Meyer Sound builds two things that most loudspeaker manufacturers treat as separate problems: the screen channel systems that sit behind a perforated cinema screen, and the near-field monitoring that mixers rely on to judge what they just committed to. Creation Networks stocks both lines, along with the cinema surround loudspeakers, subwoofers and rigging hardware that complete an installed room. Every product on this page is a self-powered system with its own amplification and processing on board, which is what keeps a 40-seat screening room and a 400-seat auditorium sounding like the same room to a mix engineer.
The Acheron series covers most screen channel work. Acheron 80 and Acheron 100 handle full-size theatres at 80° and 100° horizontal coverage; Acheron Studio steps down for dubbing stages and screening rooms, with a convection-cooled version for rooms where fan noise is unacceptable; Acheron Designer fits a 12-inch driver into a cabinet shallow enough for tight behind-screen depth. Paired with the Acheron LF dual 15-inch screen subwoofer, the series covers the LCR array in rooms from post-production suites through commercial exhibition. The ASTRYA-140 is the newest screen channel in the line and the one to specify when the room demands the widest bandwidth available.
Cinema surround coverage runs through the HMS series. HMS-15 and HMS-15AC anchor the larger installations, with HMS-12, HMS-10 and HMS-5 scaling down for side and rear arrays in smaller rooms and for immersive channel counts where a single auditorium may need dozens of surround positions. The bracket kits matter more here than anywhere else in the system: wall hinge brackets, half yokes, MUB U-brackets, ceiling mounts and rigging yokes are all stocked alongside the loudspeakers, because a surround array is a mounting problem as much as an audio one. Specify the brackets with the speakers and the install crew is not waiting on a second purchase order.
On the monitoring side, Amie and the Amie-Sub form a scalable studio monitoring system that works as a stereo pair on a desk or as a full 7.1 array, with 2.1 XLR and 7.1 DB25 bass management input options ordered as part of the subwoofer configuration rather than bolted on later. Bluehorn sits at the top of the monitoring range — a full-bandwidth system with its own 816 processor that corrects phase across the entire audible spectrum, intended for rooms where the mix has to translate everywhere. Ultra Reflex solves the newer problem: direct-view LED screens have no perforations, so the screen channel has to fire from somewhere else and still image correctly at the screen plane. It is built on ULTRA-X loudspeakers with Galileo GALAXY processing.
Specifying and installing these systems
Cinema and studio audio is unusually unforgiving of a good product installed in the wrong place. Screen channel height and angle are set by seating geometry, not by the rack elevation. Surround arrays need consistent arrival times across a wide seating area. Behind-screen depth, HVAC noise floor, structural rigging capacity and power distribution all constrain the design before a single model number gets chosen. Creation Networks handles that work directly — system design, equipment selection, installation, commissioning and ongoing support — rather than shipping a box and wishing the customer luck. If you are replacing an aging cinema sound system or building a new post-production facility, the design conversation should happen before the purchase order.
Pricing on installed cinema and studio systems is quoted per project. Call 888-230-3661 or email sales@creationnetworks.net.
