{"id":46643,"date":"2022-04-22T11:14:32","date_gmt":"2022-04-22T09:14:32","guid":{"rendered":"https:\/\/www.connessioni.biz\/meyer-sound-for-an-encounter-with-lux-prima\/"},"modified":"2022-04-22T11:14:32","modified_gmt":"2022-04-22T09:14:32","slug":"meyer-sound-for-an-encounter-with-lux-prima","status":"publish","type":"post","link":"https:\/\/www.connessioni.biz\/en\/meyer-sound-for-an-encounter-with-lux-prima\/","title":{"rendered":"Meyer Sound for \u201cAn Encounter with Lux Prima\u201d"},"content":{"rendered":"

Art installation designed by Karen O and Danger Mouse, \u201cAn encounter with Lux Prima\u201d has benefited from Meyer Sound technology to create a truly immersive environment for visitors.<\/strong>
\nFor four days in late April, more than 3.500 visitors<\/strong> experienced a 35-minute art installation called \u201cAn Encounter with Lux Prima.\u201d<\/strong> Conceived by Karen O<\/strong> and Danger Mouse<\/strong> as an immersive introduction to their new album collaboration, the audacious event \u2014 sixteen sessions in all \u2014 was held at the Marciano Art Foundation<\/strong><\/a> in Los Angeles.<\/strong> Audiences were fully enveloped by a custom-built spatial sound system from Meyer Sound<\/strong><\/a>, experiencing both music and effects with infrasonic waves emanating from three VLFC<\/strong> very low frequency control elements.
\n\"\"
\nThe formative concept behind \u201cAn Encounter with Lux Prima\u201d<\/strong> was put forth by the artists as a means to involve the audience in the sensory and emotional content of the music in an environment that transcended the limitations of a stage performance. To carry their concept to fruition they enlisted a core team of collaborators that included, among others, the sound designer Ren Klyce<\/strong>. To expand the stereo album music into a fully immersive experience, Ren Klyce<\/strong> was given the multitrack master files from which he created a 7.1 mix<\/strong>, augmented by additional object-oriented spatial sound elements. Meyer Sound<\/strong><\/a> loudspeakers were employed during the creative process from the outset, first at Klyce<\/strong>\u2019s own post-production facility, and again for the final pre-mixes.
\n\u201cMeyer Sound<\/strong><\/a> loudspeakers are very musical, which is what I personally like about them\u201d, remarks Klyce<\/strong>. \u201cIn addition to their natural musical quality, they can get very loud but still feel pleasant. They are also emotional in the low frequencies with the VLFC<\/strong><\/a>s.\u201d
\nIn parallel with Klyce<\/strong>\u2019s sound design, the visual arts side of the team had sketched out a design centered on a massive, irregular stone monolith sitting atop a triangular base. The audience would be seated around it on sections of real lawn, with dynamic lighting and mapped projections illuminating both the monolith and surrounding walls.
\nTwelve UPQ-1P<\/a><\/strong> loudspeakers supplied the full-range LCR program<\/strong>, with an additional UPQ-1P<\/strong><\/a> overhead. Also packed inside were six 900-LFC<\/a><\/strong> low frequency control elements for deep bass plus the elemental infrasonic force of three VLFC<\/a><\/strong> very low frequency control elements. The four surround channels each employed two UPQ-2P<\/a><\/strong> loudspeakers. The music was then synced to the video and lighting effects, with the spatial sound movements and visual show control all directed by a D-Mitri<\/a> digital audio platform<\/strong>.
\n\"\"
\nThe final step was to set up all the audio and video technology at the Marciano Art Foundation<\/strong><\/a>, make some minor audio tweaks to adjust for differences in acoustics and room size, and finalize the show control by linking the entire \u201cencounter\u201d to three buttons on an iPad: Preshow, Show Go and Emergency Stop. The latter was never needed.
\n\u201cThe reaction was resoundingly positive every time\u201d, says the producer Mungo Maclagan<\/strong>. \u201cThe audiences were totally engaged throughout the entire 35 minutes. David Lynch<\/strong> also came for a show and expressed great appreciation!\u201d
\nIn addition to the main system, a small pre-show system was deployed in the lobby area with four UPJ-1P<\/a><\/strong> loudspeakers. Prior to opening, an invitation-only live performance by Karen O<\/strong> and Danger Mouse<\/strong> for 400<\/strong> celebrity guests was reinforced by eight MINA line array<\/a> loudspeakers<\/strong> plus four 750-LFC<\/a><\/strong> low frequency control elements.
\nmeyersound.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Art installation designed by Karen O and Danger Mouse, \u201cAn encounter with Lux Prima\u201d has benefited from Meyer Sound technology to create a truly immersive environment for visitors. For four…<\/p>\n","protected":false},"author":3,"featured_media":25004,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"yoast_head":"\nMeyer Sound for \u201cAn Encounter with Lux Prima\u201d - connessioni.biz<\/title>\n<meta name=\"description\" content=\"Connessioni \u00e8 un progetto di comunicazione integrata nato nel 2006 e pensato per creare un anello di congiunzione tra i mondi delle tecnologie e delle applicazioni, con quello dei loro utilizzatori e della progettazione.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.connessioni.biz\/en\/meyer-sound-for-an-encounter-with-lux-prima\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Meyer Sound for \u201cAn Encounter with Lux Prima\u201d - 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