MEYER SOUND M SERIES BRINGS FLEXIBILITY TO NEW VENUE AT SYDNEY OPERA HOUSE

M2D & M2D-Sub array in Sydney Opera House Forecourt

The Sydney Opera House has officially opened its sixth venue, the Forecourt, a spectacular outdoor space for between 4,000 to 6,500 people set against the stunning backdrop of Sydney Harbour.

The Forecourt has previously been used for outdoor events such as New Years Eve celebrations and special concerts during the 2000 Sydney Olympics, using touring PA systems.

Now, with some 18 events planned for the Forecourt over the coming year, it is planned to provide infrastructure specially designed for the space, including the sound system.  A Meyer Sound M Series Line Array Loudspeaker System has been chosen for the Forecourt, fulfilling the Opera House's brief for a system flexible enough to be set up in a variety of configurations.

Prior to selecting the Meyer system, the Sydney Opera House Sound Department, headed by David Claringbold, carried out comparison tests of all leading loudspeaker brands in the Forecourt. Not only did the team judge the Meyer system to have the best sound and performance during the tests, it also had the advantage of complementing the large quantity of Meyer speakers already installed in the SOH.

"We were keen to listen to as many of the new systems available, line arrays or otherwise, to make sure that we were doing the best thing as this was a significant investment," says Claringbold. "The Meyer system was quite simply the best sounding and the most flexible."

The system was supplied by Meyer Sound Australia, and designed in consultation with the Sydney Opera House and the Meyer Sound technical support team following system predictions via Meyer Sound MAPP Online(tm) (Multipurpose Acoustical Prediction Program). The final delivery consisted of 20 M2D Compact Curvilinear Array Loudspeakers, six M2D-Sub Compact Subwoofers, four M3D(tm) Line Array Loudspeakers and four M3D-Sub Directional Subwoofers. The latter are particularly useful in allowing shows to proceed with full sound, despite rigorous noise restrictions imposed by planning authorities. The nearest residential block is 50 metres from the rear of the main stage, and without the incredible benefits of the M3D Subs the shows could have been seriously compromised.

"We were able to tickle 115 dbA at FOH during testing and stay within the guidelines of less than 90dbA at the nearest residential point," explains Claringbold. "This, combined with the ability to interface existing systems and expand our rig with M3Ds hired from Sydney's CODA Audio, was a major influence on our decision to continue our excellent relationship with Meyer Sound."

The Forecourt can be used in a number of different configurations according to the type of production being staged. "We looked at three different possible stage locations and audience sizes," says Meyer Sound Australia's Steve Devine. "The system had to be flexible enough to handle all of these, plus a variety of acts from acoustic, electric, symphonic and/or operatic. It also had to be easy to interface to additional M3Ds hired in for larger events, with the added provision that it should also be possible to use it in the Concert Hall, where it is already receiving rave reviews."

Part of the hand-over process of the new system included a three-day line array training course for the Sydney Opera House’s audio operations staff conducted by Meyer Sound's seminars and training specialist Mauricio Ramirez. The first two days consisted of theory, with a final day of practical, hands-on experience. As the SOH Concert Hall was dark on this day, participants were able to connect to MAPP to evolve a system design, setting it up and verifying and tuning the design using SIM (r) System II FFT Analyser.

Meyer Sound's consultant engineer Dave Dennison came to Sydney to carry out part two of the hands-on training, setting up and tuning various system configurations in the Forecourt. This was very well received by the participants.

"As with all our dealings with Meyer Sound, they provided a significant educational input to enable our technicians to maximise the system performance in all the various configurations," says Claringbold. "Dave Dennison was outstanding in bringing his field experience to enable us to achieve the highest quality result. We are now using MAPP extensively to assist in our predictions for all system configurations in all our halls."

The Forecourt opening season included the Sundown carnival featuring Australia's top country artists, an appearance by British funk band Jamiroquai which played a sell-out show to 6,500 in non-seated mode, and Symphony under the Sails featuring the Sydney Symphony Orchestra in a concert they declared their best ever amplified result.

Other events have included Testimony, an Australian-conceived tribute to the life and music of Charlie Parker performed on a five-storey scaffold by the 18-piece Australian Art Orchestra. A large-scale performance piece entitled Sticky is planned for January as part of the Sydney Festival, and the Forecourt will also be used in 'intimate' mode for a 900-seat theatre presentation, Incognita. The Meyer M Series is ensuring that this diverse programme of events enjoys consistently excellent live sound, whatever the show.

http://www.sydneyoperahouse.com/forecourt/

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