudspeaker enclosure
Loudspeaker enclosure
Jan 21, 1986
Inventors
John D. Meyer; Robert Ross
File Date
Sep 16, 1982Issue Date
Jan 21, 1986D271,967
Loudspeaker
Loudspeaker
Dec 27, 1983
Inventors
John D. Meyer; Alexander Yuill-Thornton, II
File Date
May 27, 1981Issue Date
Dec 27, 19834,152,552
Horn speaker and method for producing low distortion sound
Horn speaker and method for producing low distortion sound
May 1, 1979
Inventor
John D. Meyer
File Date
Jan 23, 1978Issue Date
May 1, 1979Additional Patents
| Country | File Date | Issue Date | Patent No. |
|---|---|---|---|
| FRANCE | 02/01/1978 | 01/22/1986 | 2,379,220 |
| UNITED KINGDOM | 03/20/1978 | 03/20/1978 | 1591480 |
| JAPAN | 02/01/1978 | 05/01/1979 | JPS53102024A |
The Self-Powered Advantage
Meyer Sound has been pioneering self-powered loudspeakers for professional installations and touring since 1995. We’ve committed to self-powered systems because we know they deliver unrivaled clarity, reliable performance, value, and ease of use.
If you’ve been thinking about investing in a self-powered system, you’ve come to the right place.
First, a Little History...
The story of self-powered loudspeakers is in many ways the story of Meyer Sound itself.
In the 1970s, sound reinforcement technology was inconsistent science at best, and at worst, led to show-ending failures. A young John Meyer, designing loudspeakers for San Francisco’s McCune Sound Service, wanted to bring quality and reliability to sound systems, and he knew the answer lay in self-powered loudspeakers. In 1979 Meyer founded his own speaker company; early Meyer Sound innovations include the iconic HD-1 self-powered studio monitor launched in 1989.
Today Meyer Sound offers a full range of self-powered sound reinforcement products. Meyer Sound systems can be found on tour with artists ranging from Ed Sheeran to Metallica, on Broadway and London’s West End, and in performance venues from the San Francisco Opera to the Vienna Philharmonic not to mention sports stadiums, cruise ships, and houses of worship around the world.
Why Self-Powered?
Self-powered loudspeakers offer several advantages over their passive counterparts when it comes to fidelity, reliability, and simplicity. The great part is, you’ll start to reap the benefits of a self-powered system before you even power up.
Ease of deployment: System set-up is so much easier when you have fewer components and fewer cables to worry about being miswired. Since self-powered loudspeakers incorporate amplification, you’ll never have to deal with matching speakers to amplifiers or connecting components. You don’t have to worry about calibration of gain and crossover setting which means more time focusing on the show. Eliminating amp racks doesn’t just streamline system deployment, it streamlines your inventory whether you’re a rental house or a road warrior. And when you consider that the average amp rack weighs nearly 300 pounds and takes up four feet of truck space, the efficiencies get even clearer. Let alone when you want to fly the amplifier racks to get closer to the speakers, often requiring more rigging points and more motors.
Predictable, reliable operation: Internal amplification is closely matched to drivers. Because individual components have been optimized during manufacturing, you can expect consistent sound from show to show. Built-in, factory-optimized protection circuitry provides extra assurance without degrading signal quality. And, when you have less equipment, you have less risk of failure.
Better frequency and phase response: Because self-powered loudspeakers incorporate sophisticated processing, they are calibrated to exhibit optimal response curves in key performance parameters. Active crossovers are more precise, sophisticated designs, and bi-amped systems are time aligned, eliminating phase issues. The result? Accurate sound throughout the speaker’s range, at any volume level.
Unparalleled clarity: In powered monitors, internal amplifiers are precision-matched to drivers, delivering optimal power at all times for cleaner sound. And because amps are built into loudspeaker cabinets, there’s no need for long lengths of connecting cable, which can become prone to distortion and signal loss.
Tighter transients: Since self-powered loudspeakers have very short internal cables, amps inside can more effectively dampen driver mechanical motion, which leads to better sonic accuracy and tighter, crisper transients. (And, there’s none of the loss in levels and signal quality inherent over long cable distances.)
Certified Safe: Nothing matters more than the safety of your staff and customers. Because self-powered loudspeakers incorporate amplification, they must undergo rigorous testing by Underwriters Laboratories and other international organizations to ensure they operate safely and guard against the risk of fire, electric shock, and inadequate structural design. Enjoy peace of mind knowing Meyer Sound powered products are certified by FCC, UL, CSA, CE, and CEE the most stringent agencies in the business.
The Problems with Passive
What about passive loudspeakers? At first glance, passive systems may seem like a bargain. But we already know that passive systems require more components and accessories than powered systems. Sonically, they exhibit potential for signal loss over distances, and it is very hard to ensure consistent, optimal sound and volume as amplifiers have many variables to consider when being matched to loudspeakers, such as cable lengths and gauge as well as the number of speakers connected to the amplifier.
Passive systems are often touted as easy to service. But because powered loudspeakers are so complex to design and build, self-powered loudspeakers usually represent the top innovations from leading manufacturers. Better quality translates to better reliability, which means fewer maintenance issues in the long run.
At face value, passive systems might seem less expensive and easier to maintain. But once you start adding in amps, cables, and other components not to mention increased transport and labor costs you’ll find that those savings just don’t add up to a better value.
Step Up to a Self-Powered System
Once you recognize all of the advantages inherent in self-powered loudspeaker systems, it’s easy to understand why the world’s top venues and productions rely on them to deliver consistently stunning sound.
About Us
Creating extraordinary sound experiences is the essence of what we do — from the arena-quaking thunder of Metallica to the immersive thrills of Cirque du Soleil. At Meyer Sound, we continually strive to elevate the dialogue about sound and cultivate a greater awareness of the importance of how we hear and listen.
Founded in 1979 by John and Helen Meyer, our company is globally recognized as a leader in integrated sound reinforcement solutions. Meyer Sound systems can be heard on tour with artists like Ed Sheeran, Sigur Rós, Post Malone, and Celine Dion; at iconic venues including Jazz at Lincoln Center, the Cologne Philharmonic Hall, the Montreux Jazz Festival, and Cirque du Soleil’s Las Vegas productions; along with theatres, cinemas, arenas, houses of worship, restaurants, theme parks, and museums around the world.
Our products are designed and hand-crafted at our Berkeley headquarters, with offices and distributors around the globe. Our work has generated more than 100 patents and numerous industry awards, including TEC, MIPA, and Eddy Awards, and the prestigious R&D 100 Award.
INSPIRE
Philanthropy
We are company that firmly believes in giving back and we instill that value into everything we do. Founders John and Helen Meyer have been deeply involved in the Bay Area arts community for decades. We support arts institutions and philanthropic organizations throughout the San Francisco Bay Area, including the San Francisco Opera, Cal Performances, and The UC Theatre. Helen Meyer has worked tirelessly to empower individuals and enrich the local community in the areas of job creation, education, and philanthropy, serving on the boards of Cal Performances, the San Francisco Opera, and the Mark Morris Dance Group.
ENERGIZE
Our Culture and Benefits
A collaborative, results-focused approach to sound solutions drives a company philosophy where creative thinking, old-fashioned craftsmanship, and entrepreneurial technology are strongly intertwined.
At Meyer Sound you will help create world-class products and technologies; you’ll do your best work, cultivate your passion, and make your mark. This isn’t just a job, it’s a career. The average tenure here is ten years and many of our employees have been with us for much longer.
We’ve built a vibrant culture that fosters professional excellence in an environment that truly delivers work/life balance. Full-time employees enjoy a generous compensation package which includes:
- Paid time off
- Comprehensive health, dental, vision benefits
- 401K plan
- Life/Long-term disability insurance
- Generous parental leave
- IDShield identity protection
- Wellness and commuter benefits
- Employee parties and movie nights
- Pet insurance
- Dog-friendly environment
EDUCATE
Internships
We offer a summer internship program that aims to provide hands-on experience and help you build skills which can lead to outstanding career opportunities:
- Summer internships run June through August
- The internship application process begins in February
- Candidates must currently be enrolled in an accredited undergraduate or graduate program or have graduated within one year
- Internships are available in Design Services, Technical Support, R&D, Marketing, Manufacturing, and Quality Control
THRILL
Careers
We love working with people who have a passion for audio and understand the value of sound. If this describes you, please explore our employment opportunities.
