![]() So I decided to tune each monitor individually. I was surprised (well, not that surprised) to see a significantly different trace, even with the same EQ settings as the first one. Now, because I was getting more complaints from some musicians that others, I decided to drag another wedge over and take a measurement. So the response could be called flat, ☑ dB from 80 Hz-17 KHz (the right edge of the graph is 17 KHz, as set in my prefs)-that’s not too shabby. It might look a bit wonky, but realize that this time, the heavy grid lines are 1 dB. After spending some time with the PEQs built into the KTs, I ended up with a sweep that looked like this: I made a 12 dB adjustment on the gain for the low channel (actually I cut 6 off the top and added 6 to the low). So we started off with the low end some 13 dB below the mid- and upper-range not so good. Keep in mind that each light grid line is 1 dB. The resultant frequency response is shown on a graph. The software emits a quick click that is used for impulse measurements (great for setting delay, but that’s another post), then a swept sine wave from 20 Hz to 20 KHz (or in my case, 50-17K it’s user-adjustable). ![]() All you need to do is hook the mic up to a USB interface and press measure. FuzzMeasure uses swept sine wave deconvolution to report frequency response. I started off with a great little program I found called FuzzMeasure Pro 3 (from SuperMegaUltraGroovy Software, the best software company name ever). I’ve found swept tone gets me a lot closer a lot faster than pink noise, without the grating noise. I’ve been learning more about more modern forms of measurement including swept tone and FFT, so that’s how I went about this process. But that amount of noise (I measured at 94 dB SPL-A) gets annoying really fast. In the past, I would have started running pink noise through the system and looking at the response on an RTA. The only real boundary is the stage itself, and my goal was a pretty linear system that is, flat and set up so that what goes into the board comes out of the monitors. I took the following approach: When EQ’ing monitors, you really aren’t worried much about the room as it’s really a near-field monitor. I positioned a wedge in the middle of the stage, and placed our Earthworks M-30 measurement mic right about where a musician would stand. ![]() Once I had that going, I had a nice, graphical interface with which to adjust the settings. I should mention that KT’s tech support was very helpful and quick in getting this running. It took me a little bit, but I finally got my Mac talking to the 9848s (using Parallels, XP and a RS232-USB converter). Aside from the split, it’s a decent system. The KTs feed a rack of QSC amps, which in turn feed EAW SM12 monitors. The omni outs of the M7 go to two Klark-Technik 9848 4 x 8 processors set up in 4 x-Biamp mode. One split goes to a Yamaha M7CL console in monitor world. I knew it would take a while to remedy this, but I set aside a day to go through and fix the wedges.įirst off, here is our signal chain: Each mic gets plugged into a splitter (it’s passive, not transformer isolated, which was a bad choice, but not mine). If he says he needs 185 cut 3 dB, he needs 185 cut at 3 dB.Īs we listened to his wedge, it was clear that the sound he was putting out of his horn was not being faithfully reproduced by the wedge. ![]() He’s a very discriminating guy who really knows sound. This article is provided by ChurchTechArts.Ī while back, I was having a discussion about the sound quality of our monitors with our sax player. ![]()
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