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Meyer Sound Amie Used, Second hand

Ref. code: 1.04.463

Amie : Precision Studio Monitor.


The Amie precision studio monitor is a compact, high‑performance loudspeaker designed for critical audio workflows in music or cinema— where accurate translation to larger systems is a requirement. Developed to meet the demanding needs of audio professionals, Amie allows you to hear your work with unparalleled precision, image and depth.
Amie traces its lineage to Meyer Sound’s Acheron screen channel loudspeakers, sharing core technology that makes it ideal for any precision work in music, film, broadcast, or game post-production.
Amie is equally suited for both stereo and multi-channel monitoring in small- to medium-sized rooms. In any application, the addition of an AmieSub extends the system frequency response down to 22 Hz. The Amie Sub was specifically designed to be the companion for Amie loudspeakers— facilitating the creation of a complete system with easy integration for any configuration using the 7.1 and 2.1 integration modules installed in the Amie-Sub. A complete system is the perfect solution for music as well as for film work where the destination is a larger production room.
With its flat frequency response, Amie accurately reproduces source material at different listening levels and with its remarkable power-to-size ratio, the Amie monitor can make your room sound like a mixing stage. In addition, the phase linearity achieved in the Amie monitor creates an incredibly well-behaved impulse response, yielding superior imaging compared to any other monitor in its size category.
Sophisticated onboard signal processing and crossover circuitry optimize phase response, ensuring transparency and precise spatial imaging. When monitoring with Amie, engineers, editors and sound designers can trust that their work will successfully translate to the next stop, which could be the mix stage or the outside world.
Engineered for sonic linearity in both amplitude and time, Amie exhibits uniform response over its full dynamic range. Advanced driver protection circuitry allows for graceful handling of peak material with very low distortion and accurate phase response yielding a comfortable listening experience and allowing engineers to work in extended sessions with minimal fatigue.
Amie’s high-frequency transducer is a silk-infused dome tweeter fed to a constant directivity waveguide that yields uniform, focused coverage with smooth roll-off outside the coverage area. Its low‑frequency transducer is a long-excursion cone driver designed for linear behavior. An optimized, low‑turbulence cabinet port enhances power handling and extends low-end response.
Powered by a proprietary, high-efficiency, two-channel, class D amplifier and possessing sophisticated DSP, Amie boasts ample headroom, low distortion, and low self-noise, delivering consistent performance even at high sound pressure levels, allowing it to reproduce the most demanding sources with uncompromising precision. The self-powered design simplifies room installations and removes variables such as amplifier and speaker cable length, so the results are always consistent wherever the Amie is used.
Loop through power connectors streamline setup of multichannel systems and necessitate fewer AC room outlets.
Meyer Sound manufactures Amie’s enclosure from premium multi‑ply birch, and coats it with an attractive, low gloss, textured black finish. The threaded side attachment points are 3/8-inch - 16 and accommodate an optional U-bracket, which can mount on walls and ceilings or attach to a pole mount. In addition, the optional Desk mount allows Amie to be placed on a desk with the ability to tilt.

Features
  • Phase linearity and low distortion creates accurate imaging and reduces listener fatigue due to time smearing and unwanted harmonics
  • Incredible accuracy for music mixes that translate consistently to any medium
  • Seamless translation to larger cinema systems
  • Linear frequency and amplitude response with sonic accuracy at any level and uniform tonal balance over a wide dynamic range
  • High peak power minimizes distortion and compression and yields high crest factor
  • Constant-directivity waveguide yields precise coverage reducing room interactions
  • Self-powered design simplifies setup and increases reliability
Applications
  • Small- to medium-sized mixing or editing rooms
  • Stereo and immersive mixing for music, film and video post-production
  • Broadcast monitoring
  • Music, film and video editing
  • High-end playback systems

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Used Meyer Sound Laboratories


Meyer Sound Laboratories is an American company based in Berkeley, California that manufactures self-powered loudspeakers, multichannel audio show control systems, electroacoustic architecture, and audio analysis tools for the professional sound reinforcement, fixed installation, and sound recording industries.
The company’s emphasis on research and measurement has resulted in the issuance of dozens of patents, including for the now-standard trapezoidal loudspeaker cabinet shape. Meyer Sound has pioneered other technologies that have become standard in the audio industry, including: processor-controlled loudspeaker systems, self-powered loudspeakers,curvilinear arraying, cardioid subwoofers, and source independent measurement.
Meyer Sound has consistently involved itself with advanced research beyond that connected to immediate product development, sometimes in conjunction with arms of the University of California, Berkeley. Some of this research has resulted in unusual products such as their parabolic sound beam and sound field synthesis loudspeakers. Other projects, such as the spherical loudspeaker research underway by Meyer Sound and CNMAT (Center for New Music and Audio Technologies) at UC Berkeley are still in the stage of pure research.
 

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Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
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Outdoor & Indoor LED screens for sale, LED mobile truck.
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Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.

Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.

Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.

Package: A completed and fully edited audio piece.

Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.

Phase: Time relationship between signals it’s all relative.

Power Output: A measure, usually in watts, of how much energy is modulated by a component.

Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.

Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.

Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.

Pre/Pro: A combination preamp and surround processor.

Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.

Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.

Q-and-A: Question and answer session.

Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.

Reverberation: The reflections of sound within a closed space.

RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television’s tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal.

RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square’s set of values. A reasonably accurate method of describing an amplifier`s power output.

SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.

Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.

Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.

Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.

Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better.

Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language.

Sound Bite: A portion of audio of someone speaking.

Sound field: The total acoustical characteristics of a space, such as ambience number, timing, and relative level of reflections ratio of direct to reflected sound RT-60 time etc.

Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.

Speaker: A component that converts electrical energy into acoustical energy.

SPL: Sound-Pressure Level. Measured in dB.

Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.

THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman’s eXperiment, after the engineer who drafted the original standard, or is named after the company’s founder George Lucas first movie, THX 1138. Nobody agrees on which.

THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.

User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.

Voicer: A radio report without background audio taken from a scene or otherwise.

Wrap: A radio report containing both the reporter and an actuality.


Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.

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