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Additionally, a beta 5.1 system has been in use since last fall at Ex’pression Center for New Media’s large Studer 950 studio (pictured on the Mix cover, March 2000). Since last fall, Meyer has hosted listening sessions at top UK studios including CTS, Abbey Road and AIR Lyndhurst, as well as at private off-site auditions during the AES convention in New York last fall and at Meyer Sound’s demo room in Berkeley, Calif.
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When the X-800s are used, a companion X-01 processor provides the necessary phase compensation and high/ lowpass filters, working as a system to maintain the X-10’s excellent electroacoustic response, yet in a higher-SPL package. As the X-10s are designed to operate as full-range speakers, the addition of the X-800 to a system does not extend the overall LF response, but does increase the system headroom by at least 5 dB.
MEYER SOUND STUDIO MONITORS DRIVERS
Both LF and HF drivers are powered by Class-AB/H MOSFET amps, with 1,200 watts for the woofer and 620 watts for the compression driver.įor applications requiring an additional subwoofer (such as some 5.1 installations, very large listening spaces, monitoring bass-heavy program material at loud SPLs, etc.), Meyer offers the X-800, a conventional (non-PSAC) ported, double-18 driver enhancement system. The driver is coupled to a 90Dx45D constant-Q waveguide designed to provide a wide, even sweet spot. On the HF side, the X-10 uses Meyer Sound’s 2010, a 4-inch compression driver with an aluminum-alloy diaphragm paired with a neodymium magnet and a ferrofluid-cooled voice coil. We can get as much power out of a single 15 as we could from a double 18, producing 118 dB from a tone outdoors at 30 cycles at some reasonable distortion figure.” It’s not like some woofers, which have a low-gauss/big coil-ours is a small coil/high 16k-gauss design. “We used about 28 neodymium magnets to build the magnet structure so we’d have a long 1-inch throw where the voice coil always stayed within the magnetic field. “We spent about two-and-a-half years trying to implement this prototype,” says Meyer. The other challenge in the X-10 project was designing an ultrahigh-output woofer that could keep up with the SPL requirements typically associated with dual-woofer designs. The original project was designed and prototyped entirely in the digital domain, yet interestingly, a high-speed analog computer circuit was selected for the X-10 because of its real-time speed and wide dynamic range. The information picked up by the sensor is then sent to the PSAC comparator circuit inserted before the LF power amplifier, which compares the sensor data to the input and puts the two signals in precise alignment. Meyer engineers took the concept and developed it into Pressure Sensing Active Control (PSAC), which places a pressure sensor-essentially a calibrated condenser microphone-in front of the woofer.
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They thought the high-speed, multi-input servo systems they developed could be applied to loudspeakers.” They approached us with a technology based on computer-driven hydraulics developed to help control jet fighters moving at three times the speed of sound. “Normally, in designing loudspeakers, the industry works in small incremental improvements,” explains company president John Meyer, “but working with the university gave us a chance to try something completely new.
MEYER SOUND STUDIO MONITORS PRO
Ironically, the key to the entire project came not from pro or consumer audio, but from an advanced feedback circuit developed by the University of California at Berkeley and licensed to Meyer Sound. It’s a large, high-SPL system that offers transient response that rivals (or bests) the performance of electrostatic panels, and by using a single LF driver, the designers have sidestepped the lobing and comb-filtering problems associated with dual-woofer designs. It’s a horn system that doesn’t have a characteristic “horn” sound. And the X-10 is anything but ordinary: It’s a two-way system that delivers extended bandwidth (22 to 17k Hz, +/-2 dB). Although this description is technically accurate, it could easily lead one to believe that the X-10 is ordinary. Internal bi-amplification is capable of pushing the system to SPLs as high as 136 dB (at 1 m). In the most basic sense, the X-10 High-Resolution Linear Control Room Monitor is a two-way system, combining a 15-inch woofer and HF compression driver in a vented 30x31x21-inch (HxWxD) enclosure. Nearly a decade later, the company has now set its sights on revolutionizing the large-format monitor market. In 1991, Meyer’s landmark HD-1 speakers defined the model of the modern powered near-field studio monitor. Long established as a supplier of cutting-edge sound reinforcement systems, Meyer Sound has also made a significant impact in the realm of studio monitors.