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60 Degree DIY Mid Hi - AKA PM60
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<blockquote data-quote="Raimonds Skuruls" data-source="post: 146539" data-attributes="member: 9926"><p>Re: 60 Degree DIY Mid Hi</p><p></p><p>Hi Peter,</p><p>Thanks for questions!</p><p>I am happy to serve your needs in any accuracy level you prefer.</p><p> </p><p>Regarding crossover. For „serious”, pro use (when a work at full power is usual) a use of active FIR crossover must be considered. It means, you will have ability to eq the each particular band speaker to have almost ideal its performance on a crossover point.</p><p>For non pro use (speaker is working far from full power) a use of passive crossover should be considered because the risk, of getting crossover out of tune caused by a change of loudspeakers coil resistance, is much less.</p><p> </p><p>Flat FR at FOH.</p><p>We should serve our guest performers as good as possible. It means that we must offer the work environment as good as possible to free them from any routine work in concert place. Most serious groups have all they song projects (mix of live and playback tracks and automation) prepared in studio. For most ideal case, the sound engineer of group should not hear difference between studio and concert sound.</p><p>I did that almost 17 years ago without use of any measurement technique.</p><p>It is much ease to do so with measurement tools available now.</p><p>And even by the group’s sound engineer himself, if rental company is just box movers and do not understand anything from sound. </p><p>As I wrote in comments to Dr. Toole`s paper, the 7dB fall from LF to HF is usual for studious and if you setup such curve in your concert place, the guest engineer will be very happy. For some cases more drastically curve of 9dB fall and 3...4...5 dB dip at 3.15kHz will help (it is called „mp1” in APL tools).</p><p>But first of all we must „see” haw it is (FR of your system) and then we can talk about flat or any other target.</p><p> </p><p>What to do with „room”?</p><p>Nothing, if you are working with live sound in parallel – some sounds are reaching listeners directly from stage, some – by help of sound reinforcement system.</p><p>If everything is „plugged”, you can try to compensate HF losses and accumulation of LF. The ordinary parametric EQ is good for that. No look at some narrow band issues on FR if you are using ordinary RTA.</p><p>It is possible to do that based on measurement also. The paper „Equalizing loudspeakers” is describing some concepts.</p><p> </p><p>Directivity. </p><p>It is very nice to have narrow vertical directivity pattern and wide and smooth horizontal. Narrow vertical pattern will give you much better acoustic relationship (direct sound / reverberant sound) and the clarity as a result.</p><p>But I would like to invite to tune up basic thing at first and than turn to directivity issues that are taking much serious efforts to introduce some changes.</p><p> </p><p>It is a very nice but expensive idea to have all drivers working in a piston range. And this is connected to directivity such way that only small membrane (in relation to wavelength) is working in piston range and creating wide smooth directivity pattern.</p></blockquote><p></p>
[QUOTE="Raimonds Skuruls, post: 146539, member: 9926"] Re: 60 Degree DIY Mid Hi Hi Peter, Thanks for questions! I am happy to serve your needs in any accuracy level you prefer. Regarding crossover. For „serious”, pro use (when a work at full power is usual) a use of active FIR crossover must be considered. It means, you will have ability to eq the each particular band speaker to have almost ideal its performance on a crossover point. For non pro use (speaker is working far from full power) a use of passive crossover should be considered because the risk, of getting crossover out of tune caused by a change of loudspeakers coil resistance, is much less. Flat FR at FOH. We should serve our guest performers as good as possible. It means that we must offer the work environment as good as possible to free them from any routine work in concert place. Most serious groups have all they song projects (mix of live and playback tracks and automation) prepared in studio. For most ideal case, the sound engineer of group should not hear difference between studio and concert sound. I did that almost 17 years ago without use of any measurement technique. It is much ease to do so with measurement tools available now. And even by the group’s sound engineer himself, if rental company is just box movers and do not understand anything from sound. As I wrote in comments to Dr. Toole`s paper, the 7dB fall from LF to HF is usual for studious and if you setup such curve in your concert place, the guest engineer will be very happy. For some cases more drastically curve of 9dB fall and 3...4...5 dB dip at 3.15kHz will help (it is called „mp1” in APL tools). But first of all we must „see” haw it is (FR of your system) and then we can talk about flat or any other target. What to do with „room”? Nothing, if you are working with live sound in parallel – some sounds are reaching listeners directly from stage, some – by help of sound reinforcement system. If everything is „plugged”, you can try to compensate HF losses and accumulation of LF. The ordinary parametric EQ is good for that. No look at some narrow band issues on FR if you are using ordinary RTA. It is possible to do that based on measurement also. The paper „Equalizing loudspeakers” is describing some concepts. Directivity. It is very nice to have narrow vertical directivity pattern and wide and smooth horizontal. Narrow vertical pattern will give you much better acoustic relationship (direct sound / reverberant sound) and the clarity as a result. But I would like to invite to tune up basic thing at first and than turn to directivity issues that are taking much serious efforts to introduce some changes. It is a very nice but expensive idea to have all drivers working in a piston range. And this is connected to directivity such way that only small membrane (in relation to wavelength) is working in piston range and creating wide smooth directivity pattern. [/QUOTE]
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