thank you michael! these vids really cover the whole work done by a system designer / operator rather than just showing how to eq vocals. super helpful!
Great work Michael! I love that you've given an overview of the entire process here in a real world application. I also appreciate how the preproduction work paid off when time ran out in the field.
Thanks a lot, Nathan. You're exactly right - it would have been great to tune the rig if logistics was on our side, but having the homework done ahead of time gave me some reassurance ahead of time to know the rig would work.
Thank you so much! Currently in the middle of making a more detailed video on the gradient inline sub array, so stay tuned. Anything from the video I can clarify in a followup post?
Great question! 1. To keep the acoustic centers of the subs close to each other for maximum coupling 2. Keeping the sources close makes the for the widest coverage. My audience is wider than it is long, so I wanted to preserve that. The farther I pull to subs apart laterally the narrower the coverage. So, facing each other makes for the widest coverage pattern.
I get what you're saying with Range ratio, however I'm somewhat confused with the box labeled "rec coverage ratio - Top element vs bottom element" in the spread sheet.
Sorry for the confusion! Coverage ratio is similar to splay ratio, which is covered in an article from MVV. www.merlijnvanveen.nl/en/study-hall/144-pick-your-battles
Great question! I have and have had mixed results. For my design philosophy it has worked best with the "arcuate" model. It slowly "unfurls" the splay angles between the array, which I feel like sounds the most natural and accurate (besides the ABCD approach I've borrowed from Bob McCarthy). If you're REALLY under the gun and just need to get some suggestions it can be a helpful tool.
Just curious as well, have you tried RCF's Shape Designer? Its part of their RDNET software. What's your opinion on the splay angles, HF and LF suggestions it offers?
People must not like to stand in front of the stage and watch or dance where you are. I could never get away with configuring subs like that in the middle of an audience space. People would be complaining, not to mention the possibility of people tripping over the boxes or spilling beverages all over them. Great idea sound wise, but not practical for a lot of of us at all.
You're right, it's not a super wild crowd. BUT, for the reason you just mention (this setup is an eyesore and what if there is a concert that has some more lively folks down front), I now do this show with an inline gradient array that's just a front-rear-front setup that's tucked nice and nice right against the open stage front. Good observation.
@@MichaelCurtisAudio Could one use this array where the subs would be under the stage? I love this splay pattern of the subs but I don't see myself ever deploying this because of the amount of space needed in front of the stage.
thank you michael! these vids really cover the whole work done by a system designer / operator rather than just showing how to eq vocals. super helpful!
You're very welcome! I've found I'm having to EQ vocals much less now that my systems are behaving much more how I want them to ; )
Great work Michael! I love that you've given an overview of the entire process here in a real world application. I also appreciate how the preproduction work paid off when time ran out in the field.
Thanks a lot, Nathan. You're exactly right - it would have been great to tune the rig if logistics was on our side, but having the homework done ahead of time gave me some reassurance ahead of time to know the rig would work.
Very nice. Thanks for taking the time to make and post this.
Thank you so much! Currently in the middle of making a more detailed video on the gradient inline sub array, so stay tuned.
Anything from the video I can clarify in a followup post?
Incredible detail Michael! Thanks!
So glad I found you! You are amazing! Thanks
You're very welcome!
never though I would see Qsc subs used in anything more complicated then a cardioid setup
Great walkthrough Michael, Thanks a lot!
You're very welcome!
This is incredible content - thanks Michael!
You're very welcome! Glad this was helpful to you.
Thanks Michael, learned a lot.
You're very welcome!
Excellent!
Thank you, sir!
curious on how/why you decided to pointed the subs toward each other? id assume the gradient array would work just the same facing all forward
Great question!
1. To keep the acoustic centers of the subs close to each other for maximum coupling
2. Keeping the sources close makes the for the widest coverage. My audience is wider than it is long, so I wanted to preserve that. The farther I pull to subs apart laterally the narrower the coverage. So, facing each other makes for the widest coverage pattern.
Nice
Thank you so much!
I get what you're saying with Range ratio, however I'm somewhat confused with the box labeled "rec coverage ratio - Top element vs bottom element" in the spread sheet.
Sorry for the confusion! Coverage ratio is similar to splay ratio, which is covered in an article from MVV.
www.merlijnvanveen.nl/en/study-hall/144-pick-your-battles
@@MichaelCurtisAudio got it! Thanks!
Just curious, have you tried the auto splay function in Ease Focus 3?
Great question! I have and have had mixed results. For my design philosophy it has worked best with the "arcuate" model. It slowly "unfurls" the splay angles between the array, which I feel like sounds the most natural and accurate (besides the ABCD approach I've borrowed from Bob McCarthy).
If you're REALLY under the gun and just need to get some suggestions it can be a helpful tool.
Just curious as well, have you tried RCF's Shape Designer? Its part of their RDNET software. What's your opinion on the splay angles, HF and LF suggestions it offers?
People must not like to stand in front of the stage and watch or dance where you are. I could never get away with configuring subs like that in the middle of an audience space. People would be complaining, not to mention the possibility of people tripping over the boxes or spilling beverages all over them. Great idea sound wise, but not practical for a lot of of us at all.
You're right, it's not a super wild crowd. BUT, for the reason you just mention (this setup is an eyesore and what if there is a concert that has some more lively folks down front), I now do this show with an inline gradient array that's just a front-rear-front setup that's tucked nice and nice right against the open stage front. Good observation.
@@MichaelCurtisAudio Could one use this array where the subs would be under the stage? I love this splay pattern of the subs but I don't see myself ever deploying this because of the amount of space needed in front of the stage.