Evans Amphitheater at Cain Park in Ohio, one of the United States’ oldest municipally owned arts parks, has entered a new sonic era with a Meyer Sound system designed and installed by Tone Proper AV.
The upgrade centres on 16 PANTHER large-format linear line array loudspeakers and six 2100-LFC low-frequency control elements, delivering even coverage from the pavilion to the lawn while minimising spill into the surrounding neighbourhood.
Opened in 1938 as a Works Progress Administration project, the amphitheater has long been a cultural anchor for Cleveland Heights, but its 30-year-old sound system had served far beyond its expected lifespan.
When it came time to upgrade, Cain Park Production Manager Scott Stanley explored numerous systems.
Stanley, who has three decades of experience in live sound, had first encountered PANTHER through a trusted colleague.
“One of the guys I worked with told me, ‘You need to hear the system, it’s absolutely the most incredible system you’ve ever heard,’” he said.
After comparing options, it was clear that PANTHER would be the perfect fit.
“For the dollar amount for the system that we got, it was the smartest path forward for us,” Stanley continued. “For us, it was like jumping 40 years into the future.”
Tone Proper AV CEO Nick Moon says the choice of PANTHER over smaller line arrays was made with long-term flexibility in mind.
“You want to have more than you think you need, because you never want to be in a situation where you’re wishing for more gas in the tank,” he explained. “With this system, that’s never going to be an issue.”
The partially covered, 3,000-capacity amphitheater sits in the middle of a residential neighbourhood, a point of pride and also a constraint. “Right behind the lawn are houses,” noted Stanley.
Sound Prediction
Moon and team modelled the venue in Meyer Sound’s MAPP 3D system design and prediction tool, building arrays that keep energy in the listening area and out of the neighbourhood.
“We spent the time to make sure that the coverage was right on the audience, and nowhere else,” said Moon. “The subs are in a cardioid configuration…we were able to keep everything kind of right where we needed to keep it.”
That precision translates into a consistent listening experience across the venue.
“When we got the system dialled into our space, you could walk from the front to the back and it doesn’t change at all,” said Stanley. “It was even more impressive than I was expecting.”
Stanley notes a dramatic increase in headroom and impact, adding that artists who typically demand high SPLs are often surprised by the system’s capabilities: “Day of show, we’re often running at 86 dB because it feels so intense that it seems louder than it really is. Then the neighbours are really happy.”
Over summer, Evans Amphitheater was able to keep the Meyer Sound system in place for every act, saving labor while meeting touring expectations.
“This is the first year that we did not have to take the P.A. down,” confirmed Stanley.
“Some acts that brought their own systems in the past came through saying, ‘We’re really excited to try the system out.’ Afterward, crews were telling us, ‘This was the most fun we’ve had mixing. We love the sound system and can’t wait to use it again.’”
The new system includes 10 MJF-210 stage monitors, a key upgrade for performers.
“Every tour that we had last year, every band brought Meyer Sound monitors,” said Stanley. “One drummer I worked with used to use two monitors and blow them out. They switched to these and he only uses one – and he doesn’t even turn it up.”
Cain Park’s seasonal staff includes many early-career technicians, and the new platform has become a hands-on classroom.
“This system lets us give brand-new crew members top-of-the-line gear to train on,” said Billy Drury, technical operations manager.
Audience response has been immediate. “We’ve heard people say that was the best it’s ever sounded here,” Stanley said.
