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<blockquote data-quote="Helge A. Bentsen" data-source="post: 107114" data-attributes="member: 263">Re: Line arrays and inter-element angles.I did a small aircraft hangar this weekend, 180 degrees of coverage with JBL 4886. I designed that array using some ideas from this thread, I went for even sonic signature at various distances and not even SPL everywhere. Gradual curvature on the arrays starting at 2, ending at 8 degrees in the main hangs. Sounded very smooth, it look like designing for even sound, not even SPL is easier and translates better across the room. Agree on using fills. Now, if I could stop people from moving them because they are aimed &quot;wrong&quot; (not at the mix position) or tell me that they are off(I run fills as an extension of the main system, I really like them if you barely notice them until you turn them off).Thanks for the input <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f642.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=":)" title="Smile&nbsp; &nbsp; :)"&nbsp; data-smilie="1"data-shortname=":)" /></blockquote>

[QUOTE="Helge A. Bentsen, post: 107114, member: 263"] Re: Line arrays and inter-element angles. I did a small aircraft hangar this weekend, 180 degrees of coverage with JBL 4886. I designed that array using some ideas from this thread, I went for even sonic signature at various distances and not even SPL everywhere. Gradual curvature on the arrays starting at 2, ending at 8 degrees in the main hangs. Sounded very smooth, it look like designing for even sound, not even SPL is easier and translates better across the room. Agree on using fills. Now, if I could stop people from moving them because they are aimed "wrong" (not at the mix position) or tell me that they are off(I run fills as an extension of the main system, I really like them if you barely notice them until you turn them off). Thanks for the input :) [/QUOTE]

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