COnSTeLLATIOn PAVeS The PATh
TO A MyThICAL WORLd In
theatRical PRoductions
Cirque du Soleil’S zed
using MeyeR sound
equiPMent in 2009
CIrque Du SoLeIL
®
’S ZED
™
thrills audi- “ZED was in rehearsals for five months
WEST END ences at Tokyo Disney Resort with a soar- and, by the end of that time, the LCS
Joseph and the Amazing
ing, acrobatics-filled musical fantasy about
Technicolor Dreamcoat
system felt like a musical instrument that
The Lion King
a mythological-comical character who rec- played the spectral and spatial composi-
Oliver! The Musical
onciles earth and sky. The dynamic sound- tion of the mix.”
Phantom of the Opera
Sister Act
scape created by François Bergeron and
Wicked
Vikram Kirby helps entice the guests into a
Constellation’s early reverberation allows

the audience to feel that they are part
BROADWAY
world of imagination using Meyer Sound’s
The 39 Steps Constellation electroacoustic architecture.
of a crowd, even in an acoustically dry
Billy Elliot the Musical room. “Dynamic mixing with Constellation
Burn the Floor
Hair
“CONSTELLATION CAN SOUND ABSO-
enables me to evoke a greater response
In the Next Room (or the Vibrator Play) from the audience, allowing a burst of
The Phantom of the Opera
LUTELY NATURAL, IF ThAT’S WhAT YOU
applause, or of ‘oohs’ and ‘aaahs’, to
Rock of Ages
Shrek the Musical
WANT, BUT IN PURE SOUND DESIGN
spread across the theater,” says head
West Side Story
IT ALSO LETS YOU PLAY WITh ThE
of Audio Tim Younghans. “You could say
Wicked
LAWS OF PhYSICS. YOU CAN CRE-
Constellation is the bridge between the
OTHER N. AMERICAN PRODUCTIONS show and the audience.”
The Addams Family ATE ACOUSTIC SPACES ThAT CANNOT
American Idiot
The Sound of Music (Toronto)
EXIST IN ThE PhYSICAL WORLD. ”
Bergeron adds: “Constellation allows us
to transport the audience from one spe-
US TOURING
— FRANCOIS BERGERON
cific room to multiple environments. It’s
August: Osage County PRInCIPAL SOUnd deSIGneR
Irving Berlin’s White Christmas
CIRQUE DU SOLEIL
like an audio zoom-in and zoom-out.
Little House on the Prairie
When you zoom in, the theater sounds
Wicked
The Wizard of Oz
The Constellation system in ZED was cus- dry and closed in, but when you zoom
tom-designed for the 2,150-seat theater to out it feels spacious and lush. It becomes
AUSTRALIA
Avenue Q
work hand-in-glove with the primary and part of the emotional roller-coaster for the
Chicago the Musical (Touring) surround audio systems, linked and con- audience.”
Jersey Boys
trolled by one of the largest CueConsole
Mamma Mia! (Touring)
The audio systems in ZED were provided
Wicked
modular control surfaces ever assembled.
Loudspeaker models used include the
by SC Alliance, with support from ATL, Inc.
CHINA
Installation was done by Yamaha Sound
Journey to Realisation
SB-2 sound beams, M’elodie line array,
Cats (Touring)
UPJ-1P VariO, UPM-1P, CQ-1, MM-4, and
System. Canadian architects Saucier +
Stella-8C loudspeakers.
Perrotte designed the theater. The host-
ing company for the production is Oriental
Continued on page 25
“The Meyer Sound system affords a whole Land Company, Ltd., with planning coop-
M’elodie CQ-1 700-HP UPJ-1P UPM-1P SB-2 MM-4 Stella-8C Matrix3 Constellation CueConsole FEATURED PRODUCTS
different level of capabilities,” adds Kirby, eration from Disney.
16 | 2009 | VOLUME 3 | MEYER SOUND STORIES
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