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<blockquote data-quote="TJ Cornish" data-source="post: 31887" data-attributes="member: 162">Re: The way real pros do itAs an occasional system installer as well as a system user, I&#039;ve been on both sides of this issue.&nbsp; Do you:1. leave the &quot;keys to the kingdom&quot; exposed for the theater department or metal band or whatever to blow up/modify so far from neutral that you end up getting called back constantly because &quot;you put in a crappy system&quot; or &quot;It&#039;s broken and it&#039;s your fault&quot;?2.&nbsp; Put in a password protected faceless DSP with parameters so safe that with every red light on on the console it&#039;s impossible to run the system into the last 6dB, ensuring it will never break, but never run anywhere close to its full potential?3. Start somewhere in the middle offering suggested tuning settings and moderate limiting hoping that the intelligent house tech you&#039;ve enjoyed working with never leaves to be replaced with the usual run of the mill &quot;DJ/home theater experts&quot; that for some reason seem to end up in positions like this?My current thought is that a password protected locked down DSP with moderate limiting settings and an easily bypassable EQ like in Gordon&#039;s situation are the best compromise.&nbsp; I will gladly release the password of the processor to the end user in exchange for a signed agreement stating that the installation&#039;s warranty ends and the user takes full responsibility.Mark - if I was a venue owner and a band&#039;s rider called for &quot;full processor access&quot;, I&#039;d tell them to jump in the lake, and not the Dolby kind, either.&nbsp; The risk/reward ratio doesn&#039;t look too good for the venue.&nbsp; What are the chances the band engineer du jour can make the system &quot;better&quot; in 30 minutes of pink noise than a competent installer can with a couple days of alignment and tuning?&nbsp; Will this person return the system to its original state, both in terms of the same amount of smoke left in various components as well as electronic parameters?&nbsp; Why would the BE want that liability anyway?&nbsp; Either the system meets the act&#039;s needs, can be quickly colored to taste with a graphic EQ, or it can&#039;t be, and another system needs to be brought in.</blockquote>

[QUOTE="TJ Cornish, post: 31887, member: 162"] Re: The way real pros do it As an occasional system installer as well as a system user, I've been on both sides of this issue. Do you: 1. leave the "keys to the kingdom" exposed for the theater department or metal band or whatever to blow up/modify so far from neutral that you end up getting called back constantly because "you put in a crappy system" or "It's broken and it's your fault"? 2. Put in a password protected faceless DSP with parameters so safe that with every red light on on the console it's impossible to run the system into the last 6dB, ensuring it will never break, but never run anywhere close to its full potential? 3. Start somewhere in the middle offering suggested tuning settings and moderate limiting hoping that the intelligent house tech you've enjoyed working with never leaves to be replaced with the usual run of the mill "DJ/home theater experts" that for some reason seem to end up in positions like this? My current thought is that a password protected locked down DSP with moderate limiting settings and an easily bypassable EQ like in Gordon's situation are the best compromise. I will gladly release the password of the processor to the end user in exchange for a signed agreement stating that the installation's warranty ends and the user takes full responsibility. Mark - if I was a venue owner and a band's rider called for "full processor access", I'd tell them to jump in the lake, and not the Dolby kind, either. The risk/reward ratio doesn't look too good for the venue. What are the chances the band engineer du jour can make the system "better" in 30 minutes of pink noise than a competent installer can with a couple days of alignment and tuning? Will this person return the system to its original state, both in terms of the same amount of smoke left in various components as well as electronic parameters? Why would the BE want that liability anyway? Either the system meets the act's needs, can be quickly colored to taste with a graphic EQ, or it can't be, and another system needs to be brought in. [/QUOTE]

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