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<blockquote data-quote="Josh Evanz" data-source="post: 217724" data-attributes="member: 16294"><p>Main focus, </p><p>Improvement of speech intelligibility </p><p>Spatialization</p><p>Managing ones LEQ</p><p>Creating new engaging systems</p><p>New response approaches to emergency situ</p><p></p><p>What im tired of is standing in front of a giant PA system that largely remains the same. In short they're all just big giant dumb boxes of sound. One spends lots of time designing them, setting them up only to hand a system over to a FOH engineer who either mixes or manages playback tracks. All to often does one spend all there time at sound check just to get things sounding as best they can only to stand back from the desk during a concert as all the acoustical management and mix work is largely done. Sound systems don't have to be so static there are simple methods to make environments more engaging. </p><p></p><p>Maybe and I say maybe, there is a planned SPL strategy for opening act vs headlining act and maybe the subs would be adjusted or maybe a high or low pass filter. Or maybe one manages the HF response as humidity changes depending on the environment from sun up to sunset. </p><p></p><p>The system im showing isn't that big. Its 192 line array cabinets with 24 locations. 18 channels for the inner circle and 21 channels for the tops. Pretty small for the newer system processors Dante etc. 231 channels not including monitors, ancillary and subs.</p></blockquote><p></p>
[QUOTE="Josh Evanz, post: 217724, member: 16294"] Main focus, Improvement of speech intelligibility Spatialization Managing ones LEQ Creating new engaging systems New response approaches to emergency situ What im tired of is standing in front of a giant PA system that largely remains the same. In short they're all just big giant dumb boxes of sound. One spends lots of time designing them, setting them up only to hand a system over to a FOH engineer who either mixes or manages playback tracks. All to often does one spend all there time at sound check just to get things sounding as best they can only to stand back from the desk during a concert as all the acoustical management and mix work is largely done. Sound systems don't have to be so static there are simple methods to make environments more engaging. Maybe and I say maybe, there is a planned SPL strategy for opening act vs headlining act and maybe the subs would be adjusted or maybe a high or low pass filter. Or maybe one manages the HF response as humidity changes depending on the environment from sun up to sunset. The system im showing isn't that big. Its 192 line array cabinets with 24 locations. 18 channels for the inner circle and 21 channels for the tops. Pretty small for the newer system processors Dante etc. 231 channels not including monitors, ancillary and subs. [/QUOTE]
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