Overall system questions for rock band

fireryan

First off I would like to say thank you to those responsible for the DR PA. I have little experience and limited knowledge with Sound rienforcement and this little guy has made my life a lot easier. I have used the drive rack PA at several gigs and the sound has improved. However when I try to push the levels up at larger venues crackling becomes audible and the sound quality goes out the window. I always follow the wizard set up as it illistrated and set the pink noise to around between -5db to 0db. No clipping or close to clipping at anytime during setup or performances.
My system is as follows:
Mackie 1604-VLZ3 (16 channel mixer)
dbx 266XL Compressor/Gate (set at around 2 : 1 ratio for the overall mix)
BBE 482i Sonic Maximizer
Drive Rack PA
2 Crown xti 4000 ( 1 for Lows 1 for hi's ) placed @ 78% capacity
(LOWS) B-52 LX-18 V2 18\" 1000W Folded Horn Subwoofer
(HI's/Mids) Yamaha S215V Dual 15\" Club Series V

The sound when we play low is great. I don't know if its the settings or that I am asking too much from the highs/mids (yamahas). I'm not sure on the applications for separting the mids. So I need to know:

Do I upgrade to better, higher wattage speakers (i.e. Peavy QW 4F)
,or do I keep the yamahas and get separate drivers for the mids?

kpippen

Hello fireryan,

A crackling sound could be a result of several different things so I would start with the following:

First,...get rid of the BBE Sonic Maximizer... Your system doesn't need it... Second,...Compression should be used for your vocal channels only... Never compress the overall mix...this can create all sorts of potential problems... Have you set the gain structure as outlined in this post?... Once you have done these things,...check your system again and post back the results...

Cheers!

Kev

Gadget

Also note the condition of the three color LED lights above each input and output meter... what is happening with these...The segmented meter can be low but if these LED's are showing yellow then red... thats BAD JUJU...CLIPPING! digital clipping sounds just like what you are describing!
Gadget

kpippen

Lieutenant,

What Gadget is refering to are the LED bars on the DriveRack... Once you have followed the gain structure procedure in the \"Start Here\" thread this should no longer be a problem... Post back and let me know how you are doing?...

Gary,...over the course of three PMs with fireryan; I recommended to remove the BBE, compress only the vocal channels, disable the DSP in the Crowns, and then set the proper gain structure, and timing alignment...

Kev

fireryan

Gadget,

You could be right, I have overlooked the LED of the drive rack. I 've been only concerning myself with the mixer and amps in the past ( past practices ) I will attempt to follow the instructions layed out to me by Kev and hope to improve the overall sound of the mix.
P.S. Either of you mind giving me a simple description of the getting \"Timing alignment\" I don't recall seeing that in the manual on a step by step basis.
Thanks again in advance for the much needed advice.

kpippen

fireryan wrote:

Gadget,

You could be right, I have overlooked the LED of the drive rack. I 've been only concerning myself with the mixer and amps in the past ( past practices ) I will attempt to follow the instructions layed out to me by Kev and hope to improve the overall sound of the mix.

Hello fireryan,

The DriveRack LED's (panel meters) are mentioned in step 9. of the gain structure procedure that I referred you too...

9. With the DriveWare GUI open the DriveRack panel meter and then one of the mixer input dialogs (click on the "M"). Put the master fader at “unity� (0dB). Watch the DriveRack’s panel meter and pull the input fader up or down until the output meters are bouncing in the yellow about 3dB just below clipping. Absolutely no clipping (red) on the DriveRack’s input or output panel meters!
If you are using a DRPA you have a button on the back that sets the input sensitivity to +4db (pro level) or -10 (consumer level) if the meters on the mixer are at just clipping and your using +4 and the meters on the Driverack are anywhere above the 0vu but below the clip light your fine... there is no input mixer to adjust... If the signal is low try the -10 setting and see if that gets you to a more appropriate setting.

fireryan wrote:

P.S. Either of you mind giving me a simple description of the getting "Timing alignment" I don't recall seeing that in the manual on a step by step basis.
Thanks again in advance for the much needed advice.

Take a measurement (with a standard tape measure) from a central listening position to your tops and then again to your subs... For example: if the distance to the tops is 16FT and the subs is 20FT then you would have approx of 4FT of timing mis-alignment between them... You can compensate for this mis-alignment by starting out with 4FT of delay on your tops... Once you have it roughed in; play some music and sweep the delay until your bass sounds the most punchy...or until the tops and subs sound in-sync with each other... Depend on your ears and sweep the delay until it sounds best to you...

Kev

PS. If Dra or Gadget corrects me...listen to them...

fireryan

Hey Kev,
Again thanks for your patience. I stack my speakers so wouldn't the measurement be the same since they are right on top of each other?

I don't have a snake ( in regards to making the adjustments by sweeping ) cause most of our venues are small and can't run our mixer console off stage, and even if we could I need to be buy it for any possible problems that may arise.

What I can do is have my guitarist stand out front and sweep the Delay with him there. Will this will be the final step just before the auto EQ or right after?

kpippen

fireryan wrote:

Hey Kev,
Again thanks for your patience. I stack my speakers so wouldn't the measurement be the same since they are right on top of each other?

I don't have a snake ( in regards to making the adjustments by sweeping ) cause most of our venues are small and can't run our mixer console off stage, and even if we could I need to be buy it for any possible problems that may arise.

What I can do is have my guitarist stand out front and sweep the Delay with him there. Will this will be the final step just before the auto EQ or right after?

Maybe you should check your speakers for correct phasing first... Here's a simple way to check phase:

Use a 9-volt battery and touch your speaker wires to the battery terminals... If your phase (or polarity) is correct battery+ to speaker+, battery- to speaker- the speaker cone will pop outward... If your phase is incorect + to - , - to + your speaker cone will pop inward... Don't hold the connection for more than a second so if need be,...have your guitarist look at each cone while you tap the battery in sequence... If any speakers are out of phase; correct this (by switching the speaker wires) before setting the timing alignment...

OK then,...let your guitarist listen to the music as you slowly sweep the delay... Since your cabs are stacked try some delay on tops and if there is no improvement try some delay on the subs... Have him tell you when he thinks it sounds the best and note the position... Yes,...I would get the phasing and alignment correct before doing the AutoEQ... Use the (low precision) proceedure I PMed you...

Post back after you have done everything we discussed... You should be going WOW!!!....

Also,...Once this is all done and you are pleased with your sound; you should then set-up your output limiters as described in the gain structure proceedure... This would be a good idea since I suggested that you should disable the DSPs in your Crowns...

Kev

Dra

Since the subs are fold horns, the path of the horn has to be accounted for. For your set-up the tops will need to be delayed to allow the sub freqs to make their trip out of the cab. The best way (in my opinion) to time the delay would be to have the drummer (or stand-in) to hit his kick because it has fundamentals above and below the cross-over point. When it sounds the best (thud, meat, and click) you are time aligned.
Note: You may want to push your top cabs so the backs flush with the subs backs.

DRA

kpippen

Dra wrote:

Since the subs are fold horns, the path of the horn has to be accounted for. For your set-up the tops will need to be delayed to allow the sub freqs to make their trip out of the cab. The best way (in my opinion) to time the delay would be to have the drummer (or stand-in) to hit his kick because it has fundamentals above and below the cross-over point. When it sounds the best (thud, meat, and click) you are time aligned.
Note: You may want to push your top cabs so the backs flush with the subs backs.

DRA

Lieutenant,...don't forget to mic the kick...:D

Dra,...excellent post!...

Kev

Gadget

The BEST way is to overlap the subs and the tops at the crossover point. invert the input of one (- to + and + to -), either the subs, or the tops and play pink noise and sweep the delay till the sound nulls or gets quietest at the crossover frequency If you have a three way, or 4 way system kill all elements that are not needed. This will make it easier to hear the null. Its even easier with a sweep generator. or use of a sweep track on a test CD. This can then be used to do the same at mf/hf lm/hm/hf crossovers as well..

Gadget

kpippen

Gadget wrote:

The BEST way is to overlap the subs and the tops at the crossover point. invert the input of one (- to + and + to -), either the subs, or the tops and play pink noise and sweep the delay till the sound nulls or gets quietest at the crossover frequency If you have a three way, or 4 way system kill all elements that are not needed. This will make it easier to hear the null. Its even easier with a sweep generator. or use of a sweep track on a test CD. This can then be used to do the same at mf/hf lm/hm/hf crossovers as well..

Gadget

OK Lieutenant,...if you want to go all out (like I did) download this Test Tone Generator and put up a tone that's dead center of your crossover point... You can invert the phase on either a top or sub (as Gadget suggest) and sweep the delay until the tone is quietest,...or not invert the phase and sweep the delay until the tone gets the loudest... I have verified either with identical results either way...

Now if you had the DR260 you could use the RTA mic and go live RTA and watch the screen (computer) as you sweep... That's what I did...:roll:, but only a perfectionist would be so stupidly critical...

Cheers!

Kev

PS. Gadget taught me everything I know about sonic alignment...:D

Hey Dra,...One time I think you mentioned it would be nice to have a kick drum recorded for alignment?... You could right click and download this track to play in repeat mode...http://www.sonicftp.com/samps/mp3/kick/kick9.mp3

fireryan

You guys are MD's when it comes to sound reinforcement. You are blowing me away with some of these terms. As far \"crossover point\" and \"inverting Phases.\"
My connections to the speakers are Speakon Cables so I am highly confused with all the +and - talk.
DRA's Post with mic'ing the kick (or looping the kick file you listed) seems easy to me...its better than what I've been doing....ignoring the delay all together.
I have a gig tomorrow night and will apply the gain structure technique. I will be using two powered monitors (PEAVY PR 15's) and a single sub (b 52 18\" folded horn) due to the size of the venue (small bar with limited space) I'm sure to have a much better sound thanks to you guys.
Again thanks for any help you can offer and be patient with the white belt.

Gadget

You could open up the speakon and reverse the 1+, 1-, quite easily...Just remember to reverse the process before showtime...
G

Dra

Gadget, why have you been hiding that tidbit (phase reversal, tone sweep trick)? Thats a good one.

Kevin, that link is dead (or something) to me. Would you email it to me?

DRA

kpippen

Dra wrote:

Gadget, why have you been hiding that tidbit (phase reversal, tone sweep trick)? Thats a good one.

Dra,...I could be wrong but I think it's been mentioned a couple of times...

Dra wrote:

Kevin, that link is dead (or something) to me. Would you email it to me?

Dra,...right click on the link and then select save target as and select a location... This should download the file...

Kev

Gadget

Geez Dra sorry.. I thought I had spilled that many times.. I probably have.. been around here longer than dirt you know :shock: I guess when I told Kevin about it, it was over the phone... so hard to keep track of things.. what with two forums and all...
gadget

Dra

Kevin, Thanks. That worked.

DRA

kpippen

Hi Ryan,

I posted your PM and my response so everyone here will be on the same page... Believe me...I know this sound system stuff can get very intimidating… It might be a good idea if you post your questions and/or concerns here on your thread so we all can help and learn from each other… Besides,...I am by no means even close to being an MD in sound reinforcement… If I happen to steer you down some funky path Gadget and Dra will know it...and they will step-in to keep us straight…:D

I might add that I'm much more familiar with the DR260 than the DRPA... Gadget and Dra know the DRPA much better than I and it's limitations... Maybe some day the good ole folks at DBX will send me one to play with... HINT, HINT...

PM wrote:

fireryan wrote:

I set up my system this morning. I took off the BBE, set the gain through the system. I programmed the settings in the wizard with my speaker settings. The PR15 (PEAVY) are active and there was no way to change that in the menu it said "PR15 Peavy passive" as the selection and then showed the "HI amp" with the attenuators at 58%......they are active speakers so does it mean the knob/volume on the speaker itself should be set this way?

With the volume on 3 they sound more or less even with the lows, other wise they are really loud and the mono sub is non existant.


Besides that the EQ'ing went....well I have a unique situation at this bar so I did what I could with the akward lay out of the room. I just did one side. my connection is set up for "Stereo" so I didn't know how to seperate the sides like you stated earlier to do one at a time.

You wrote"Once it has completed set everything (in the GEQ) from 0-100Hz flat (at 0dB) and adjust everything from 7kHz and above to suite your taste... " I couldn't figure that option out. I got into the GEQ...option was on or off, then it was flatten or restore....I needed more time which we ran out of.

The sound seemed fine overall besides the punch of the sub....there is non. ( I couldn't mess with alignment today. Theres bass in the room just not a great kick sound. (Akg $219 kick mic with proper placement.)
Feedback was a problem as well with cranking the volume up (passing U on the console) however I could just turn up on the back of the speakers.

Let me know where I'm hurting......the most

Hi Ryan,...I'm a little confused I don't recall you mentioning Peavey speakers...

Mackie 1604-VLZ3 (16 channel mixer)
dbx 266XL Compressor/Gate (set at around 2 : 1 ratio for the overall mix)
BBE 482i Sonic Maximizer
Drive Rack PA
2 Crown xti 4000 ( 1 for Lows 1 for hi's ) placed @ 78% capacity
(LOWS) B-52 LX-18 V2 18" 1000W Folded Horn Subwoofer
(HI's/Mids) Yamaha S215V Dual 15" Club Series V

Let me know exactly what your system is and I can help you with how your crossover, etc., should be set-up...

You mentioned a feedback problem?... Did you have the compressor off as suggested?... Compression will certainly help create a feedback problem... Also,...have you enabled the AFS (Automatic Feedback Suppression)?... Another note: Always have your speakers towards the audiance and out in front of your microphones... Anytime your speakers are behind the line of microphones feedback will be much more prevelant... Also,...remember that you can get feedback from your monitors as well... the wedges should be directly in front on the microphone stands and facing directly at the vocalist... If your monitors are facing the microphones from some type of funky side angle this could create feedback problems...

As far as the GEQ goes... Once you have performed the AutoEQ you have to manually set everything set everything (in the GEQ) from 0-100Hz flat (at 0dB) and adjust everything from 7kHz and above to suite your taste... It could be very possible that the AutoEQ killed your bass region so that's why you need to make these adjustments once the AutoEQ has finished...

Kev

Ryan,...I should add this point... Even though folded bass horns re-produce sound very precise and clean they have their disadvantages... True folded horns (ones that don't port into the throat) have a long throw... Your not going to hear the benifit until your at least 10-15 feet away... Also you need to stack them (2 or 4) to get an optimum frequency response... In a smaller venue i.e small bar, etc.,...good ole' bass reflex cabs or scoop bins might be the better choice...

You should also follow this thread: http://www.dbxpro.com/Forum/viewtopic.php?t=1040

Cheers!

Kev

kpippen

Hello LT,

I got your PM... I would use a 2X3 custom crossover with stereo for your tops and summed mono for the folded subs...

I would stack the two horns together either standing up and side by side...or laying down on their sides with one stacked on top of the other...or both laying down on their side with the mouth ends butted up to each other... The main goal is to always place the horn's so their mouths are right next to each other... This will give you a +3dB gain in the bass region... If you can get them on the floor and against a wall (known as quarter space or 1.0Pi) you'll gain another +3dB... If you can get them in a corner (known as eighth space or 0.5Pi) you'll gain another +3dB... It takes four horns stacked toghether on the floor in the open (known as half space or 2.0Pi) to achieve the same SPL response as one horn placed on the floor in a corner (0.5 Pi)...:shock:

Hopefully the barrier (wall, floor or ceiling) will reflect the bass energy rather than allowing it to pass through.... You also need to have the horns close enough to the barrier to keep the reflected sound within 1/4 to 1/3 wavelength over the frequency range of the subs...

In a live setting I might have the horns front and center laying down on their side with mouths together and directly underneath and/or against the stage wall... This all depends on the lay-out of the venue... I suggest that you use bridge-mono mode for the bass amp and hook-up the horns in parallel for a 4-ohm load... This what the Crown XTI manual says about bridge-mono...

2.6.2 Bridge-Mono Mode

Typical input and output wiring is shown in Figures 2.9 and 2.10. NOTE: Crown provides a reference of wiring pin assignments for commonly used connector types in the Crown Amplifier Application Guide available at

www.crownaudio.com.
OUTPUTS: Connect the speaker across the red
binding posts of each channel. Do not use the black
binding posts when the amp is being operated in
Bridge-Mono mode.
Or, connect the speaker across terminals 1+ and 2+
of the Channel 1 Speakon connector (as in Figure
2.9).
IMPORTANT: Set the Bridge/Normal switch
in the LCD screen to “Bridge.� See Section
4.1.4.
NOTE: In Bridge-Mono mode, only the
Channel 1 Level control is functional
(unless you make an alternate selection via
the “Y� menu. See Section 4.1.4).

The tops should be in stereo so use that amp in stereo mode... Once again,...I highly recommend disabling all of the DSP functions in the Crowns and allow the DriveRack to do it's thing...:D

For the horns I recommend:
Summed Mono @ Channel 3
HPF BW18dB/Oct @ 45Hz
LPF L-R24dB/Oct @ 105Hz
Gain +3dB to +6dB

For the tops I recommend:
Stereo @ Channels 1 and 2
HPF L-R24dB/Oct @ 108-118Hz
LPF BS6dB/Oct @ Out
Gain 0dB

I used the DriveWare GUI (below) to illustrate the configuration that I'm suggesting...





Remember once you set this up you are starting from \"square 1\" and should follow the proper gain structure procedure again... \"Practice makes perfect\"...:D

Cheers!

Kev

fireryan

finally I think I am beginning to understand. Took me a bit .... \"horns=lows\". As far as the placement...we always stacked our highs on the horns...one on each side. The information on placement on the horns sounds good to me, however depends on the space available where we play. I am still reading the other forum topics in trying to understand more.

The GUI illustration was extremely helpful in understanding the crossover application you were mentioning earlier....cool stuff.

I will try to do some more research on using the xti4000 as a mono set up for both speakers. I'll be in touch.....Happy new year

LT

fireryan

The advice has paid off and \"WOW\" is the outcome as posted earlier. The bass is finally alive. I set the settings on the crossover and the difference on the lows finally registered on the DRIVE RACK LED's. Before the -30db and nothing more. Now I have it maxed (no clipping obviously).
The only setting you gave me for the crossover that wasn't applicable to the options given was the LPF for the highs.....the curve looked like the illustration that was given from the GUI (straight across)
I set the lows to mono and the amp section to \"Bridged.\"
The wiring info you gave me confused me some. I just hooked them up CH1 and Ch2 with speakons like I usually do. I think I'm fine with it, but let me know if there's a problem.
Tomorrow will be the EQ outdoor method. I'll let you know the results.
THANKS A MILLION KEV!!
LT

kpippen

fireryan wrote:

I just hooked them up CH1 and Ch2 with speakons like I usually do. I think I'm fine with it, but let me know if there's a problem. Tomorrow will be the EQ outdoor method. I'll let you know the results. THANKS A MILLION KEV!!
LT

Hi LT,

In "bridge" mode the output channel-3 (microphone cable with XLR connector) of your DriveRack should only be hooked-up to channel-1 of your amp... Then you should hook-up one of your subs directly to the other sub (this is a parallel connection)... Only one sub should be hooked-up to your amp... It should be wired to output channel-1 and to +1 and +2 of the speak-on connector, OR wired so that the two speaker wires are hooked-up with one going to each of the red binding post... Once in "bridge" mode only the channel-1 attenuator of the amp should be used and the channel-2 attenuator should turned fully down..

2.6.2 Bridge-Mono Mode

Typical input and output wiring is shown in Figures 2.9 and 2.10. NOTE: Crown provides a reference of wiring pin assignments for commonly used connector types in the Crown Amplifier Application Guide available at

www.crownaudio.com.
OUTPUTS: Connect the speaker across the red
binding posts of each channel. Do not use the black
binding posts when the amp is being operated in
Bridge-Mono mode.
Or, connect the speaker across terminals 1+ and 2+
of the Channel 1 Speakon connector (as in Figure
2.9).
IMPORTANT: Set the Bridge/Normal switch
in the LCD screen to “Bridge.� See Section
4.1.4.
NOTE: In Bridge-Mono mode, only the
Channel 1 Level control is functional
(unless you make an alternate selection via
the “Y� menu. See Section 4.1.4).

LT,...you do have another option (Crown calls it the "Y" mode) that will be easier from a wiring standpoint... Read about it in your manual... Instead of using the "bridge" mode you can select the "Y" mode (this puts the output sections of the amp in parallel and driven from input channel-1) option... With this mode you can hook-up the speakers to channel-1 and channel-2 of your amp (like your other amp)... You should have channel-3 of the DriveRack only hooked-up to input channel-1 of the amp,...and like "bridge" mode only the channel-1 attenuator of the amp should be used and the channel-2 attenuator should turned fully down..

LT,...sorry,...but now that I think about it...this might be the best way for you to go...:D

From the front panel, you can change settings for several of
the amplifier’s DSP PROCESSES: Input Y, crossover frequency,
EQ, delay, limiting, and stereo/bridge-mono. The
ICONS in the display illuminate to show which DSP functions
are currently applied.

Y (Input Y): The options are
• CH1+CH2 (Ch.1 input signal and Ch. 2 input signal are
summed and fed to both output channels.) This provides a
6 dB level boost.
• INPUT Y (Ch. 1 input signal goes to Ch. 1 and Ch. 2
output. Ch. 2 input signal is ignored.)
• STEREO (Ch. 1 input goes to Ch. 1 output. Ch. 2 input
goes to Ch. 2 output.)

Cheers!

Kev

Dra,...I still can't figure out the magical "6dB increase" for the CH1 + CH2 option here...

fireryan

You should have channel-3 of the DriveRack only hooked-up to input channel-1 of the amp and you would use both of the amp attenuators independently (like your other amp

Kev,

there is no Channel 3 on the Driverack PA...maybe the other versions, thats what confused me about the set up, along with the original wire setting. I looked on the back and there is a Left/mono for the low outputs which would be the one I'll hook up to now. I am familiar with the y setting on the amp due to messing with it yesterday. I will follow your instructions and have no doubt it will sound superb.

This is what I got now from the info you've offered:
Once I EQ the system (outside) I will save this setting (2x3) and only have to adjust the GEQ 7khz and above \"to taste\" when setting up in different rooms.

additional question:
I have a different setup only for smaller venues. Where I would only use Peavy PR15 (active speakers which we use for monitors in our main system) as our high main's and one B 52 18\" .
What would be the setting I choose for system set up, and whats the crossover settings for the Peavy? I imagine the settings for the sub remains the same.

kpippen

fireryan wrote:

You should have channel-3 of the DriveRack only hooked-up to input channel-1 of the amp and you would use both of the amp attenuators independently (like your other amp

Hi LT,...please read my post again because I was editing while you were reading the original BS... Here's the revised version:

kpippen wrote:

You should have channel-3 of the DriveRack only hooked-up to input channel-1 of the amp,...and like "bridge" mode only the channel-1 attenuator of the amp should be used and the channel-2 attenuator should turned fully down..

fireryan wrote:

Kev,

there is no Channel 3 on the Driverack PA...maybe the other versions, thats what confused me about the set up, along with the original wire setting. I looked on the back and there is a Left/mono for the low outputs which would be the one I'll hook up to now. I am familiar with the y setting on the amp due to messing with it yesterday. I will follow your instructions and have no doubt it will sound superb.

My bad LT,...I'm much more familiar with the 260... I never had a DRPA,...and the DR260 I bought is now permanently installed in our church...so it's no longer at my disposal either... Now I'm very crippled...and little use this forum because don't have a 260 or PA to play with...

You never know,...maybe the good folks at DBX will hook a brother up...8)

fireryan wrote:

This is what I got now from the info you've offered:
Once I EQ the system (outside) I will save this setting (2x3) and only have to adjust the GEQ 7khz and above "to taste" when setting up in different rooms.

additional question:
I have a different setup only for smaller venues. Where I would only use Peavy PR15 (active speakers which we use for monitors in our main system) as our high main's and one B 52 18" .
What would be the setting I choose for system set up, and whats the crossover settings for the Peavy? I imagine the settings for the sub remains the same.

LT,...for this system I would try the same settings as a starting point and make adjustments if necessary...:D

Cheers!

Kev

Dra

LT, the \"channel 3\" that Kevin is talking about will be LOW Left (mono) out. I am not sure but I think that the right is also mono paralleled from the left. I'd check that first though if it helps your set-up.

Also, adjusting \"7K and up\" only applies, per say, IF you auto eq the room. Actually when (if) you auto eq a room, the only frequencies that can be trusted are from about 160hz - 700hz. These can be left as is. All the others need to be tuned by ear. That is only 2 octives, leaving 2 octive below and almost 5 octives above that YOU have to manually adjust. Yes, seems unfair, but..... This is one reason why most simply don't auto eq the room and just tune the room with a CD.

DRA

kpippen

Dra wrote:

LT, the "channel 3" that Kevin is talking about will be LOW Left (mono) out. I am not sure but I think that the right is also mono paralleled from the left. I'd check that first though if it helps your set-up.

Hey Dra,...if that's the case then maybe the CH1+CH2 option would be the best way to go here?... He could hook-up the LOW Left (mono) out to channel-1 and the LOW right out to channel-2, and...he would gain that "magical 6dB"..:shock:

Now,...that would be "sumthing"!...

I guess this pretty well "sums" it up...

Kev

Dra

Do you have to swallow the Blue or Red pill to get that +6db?
I would like to hear an \"educated\" explanation of that phenomenon.
:?
DRA

kpippen

Maybe some day I'll pose the question (\"where's the 6dB come from?\") at the Crown forum...

Anyways,...I've already been online much to long this morning... Have a great weekend Dra!

Kev

LT,...post back and give us an update...

fireryan

I did the outdoor method for the EQ. I stored all the curves ( 0-D) for both of my different speaker configurations. I used the same settings for the crossover for both and it sounded great. I have set the gain structure for both as well. So it is to my understanding that my next gig I can put a CD in and try different curve settings and pick the best one.....tweaking it if necessary. Anyway I still haven't messed with the timing alignment but that will be next. Again thanks for the help kev/dra/gadget

Dra

Check this out. This is why you do the outdoor session.
http://www.dbxpro.com/forum/viewtopic.p ... =auto++peq

DRA