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Forum Index » Profile for chrisatrational » Messages posted by chrisatrational
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Studio One General Discussion » Switching from OSX to Win 8 » Go to message
Can you please elaborate on why you are choosing to switch platforms?
Live Sound » Crossover or not? » Go to message
Check into using an AUX to feed just the low material to your subs.(look up Aux fed subs) It works great!! Then just send the full range to the tops.


Yip - that's a great idea! This way you only send to the subs what you need to (kick drum/synth/music playback/ bass guitar). If you do this, a sort of 'old school' approach would be to take the lowest 4-5 bands of your GEQ on the mains/monitors and just take them all the way down.

A great place to start as a XO point from subs to mains is 100Hz. Because you didn't specify any of the actual brands of components you use I can only speculate as to what options you have available with their on-board processing. That being said, many of the popular manufacturers have dedicated or adjustable LPF settings for their powered subs. If not, a simple stereo 2-way XO set to 100 Hz would do the job great - like the DBX 223. L/R in, L high/low out, R high/low out.

cheers!
Studio One General Discussion » New Book: Studio One for Engineers and Producers » Go to message
want.
Studio One Tips and Tricks » Triggering virtual drum instrument sound from live drum » Go to message
that is a cool feature for a gate! Can you create a MIDI track based on the transient information without dropping a MIDI note by hand on each hit?
Pre-Sales Questions » Presonus 328AI for studio monitor? » Go to message
True Story! I picked up a pair of Mackie HR824's on ebay for 400 bucks. Couldn't pass it up.
Pre-Sales Questions » Presonus 328AI for studio monitor? » Go to message
Sometimes you've just got to have the Gene' Sound!!

Sounds like this whole thread was a moot point if you've already got a great pair of reference monitors!

FWIW, it would be better to bring the PA speakers in the studio, then the ref monitors out - If you want to buy one car to be a daily driver and part time rally car, you'd have to buy the rally car.
Pre-Sales Questions » Presonus 328AI for studio monitor? » Go to message
No problem Jack! I'm glad I could point you in some interesting directions.

If you'd really like to use speakers that where never intended or optimized for use in a studio, go for it! If you want to purchase studio monitors that where never intended to be used as live sound reinforcement speakers, no one is going to stop you there either. You may get some weird looks from the punters, but that shouldn't stop you. Either way you go you will be making a compromise.

I think you will start to realize the pitfalls once you go down that road. I've tried to explain them to the best of my ability; but at the end of the day - it's your money and reputation on the line. If it works for you then that's great!

I'd be curios to hear what your outdoor studio sounds like when you do get around to doing a mix down. One of my ole' college room mates has a 'Solar Powered Studio' where he uses a bunch of car batteries and goes into the middle of the woods to track drums and things. Pretty cool, however the mixes are done in a proper studio.

here's a link -

http://vimeo.com/38223061

Pre-Sales Questions » Presonus 328AI for studio monitor? » Go to message
What I am NOT getting is if the speakers (studio mons) are too loud why can't they just be turned down?


How loud studio monitors can get is not really a concern, it's more about how appropriate are they for your room. To go back to the OP, there are better, more appropriate solutions to studio monitoring then a pair of 1500watt live sound reinforcement speakers. You wouldn't use a Danley JH-90 to do a bar gig that really just needed a little speaker-on-a-stick PA - I mean, you could, but it wouldn't be appropriate for the venue.

Bob Katz has proposed a really interesting solution for studio monitoring levels in his paper "An Integrated Approach to Metering, Monitoring, and Leveling Practices" called the K-System. I generally abide by the K-system and calibrate my monitors so that 0 dBFS = 79 dB SPLC w/pink noise at -20dBFS in the master out of the DAW.

Studio and Live are different animals, if you are engineering a mix in a studio - no one is going to tell you to turn down your monitoring levels - some engineers may even find that sort of interruption offensive. Monitoring anything over 86 dBSPLC starts to get pretty damn loud when you are only about 6' away from a reference monitor in a recording studio. That loudness effects the way we humans hear as well, to a point where we can't really hear accurately - think of our old friends, the Fletcher-Munson curves.

Cheers! - C
Pre-Sales Questions » Presonus 328AI for studio monitor? » Go to message
as far as my understanding - max SPL of 134 @1M means that at 1 meter away from the speaker, you can turn it up to 134 db (A, C, Slow/Fast whatever the factory spec ends up being) anything after that it will have reached its performance limit/blowup/be unsafe/blow a circuit, etc.

guess am still not understanding Gain structure? Max 134db is quite impressive but what if my output is low prior to the input of the power amps? Is this a signal to noise ratio studio deal? If these cabs are in a live PA and the gas is off at the FOH desk, what is the DB then? Not trying to be a smart a**, just trying to grasp studio stuff. Thanks again.


the speakers are powered, so think of them as a system - the power amps and the speakers are mated. The max value is a performance based extreme value. In practice, you would almost certainly never run them that hot. Have you used a powered speaker before? Typically they have some sort of master output controls on the back, the AI series are not an exception to this. They give you some really cool stuff back there.

As far as signal to noise, the biggest concern for you in live situations is good electricity. Proper grounding will fix any noise that the system may have that isn't coming from the artist you are reinforcing.

If the gas is off on the mains at FOH, no sound gets out. "what is the DB then" - DB what? you mean SPL? SPL A? C? Slow? over how long? at this point you would be measuring ambient noise, so it all depends on your environment.

I apologize, I had a bit of a hard time understanding your post, so I hope I gave you the info you needed. Perhaps spend some time on the google researching some of these topics.

cheers - C
Pre-Sales Questions » Presonus 328AI for studio monitor? » Go to message
The short answer is No, you cannot make a pseudo line array with multiple point source boxes on their sides. I mean, you can, however the HF vertical coverage pattern in a single line array speaker element is typically between 10-15 degrees.

It doesn't really work that way unfortunately. Line Array speakers have very narrow vertical coverage patterns, and as the array gets longer, the frequency where you lose directivity control lowers. Putting a point source box on it's side negates the benefits of it's horizontal coverage pattern, rotating the horn won't be enough to make up for that. You also introduce combing issues associated with 'arraying' multiple boxes in a way which they are not intended to be used. You would have much much better results by putting multiple speakers side by side up in the air to extend the horizontal coverage. Also, being in the air you can get more coverage out of the horn, and not just pummel the front with HF.

I guess it's really all about wavefront curvature. You can create a line array with dome tweeters as long as they are spaced properly. Spaced properly being the key qualifier here. You won't be able to get the tweeters close enough to act as a line source.

- cheers
Pre-Sales Questions » Presonus 328AI for studio monitor? » Go to message
I have a hard time getting behind you on this one - the 328s would probably be inappropriately large fro near field, or even mid field monitoring. In the studio, you aren't monitoring at 105 dB A, 8' from your reference monitors. However, that level would be very common during a live show as 16' back you are at 99 dB A (-6dB per doubling of distance w/point source speakers); which would be quite comfortable for a rock band. a set of studio monitors would get pretty cranky at you for running them that hot.

Being that the 328s are high powered boxes, there is probably some sort of fan-cooling-action going on in the power amp module - I know the noise of that would drive me insane in a studio environment where you want to keep background noise to a minimum. Also, you'd have to keep re-wiring your studio every time you have a gig, which could be a PITA.

just some food fer thought.
24.4.2 » Using the GEQ » Go to message
It is absolutely okay to use the GEQ. Think of the SRA wizard as 'setting the table' for your mix, so that your system is optimized for the room with a frequency response trend that is appropriate for the genre of music being performed. When you go up to eat (or mix a live band), the GEQ is the artistic eq where you can make changes for a particular artist or act, and those changes don't affect the overall tuning of the system. This is especially important with more then one act, you always have a baseline to return to by simply resetting the GEQ.

If you are finding that you end up with too much bass when you run the room wizard, just attenuate more LF out on the parametric Eq. Tune, listen, tweak, verify.

Simply place the RTA mic where the people are. I don't know your configuration, if the main audience is behind you at mix position then that is the right place to place the mic - although that seems very very strange to me. I recommend using the 'advanced' analysis - placing the mic in three locations through out the main listening area to generate an average trend is a far superior method then the quick-and-dirty basic analysis. Acting on a static trace will also help hammer home my previous point.

Tune the system (generate averaged trace, adjust parametric Eq for a complimentary curve)
Listen (exit the wizard and listen to some music of a similar genre to what will be performed)
Tweak (if needed, make some slight adjustments by ear)
Verify (re-run the SRA wizard and check your work)

Now one weirdness i'm seeing is the following when I am running the room wizard and the main 4 band EQ is flat I am getting the exact curve between scenes is this normal?


I don't understand what you are trying to say.
Listen to this! » Tracked using a Firestudio Project » Go to message
http://www.youtube.com/watch?v=QLodoW2r3JI

I just discovered this music video made by a group I tracked/produced/engineered/mixed etc last year. I recorded BOT with a FireStudio Project, and a little help from an SL 16.4.2.

mixed in PT10, sorry - I haven't made the jump to S1 yet :/


Cheers!
16.0.2 » Smaart » Go to message
Rockin! Have phun out there

- C
16.0.2 » Smaart » Go to message
From PreSonus - http://www.presonus.com/products/Virtual-StudioLive/Smaart-M

"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.)"

Until they change the documentation/announce that the 16.0.2 has the Smaart Wizards, I will stick to my guns on this one and say that they are indeed not available for the 16.0.2.

Therefore my question, what good is smaart on a 16.0.2. if you do not have the room analysis wizard?


The 16.0.2 console does have the Spectrum controls in the GEQ section. Spectrograph and RTA.

The Spectrum tools are not intended for room tuning, they are "no good" for it, to use your rhetoric (I gave you a brief explanation of why this is, see your "Smaart How To" thread posted in "live Sound"). They do, however, offer you some great information while performing other tasks; such as feedback suppression, setting key filters, analyzing frequency content, etc. So, that is "what smaarts good for" in the 16.0.2.

Attached is a picture of Robert Scovill operating Smaart v7's Spectrograph at FOH for Tom Petty and the Heartbreakers. droooooool
 
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