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Seattle Theaters Move Up to MeyerSeattle is widely regarded as an adventurous and cosmopolitan city, a reputation that has become increasingly evident in the city's exuberant and expanding theater scene. While smaller experimental theater troupes come and go in rented spaces (as in any theater center), a growing number of Seattle companies have put down roots and established notable national reputations. Though the city has no real equivalent to New York's fabled Theater District, Seattle does host a growing concentration of professional theater companies with permanent homes both in the central downtown area and at nearby Seattle Center–the still-vibrant site of the 1962 World's Fair. Notable for its diversity, the Seattle scene serves up a theatrical potpourri covering all dramatic and musical styles, with productions staged in venues ranging from 50 seats up to 2800. However, on the technical side, one unifying trend has emerged in recent years: a steady shift toward use of Self-Powered loudspeaker systems from Meyer Sound. Seattle Rep and Intiman Nestled under the shadow of the Space Needle, the modernistic architecture of the Seattle Repertory Theater houses one of the nation's most vibrant and successful regional theater companies. Known as the launching pad for a number of national hit productions, Seattle Rep also takes pride in its superb technical facilities. Prior to the opening of the 1999-2000 subscription season, Seattle Rep completely overhauled the sound facilities in its premier theater, installing a new system built around 26 Meyer Sound Self-Powered loudspeakers. The system has been praised by directors and sound designers as one of the finest on the West Coast, and the success of the system has set a standard for other Seattle theaters to emulate. Next door to Seattle Rep, the Intiman Playhouse has begun a more gradual, step-by-step upgrading of its sound system. In the first round of the upgrade, Intiman replaced the venue's aging main left and right loudspeakers with Meyer UPA-1Ps, and added a USW-1P subwoofer to augment deep bass effects. Though limited funding has made the Intiman upgrade a "work in progress," even the partial upgrade has brought striking sonic improvements to many productions, the annual Christmas musical in particular. Downtown: ACT and Paramount A Contemporary Theater, commonly known as ACT, occupies the restored Eagles Building, a stately edifice that retains its dignity despite being dwarfed by the mushrooming skyscrapers on all sides. Though ACT's theaters are only four years old, the production staff already has seen fit to invest in three UPA-1Ps to serve as critical main house loudspeakers. More Meyer Self-Powered loudspeakers, UPM-1Ps in particular, are on the ACT wish list as budgeting allows. A few blocks away from ACT, just outside the current perimeter of the sprouting skyscraper forest, the nine-story brick cube of the Paramount building juts up from the surrounding parking lots as a living monument to the splendor of a bygone era. When the 2800-seat movie palace inside was restored (at a cost of $35 million) in the mid-90's, a new and quite powerful sound system was installed that, unfortunately, provided inadequate coverage for much of the vast balcony seating area. Reluctant to return to the same supplier, the theater management opted for a new center cluster comprising two MSL-4 and two CQ-2 self-powered cabinets. A number of other Seattle theaters also employ Meyer systems, either as main loudspeakers in smaller spaces or as supplementary or fill loudspeakers for use with larger touring systems. Those theaters include On the Boards (two UPA-1Ps), the Moore Theater (mix of six UPA-1P and a UPA-1A), the Jane Addams Auditorium (two UPA-1As), and the 5th Avenue Theater, with several conventionally powered Meyer cabinets. No Buyer's Remorse Stephen LeGrand is one of Seattle's leading theatrical sound designers, and he has played a key role in prodding area theaters to upgrade their systems for higher quality and greater flexibility. He notes that, despite somewhat higher initial costs, he has yet to hear any regrets following purchase and installation of Meyer product. "We sound designers love them because they sound great," he notes, "and the technical management at the theaters appreciate the way they hold their value. There's always that period after you buy new loudspeakers when the dust settles and the time for buyer's remorse sets in. But with Meyer Self-Powered loudspeaker systems, every time you hear them you know that there's no way you made a mistake. And that's important, because even well-funded theaters can't afford to go back every two or three years and revamp that decision. It's just not in the cards." LeGrand recalls participating in a comparative listening session, staged at a Seattle theater. "We had three loudspeakers set up, and had live voice and piano as well as music and sound effects on CD. What we really noticed with the Meyers is how well they operate with great definition and spectral balance at lower volumes. In many theater applications, that is what you really need, particularly when you are underscoring live actors with music, or creating very subtle low-level ambient sound effects. With the Meyer systems, you get the same linear response no matter what playback levels you are using." December, 2000 |
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