PreSonus StudioLive 24.4.2 - Manual (Page 51)

3 Universal Control and VSL
3.8 Smaart System Check Wizards (StudioLive 16.4.2 and 24.4.2 only)
StudioLive ™ Software Library
Reference Manual
47
12. Click Analyze to generate the third frequency-response trace.
13. Adjust the EQ to shape the frequency response into the correct
trend for your application. (See Sections 3.8.6 and 3.8.7 for best
practices.) In general, you do not want to boost any frequencies
and you do not want to make any cuts greater than 6 dB.
14. Click Exit to complete the wizard.
To view the effects of your filter on the system, run the Room Analysis Wizard again.
Power User Tip: In most cases, you will want to EQ the left and right side of a
stereo system the same. This is why the SRA wizard asks you to measure the left
side of your system only and linked buses are displayed as such. If you are in an
unusual situation where you need to separately EQ each side (e.g., you are using
a different model 15” speaker on the left side that you are on the right side),
connect your system to a pair of subgroup outputs and do not link them.
3.8.2 Smaart System Delay Wizard
Using multiple sets of speakers is at a live performance can make a huge difference
in the quality of the sound. Rather than relying on a pair of front-of-house speakers
to fill the entire room, you can create listening zones throughout the room so
that your front-of-house system only needs to be loud enough to cover the
front of the room. This allows you to lower the level, give the front row listeners’
ears a break, and get better fidelity from your speakers. Sounds great, right?
However, it’s not as easy as just bringing an extra pair of speakers. Any additional
sets of speakers will need to be delayed; otherwise the audience will feel that
the sound is coming from the walls, rather than the stage. Even worse, since
electricity travels much faster than sound, listeners in the rear of the room are
likely to hear the sound coming from the nearest set of speakers before they
hear the sound from stage, which can dampen the attack and intelligibility
of the sound and create an unpleasant phasing effect. To compensate,
you need to delay the signal going to the additional sets of speakers.
Sound travels at a rate of 1,130 feet per second, providing that the temperature,
humidity, and air pressure are all “normal.” Therefore, it takes 1 ms for sound to travel
0.88 feet. But what if you’re setting up for an outdoor show in, let’s say, Baton Rouge,
Louisiana, in August, when the temperature and humidity are unpleasantly far above
“normal”? Your calculations might be a little off, unless you happen to be a whiz at
calculating the effect of barometric and atmospheric pressure on sound waves.