Design

Hands-on with Meyer Sound’s New MAPP 3D Prediction Software

By Scott Helmke

I am very happy to be able to report on the latest version of Meyer’s MAPP (Multi Acoustic Prediction Program), MAPP 3D.  Meyer’s extremely accurate and reliable speaker system design and prediction software originally developed more than 20 years ago, now in a 3-dimensional version.  Currently in pre-release, general release of this software is scheduled for August 19, 2020.

I’ve been using the previous 2D versions of this software to simulate various concert setups and determine the best choice of loudspeakers and how to deploy them.  Many high-end loudspeaker companies have prediction software, but Meyer’s MAPP has stood out for years because of the extremely high accuracy and resolution of their speaker data and prediction software.  Needless to say, being able to produce a trustworthy loudspeaker deployment is extremely useful.  And now, the ability to predict loudspeaker coverage and SPL in a 3-dimensional space makes it even better.

Going 3D

The earlier versions of MAPP allowed you to place virtual Meyer loudspeakers, individuals or in arrays, into two-dimensional projects in either a side or overhead view of a venue.  For a theatre with angled seating areas you would use a side view, putting in lines to represent seating areas and using the software to predict relative volume and frequency response over those areas. Another design might use an overhead view to make sure the proposed loudspeaker system covered as well across the seating areas as well as up and down. MAPP 3D allows you to work in a CAD-like 3-dimensional space, placing objects within the 3D planes to represent seating/architecture, loudspeaker systems, and surfaces designed as prediction areas. The software will then show the spectrum of SPL levels as a color gradient across the prediction areas.

System Example

The simulated venue and loudspeaker system shown here is from an annual theatrical fundraising gala, usually produced in a hotel ballroom consisting of three spaces linked by airwalls.  Speaker hanging locations are limited to airwall tracks in the ceiling, including one extra track that runs down the center of the middle section.  The goal is even coverage over the seating area (many large round tables), with minimal spill onto the thrust stage.  I’ve actually set the prediction plane to be a surface four feet above the floor, to approximate how it will sound to the average person sitting down.  I was even able to move my virtual measurement microphone around to set delay times between speakers, saving time during setup.

Galileo and SIM3 Emulation

Since you wouldn’t deploy a large speaker system in the real world without a speaker processor, MAPP 3D allows you to do just that in the virtual system as well.  Speakers can be assigned to outputs of a virtual Galaxy processor, and all of the signal processing can be applied to the simulated response – ultimately you could send those settings to a real processor before even loading the truck, and have a great starting point for tuning the speaker system in the actual venue. It’s also possible to put one or more measurement “microphones” into the 3D area and see a simulated Meyer SIM3 frequency and phase response display. 

Additional Features

While the MAPP 3D software provides basic 3D CAD functionality for putting in simple shapes and prediction areas, it also allows 3D CAD files in DXF and Sketchup formats to be imported.  It is still necessary to define prediction surfaces, but having the actual architecture to use as a reference will save a lot of time and also allow a better-looking output.  There are also advanced tools such as a line array auto-splay tool to help quickly set angles between line array elements.

Like previous versions of MAPP, rigging weights and information is included to make sure that designs are safe to hang.  A new addition is predicted power consumption, which is a very handy feature.

Local Machine

Finally, one really big change in MAPP 3D is that an active network connection is no longer needed for predictions.  Modern computers are now fast enough to do this processing, and you can choose which loudspeaker models to download data for.  Each loudspeaker model file is about 127Mb (seriously high resolution!), so being able to choose which models to keep helps preserve disk space. 

Conclusion

MAPP 3D is a wonderful upgrade to Meyer’s MAPP software, adding even more functionality as well as being able to work in three dimensions.  As I write this article, the software is still in pre-release and they are still ironing out a few bugs, but otherwise it’s quite nice to use.  Having some basic background in 3D modeling software would be helpful to have, but aside from that it’s still familiar to anybody who has used MAPP software in the past.

MAPP 3D is scheduled for public release on August 19, 2020.  TC Furlong is a longstanding Meyer Sound dealer.  For any questions about Meyer’s MAPP 3D prediction software or any other Meyer products, reach out to our sales team at 847-367-9588 or sales@tcfurlong.com. 

If you are interested in adding Meyer Sound equipment to your next show or rental, get in touch with our Rental Team at 847-367-9588 or rentals@tcfurlong.com.

 

Yamaha Launches RIVAGE PM5 and RIVAGE PM3 Digital Mixing Systems

Yamaha Launches RIVAGE PM5 and RIVAGE PM3 Digital Mixing Systems 

Yamaha recently announced the significant expansion of the RIVAGE PM Series digital mixing console family with the addition of the PM5 and PM3 control surfaces, and the DSP-RX and DSP-RX-EX DSP engines.

RIVAGE PM5
The PM5 is the latest in the evolution of the RIVAGE PM Series control surfaces.  In a similar layout to the RIVAGE predecessors, the PM5 features 3 Centralogic style bays, but now with a total of 3 large, capacitive touchscreens to allow for multi-finger gestures.  Yamaha has reduced the number of knobs in the third bay to reduce the overall footprint and make room for the integrated third screen. Additionally, meters that were previously above each channel’s ON button have been moved to be along the length of the fader for higher visibility and granularity.  Channel scribble strips have been removed – replaced with naming along the lower sections of the screen – bringing the touchscreens closer to the user for a more efficient reach across the entire console.

RIVAGE PM3
The PM3 scales things down with a 45-inch-wide surface (only slightly wider than a CL5 digital mixer) but retains the 38 faders – three bays of 12, with two masters – found on the PM10, PM7, and PM5.  Featuring a single, multi-gesture touch-panel display and condensed selected channel section, the PM3 is ideal for users needing a compact surface that packs the full punch of the RIVAGE series. Although slimmer in size, the console is compatible with both new DSP engines and does not compromise in I/O capabilities, including up to 288 input channels when paired with the DSP-RX-EX.

DSP-RX and DSP-RX-EX
The new brains of the RIVAGE series are an evolution of the modular DSP engine design and are available in two options.  The DSP-RX unit provides 120 inputs, 48 mix buses, and 24 matrices.  The DSP-RX-EX provides 288 inputs, 72 mix buses, and 36 matrices.  Both DSP engines are built on the same platform, so if you purchase a DSP-RX and need additional horsepower down the line, a DEK-DSP-RX expansion kit can be added to upgrade the DSP-RX to full DSP-RX-EX specifications.

Expansion of the Yamaha Ecosystem
All RIVAGE PM systems use the same I/O racks, the same firmware, and the same DSP engines (with the exception of the PM7 that has an internal DSP unit).  All surfaces feature the same basic fader configuration, and any console file would be compatible across the full line.  Like their predecessors, the PM5 and PM3 are directly compatible with TWINLANe and Dante networks using the necessary HY I/O cards.   A choice of two DSP engines with different mixing capacities, plus a total of five control surfaces including the two new models, gives engineers ample flexibility to create systems ideally tailored to a wide range of applications.

  PM5/PM3

DSP-RX-EX

 PM5/PM3

DSP-RX

 CL5 CL3 CL1
Input Mixing Channels 288 120 72 mono + 8 stereo 64 mono + 8 stereo 48 mono + 8 stereo
Mix Buses
 		 72 48 24
Matrices
 		 36 24 8
Stereo Bus
 		 2 2 1
Mono
 		 1 1 1
Cue
 		 2 2 1

 

In the most basic configuration, the newly released PM5 or PM3 has 120 inputs, 48 mix buses, and 24 matrices, and capable of running at 96 kHz.  In comparison, a CL5 has a maximum of 72 mono and 8 stereo inputs, 24 mix buses, and 8 matrices.  The CL and QL series console do have limited DSP capabilities (as well as the limit of running at 48 kHz), but the entire mix engine is built into the console, while the PM5 and PM3 surfaces need the external DSP engine in order to function.  It is also worth noting that an HY144-D card is needed to connect a PM series console to a Dante network, rather than having an integrated Dante port like the CL and QL series.

The PM5 and PM3 surfaces are a highly anticipated bridge between the functionality of the RIVAGE series and the price point of the CL series. For questions about designing a RIVAGE PM system, contact our sales team at 847-367-9588 or sales@tcfurlong.com.

Alignment & Design Services

Alignment and design (A&D) should be the foundation on which every loudspeaker system is built, regardless of whether the system is large or small, temporary or a permanent installation. At TC Furlong Inc, our long-time core operating principal “Better Audio by Design” has a corollary: “Better Audio through Alignment”.

Loudspeaker system alignment complements and optimizes the performance of the loudspeaker system much like the balancing of tires and a front-end alignment optimize the benefit of the installation of new tires on your car.  It also maintains a smooth quiet ride and increased gas mileage.

Loudspeaker system design and alignment requires a blend of skilled craft, art, and science.  It demands practical experience, theoretical underpinnings, acute hearing, and prudent use of technology such as coverage prediction and measurements tools.

Our design and alignment team has almost 50 years of combined experience and are on duty and ready to tackle “back burner” projects that keep getting overpowered by a busy schedule. The range of projects we engage in include:

  • Providing a second opinion on an existing design
  • Ground up designs for new or renovated spaces
  • Formulating budgets for future projects
  • Tackling problems in existing rooms
  • Optimizing spaces in existing spaces for when things get back to normal

Email us today at align-design@tcfurlong.com with questions or to schedule a free phone consultation.

Demystify Audio: Party-Line Intercom Systems

Intercom systems are an essential part of live event production, but they are often a misunderstood oddity of the audio production tool kit.  Without intercom, the producer can’t call the show, the director can’t ask the camera op to pan left, and the FOH engineer can’t notify the monitor engineer that they’re switching over to the back-up mic.

Party-line intercom systems are the simplest form of this important solution for live event production communications. Although intercom is not strictly a live sound technology, it most typically falls into the wheelhouse of the audio provider/crew if the show doesn’t warrant a dedicated intercom technician.

In this article, we will discuss the basics of analog, two-wire party-line systems.  Stay tuned for future articles where we will discuss matrix systems, wireless intercom solutions, and the many types of intercom accessories and interfaces.

First, let’s start with some important definitions:

  • Party-line: Also known as a PL or conference line. When someone speaks, everyone can listen.  The best example is a telephone conference call.
  • Two-wire: A term meaning that talk and listen are on the same line. Electrically, there are only two wires needed to make this system work.
  • Simplex: Communication where only one person can talk at a time. A good example is typical two-way radio communication; only one person can key the radio at a time.
  • Full Duplex: Communication where everyone can talk and listen at the same time. Quite convenient in live event production, but can quickly devolve with many users on the same line.
  • Headset: A headphone set with a microphone attached. This is the main way users communicate on intercom systems.  It can have one headphone (single-muff) or two headphones (double-muff), and microphones can come in dynamic or condenser styles.
  • Belt Pack: A portable user station. This can be clipped to a belt or gaff taped onto just about anything! A headset will plug into the belt pack for the user to talk/listen, and an external connection to the intercom system will power the unit. Often, the combination of a belt pack and headset is referred to as a “drop” of intercom.
  • Main Station: A rack-mounted user station unit with the ability to intercommunicate with multiple channels (sometimes called a base station). Most of these have the ability to communicate with a headset or with a built-in speaker and gooseneck microphone.
  • Master Station: A main station that also provides a power supply for the intercom system.
  • Sidetone: A small amount of the microphone feedback to the headphone circuit. This allows the user to hear that they have correctly keyed a channel.
  • Call: Allows user stations to generate and display a visual signal. This can be used to get someone’s attention or to cue a specific event.
  • Wall Panel Station: User stations that can be mounted directly into walls. These typically have built-in speakers for easy communication with backstage areas like dressing rooms.
  • Wet / Dry: A term used to denote whether a two-wire XLR line carries power on it (wet) or has been stripped of power to only include audio (dry).

Clear-Com and RTS Two-Wire Systems

While there are many brands of two-wire party-line systems, there are two major styles of wiring conformity that you are likely to see on a show-site: Clear-Com and RTS.  Clear-Com style systems are used in many theatrical and rock-n-roll productions, while RTS style systems are used for AV and broadcast applications.

Both styles of two-wire party-line use standard microphone interconnect cable with 3-pin XLR connectors, but they are not natively compatible with each other.  Clear-Com style systems have separate lines for power, audio, and ground conductors, and will only have a single channel of duplex party-line audio.  RTS style systems have a conductor with power and audio, a conductor with just audio, and a ground, so they are able to squeeze two channels of duplex party-line audio on a 3-pin XLR connection. See the wiring diagram below.

Both of these systems rely on a distributed amplifier model.  Within each user station is a tiny mixer circuit that brings in the external signal and adds the user’s microphone with a special echo cancellation circuit.  Typical user station controls include a listening volume adjustment for the channel, a talk button, and a call button to signal other users.  More advanced user stations allow for control of sidetone adjustment, and a control to set the action of the talk button to be latching (push to talk, then push again to disengage) or non-latching (talk only while the button is being pressed).

Because both of these systems use a distributed amplifier model, there is no directionality in the wiring connections.  In fact, connections can be split with y-cables or adapted with XLR turnarounds without any loss to the intercom signal.  This allows for simple scalability of two-wire systems for larger topologies.  Here is an example of a small theatre party-line Clear-Com system that uses a combination of master stations, belt packs, and wall panel stations.

Limitations of Analog Party-Line Systems

Party-line systems are great for helping to coordinate a production team, but they do have their downsides. An inherent drawback of party-line is the lack of private communication.  If the producer needs to have a conversation with a spot operator, it will tie up the line for any other communications.  Additionally, there are length limitations for extremely long runs of XLR and having users being tethered to an XLR line can be difficult (for instance, a stage manager that might be moving around in a backstage wing).

Lastly, interconnecting between different brands of two-wire systems, between two-wire and matrix, or two-wire and wireless systems will always involve special kinds of interfaces, adapters, and a certain amount of black magic (we’ll dive into this more in future articles). While these limitations exist for wired, party-line systems, there are solutions that address the issues of private communication and mobility that we will talk about in future articles.

Conclusion

Intercom is an essential service of the live event industry.  Two-wire party-line systems are an easy and simple solution for event production communications, and work especially well with smaller crews.  They are fairly low-cost to purchase and relatively easy to integrate, and widely available as rental systems.

The limitations of two-wire wired systems related to complexity, private channels, and mobility have created an environment for matrix intercom, wireless systems, and intercom over digital transport that will be addressed in future articles in our demystifying series.  Stay tuned!

For questions about designing a party-line intercom systems or a quote on two-wire system components, contact the Sales Team at sales@tcfurlong.com.  For questions regarding intercom items in our rental stock, contact the Rental Team at rentals@tcfurlong.com.

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Meyer Sound LINA Strikes a Chord at Chicago’s Renowned Orchestra Hall

Originally posted by Meyer Sound.

Chicago’s historic Orchestra Hall recently updated their audio production capabilities with the installation of a new sound reinforcement system based on LINA line array loudspeakers, the newest and smallest member of Meyer Sound’s LEO Family. In addition to normally unamplified concerts by the resident Chicago Symphony Orchestra, the resplendent 2,521-seat venue also hosts a range of amplified jazz and pop concerts and special events that will benefit from the power, linear response and uniform coverage of the compact and discreetly color-matched new loudspeakers.

“We are extremely pleased with the upgrade of our in-house system, and we are grateful to Meyer Sound for their guidance and support from early in the design process through installation and calibration,” states Vanessa Moss, vice president for orchestra and building operations for the Chicago Symphony Orchestra Association. “We continue to monitor and refine the system’s performance during sound checks and concerts that require amplified sound, and we are delighted with the clarity of sound and increased coverage to all seating areas in Orchestra Hall.”

Grammy-winning orchestral and film scoring mixer, Shawn Murphy, introduced the Chicago Symphony Orchestra Association to Meyer Sound. Shawn also helped determine the scope of the system and provided guidance throughout the process.

The Meyer Sound system was provided by TC Furlong, Inc., a company based in suburban Lake Forest that has worked closely with the Chicago Symphony Orchestra Association for more than two decades. “The old system we provided had served them well but it had become less and less rider-friendly,” recalls company president TC Furlong. “Early in a long decision process, before LINA had been introduced, we brought in a LEOPARD line array system for a Joan Baez concert, and they were very impressed. But when it came time for final design, it turned out that LINA would have ample power while also offering a slightly narrower horizontal pattern to stay off the walls, a smaller profile, and lower cost. So it checked off all the boxes.”

The new system is anchored by flown left and right arrays of eight-each LINA line array loudspeakers, with additional ground-stacked arrays of five LINAs each for lower front seating areas. Five UP-4XP and two UPM-1XP IntelligentDC loudspeakers are deployed as front, side and box delay fills, with three UPA-1P loudspeakers hung for gallery delays. Two CAL 64 column array loudspeakers apply advanced beam steering technology target coverage for the acoustically problematic seating arc behind the stage while presenting a near-invisible profile. Four 750-LFC low frequency control elements in twin cardioid arrays provide directional deep bass reproduction and two Galileo GALAXY 816 processors handle system drive and optimization.

For Chicago Symphony Orchestra Association Production Manager Jeffrey Stang, the new Meyer Sound system proved a perfect fit for a hall built long before the era of amplified sound. “Orchestra Hall is an intimate performance space for its size, but it’s also very vertical with multiple seating levels with seating beneath each of the overhangs,” he relates. “Achieving even coverage to these areas while avoiding excessive levels for those sitting near the speakers was challenging. But as the new LINA system was designed and calibrated to meet the unique needs of Orchestra Hall, we now have direct sound arriving at seats where direct sound could not reach before. Strategically placed area fills for intelligibility enhance this even more. For overall sound clarity, coverage, aesthetics and cost, the Meyer Sound LINA system had the best overall solution.”

The terrace seating around the rear of the stage benefitted greatly from the beam steering technology in the CAL 64 loudspeakers, according to Stang. “It was important to improve the intelligibility in those seats, especially for vocals both spoken and sung, but we also wanted to avoid bouncing sound off walls or having it spill onto the stage. The beam-steering capability of the CALs let us steer sound into that curved shape and bring it directly to the seats.”

Other celebrated concert halls relying on CAL loudspeakers for immaculate sound reinforcement when appropriate include the Concertgebouw in Amsterdam, Konzerthaus Berlin, and both the Musikverein and Konzerthaus in Vienna.

Notable concerts using the new system in Symphony Center to date include performances by Herbie Hancock, Punch Brothers, Branford Marsalis, Zakir Hussain, and Ahmad Jamal, among others. The system was also put to use in 2019 for two films, North by Northwest and Harry Potter and the Prisoner of Azkaban in Concert, all with live accompaniment by the Chicago Symphony Orchestra. The CSO also will likely use the system for future pop concerts or contemporary electronic compositions when amplification is specifically required.

Orchestra Hall is the largest venue in the multi-faceted Symphony Center. Designed by famed Chicago architect Daniel Burnham, Orchestra Hall was built in 1904 and underwent a major renovation between 1995 and 1997 which included installation of the prior audio system.

TC Furlong Inc. is a long-time Meyer Sound dealer in the Chicago area, and we have a large inventory of Meyer Sound loudspeakers in our rental inventory. For more information on adding a Meyer Sound to your next rental or show, contact our Rental Team at 847.367.9588 or rentals@tcfurlong.com.

If you have any questions about purchasing a LINA system, or anything from our list of over 100 professional audio manufacturers, contact our Sales Team at 847.367.9588 or sales@tcfurlong.com.

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