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In 1996, the company merged with John McMahon's Cadence Digital Audio and its product grew from a multichannel panning system into a complete theatrical digital audio system, needing only microphones and a loudspeaker system to provide sound for a production. LCS Audio's history went back to 1992, when engineer Steve Ellison and sound designer Jonathan Deans formed Level Control Systems. The fact that one of the very first units was installed at Carnegie Hall underscored both the industry's confidence in Meyer Sound and its enthusiasm for Galileo's features and performance. The Galileo system was a breakthrough in a number of respects, including the number of inputs and outputs, its fixed latency, and its Composite EQ, which allowed corrective equalization with a minimum of phase shift.
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In late 2005, the Galileo 616 processor and Compass control software for it shipped to an audio world eager to see what Meyer Sound would do in its first foray into digital audio. The project was headed by Perrin Meyer, John and Helen's son and the company's software R&D manager. It was obvious that digital audio was the future, offering capabilities that were simply not possible with analog audio, but John Meyer didn't want to get Meyer Sound seriously involved with digital audio until he felt it was possible to attain the level of quality he felt qualified as "good sound." Although Meyer Sound made the SIM analyzer, the RMS remote monitoring system, and MAPP Online acoustical prediction software, the company had never made a digital device that was part of the signal chain.įinally, around 2004, he decided the time had come and Meyer Sound embarked on a collaboration with LCS Audio, a small company making a powerful, high-quality digital audio system for theatrical sound, on a new, all-digital system drive processor. While digital audio had been around for decades, it was not until the '90s that it started to mature, and it was only after the turn of the millennium that it began seriously penetrating sound reinforcement. Constellation was now officially launched. The system made a characteristically low-profile debut at the gala in Zellerbach Hall on and received enthusiastic responses. Meyer Sound had a long association with Zellerbach, and the timing was perfect, as Zellerbach faced an acoustical challenge in the variety of program material on the bill of their upcoming centennial gala.
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The first Constellation system was installed into Zellerbach Hall, on the University of California Berkeley campus.
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The result of this holistic upgrade was dubbed " Constellation" by Grammy-winning classical music recording and live sound engineer John Pellowe, who became involved in its development. The tuning process underwent transformation to increase its efficiency and methods. Meyer envisioned the next step for the technology as being that customers who purchase a system would receive a turnkey system, a complete package of design and tuning services from trained specialists in acoustics and digital audio, as well as hardware components designed specifically for the needs of electroacoustic architecture. When Meyer Sound acquired LCS Audio, VRAS was one of his strongest interests and a VRAS system had been installed in the company's Pearson Theatre.
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The VRAS variable room acoustic system fascinated John Meyer, who saw much potential for its use in multipurpose venues.