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Forum Index » Profile for chrisatrational » Messages posted by chrisatrational
Digital Audio Recording » New studio design? » Go to message
I have just had a meeting with an architect about the design of our new recording studio.

He has stated that there is new scientific evidence that it no longer matters if the walls are all parallel. In fact it is better.

Well this goes against what I have been told and learned over the last 30 years.

So all you guys out there, is his statement true?

Hey Guys, I've been super busy lately - this thread totally slipped my mind until I spoke with Gary(Gadget) this morning on skype and was reminded.

So the topic at hand, I'm working in the wrong rooms, because I would love to not have to worry about the physics of sound! Play a 50hz sine tone in your room and walk around with the architect to show him how the room modes cancel out the sound in certain areas - as well as addition in others. if your room is rectangular you can get away with a good deal as long as you have a well designed (read large budget) live end/dead end (front/rear) and well placed absorption on the L/R walls.

I'm curious where your architect is getting his 'scientific evidence' from. Did he ever show you a publication or white paper on the topic from an acoustic firm of some kind?

Live Sound » FOH Speaker Types & Delay » Go to message
For delay systems the trick is to have their responses as close as possible, and their levels the same at a measurement point in front of the delay stack (turn the delay system up or down until the main pa and the delay system are equal level in the delay systems coverage area. It is also recommended to use a HPF up to 300-400 HZ to get as much bass and low-mid out of the delay system as to not interfere with the bass coming from the mains. Bass frequencies have no problem going the distance, it's the highs that you are really trying to restore to maintain intelligibility. once you've got equal level, same response,then you can time and combine. In class, I refer to this process as LTC, "Level (amplitude/frequency), Time, Combine". Have phun!

- C
16.0.2 » smaart room analysis wizard for Studiolive 16.0.2 » Go to message
I understand that you are unhappy with the desk in this way, so rather then get a new one, you can use it as an interface for Smaart. You are very keen on having the Smaart wizards, and don't have them with the 16.0.2, so I thought you may be interested in the Smaart software.

You don't want to lose money on an item that is only a few months old, so perhaps you would be interested in purchasing Smaart, taking advantage of it's more advanced features rather the
n purchasing a new board.

Because you mentioned the United Kingdom, I thought you might be semi-local to Wigwam Acoustics and possibly interested in taking a Smaart Seminar.

Also because Jim Cousins is legendary, as well as a fantastic instructor.

I am Chris Tsanjoures at Rational Acoustics (chrisatrational). I worked with PreSonus development and engineering staff to specify and integrate the Smaart features.

Sorry I'm not a PreSonus Marketing guy! If there is no mention of these features, why did you expect to have them? There is mention of them on the packaging and marketing for the 16.4.2 etc...I'd rather not continue down this road.

Good Luck With Everything, Take Care

- Chris
16.0.2 » smaart room analysis wizard for Studiolive 16.0.2 » Go to message
It's worth seeing if you can do a trade in for sure, or sell it privately and get the board that you need.

I'm not sure what the cost would be for you to get your hands on a 16.4.2, if you are happy with the 16.0.2 - I encourage you to do this instead:

16.0.2 » smaart room analysis wizard for Studiolive 16.0.2 » Go to message
As you provided in your post -

"More than a mixer: an integrated system.
The StudioLive™ 16.0.2 integrates a 16x16 FireWire interface and comes with Capture™, Studio One Artist™ recording and production software, and Virtual StudioLive (VSL) bidirectional control software. VSL, in turn, incorporates Smaart Measurement Technology™, which makes it easy to analyze and fine-tune your main mix."

There is a fundamental difference between system and mix analysis, had you done some research on what the Smaart integration features are, you would've realized this sooner. The Smaart features with the 16.0.2 are in fact two great starter-smaart-kit tools for fine tuning and analyzing your MIX; just as the marketing says. I'm guessing the issue is that you didn't realize the Transfer Function "SRA" wizards and the Real-Time RTA and Spectrograph tools are two different features, and were released as two different product implementations.

Return the desk and get the 16.4.2 - Problem Solved!!!

Cheers! - C

16.0.2 » smaart room analysis wizard for Studiolive 16.0.2 » Go to message
The marketing is not misleading, you just didn't do your homework.

The 16.0.2 has Smaart, however it is limited to the spectrograph and RTA. If you wanted the Transfer Function wizards, you purchased the wrong board.


"Using three Smaart System Check Wizards and a pink-noise generator built into VSL, StudioLive 24.4.2 and 16.4.2 users can easily view the frequency-response trace of a venue, calculate and set delay-system timing, and verify output connectivity. (Note that the Wizards are not available for the StudioLive 16.0.2 due to its different architecture.)"

Perhaps it's not too late to return the 16.0.2 and grab the 16.4.2.

Cheers - C
Live Sound » The "Where did you run sound at?" topic » Go to message
Hello All! Huge audio success this weekend. I wasn't able to do an end-fire cardioid sub array due to lack of amplifier channels. HOWEVER, I was able to do the more traditional 2-1 reversed sub 'trick'. OUTSTANDING RESULTS!!!!! I delayed the front facing subs by 1.6 ms to electronically align their drivers with the rear faced sub, which was polarity reversed. Because I didn't have enough amp/processor channels to delay the out sidestacks, I just physically moved the two center clusters forward by about 3 feet, creating a physical sub-arch. Because I used 4 clusters of three, rather then 2 clusters of 6, the sub energy was incredibly consistent throughout the entire area, which covered about 5k+ people. I then used Smaart to analyze and delayed all of the Subs by about 6.8 ms until the sub energy was in time with the main PA, which was flown (big ole' EAW KF850 rig, 8 a side).

This was easily the best sounding 8590 rig I've ever tuned. The guest engineers were ecstatic! over the 3-day event, nearly all of the bands were on in-ears, so having the sub energy off the deck was a huge huge bonus for them. Also, the Hartford Symphony Orchestra performed on Sunday, their engineer was thrilled! Travis, FOH for The Outlaws was basically jumping with joy as he mixed his band, all of the vocal channels were flat except for HPF, he just leaned into the rig and it sang beautifully, he congratulated me on providing for him the best sounding 850 rig he's worked on in his career. What a great weekend!
Live Sound » Best Piano Mics » Go to message
This has been my go-to for live piano for some time now. Two 57's wrapped and placed on the sound board. I tapped a beta91 on the lid to have another option during solos. Cheers all.
Live Sound » The "Where did you run sound at?" topic » Go to message
It won't be until this Friday, however based on the riders, I will be lucky enough if I can have the PA flown in time for sound checks. Unfortunately the 4rth is on Thursday this year, so I don't get a day to set up and tune the rig as I have in the past!

We will actually have a crew in the shop over night re-configuring amp racks and processors for Friday!
16.4.2 » Smarrt RTA Not working » Go to message
IIRC, there are some things that go on with FW channels when the consoles are daisy chained - the firewire streams that the computer uses to get signals into the Smaart engines for displaying the RTA/Spectro graphics get used up by the consoles for daisy chaining.

I rememebr reading a post about it on here a little while back. Perhaps search for the topic and you can dig it up?

I bet monolith has a pretty good, and probably quite delicious, answer for you as well.
Live Sound » The "Where did you run sound at?" topic » Go to message
A few random pics I have on my HD. This week will be a marathon. I'm distributing sound over 1 1/4 mile of Commonwealth Ave for the Boston Pops 4th of July Spectacular (If any of you will be there, come say hi!), then a three day festival with a massive flown Eaw KF850 rig. Oh Joy!

I'm planing on implementing an end-fire sub array for the fest. I'm sick of putting 12 double 18" subs in a dumb l/r or mono cluster. If everything works out pics will follow!
Live Sound » DPA Piano Mics on a live/loud stage » Go to message
Those DPA mics are very sensitive, and generally condensers of any kind aren't my go-to for a loud rock n' roll stage (the excpetion being 414's in cardioid with the HPF on the 2nd order setting) . Solo piano, or piano accompaniment + soloist is another story, as you want to get some more bleed. My go-to technique for rock piano is two 57's with the bodies wrapped in foam and placed basically the same way you have the DPA's, panned hard left and right for bass and treble, respectively. 57's eq curve compliments a piano quite well, as you have a presence peak around 6khz, and the LF roll off is great for keeping the piano muck-free and out of the way of the bass/kick/low end of a male vocal. I recommend giving this technique a shot. Regretfully, I don't have any pictures of this to show you but I will try to come up with some during upcoming gigs.

salvadoredelle - very funny!
I used the presonus acoustic piano fat channel preset on both mics and did some minor changes to the EQ and compression modules... BAM! worked excellent! To EQ the closed piano on the Rock show stage I closed my eyes and did a mid freq -4 db dump and swept the mids with a moderate Q til it sounded good and just enough to get the box out of it ... I don't mix by numbers I listen instead...

Did you try listening to the channel strips flat before reaching for a preset? to me, pulling up a preset instead of evaluating the 'raw' sound is "mixing by numbers"
StudioLive General Discussion » Front of house feed back » Go to message
More often then not feedback at FOH is due to one specific source - like a kick drum or tom mic or vocal HPF that needs to be eq'd, or a noise gate that hasn't been set or set properly. Though the Specragraph can show you the frequencies feeding back, it would be an engineering error to adjust the whole systems response for an issue at one input that can be resolved there, leaving the system response healthy.
24.4.2 » Problems with SMAART Wizard Room analysis » Go to message
My 24.4.2 works as advertised, I use Mono output for noise. yes, reflash, check the trim level, patch cable, etc.
Pre-Sales Questions » DAW Smaart ? » Go to message
Nice! I built a hand full of absorptive panels with rock-wool, that stuff is great for a budget solution! Bass management is the hardest thing to manage with home studios. 8" reference monitors are not capable of accurately reproducing information below 40 Hz in a perfect environment, and generally a sub is always needed to get that stuff heard/felt. That 40hz point gets higher in frequency as the woofer size gets smaller. I've managed to get a hold of the LF stuff by doing more listening then mixing - by comparing my mix sessions to tracks I like in similar genres I'm able to achieve pretty commercially acceptable results by massaging the LF in my mixes to match up with the commercial releases. Knowing and being comfortable with your room is huge when it comes to mixing.

I'm not sure exactly what you mean by "The smaart GUI has no frequency listed so how would one know the EQ settings" When you generate a frequency response trace and move your curser along the y axis, you are give a frequency read out. Can you explain what you mean a little more? We don't currently give you a suggested Eq curve: because Smaart is an analyzer, you are the one who makes the decisions about what you will need to do improve your system based on the information you gather and interpret. Smaart has no idea what factors are going into the resultant trace, and therefore can't make valid decisions the way that a human can. We aren't going to give you a suggestion that could be completely invalid - for example; What if you lost a leg in your XLR cable to the speaker? Smaart would show a 6 dB loss for that element, and you will loose your ability to cancel out noise - but Smaart won't tell you that the solution is to fix or replace your XLR, so if you 'fix' the issue by boosting that drive line by 6 dB - yes you now have a flat response, but did you fix the real problem? No, and you also boosted the noise in that line that isn't being cancelled out. These are the sort of things that we keep in mind as system engineers.

You would want a PEQ because you are compensating (attenuate, you really want to stay away from additive EQ because if a frequency is deficient, it's an issue of a cancellation in your room, not one in your speaker - fix with acoustic treatment because EQ won't solve the problem) for room loading, which generally spans several octaves, so using one or two PEQ filters would give you better results then using several bands of GEQ, especially if you are using a traditional GEQ which imparts other artifacts that would be less desirable for a studio environment. Reference monitors use lower order HP/LP filters that the high powered speakers used in live sound to achieve a smoother time response between speaker elements, thus achieving a more 'hi-fi' what a rant!

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