The system design for the 2,200-seat Knight Concert Hall relies on flown, retractable clusters that disappear when not in use behind a striking acoustical canopy made up of three individually adjustable pieces. The center cluster includes three PSW-2 high-power flyable subwoofers, three MSL-4 horn-loaded long-throw loudspeakers, two CQ-1 wide coverage main loudspeakers, and three CQ-2 narrow coverage main loudspeakers. Left and right clusters each consist of an MSL-4 cabinet and two CQ-1 cabinets, all hung in a single vertical line. Frontfill is provided by 18 UPM-1P ultracompact wide coverage loudspeakers, nine placed on the orchestra pit rail and the other nine along the stage front to accommodate different show requirements. Three additional UPM-1P units serve as discreet balcony delay speakers.

The 2,400-seat Ziff Ballet Opera House employs a permanently mounted proscenium system, with main loudspeakers concealed behind acoustical scrim. A single CQ-2 serves as the center loudspeaker, and is supported on the left and right sides by two stacked MSL-4 cabinets, a CQ-1 mounted in the middle, and a CQ-1 at the bottom. Low-frequency power comes from dual 650-P high-power subwoofers. The frontfill configuration mirrors Knight Concert Hall's dual ring of 18 UPM-1P units, but here, three UPA-1P compact wide coverage loudspeakers handle balcony delay duties.

According to Pearson, Meyer Sound's self-powered solution best served the intricate installations. "As the project grew, with each round of changes we lost more space in the backstage rooms," he says. "In the end, we would have been hard-pressed to find space for the amplifier racks if we would have used a conventional system."

Meyer Sound senior education consultant Bob McCarthy, creator of Meyer Sound's renowned "SIM School" seminar, equalized both systems using the SIM 3 audio analyzer. Within hours of completing the final alignment, ushers opened the doors for a series of grand opening galas and all-star concert events.