Used, Second hand Meyer Sound USW-210P Compact Narrow Subwoofer - Used Audio, Lighting and Video Equipment

ABOUT THE PRODUCT ABOUT THE MANUFACTURER GLOSSARY

VLFC : Very Low-Frequency Control Element

The VLFC very low‑frequency control element is a self‑powered loudspeaker defined by its sonic linearity and unique ability to reproduce extremely low‑frequency signals at high continuous levels with very low distortion. This very low frequency response, coupled with exceptional headroom and optimized rigging options, makes the VLFC an incredible tool for applications requiring very low frequencies to enhance the audience experience.
The VLFC is ideal for any application that would benefit from the impact of sub-sonic feeling—from large‑scale tours to special effects in cinema to theme parks.
An optimally tuned, vented cabinet houses the VLFC’s two 18 in long-excursion low-resonance cone drivers. A two‑channel Class AB/H bridged amplifier with complementary MOSFET output stages supplies ample continuous and peak power to the drivers.
The VLFC’s 13 Hz to 30 Hz operating frequency response complements Meyer Sound’s 1100-LFC and other subwoofers in the lowest octaves even below the typical 20 Hz limit.
Meyer Sound’s design includes protective plastic skids on the bottom of the VLFC cabinet that securely align with the cabinet’s top slots. Stack units normally or reversed for cardioid configurations.
Using the same footprint of the 1100-LFC, the VLFC integrates seamlessly with existing infrastructure. The optional MRK‑1100 rigging kit, available as a factory‑installed option or a field upgrade, includes captive GuideALinks™ that allow the loudspeaker to be flown from the MTG‑1100 top grid. Convenient pinned handles and slots make the GuideALinks, located at the front and rear of the cabinet, easy to set.
The GuideALinks also accommodate reversed units for flown cardioid arrays. The MTG‑1100 top grid supports suspension of line arrays comprising up to 16 cabinets at a 5:1 safety factor. For touring and portable systems, the optional MCF‑1100 caster frame supports secure travel with the VLFC in stacks of up to three units.
The RMS™ remote monitoring system provides comprehensive, real-time information about loudspeaker parameters from a Mac® or Windows®-based computer running Compass® control software via the RMS™ interface.
Meyer Sound constructs the VLFC cabinet out of premium multi‑ply birch and coats it with a slightly textured black finish. A powder-coated, hex‑stamped steel grille with acoustical black mesh protects the unit’s drivers. Other options include weather protection and custom color finishes for fixed installations and applications with specific cosmetic requirements.

Features & Benefits

Sub-sonic frequency response and linearity bring new possibilities for enhanced impact system design
Easily integrates with 1100-LFCs
High peak power output yields excellent transient reproduction of very low frequencies and extreme operating levels
Stackable and flyable with other VLFCs and 1100-LFCs in regular and cardioid arrays

Applications

Stadiums and arenas
Cinema and post-production
Theme parks
Research

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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.

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.