The Do LaB stage returned to Coachella 2025 with its signature fusion of art, music, and spectacle, powered once again by a Meyer Sound system centered around the PANTHER™ large-format linear line array loudspeaker and 2100-LFC™ low-frequency control element.
2025 also marked the Coachella debut of Meyer Sound’s ULTRA-X80™ versatile point source loudspeaker, which proved a formidable match for the demands of the vast, open-air environment.
Set in a new position on the Polo Field—between the Sahara and Quasar stages —Do LaB’s distinctive, sculptural MACROdose canopy returned with an expanded audience area, drawing some of the largest crowds in the stage’s history to catch performances by a diverse lineup of acts including Tycho, Max Styler, Conducta, and a DJ set by Trixie Mattel.
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Every year, we push to make the Do LaB experience more immersive, and Meyer Sound helps us realize that vision. With the new system refinements, the sound was on point for every set, from front to back—and the crowd could feel it, says Jesse Flemming, co-founder of Do LaB.
The Meyer Sound system, provided by Los Angeles-based integrator Launch, was expanded to better accommodate the widened zone, with ten PANTHER-L loudspeakers per side, four PANTHER-W front fills, and 18 2100-LFC lowfrequency control elements in an end-fire configuration that preserved low-end impact while preventing bleed to nearby stages. Two ULTRA-X40™ and two ULTRA-X80 loudspeakers were deployed for perimeter coverage. Two ULTRA-X80 loudspeakers and four 900-LFC™ low-frequency control elements served as DJ booth fills.
“The new location gave us more flexibility to do what we really wanted: extend low-end coverage and maximize clarity across a broader area”, says Josh DornFehrmann, senior technical support at Meyer Sound. “PANTHER and 2100 LFC are a perfect pairing for this kind of music and environment. Together, they basically sound like one giant loudspeaker. Because the horn is so well behaved, especially off-axis, we’re able to paint the space with sound really precisely—even across a super wide-coverage area like this one. We call it ‘audio quilting’, stitching one speaker’s coverage into the next, sewing them together for seamless horizontal coverage”.
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The coverage improvements helped reshape the audience experience, adds Dorn-Fehrmann. “The system’s even front-to-back relationship meant people didn’t have to squeeze forward to feel immersed. We couldn’t fly the subs, but the end-fire configuration let us push low end deep into the crowd”.
Do LaB audio crew chief and systems engineer Ian Ingram, who has supported the stage since 2008, says the sound quality stood out across the festival grounds.
PANTHER is just so present—it doesn’t feel like it’s falling off at front of house. And the 2100-LFCs are fast, controlled, and deep. I had people telling me this was the best-sounding stage at Coachella, hands down, he says.
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Ingram also noted how the system supported confident performances. “I was amazed at how loud some of the DJs were pushing their mixes”, he says. “It just shows how confident they felt with the setup. They weren’t fighting bleed from other stages—they were fully in the zone”.
That consistency laid the groundwork for even more sonic possibilities ahead. “That’s a priority we’re continuing to refine”, says Dorn-Fehrmann. “This year was about refinement—making sure every corner of the audience could experience the same great sound. Next year, we hope to build on that with spatial tools that add another dimension”.
At Do LaB, we’re constantly evolving the stage—visually, structurally, and sonically. Working with Meyer Sound lets us push creative boundaries while still delivering consistent, high-quality sound every time, says Flemming.
Image credits: Hello Atlas Media and Jamal Eid
