MICA
The MICA compact high-powered curvilinear array loudspeaker is the mid-sized member of the acclaimed MILO family of loudspeakers. MICA brings the very high output and smooth, extended high-frequency response that is the MILO family?s sonic signature to a smaller package with broad 100-degree horizontal coverage. This makes MICA ideal for applications that do not require quite as much power and throw distance as MILO or where weight and size are a concern. MICA is suited to a wide variety of applications such as touring, rental, and fixed installation, and its sonic compatibility with MILO makes it an excellent component in a MILO family system.
MILO : High-Power Curvilinear Array Loudspeaker
MILO is a self-powered, four-way loudspeaker designed for vertical curvilinear arraying. It has ample power reserves (140 dB SPL peak output at 1 meter) for high output level, longer throw applications in large venues, yet its weight and cabinet dimensions allow for its use in more compact spaces.MILO was designed to easily integrate with other Meyer Sound loudspeakers, particularly the M3D line array, M3D-Sub directional subwoofer, M2D compact curvilinear array and the CQ-2 full-range narrow coverage loudspeaker. Though substantially smaller than the M3D/M3D-Sub in height and depth, MILO shares the same width for seamless integration. When MILO arrays also include M3D-Subs, the combination exhibits dramaticly attenuated off-axis low-frequency response. This allows system designers to configure arrays that effectively steer bass energy away from areas located behind the arrays, such as the stage and monitor mix position, where minimum levels are desired.
The MILO low/low-mid section comprises two neodymium magnet 12-inch cone drivers with 4-inch voice coils. These drivers function in a two-way arrangement, with both drivers active below 300 Hz for maximum low frequency impact. Above 300 Hz, an integral crossover rolls off one driver to maintain optimal polar and frequency response.
The mid-high section uses a 4-inch diaphragm (1.5-inch exit) compression driver coupled to a 90° constant directivity horn through Meyer Sound’s REM ribbon emulation manifold (patent pending). REM produces a wave front similar to that of a ribbon driver, but allows the far higher output generated by a compression driver. A dedicated very-high frequency section, with extended range to 18 kHz, employs three 2-inch diaphragm (0.75-inch exit) compression drivers coupled via a second REM to a 90° horn.
All MILO transducers are designed and manufactured in-house by Meyer Sound, and are driven by an on-board, four-channel class AB/H amplifier that provides more than 3935 watts of total output power. The integrated amplifier/processing circuitry includes TruPower* limiting to protect the drivers and hold long-term power compression to less than 1 dB. The field-replaceable electronics module incorporates Meyer Sound’s Intelligent AC power supply, which automatically adjusts for any line voltage worldwide and provides both soft turn-on and transient protection.
Meyer Sound’s RMS monitoring system interface is fitted as standard on MILO. RMS allows engineers to monitor and troubleshoot all key operating parameters on each MILO – as well as any other RMS-equipped Meyer Sound cabinets – from a remote Windows-based computer.
MILO systems may be deployed in either flown or ground-stacked configurations. Captive QuickFly rigging hardware uses rigid AlignaLinks for coupling the units, and allows nine splay angles between 0° and 5°. The rigid connections make for easy adjustment of array tilt, and often eliminate the need for a pullback strap in flown configurations. An optional MG-3D/M multipurpose grid accommodates a variety of flown or stacked configurations, including multipoint support and bridles. A single flown array can include up to 24 MILO loudspeakers, or the equivalent weight of MILOs, M3Ds, M3D-Subs, M2Ds, CQ-2s and rigging hardware. Stacking no more than six cabinets is advised.
With its unique combination of high power and compact size, MILO can serve as the key component in scalable, building block systems comprising any or all M Series products and certain other Meyer Sound models. MILO can be combined with the M3D for very large venue applications, or transition to M2D or CQ-2 loudspeakers for near field coverage where appropriate.
A weather-protected version with a folding rain hood that safeguards the electronics is optionally available.
*TruPower limiting protects loudspeaker components without compromising performance. TruPower monitors real-time power consumption, incorporating the impedance of the transducer into its calculation. The result is an accurate estimation of voice coil temperature, affording greater long-term protection, while eliminating excess compression.
Features & Benefits
- Extremely high power-to-size ratio for lower costs and flexible installation
- Exceptional fidelity and peak capability assure clean, high-impact response
- Seamless integration with other M Series models
- QuickFly rigging system simplifies use in flown or ground-stacked arrays
Applications
- Stadiums, arenas, concert halls and theatres
- Touring sound reinforcement
- Large-scale events
700-HP
Ultra High-Power Subwoofer
- Stackable
- Flyable using optional rigging kit
- Extremely low distortion for ultimate low-frequency clarity
- Very high peak power yields excellent transient reproduction
- Ultra-efficient neodymium magnet drivers
- Transportable in blocks using optional heavy duty caster frame
The Meyer Sound 700-HP ultra high-power subwoofer sets a new standard for the power-to-size equation. The 700-HP`s power and bandwidth handle high continuous operating levels and extreme transient information with minimal distortion in its operating frequency range.
Meyer Sound?s rigorous design approach has been applied to extract the greatest efficiency from every part of the system, resulting in the 700-HP?s effortless reproduction of low frequency transient information. As a self-powered system, the transducers, amplification and control electronics of the 700-HP are created as a symbiotic system that optimizes performance and maximizes its tremendous power.
The operating frequency range of 28 Hz to 150 Hz complements other Meyer Sound loudspeakers and line and curvilinear arrays in sound reinforcement applications requiring maximum headroom at the low end of the frequency spectrum.
The 700-HP`s efficiently tuned cabinet houses two Meyer Sound-designed and -manufactured back-vented, long-excursion, 18-inch cone drivers. Each driver features a 4-inch voice coil and is rated to handle 1200 AES watts. The drivers have also been engineered for extreme efficiency, using high-gauss neodymium magnets for the most powerful magnetic field strength. High magnetic field strength increases the driver?s sensitivity, which yields greater output, while keeping heat dissipation requirements within operational tolerances.
An integral two-channel class AB/H amplifier with complementary MOSFET output stages supplies total peak power of 2250 watts (1125 watts per channel). With twice the amplifier power of the 650-P subwoofer, the 700-HP produces an average of 3 dB more overall SPL, with enormous headroom to accommodate the most extreme demands with ease. Recent tests conducted by Meyer Sound show the 700-HP producing significantly higher output than other "high-power" subwoofers.
The amplifier, control electronics and power supply are integrated into a single, field-replaceable module mounted in the rear of the cabinet. The cabinet is constructed of multiply hardwood and coated with a textured black finish. Integral metal grilles lined with acoustical black mesh protect the cone drivers. Designed mainly for stage or ground placement, the stackable 700-HP includes plastic skids on the bottom of the unit, preventing damage to the enclosure or the unit below. The skids align with slots on the cabinet?s upper surfaces ensuring secure, aligned stacking. For maximum convenience in touring situations, the 700-HP can even travel in stacks on the MCF-700 caster frame.
The 700-HP is truck-smart, with exterior cabinet dimensions suitable for both European and US truck widths. An optional QuickFly rigging kit is available, installed at the factory or as a field upgrade. Up to 10 cabinets can be suspended from the optional MTG-700 top grid in a straight hang at a 7:1 safety factor.
Options available for the 700-HP include weather protection and finishes in custom colors for fixed installations and other situations requiring specific cosmetics.
An optional RMS remote monitoring system module allows comprehensive monitoring of all key system parameters on any RMS-equipped host PC. In addition, Meyer Sound?s MAPP Online multipurpose acoustical prediction program allows quick prediction of coverage, frequency response, impulse response and maximum output of the 700-HP and other Meyer Sound loudspeakers and loudspeaker systems.
Applications
- Stadiums, arenas and concert halls
- Medium-to-large theatres and clubs
- Theme parks
- Cinema
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Used Meyer Sound Laboratories
Meyer Sound Laboratories is an American company based in Berkeley, California that manufactures self-powered loudspeakers, multichannel audio show control systems, electroacoustic architecture, and audio analysis tools for the professional sound reinforcement, fixed installation, and sound recording industries.
The company’s emphasis on research and measurement has resulted in the issuance of dozens of patents, including for the now-standard trapezoidal loudspeaker cabinet shape. Meyer Sound has pioneered other technologies that have become standard in the audio industry, including: processor-controlled loudspeaker systems, self-powered loudspeakers,curvilinear arraying, cardioid subwoofers, and source independent measurement.
Meyer Sound has consistently involved itself with advanced research beyond that connected to immediate product development, sometimes in conjunction with arms of the University of California, Berkeley. Some of this research has resulted in unusual products such as their parabolic sound beam and sound field synthesis loudspeakers. Other projects, such as the spherical loudspeaker research underway by Meyer Sound and CNMAT (Center for New Music and Audio Technologies) at UC Berkeley are still in the stage of pure research.
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Active: Powered. An active crossover is electrically powered and divides the line-level signal prior to amplification. An active speaker includes an active crossover and built-in amplifier.
Actuality: Audio from an announcer speaking.
Amplifier: A component that increases the gain or level of an audio signal.
Balanced Input: A connection with three conductors: two identical signal conductors that are 180 degrees out of phase with each other, and one ground. This type of connection is very resistant to line noise.
Bandpass: A two-part filter that cuts both higher and lower frequencies around a center band. A bandpass enclosure cuts high frequencies by acoustic cancellation and low frequencies by natural physical limitations on bass response.
Bandwidth: In audio, the range of frequencies a device operates within. In video, the range of frequencies passed from the input to the output. Bandwidth can also refer to the transmission capacity of an electronic communications device or system the speed of data transfer,is very important when planning a meeting for the attendees to stay connected.
Bass: Low frequencies those below approximately 200 Hz.
Bi-Wiring: A method of connecting an amplifier or receiver to a speaker in which separate wires are run between the amp and the woofer and the amp and the tweeter.
Boost: To increase, make louder or brighter opposite of attenuate.
Bridging: Combining two channels of an amplifier to make one channel that more powerful. One channel amplifies the positive portion of an audio signal and the other channel amplifies the negative portion, which are then combined at the output.
CD: Compact Disc. Ubiquitous digital audio format. Uses 16-bit/44.1-kHz sampling rate PCM digital signal to encode roughly 74 or 80 minutes of two- channel, full-range audio onto a 5-inch disc.
CD-R: Recordable Compact Disc.
CD-RW: Rewritable Compact Disc.
Channel: In components and systems, a channel is a separate signal path. A four-channel amplifier has at least four separate inputs and four separate outputs.
Coloration: Any change in the character of sound (such as an overemphasis on certain tones) that reduces naturalness.
Crossover: A component that divides an audio signal into two or more ranges by frequency, sending, for example, low frequencies to one output and high frequencies to another. An active crossover is powered and divides the line-level audio signal prior to amplification. A passive crossover uses no external power supply and may be used either at line level or, more commonly, at speaker level to divide the signal after amplification and send the low frequencies to the woofer and the high frequencies to the tweeter.
Crossover Frequency: The frequency at which an audio signal is divided. 80 Hz is a typical subwoofer crossover point and is the recommended crossover point in theatrical and home THX systems. Frequencies below 80 Hz are sent to the subwoofer signals above 80 Hz are sent to the main speakers.
Cut: To reduce, lower opposite of boost.
Decibel (dB): A logarithmic measurement unit that describes a sound`s relative loudness, though it can also be used to describe the relative difference between two power levels. A decibel is one tenth of a Bel. In sound, decibels generally measure a scale from 0 (the threshold of hearing) to 120-140 dB (the threshold of pain). A 3dB difference equates to a doubling of power. A 10dB difference is required to double the subjective volume. A 1dB difference over a broad frequency range is noticeable to most people, while a 0.2dB difference can affect the subjective impression of a sound.
Delay: The time difference between a sonic event and its perception at the listening position (sound traveling through space is delayed according to the distance it travels). People perceive spaciousness by the delay between the arrival of direct and reflected sound (larger spaces cause longer delays.
Diaphragm: The part of a dynamic loudspeaker attached to the voice coil that produces sound. It usually has the shape of a cone or dome.
Diffusion: In audio, the scattering of sound waves, reducing the sense of localization. In video, the scattering of light waves, reducing hot spotting, as in a diffusion screen.
Digital Audio Server: Essentially a hard drive, a digital audio server stores compressed audio files (like MP3 or WMA). Most include the processing to make the files, and all have the ability to play them back.
Direct-Stream Digital: A format for encoding high-resolution audio signals. It uses a 1-bit encoder with a sampling rate of 2,822,400 samples per second (verses 44,100 for CD). Used to encode six high-resolution channels on SACD.
Dispersion: The spread of sound over a wide area.
Distortion: Any undesired change in an audio signal between input and the output.
DNR: Dynamic Noise Reduction. A signal-processing circuit that attempts to reduce the level of high-frequency noise. Unlike Dolby NR, DNR doesn't require preprocessing during recording.
Dolby B: A noise-reduction system that increases the level of high frequencies during recording and decreases them during playback.
Dolby C: An improvement on Dolby B that provides about twice as much noise reduction.
Dolby Digital: An encoding system that digitally compresses up to 5.1 discrete channels of audio (left front, center, right front, left surround, right surround, and LFE) into a single bitstream, which can be recorded onto a DVD, HDTV broadcast, or other form of digital media. When RF-modulated, it was included on some laser discs, which requires an RF-demodulator before the signal can be decoded. Five channels are full-range the .1 channel is a band-limited LFE track. A Dolby Digital processor (found in most new receivers, preamps, and some DVD players) can decode this signal back into the 5.1 separate channels. Most films since 1992`s Batman Returns have been recorded in a 5.1 digital format, though a number of films before that had 6-channel analog tracks that have been remastered into 5.1.
Dolby EX: An enhancement to Dolby Digital that adds a surround back channel to 5.1 soundtracks. The sixth channel is matrixed from the left and right surround channels. Often referred to as 6.1. Sometimes referred to as 7.1 if the system uses two surround back speakers, even though both speakers reproduce the same signal. Software is backwards-compatible with 5.1 systems, but requires an EX or 6.1 processor to obtain additional benefit.
Dolby Pro Logic: An enhancement of the Dolby Surround decoding process. Pro Logic decoders derive left, center, right, and a mono surround channel from two-channel Dolby Surround encoded material via matrix techniques.
Dolby Pro Logic II: An enhanced version of Pro Logic. Adds improved decoding for two-channel, non-encoded soundtracks and music.
Driver: A speaker without an enclosure also refers to the active element of a speaker system that creates compressions and rarefactions in the air.
DSP: Digital Signal Processing. Manipulating an audio signal digitally to create various possible effects at the output. Often refers to artificially generated surround effects derived from and applied to two-channel sources.
DTS: Digital Theater Systems. A digital sound recording format, originally developed for theatrical film soundtracks, starting with Jurassic Park. Records 5.1 discrete channels of audio onto a handful of laser discs, CDs, and DVDs. Requires a player with DTS output connected to a DTS processor.
DTS ES: An enhanced version of the 5.1 DTS system. Like Dolby's Surround EX, a sixth channel is added. In some cases (DTS ES Discrete), the sixth channel is discrete. Software is backwards-compatible with 5.1 systems, but requires an ES or 6.1 processor to obtain additional benefit. Neo: 6 is a subset of DTS ES that creates 6.1 from material with fewer original channels.
Dynamic Range: The difference between the lowest and the highest levels in audio, it&'s often expressed in decibels. In video, it's listed as the contrast ratio.
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Second hand audio gear. | Second hand lighting.
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