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Message: <blockquote data-quote="Phil Graham" data-source="post: 148278" data-attributes="member: 430">Re: Extension thread from " An Open List of Console Feature Requests" ThreadDavid,There was a season when LCR installation PAs were in vogue. A younger, more naive version of me was all into them on principle. Later, though, as I was more active out in the world re-tuning systems, I found that these systems didn't work very well, even when they covered the audience sufficiently from each cluster in terms of level. I've come to appreciate that this results from time delay limitations for your brain to interpret imaging, assuming equivalent levels from each source.I've come to decide that this time window is around 20ms, and that levels from each system element ideally need to be really similar, ideally less than 3dB. Ideally within 1.5dB and 15ms in all areas of each coverage zone. These days I tend to implement alternating L/R/L/R systems across the audience area, and try to break the audience into <20ms "blocks" from the available aim points. Stereo is a huge tool to help inexperienced sound mixers find more space in the mix, and I find that most people will tolerate a reversed stereo image pretty well. L/R/L/R systems are also more affordable to implement than LCR.---As for mixing examples, i'll put my own hand out there. The dropbox link is to a 320kbs mp3 file from a song I mixed at church back in January. Our room is currently configured as a mono, single point PA. This file below is the "printed" channels from the console including the equalization and dynamics processing on the PreSonus.I put the channels back into the DAW, and then turn the mix into a faux stereo one using delay panning. For instance the acoustic guitar and electric guitar are both using "delay stereo" which is to say the same input at the same level in both channels, but different delay times. I believe the acoustic is 11ms and the electric is 13ms delay. I then apply reverbs that are as close as possible to the ones in the console, and export to MP3.There is no additional equalization or fader automation on the file, any changes in level are the band playing together (or not), and the tones are the same that came out of the sound system. There is a tiny bit of limiting that grabs about 2dB of gain reduction on the loudest snare hit. The idea is to give the band something that they can listen to that feels like a "normal" recording while working on playing as a unit.<a href="https://www.dropbox.com/s/sh9arlta0m9d4qh/01-17-16%20In%20Christ%20Alone.mp3?dl=0" target="_blank">https://www.dropbox.com/s/sh9arlta0m9d4qh/01-17-16 In Christ Alone.mp3?dl=0</a></blockquote>

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