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2022/11/23 at 6:35 pm #110119
Hi Keith,
The digital trim only works on local inputs and not USB B. When I change the Trim value on the screen, the gain on the channel also changes accordingly.
2020/02/19 at 4:05 am #89698Hi Mike C,
Mix 1 is post fade and post eq.
The high cut shelf on Mix 1 makes the low end a bit more tight to my ears, but your right….the variable low cut on the subs can take care of that.
I never boost anything on Busses EQ, just cut. Adjusting the volume on the sub prior to any alignment and EQ gave me that 9dB boost on the low end. Only after getting enough volume from the sub then I started SMAARting the system. 9dB boost is just incase I need all that power as low end can be controlled on Main LR channel faders. Can’t remember a time I ever had kick and bass fader all the way up unity, usually around -3 to -5 on sliders.
My system is only flat from 125Hz-2Khz with 9dB boost from 100hz downwards and a slight drop of 3dB/octave after 2Khz. Tried EQ the system to the exact frequency response curve of my SRH-840 but that didn’t turned out very well. LOL
Moving channel faders on main mix will add or reduce low end as Mix 1 is set to post fade with channel and master faders at unity. Never touched anything on Mix 1 again after required instruments are assigned to it. Created DCA for LR and Mix 1 master so they can be adjusted together without screwing up the phase alignment.
Adjusting the main LR master should not be changing the levels feeding the sub woofer but it will create phasing issues between subs and top.
2020/02/18 at 3:13 pm #89679Thanks for the quick response guys. LR goes to 2 DXR15 tops, HPF at100Hz. LR output eq flat with SMAART from 100Hz up with a slight dip starting at 2Khz. Kick and bass at unity on channel fader. Mix 1 output to pair of CW CVA18 chained. Mix out eq with +9dB slope from 100 down to 40Hz again using Smaart, also used high shelf to cut everything from 1Khz as there’s no LPF on QU16. Kick and bass also at unity and post fade. Only using the variable knob on CVA to adjust X-over. I don’t adjust anything from Mix 1, only move sliders on Main mix to add or remove some low end. I can hear the low end on headphones as well (without any solos on channels). It’s just weird that I don’t get any bass in the recordings. Once again, did not removed any Low Frequencies with eq on Main outputs. Both LR and Mix 1 used limiter at +14.5db.
Thanks2019/05/16 at 8:54 pm #83871Volounteer,
Thanks for the reply. I did what you suggested, measuring at various locations without changing the gain. The results looked quite messy on the graph but it still was extremely helpful showing trends of peaks and dips. The best thing was it showed peaks and dips for the same frequency at different locations to prevent me from applying any EQ fixes. SMAART is a great tool if you have an idea of what you’re doing. Takes me less than 15 minutes to tune the system and monitors. I can even use the QU16 as an audio interface to do the test.
Thank you all for the inputs 🤗🤗🤗2019/04/24 at 7:06 pm #83509Thanks guys.
Any input was greatly appreciated. Best forum I’ve every registered, very helpful and quick responses.2019/04/24 at 7:02 pm #83508Got it to work. Thanks for all your help.
Just one quick question, if I leave the Mix out EQ flat, then whatever EQ I do on input channels is a true reflection of what I hear on headphones, correct? And if I first EQ the Mains to somewhat similar to my cans, then whatever EQ adjustments during the show, the FOH and headphone mix should sound relatively similar.2019/04/24 at 9:49 am #83501Thanks Dick,
Maybe I’m over complicating things. It should come to if it sounds good then it’s good no matter what the graph says on any analysers.2019/04/21 at 8:33 pm #83460I know that there are certain frequencies in a particular room that cannot be fixed with EQ. That’s why I am trying to get very the most accurate readings that represents the room so I could decide what can be fixed and what I should leave alone instead of EQing every peaks and dips. However, the 1st problem I get into is the actual mic settings. Don’t care about placements as I will take tones of readings then average it. It’s just that I not sure if I should increase the mic preamp when moving further away from the speaker or increase the actual output to match the closer one. Both methods I think would not work as of reasons I’ve mentioned above. Even if I have 50 mics measuring at the same time, the gains on those mics would’ve been different so that the readings would sit somewhere along the 0dB area. But that doesn’t make sence as audiences at front and back don’t hear the same volume. Then how in the world would my measurements be accurate enough for me to decide if it’s the speaker or room mode to fix. I hope you guys understand what I’m talking about as I’m about to confuse the heck out of myself too.
2019/04/21 at 6:55 pm #83458So are you suggesting to gain up the measurement mic or raise the pink noise level to match the near field measurement? Gaining up to introduce more noise and raising pink noise level would be very loud and unrealistic as the audience at the back won’t be getting same volume as the front at live show. Not to mention causing other issues such as feedback,sound bouncing every where giving lower coherence. So either way is a loose loose situation and I’ve been trying both ways, unsatisfied with the results…still scratching my head. I was told people can tune the room with SMAART in minutes but I’m here stuck at the very beginning with all the contradictions 🤔🤔
2019/04/21 at 6:45 pm #83456Thanks guys, Will the post fade mix include same channel EQ, compression and FX as the Main mix and the only difference would be not having the LR output EQ? I can bring up appropriate levels for FX returns but I think the Mix busses are post EQ but pre compression so the kick and bass would loose a lot of punch in the recordings.
2019/04/18 at 9:36 pm #83420Hi Dick Rees, I often get request to do a full recording for the band and doing via 2track out is not good enough as it’s only outputs LR. Even multi-track recording is quite bad as I get distortions with some inputs even though it’s not hearable in the PA. I run the system pretty hot, about 10-12dB on the Master bus for fast tempo songs. I was just hoping to get a decent mix for both worlds if I could EQ the PA close to what I hear on the cans as suggested by Dave Rat. However it seems impossible to do so as each time I EQ the LR, the sound is even more different to the headphones. I’m pretty sure there must be a way to listen on headphones without using PAFL to hear all FX and dynamic processing but also not effected by room EQ. Surely this issue has been brought up years ago but why is it so hard to have a true mix on headphones without influences from GEQ?
2019/04/17 at 6:21 pm #83399Thanks for the replies guys.
Ethix, I’m using Shure SRH840 which is quite flat and I really like the sound of it.
Mike C, yes the post fade Mix would work but it won’t include FX and compression so it’s the same as pressing PAFL on all 16 channels with EQ as a bonus. I don’t think there’s any other ways except a Matrix which the QU16 is lacking. I thought of routing the Alt out to a mix but that will only give me LR and not individual channels to adjust.
2019/03/11 at 4:41 pm #825661. Play a representative recording through your mixer, setting the channel input gain with peaks no higher than +6dBvu or the equivalent -12dBfs.
2. Raise the channel fader to “0” (unity).
3. Raise the master fader until the output meters flash red, then back off until only the highest peaks go red. If you can’t get this to happen, raise the channel fader 6dB above unity and try again.
4. Now with the mixer passing signal at the maximum output voltage and the input sensitivity (volume/level) of your amp or powered speaker all the way down, power up and raise the input level until the amp/speaker clip lights begin to flash. With a power amp and passive speakers you can simply disconnect the speakers and do it quietly. With powered speakers you’ll probably want to wear ear protection.Dick Rees,
Now I did what you discribed above, only difference was I unscrewed the front panels and unplugged the sepakers from amp. However, I was only able to turn both my tops and subs input sensitivity to 9o’clock for it to clip. The volume now is extremely low when I with the system as I only run inputs around unity. The only way I can get it to be louder is to run everything very hot with the master output around +12. Are you suggesting to run the consloe that hot or am I missing something here. Running output at +12 leaves almost no headroom once a keyboard changes patch.
Thanks2019/01/18 at 3:46 am #81471Haha, still have a question regarding tuning the PA. Do I measure one side or both at same time and should I position the mic at ear level or on the ground. I get prety good readings at ear level with the mic closer to the speaker but once I move further away, the results went all wild with bad coherence. Aslo, should I measure the subs and tops separately or both at the same time.
Had a prety decent sounding system before when I tuned by ear but since I played around with SMAART, it’s no longer consistent and sounding as good as before. Maybe I’m doing something wrong during measurements and EQ’d something I shouldn’t have 😏2019/01/17 at 11:29 am #81461I’m so sorry guys, the latency was 0.9ms and not 9ms. My bad ☺️
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