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Can anyone help with RTA message and general newbie set up?
One Louder
Posts: 2
Hello. I have my dbx DRPA connected to 2 inputs on a HK Lucas set-up.
The Lucas takes stereo in and then the Lucas has its own crossover to the mono sub and two tops.
I connected the DRPA LR (HIGH) outs to the LUCAS LR ins.
I get pink noise working properly through all speakers etc.
For the program, I was using #30 set up for a full range output. Is this correct? I also picked custom passive and no sub within that program.
When I try to autoeq with an RTA mic I have been getting several \"Not Done\" messages. Could anyone suggest where I have gone wrong?
At the moment I am just testing the operation of the unit in a small/medium sized rehearsal room with a normal room height ceiling.
Kind regards!
The Lucas takes stereo in and then the Lucas has its own crossover to the mono sub and two tops.
I connected the DRPA LR (HIGH) outs to the LUCAS LR ins.
I get pink noise working properly through all speakers etc.
For the program, I was using #30 set up for a full range output. Is this correct? I also picked custom passive and no sub within that program.
When I try to autoeq with an RTA mic I have been getting several \"Not Done\" messages. Could anyone suggest where I have gone wrong?
At the moment I am just testing the operation of the unit in a small/medium sized rehearsal room with a normal room height ceiling.
Kind regards!
0
Comments
Crank the pink noise up to the loudest listening level of your venue and perform the AutoEQ in the \"fast\" mode... If your trying to AutoEQ in the slow mode the DRPA is probably timing-out before it completes it's magical computation...:)
Kev
DRA
I thought you guys knew this?
Two things can cause that message...
1. You have chosen an \"unlinked\" stereo out config.. as in 2 x 2 , 2 x 4, 2 x 6 etc... but the essential thing here is you have to do BOTH channels separately, for each module...that us separated. In the DRPA there isn't many that are but the GEQ is. So either chose LINKED stereo, or be prepared to do each channel separately, that means 2 passes for the Auto EQ. This is helpful for venues that have very different environments for left and right stacks
.
2. More than 4 bands fully cut or boosted by the Auto EQ pass. This requires creative speaker placement to remove those cuts or boosts... especially in the sub 170 hz and post 700 hz areas. Remember that if the subs are roughly 3 and a half feet from any boundary that 80 hz (the center frequency of the kick first harmonic ..THUD) will be cut by 3db by a cancellation... if the speaker were 3.5 feet off the floor (as in a on stage) 3.5 feet from the back wall, and 3.5 feet from a side wall thats a 9 DB CUT!!!!!I don't care if you had 100,000 watts, and 100 subs, the kick THUD will be GONE... so guess what the auto EQ will do? Yup BOOST that band fully... Modes and Nulls can do the same thing at ANY frequency. Likewise, reflected cancellations and Comb filtering can cause \"Location dependent\" boosts and cuts as the mic position dictates. This is why setting a mic in the center of a room can cause such a chaotic Auto EQ result. Get the energy on the audience and off the reflective surfaces... What good is an auto EQ pass in an empty room that will be filled at showtime?
As a test, set the RTA mic on a stand at head height, and pointed to the center... do an auto EQ pass. Now use the \"New Indoor method\" mic technique and point the mic at the floor a 1/4 or less from the floor (pointing strait down. Note the difference and if you use the rough figure of 10ms/foot those cancellations probably happened at the reflected points of that mic height... from the floor, from the ceiling, from the side walls.. etc.
Until you can predict what an Auto is telling you about a room it's better to actually MOVE speakers than try and use Equalization to tame a room, \"You cannot Equalize a ROOM!\" only a bulldozer can do that!
Class dismissed!
Gadget :!: