Catalogo

company applications m series
MILO MILO 60 MILO 120 MICA M’elodie M3D M2D M1D M3D-Sub M2D-Sub M1D-Sub

meyer sound

concert series
MSL-6 PSW-6 CQ-1 CQ-2 MSL-4 DS-4P DF-4 MTS-4A subwoofers 700-HP 600-HP 650-P PSW-2

table of contents

ultraseries
UPQ-1P UPQ-2P UPA-1P UPA-2P UPJ-1P UPJunior UPM-1P UPM-2P subwoofers UMS-1P USW-1P 500-HP stage monitors MJF-212A UM-1P UM-100P USM-1PUSM-100P

industrial series
MM-4XP MPS-488/481 MM-4 MM-4CEU SB-1 SB-2 SB-3F MVC-5 Stella-4 Stella-4C Stella-188

studio series
HD-1 X-10/X-10T X-800

matrix3 constellation galileo processors | drivers mapp | rms | sim 3

1979 – John and Helen
found Meyer Sound UM-1 stage monitor 650 subwoofer

dedicated loudspeaker processor

we create everything with one goal in mind

patent for hornloudspeaker and method for producing low distortion sound

All the innovation, engineering and customer support at Meyer Sound is not just about increasing the bottom line, or research for its own sake. It’s all about providing a better experience for the people who come to hear the show.

1980 – MSL-10 loudspeaker
UPA-1 loudspeaker

John Meyer understands that listeners are becoming moresavvy and that entertainment values are on the rise. Therefore, despite all our achievements, Meyer Sound is still working hard every day to find new ways to make the listener experience better.

1981 – patent for

trapezoidal cabinet MSL-3 loudspeaker

reaching the audience.

650-R2 subwoofer

“ I learned early on that it’s important to remember that the ultimate
goal is to please theaudience. At Meyer Sound, we have a tradition of constant innovation with a single objective: to enhance the audience experience. John Meyer

”

1982 – USW-1 subwoofer

833 studio monitor

patent for circuit and method for correcting distortion in a digital audio system

when rock and roll began its revolution
Before rock and roll, there was little need for high-level soundreinforcement. Then the Beatles came to town and music changed forever. But in those early years, sound systems were not designed to deliver the kind of output that rock music required. For sound crews in the 1970s, distortion was a constant problem, and reliability only

1983 – company headquarters
moves to Berkeley

1984 – SIM® source

independent measurement

a dream. John Meyer’s intention wasto make that dream come true. One of the audio industry’s most respected pioneers, John had already grabbed the attention of the live music world with his landmark Glyph low-distortion loudspeaker, used at the Pepperland

1985 – CP-10 complementary
phase parametric equalizer John Meyer named a Fellow of the AES

nightclub for the Grateful Dead, Pink Floyd, and a host of other rock luminaries.His vision was to create a reliable sound reinforcement system that was linear, powerful, and ideal for any application. The rest is history. Meyer Sound built systems with more output and less distortion than any that came before, then took a huge leap forward by perfecting the self-powered

1986 – TEC (Technical
Excellence and Creativity) Award for SIM®

loudspeaker, which incorporated allof a loudspeaker’s associated electronics into its own cabinet.
From the Grateful Dead to Celine Dion, performers and their audiences have benefited from Meyer Sound’s high-quality sound reinforcement systems for years.

1987 – first sponsorship of

Montreux Jazz Festival MS-1000 stereo power amplifier

The Glyph, ca 1969

John Meyer

John Meyer pioneered sound systems that could lastthrough an entire rock concert

we began ours.
John’s tireless trailblazing led to a string of groundbreaking products, including the 650 subwoofer for Francis Ford Coppola’s “Apocalypse Now”, the UPA-1, and, most recently, Constellation electroacoustic architecture. Today, Meyer Sound’s self-powered loudspeakers garner rave reviews for their quality and reliability. Meyer Sound remains at...