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From its modest beginnings in 1976, the Sydney Festival has grown into one of the world's premier international arts events, presenting three weeks of dance, opera, theater, visual arts and music ranging from hip-hip to Haydn. To help ensure optimum results in the difficult space, consultant Dave Dennison traveled to Sydney to design, install and tune the M Series system in conjunction with SOH audio operations manager David Claringbold. Each array was vertically zone-driven to provide separate level and EQ control for the different coverage distances inside the hall.
The result was very smooth high-frequency vertical coverage from the lower floor to the top of the upper circle.
This was especially important in the concert hall because of the challenges faced in dealing with a relatively long, low-frequency reverb time."To provide the full 360-degree coverage, a stereo cluster of M1D Ultra-Compact Curvilinear Array loudspeakers covered the choir seating behind the stage.


The cluster consisted of two arrays of five M1Ds hung next to each other with a 70-degree horizontal splay. Rounding out the side seating coverage, a pair of truss-hung UPA-1P Compact Wide Coverage loudspeakers were flown on both sides of the stage, with front fill provided by seven UPM-1P Ultra-Compact Wide Coverage loudspeakers."To accommodate the wide variety of performances on the Concert Hall stage, the flexibility of the loudspeaker system and its rigging was a prime consideration," explains Dennison.
With this in mind, the left and right house clusters needed to be brought down and adjusted quickly for optimal coverage. Lord's sellout performance received outstanding press reviews, particularly for the audio which required a total of 96 mix channels for the orchestra and band.
Artists who later used the system included Norah Jones, Laurie Anderson and Jackson Browne.Elsewhere in the SOH, Meyer Sound systems were used at the Forecourt for the Improbable Theatre's free presentation of Sticky, which employed six MSL-4 Horn-Loaded Long-Throw loudspeakers, two CQ-1 Full-Range Wide Coverage loudspeakers and two M3D-Subs per side, with a center fill of two M3Ds.


Another Forecourt performance, Incognita, was staged on the Botanical garden lawn overlooking the Opera House and featured a system of six MSL-4s and six PSW-2 High-Power Flyable subwoofersRounding out the Meyer Sound- reinforced events at the Opera House were performances of Love In The Age of Therapy, a collaboration between Opera Australian and Australian jazz great Paul Grabowsky. Staged in the Drama Theater, the shows utilized a Meyer Sound system consisting of two CQ-1s, two UPA-1Ps, six UPM-1Ps and two 650-P High-Power subwoofers.



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