From the corner of the upper mezzanine to the back of the room, the consistency from spot to spot is remarkable. That front-row experience for everyone, no matter where you are—that’s exceptional.”
Dominick AmendumGeneral Manager, The Pyrle
A 1936 Montgomery Ward department store that later served as home to regional theater company Triad Stage has found its most electrifying chapter yet. The Pyrle, a 1,000-capacity live music venue in downtown Greensboro, NC, opened in early 2026 with a Meyer Sound system designed and installed by local integrator Audio & Light.
Designed for Consistency
The space carries nearly 90 years of architectural history, from retail floor to theater, leaving a room with surprisingly strong acoustic bones. Its tall, narrow dimensions, however, called for an unconventional approach to sound reinforcement. “A line array with enough height to cover front to back would have trimmed too low off the stage, caused mic placement issues, and reflected too much energy off the sidewalls,” says Brian Cox, VP of Integration Services at Audio & Light. “With the performance the ULTRA family brings, a distributed design was the right answer.”
The system comprises 26 loudspeakers in total: two ULTRA‑X82 mains with ULTRA‑X20 downfills, an ULTRA‑X40 center fill, eight ULTRA‑X20XP under-mezzanine fills, and additional ULTRA-X20 and ULTRA-X20XP delays for stadium seating, VIP areas, and front fills. Low-frequency reinforcement comes from two newly introduced USW‑121P high-power subwoofers, making their regional debut at The Pyrle. The system is managed by Nebra software and the Galileo GALAXY Network Platform.
A Front Row Experience in Every Seat
Pyrle general manager Dominick Amendum, whose background spans theater and film production, says the system’s consistency across the room was immediately striking. “I was really excited about the decision to not go with a traditional line array like you might see in another music venue,” he says. “With all the delays, this system allows the space to be felt and experienced.
“From the corner of the upper mezzanine to the back of the room, the consistency from spot to spot is remarkable,” he says. “That front-row experience for everyone, no matter where you are—that’s exceptional.”
The system has also won over touring professionals. Cox recalls one visiting front-of-house engineer who expressed doubt at first glance, until he actually mixed on the system, after which he called it “the best P.A. he’d ever mixed on.”
Amendum says Grammy-winning artists have paused during soundcheck to remark on how good the room sounds. “What else can we do to make an artist feel cared for than actually deliver what they’re intending to the audience?” he says. “The sound doesn’t muddy it, it doesn’t distort it. It’s really pure.”