USM-1P/USM-100P : Extended Range Narrow/Wide Coverage Stage Monitors
The USM-1P and USM-100P self-powered stage monitors are designed for high-level, full-bandwidth monitoring where significant reproduction of low-frequency information is desired. These units excel in cleanly reproducing stage mixes that include bass and drums, providing efficient response down to 30 Hz. The combination of highperformance drivers and perfectly matched drive electronics yields flat amplitude and phase response plus near-perfect impulse response over the full audio bandwidth — with benefits including lower susceptibility to feedback. Maximum SPL is 132 dB at one meter, with exceptionally low distortion.
Two high-frequency coverage patterns are available. The USM-1P provides a narrow, symmetrical beamwidth of 45 degrees horizontal and vertical, allowing close placement of monitors with minimal interaction between them. The USM-100P offers coverage of 100-degrees horizontal and 40-degrees vertical, permitting broad coverage in both stage monitoring and flown applications (using the integral L-Track hardware). The constant-Q design of the high-frequency horns provides uniform beamwidth across the entire operating range in both the horizontal and vertical planes. Attenuation outside the beamwidth is rapid and uniform at all frequencies, with minimal side lobing.
Each driver is individually powered by a dedicated channel of the proprietary class AB/bridged amplifier with complementary MOSFET output stages. Total power is 550 watts. The incoming audio signal is processed through an electronic crossover and correction filters for flat phase and frequency response as well as for driver protection. Phase-corrected electronics ensure flat acoustical amplitude and phase response, resulting in exceptional impulse response and precise imaging.
Field-replaceable audio input modules accommodate a range of applications. The standard version offers looping XLR input and output connectors, while an enhanced looping version adds polarity switching (the looping output is not affected) and input attenuation (0 dB to -18 dB). A summing mono version with two inputs is also available.
The amplifier/processing package incorporates Intelligent AC, which performs automatic voltage selection, EMI filtering, soft current turn-on and surge suppression for fail-safe worldwide operation.
The USM-P cabinet is constructed from premium birch plywood and covered in a black textured hard-shell finish. Recessed handles allow easy transit, a hex-stamped steel grille protects the speakers, and a removable grey foam front grille covering is included. The enclosure can be custom painted for applications requiring specific cosmetics. USM-P monitors can be deployed as stage wedges or flown as sidefill or choir monitors. Two L-Track strips on the top panel that work with the cabinet’s center of gravity facilitate angle adjustment. A bottom strip serves as an anchor point for tilt angles. Rigging is for single cabinet suspension only.
USM-P monitors are compatible with the RMS remote monitoring system, which displays operating and performance parameters of Meyer Sound loudspeakers on a remote Windows computer.
Features & Benefits
- Extended low-frequency response for fullrange sound reproduction
- USM-1P offers symmetrical, narrow constant-Q horn for precise coverage
- USM-100P offers broad horizontal coverage for both stage monitoring and flown applications
- Flat frequency and phase response maximizes gain before feedback
- May be used as conventional floor monitor or flown using integral L-Track hardware
Applications
- Stage vocal monitor for medium- to largescale applications
- Drum or keyboard monitor
- Frontfill, sidefill, or choir monitor when flown
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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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Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.
Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.
Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.
Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.
Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it’s out of phase.
FM: Frequency Modulated.
Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.
Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.
Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.
Gain: Increase in level or amplitude.
Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.
Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.
HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.
HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.
High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.
Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.
Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.
Integrated Amplifier: A combination preamp and amplifier.
Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.
KHz: Kilohertz or one thousand Hz.
Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.
Line Array: A group of speakers that have been arrayed or "built up" in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.
Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.
lockout: The final words of a segment used to signify the production’s conclusion.
Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.
MHz: Megahertz, or 1 million Hz.
Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.
Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.
Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.
MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.
Mono: Monophonic sound. One channel.
MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.
Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.
Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.
Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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