Author Topic: Wall Of Sound (Read 453 times)

spose · « **Reply #15 on:** July 09, 2015, 06:06:48 AM »

The Meyer Sound Leo system with its accompanying 1100-LFC low-frequency control element delivered an immersive fan experience in the large football stadium and supported an experimental segment devised by drummer/percussionist Mickey Hart.

Using the Meyer Sound system to transmit ultra-low frequencies in surround sound, Hart probed how the brain perceived audible and below-audible rhythms.

?John Meyer?s 1100-LFC loudspeakers empower the rhythmic voice and enable percussionists to manifest new ideas,? said Mickey Hart.

?They are sonic tools for reliably transmitting vibrations that affect neurologic function in a special way we are only beginning to understand, enabling us to explore healing properties embedded in low-frequency sound?a dream come true for us all.?

yes, this!

David Houck · « **Reply #16 on:** July 09, 2015, 09:35:40 AM »

Pretty sure they weren't lip-syncing at GD50, unless they practiced forgetting the words and coming in at the wrong time, and were studiously staring at the lyric sheets just for appearances.

Some of the drums segment appeared to be triggered loops; but other than that, it was live music, improvisation without a net, with a few blown transitions as counterpoint to all the transcendent passages.

5a_quilt_top · « **Reply #17 on:** July 09, 2015, 12:07:13 PM »

In other words - a typical classic GD show - !

IMO, the range of emotions that can be experienced during the band's struggle to navigate through all of the rough spots to reach the transcendent passages is where the magic happens.

The tension steadily builds until the blessed release that occurs when they collectively nail it.

And the WOS was the perfect vehicle to transmit all of that sonic energy.

edwardofhuncote · « **Reply #18 on:** July 09, 2015, 01:14:50 PM »

Someone posted on another forum, and I agree... it's most impressive (in the article) how they first recognized the problems associated with large scale amplification, but they didn't stop with just meeting about it for discussion, they set about actually *doing* something. A nice side-effect of those efforts is the instruments we get to play that were developed as part of the plan.

pace · « **Reply #19 on:** July 10, 2015, 01:50:22 PM »

Well, if we get the petition started now, we can probably get the momentum going for the WOS 50th anniversary spectacular.

(((((((((BRING BACK THE WALL)))))))))))

edwin · « **Reply #20 on:** July 13, 2015, 08:08:59 PM »

The WoS was a great thing, and the research that came from it is still relevant, but it's extremely outdated. Most of the problems it was trying to cure, especially intermodulation distortion, are no longer problematic. While it would be awesome to see in action (I missed it by 2 years, which seemed like a long time back then, but is a blink of an eye now), what we hear now is probably better fidelity. Especially the low end. The Meyer subs are way more efficient and powerful.

And then there is the cost. It would be hideously expensive to get such a thing going now.

The one aspect of it that would probably not be bettered by the modern systems is the localization aspect. With each instrument coming from its own speakers, the sense of a band being in front of you, rather than on the other side of a sound system, would be awesome. Like a bar band brought large. There's no replicating that that by other means.