Cutting-edge technology, immersive sound, and an unforgettable night: the Berlin-based collective Keinemusik landed in Buenos Aires with a technical deployment fully aligned with its artistic vision, powered by a Meyer Sound system and the comprehensive support of Jons Silberstein.
It was not just another party. Keinemusik’s arrival in Buenos Aires transformed the electronic music calendar with an international‑level show where every frequency mattered.
At the heart of the setup, the Meyer Sound audio system made the difference: effortless sonic power and total coverage in a large‑scale venue.
With the Jons Silberstein team led by Luciano Cipolla, the Meyer Sound system once again demonstrated its power, versatility, and reliability even under extreme conditions. From planning to the final adjustment, the on‑site work was flawless, backed by technical support that truly made the difference. “The goal was clear: to accompany Keinemusik’s proposal with a system that not only meets expectations, but elevates the experience to another level,” Cipolla summarizes.
The relationship between Meyer Sound and Jons Silberstein spans more than two decades, built on trust, collaboration, and a shared vision. “We’ve been working with Meyer Sound since 2004. We’ve always had a very good relationship and strong support from the company, especially from Juan Carlos Yepes, Sales Director for South America, Central America, and the Caribbean at Meyer Sound, who over all these years has supported and advised us in every decision we’ve made,” highlights Pablo Jons, one of the company’s partners.
Beyond their role as official distributors in Argentina, Jons Silberstein is also an active user of Meyer Sound systems. “That gives us the opportunity to showcase and encourage the use of new equipment,” he explains.
In that sense, the PANTHER system quickly established itself in the local market. “It has great acceptance: those who already know it and have done an event with it want it, and those who don’t leave very happy, even users of other brands,” Pablo assures. Among the factors behind this preference, he highlights the price‑to‑performance ratio and its operational versatility: “Its size and weight give it great versatility, it takes up less space in trucks and obstructs screens much less than other current systems. Today that is very important for show designs.”
Looking ahead, he defines it clearly: “Our future lies in continuing to build and contribute our experience to new projects.”
Currently, Meyer Sound units in Argentina are expanding rapidly. “The stock is growing more and more,” Cipolla points out. “There are now 72 PANTHER and 36 2100 loudspeakers. That’s a good number,” he adds, highlighting the brand’s sustained growth in the country.
Beyond specific recommendations, the use of Meyer Sound systems in large‑scale shows seems to be consolidating as a natural choice for many producers and operators.
Luciano Cipolla sums it up this way: “One of the main things everyone takes away is the cabinet size and how powerful it sounds. Even when the system is new for some artists, as was the case with the Germans from Keinemusik, the response was immediate. I experienced something similar recently with Massive Attack. The operator, Rob Allen, told me: ‘If vocals sound good on a system, the system is good.’ And with Meyer that always happens.” For Cipolla, intelligibility is key. “I never get complaints. You learn how to work with it through use, but the response at every show is consistent: it sounds clear, it sounds powerful, and the vocals are always up front.”
This level of availability makes it possible to tackle large‑scale productions with total confidence. “Nowadays, most riders go straight to PANTHER. It’s what’s being requested the most. It gives you many more possibilities and a sonic response that truly makes a difference.”
Engineering in detail: how a no‑margin‑for‑error show is built
The deployment of Meyer Sound at the Keinemusik show in Buenos Aires was made possible thanks to the joint work between production company Skyline Music and the Jons Silberstein team, who provided not only the system but also the technical support, logistics, and experience required to meet a large‑scale demand. Luciano sums it up clearly: “We knew we were in a position to provide a complete service. Not only in terms of consulting and support, but also because of the number of cabinets… they had a requirement. To put it simply, they used the same number of systems for a show of 50,000 people, but for an audience of 20,000.”
“I was called in to design the system and work together with Pablo Jons and the entire Keine team, from coordination with production to the setup. It’s an honor to be called for this type of event, because they’re always a challenge, and the human team makes all the difference.”
The event took place at Mandarine Park, with a massive audience and a technical setup that demanded maximum precision. “We had a frontal layout with double delay, and we designed it using MAP 3D prediction to achieve even coverage and real power without losing definition,” Cipolla explains.
The sound system deployed for Keinemusik’s Buenos Aires date was as ambitious as it was precise. Luciano Cipolla detailed: “We used 32 PANTHER for the L/R PA, 24 PANTHER for L/R outfill, 36 2100‑LFC as main subs, 8 1100 as L/R delay subs, 12 ULTRA‑X40 for frontfill, and 4 UPA‑1P as backstage infill.” This configuration ensured immersive coverage, with strong low‑frequency presence and a clear, well‑defined frontal image. “It was a design that perfectly met the demands of both the show and the venue,” he concluded.
In the technical decisions of a show, aesthetics and sound quality do not always go hand in hand. Luciano experiences this as a daily tension: “You have people who prioritize that nothing is visible, that nothing blocks the screen, and people who prioritize sound. Nowadays that’s a constant struggle for me,” he says with a laugh. “But the versatility of Meyer Sound systems allows you to adapt to those demands, even under adverse conditions. We’ve had situations where the system was flown at 22.5 meters high, and it still adapts.”
The requirement was not focused on volume, but on coverage. One of the aspects most valued by the German team’s main audio operator was the system’s uniformity: “One of the things the main audio operator liked the most was the system’s uniformity over distance. He also highlighted the performance of the ULTRA‑X40.”
The final result was the product of a jointly developed technical design: “What they asked us for, we adapted. We recommended things, but we always adapted to their final request.” The smooth relationship, marked by mutual respect and flexibility, was key to success.
The work of Jons Silberstein not only met technical demands; it also stood out for punctuality and logistics. “With the delivery schedule we told them we had to meet, we met it. That’s the other half of what I always say about the company: it’s the service and the system. Because sometimes you can have a better system, and the service falls apart.”
In addition to the design, Cipolla was responsible for calibration with GALAXY and the fine tuning of the entire system, ensuring an immersive experience without becoming invasive. “We sought a perfect balance between sound pressure and listening comfort. With Meyer Sound that’s possible: you can have impact without sacrificing fidelity.”
“With Pablo and the entire Jons team it’s very easy to work. There’s a mutual understanding of what’s needed on site and excellent willingness. Having real technical backing and top‑tier products allows you to focus on what matters most: that it sounds the way it should.”
One of the major challenges of this show was designing the system in a completely open environment. Without walls, without stands, with a large frontal expanse, uniform coverage was critical. “The biggest challenge was the frontfield, because the system was very open. We had almost 35 meters. It was something to take very seriously and a real challenge.”
The design included specific strategies to achieve that uniformity. “I decided to move the systems slightly toward the center, since the PA and outfill were together. We gave them a 10–12‑degree angle to concentrate energy in the field,” Luciano details. “PANTHER 110 has an excellent dispersion. Even when you’re off‑axis, you still get a very good image of the system.”
In addition, the system demonstrated exceptional robustness in an unexpected situation. “Of course, there had to be rain for a complete experience. One night was a real downpour, and the next morning we powered everything up without issues. Absolutely nothing. The water issue is very well resolved,” he recounts. “We weren’t worried at all about the flown PANTHER units. The Keinemusik sound operator had some reservations when turning them on, but was very pleasantly surprised to see that the PANTHERs sounded powerful after the downpour.”
Regarding the response from the audience and production, Cipolla sums it up: “The feedback was excellent. The entire team was very satisfied, and that’s always what we aim for: that the system and conditions are not a limitation, but a challenge to give the best at every show.”
Keinemusik’s date in Buenos Aires left more than a memorable night; it left a technical and human reference for how a large‑scale sound experience is built. Behind the deployment, Meyer Sound once again demonstrated why it continues to set the benchmark in professional audio, and Jons Silberstein reaffirmed its commitment as a strategic partner in projects that seek the very best.
When technology sounds in service of music, everything fits. And in this story, every cabinet spoke with its own voice.
