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What is the purpose of placing them in this configuration? Have you modeled the coverage yet? I don’t see the purpose of the subs up on the stage having the line in front of the stage if properly delayed in an end fire configuration, can be steered to achieve certain coverage goals.


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Because the tops will sit on the rod directly in them that's why I want to do this.

Hello, I would like to make a configuration on the stage, namely: 4 speakers with 2 subwoofers will be on the stage and 4 subwoofers in the middle of the stage, I will have to add delay, but what do you think it will sound ok? Is it okay to place it like this?

What is the purpose of placing them in this configuration? Have you modeled the coverage yet? I don’t see the purpose of the subs up on the stage having the line in front of the stage if properly delayed in an end fire configuration, can be steered to achieve certain coverage goals.


Sent from my iPhone using Tapatalk

Hello, I would like to make a configuration on the stage, namely: 4 speakers with 2 subwoofers will be on the stage and 4 subwoofers in the middle of the stage, I will have to add delay, but what do you think it will sound ok? Is it okay to place it like this?

Ok, I guess most of this makes sense. The shows I mix aren’t one offs but kinda are. It’s the same couple of bands in different venues for different crowds. The bands do work with different systems and engineers when they perform in venues with provided equipment, which seems to be more prevalent lately. The touring shows have months of rehearsals and perform exactly the same show each night(within reason), so getting that perfect reverb on the vocal makes more sense. It just doesn’t make sense then to try to incorporate super advanced mix techniques that take hours to get right for a 3 hour performance that changes per show.  None of my bands I regularly mix have their own records, but one is trying to put together more of a regular show that has repeatable portions.

While I have never run out of inputs on my expression with 32 on the console and 32 on the stage box, I have hit the limits of its processing in the EQ section and number of busses and lack of DCA’s. With realizing that unfortunately Soundcraft has now become a dead brand, I will start looking around at upgrading my console in the next few years. I was happy with my analog Soundcraft board when I made the jump to digital, which is a main reason why I stayed with Soundcraft, but with newer stuff out from different brands now, the logical move will be something else.

Thanks for all the replies,
David

Put a sub in the booth?

Exactly what I was thinking.  Keep in simple, if the house sounds good and it's a booth issue, then make it a booth solution.

I was surprised to find that the belts aren't toothed, and that the mechanism for moving the faders is actually a tiny tensioned loop of wire rope.

Fader 3 was missing the rope, so I moved the rope from fader 8. The rest have come back to life with exercise, except the data entry fader. Completely different mechanism, something worm drive.

That looks like dial cord methodology used for the decades from the dawn of consumer radio receivers up until the invention of digital tuners.  Those will probably still outlast current "rubber" belted ones.  I've had belts in even more recent electronics suddenly disintegrate into a tar like substance.

Our sound booth is the opposite; it's a big bass trap.

I would strongly suggest that if you get a chance listen to a demo of Fulcrum Acoustic speakers.  I am a big fan of their Coax speakers. To me they sound very natural. I worked on a system where we put them in and the person in charge of the sound system said that this is the first time that the preacher (his father-in-law) sounds thru a sound system the same way he does when he is taking to him face to face.

For speech (if possible) I like a center speaker. But for music I like a left/right speaker. So a combination of both is what I would like. But I would like the left and right speakers a little bit in more towards the center and a little bit higher and aimed down to only cover the first floor.  In your room I am not sure you have an ideal place for a center speaker because I would NOT want it up high near the peak. If the left and right are done properly you should be able to get the coverage to the first floor without the need for the center speaker. I would then suggest that you put a left and right (delayed) speaker from the ceiling high up in front of where the balcony starts, to cover the balcony. You might want all of these speakers in white so they are less noticeable. It would be great if there was a way to make the balcony delay speakers as subtle (almost hidden) if you can. Because if done right people will think that they aren’t on. It will get a little bit annoying having to convince them that they are working by turning off the front speakers and just having the delay on so they can hear what is actually happening. They will just blend so well with the front speakers that they will seem as though they are not on.   

The location of low frequency nodes (which includes cancellations nulls) indoors are a product of the sound wavelengths in question and the subwoofer and listening positions. One of those 3 has to change to affect the nulls, sound absorbing materials can dampen a buildup but that has no effect on a null.

Do they still make those bass seat shakers?  Maybe have the DJ sit on an extra sub facing up with a seat cover. [/joke]

JR

As it sounds like the booth is elevated, bolting a shaker (the Buttkicker units are still available for sale and not especially expensive) to the booth floor might actually be a reasonable solution here.