Meyer Sound’s Pearson Theater has been revitalized with state-of-the-art technology upgrades, strengthening its position as a leading showcase for audio excellence.
The introduction of Meyer Sound’s new ASTRYA™ cinema screen channel loudspeakers and a 33-channel theatrical Dolby Atmos system has elevated the venue to a world-class screening room, complemented by a next-generation Constellation® acoustic system, which transforms a room’s acoustic signature at the push of a button. Milan integration and support for the Spacemap® Go spatial sound design and mixing tool underscore Meyer Sound’s commitment to seamless operability and innovative sound solutions.
Since its inception in 2004, the Pearson Theatre, named after the late audio pioneer Don Pearson, has served as a real-world showcase for Meyer Sound’s advanced technologies. When it was built, the 1,500-square foot, 55-seat venue reflected the state of the art in sound, showcasing both a 7.1-channel surround system and a Constellation system. A floating room optimized for variable acoustics, the space was conceived to adapt to a range of applications, from film screenings to lectures to music performances and recording.
Nearly two decades later, the Pearson was ready for a refresh, and in January, it underwent a complete technological transformation. “We approached these upgrades the way our esteemed clients would approach building full theatrical or cinematic production spaces,” says Meyer Sound’s Senior Vice President, John McMahon. “All essential systems were refreshed, which now puts the Pearson solidly into the category of top-performing spaces of its kind in the world.”
Central to the upgrade are Meyer Sound’s new ASTRYA-140™ cinema screen channel loudspeakers, anchoring the LCR positions. ASTRYA delivers ultra-precise time alignment and optimal clarity across its wide frequency range from 30 Hz to 20 kHz. Based around concentric mid/high drivers, the speaker offers AES67 network support and a fully digital signal path, facilitating modern audio-over-IP workflows. “ASTRYA is going to be a really transformative product for the cinema industry,” explains Jay Wyatt, Meyer Sound’s program manager, cinema & residential. “The Pearson is now driven by an audio-over-IP distribution backbone. It’s the only cinema system I’ve been involved with that has every loudspeaker driven over IP and a fully digital path preserved from the source all the way to cabinet.”
For cinema sound reproduction, a Dolby Atmos theatrical layout with a 33-channel sound field is supported by a diverse range of products from the Meyer Sound catalog. ASTRYA-140 anchors the LCR positions. ULTRA-X42™ and ULTRA‑X20™ point source loudspeakers are used for lateral surrounds while ULTRA‑X40™ and ULTRA-X23™ point source loudspeakers are in overhead surround positions. On the low frequency effects channel, two 2100-LFC™ low-frequency control elements and two VLFC™ very low frequency control elements work together to extend visceral low-end impact to a subsonic 13 Hz.
Improving picture and source playback were primary goals as well. A Christie CP4420-Xe cinema projector and Dolby IMS-3000 integrated media server earn the Pearson Theatre a DCI-compliant path for DCP playback. A new Stewart cinema screen, six feet wider than its predecessor, provides truer presentation of native cinema aspect ratios. In non-DCI playback, a Kaleidescape Strato V 4K Ultra HD movie player and Terra Prime movie server ensure tthat source material reflects the best possible consumer release formats.
“With the upgrades, the Pearson is definitely more representative of what a theater can be,” says Wyatt. “Now that we can support theatrical Atmos and made a leap to DCI, it’s going to feel a lot more familiar to cinema industry visitors who come through here.”
The Pearson’s upgraded Constellation system features advanced algorithms and harnesses the power of the NADIA™ integrated digital audio platform, which brings greater resolution and enhances flexibility with more discrete zones. The 34-speaker system was upgraded to UP-4slim™ ultracompact installation loudspeakers and the omnidirectional microphones were replaced with 24 miniature cardioid microphones, in line with modern Constellation implementation.
The new system meets loudspeaker and microphone density guidelines for Constellation’s voice lift implementation, which elevates spoken word intelligibility throughout the space — from both presenters and audience members — without the need for hand-held microphones.
“Updating to a current design methodology, with current speakers and a current digital platform, was the driving force for the upgrade,” says Pierre Germain, Meyer Sound’s Constellation director. “As a result, the system just sounds richer, more lush, and much more enveloping. We have more acoustic strength than ever before, with better coverage and clarity overall, thanks to our latest speaker line and our improved VRAS algorithms.”
“There’s some overlap between our design guidelines for Constellation versus Atmos versus Spacemap, and in those areas we can share speakers,” he adds. “And there are some speakers that do only Atmos or only Constellation. But you can use the systems at the same time. In the Pearson, we have Spacemap demos where we turn on Constellation. Having those work together now sounds better than it did before.”
The majority of the loudspeakers in the Pearson are Milan-equipped, with the exception of the UP-4slims required for Constellation, Germain explains. “With our NADIA processor using AVB Milan as its native audio network, we can directly connect Galileo® GALAXY processors as well as NADIA I/O units, giving us flexibility in the way we drive the complete system.”
The Pearson Theatre exemplifies Meyer Sound’s end-to-end capabilities, from design to manufacturing to final product, all housed under one roof. It’s pivotal in showcasing the seamless integration of processes that define the company’s approach. “Visitors see our process up close — they walk through a door where on one side we design drivers, and just feet away, we manufacture them,” says McMahon. “Who else can tell that story?”
The Pearson reopened on March 16 with a screening of Francis Ford Coppola’s Megalopolis, showcasing the room’s upgraded audiovisual capabilities. “What I love most about this space is, it’s so good that it ‘disappears,’” McMahon continues. “When we hold screenings, the technology immerses you completely, recreating the director’s intent so profoundly that you just get lost in it all. It’s a powerful experience.”
