How to Configure Your PA System

The acoustics of the room in which it works affects the performance of all speakers. Strong room acoustics with incorrect speaker placement can affect speaker accuracy. Once you understand how the camera handles sound, you can get the most out of your system.

Identify problem areas

In most residential environments, the room is rarely designed to maximize the listening experience. In large-scale travel, venues are often sporting venues designed to maximize noise. Smaller concert halls are often chosen based on location or architectural aesthetics rather than music reproduction. PENNSYLVANIA. To improve performance, you need to identify and improve what the camera sound system is doing. Space optimization.

In general, the performance of a public address system can be influenced by the following physical characteristics:

Mean. The size of the room directly affects the reproduction of certain frequencies. It can be strange to think of the physical length of sound waves at different frequencies. If the width or length of the room at a certain frequency is directly related to the wavelength, there may be a constant wave in which the initial sound and the reflected sound reinforce each other.

For example, we probably have a long, narrow room with 22.6ft side space. The 50 Hz wave is also about 22.6 feet long. (To calculate the wavelength of sound, divide the speed of sound – 1130 feet per second – by the frequency. 1,130 / 50 = 22.6 feet for a 50 Hz wave.) In a room like this, 50 Hz is reproduced very well – perhaps too good. So the sound in every room has a powerful bass because the room acoustics have exaggerated low frequencies and you may need to compensate for that in your mix or by using an equivalent system.

Construction. Low-frequency waves can be strong enough to bend and move walls, ceilings, and even floors. This is called an “open process” and wastes energy and eliminates low resolution. So if your room’s walls and floor are solid brick and concrete that doesn’t vibrate enough, the bass will be much more powerful than in a room with regular tiled walls and wood floors.

Thoughts. Reflection is another way of communicating between space and sound waves. Like most spatial changes, reflections can be positive or negative. Think about the effect of cathedral reflections on the choir or piano. This type of reverb is highly recommended for acoustic recording and listening, but not for speakers that reproduce sound in a normal phase. If the speaker is close to a reflective surface (such as a wall or brick), direct sound from the speaker and reflected sound from the wall can escape the listener’s auditory stage and cause cancellation and/or amplification.

If you place the speakers in the echo area, place them so that there is as much sound as possible in the centre of the room and away from reflective surfaces. The acoustic treatment of the walls reduces the effect of reflection on the auditory site.

Wall and corner load

Frequencies are not very low directional, so they radiate from the sides and back of the speaker from the front as well. If you place the speaker against a wall, the sound will be carried back to the room behind you. This allows the low-frequency signal to be amplified up to 6 dB when the speaker is close to a wall (half a room), 12 dB when it is close to two walls (fourth room), and up to 18 dB when installed. Speakers near the ceiling or on the floor in the corner (fills the eighth room).

To get more control over the sound, it’s best to start with the most balanced address, so usually avoid placing walls and corners. On the other hand, if you need an extra bass boost, this technique might be worth a try. It is important to be aware of it and be ready to use or recover it.

Since the floor monitor is almost inevitable, PreSonus speakers have a default monitor. This preset was developed specifically to compensate for bass construction and maintain tight reproduction of the mids and mids.

Coverage area

The size and shape of your room and its implementation largely determine how many speakers you will need and where they will be placed. Make sure you don’t forget your speaker’s situation.

• Horizontal coverage. It is important to position the speakers so that the transition from one speaker line to another is smooth. This ensures a balanced response throughout the listening room.
• Vertical coverage. If you are using a pole-mounted ground pole, make sure your vertical coverage is suitable for hearing level. Ceiling speakers offer even more control. PreSonus speakers have two clips. The downward slope will direct the speaker’s energy towards the audience and avoid destructive reflections. This is ideal for situations where the speaker is installed and placed on stage, or where the speaker is on the floor and the coverage area is relatively small (conference, cafeteria, etc.).

A quick note about phase control: when used as a voice monitor, the speaker coverage changes in the opposite direction (i.e. the horizontal coverage changes to vertical coverage and vice versa). In most cases, there are advantages to this new model. For example, if the PreSonus ULT12 is installed as a floor luminaire, its cladding pattern is 50˚ (H) x 110˚ (V). As the spread decreases to 50˚ horizontally, the energy of the ground screen is concentrated in a relatively small area that does not overlap on all sides, creating audible distances and greater clarity.

The vertical distribution of 110 ° gives the artist the freedom to come and go in his area. For example, to reach an audience, a singer might stand on the floor just above his screen and, at best, listen to his mix while standing upside down on the back of a drum to jump out of a bass drum. Some speakers, eg. With the PreSonus ULT series, you can rotate the receiver so that the scatter pattern is the same in both the vertical and horizontal directions. In general, this feature should be reserved for horizontal remodelling, not ground control.

Latent distribution systems

In most cases, the speaker system relies on the main speaker system in front of the camera to restore audio for optimal performance. As a result, the system level at the front of the room is much higher than in the mix.

In cases where it is necessary to reproduce sound outside the optimal range of the main system, well-placed delay systems can increase the intelligibility of the previous system. By creating spaces for hearing throughout the room, your home system should be large enough to cover the front of the room. This is a great way to narrow your head, give your listeners a break from the foreground, and give your speakers more credibility.

The purpose of diffuse noise is for people in the back row to have the same listening experience as people in the front row, but adding extra speakers isn’t that easy. Since electricity works much faster than sound, rear listeners hear the sound from the nearest speaker before hearing the sound from the stage. This attenuates the aggressiveness and intelligibility of the sound and creates an unpleasant effect. In large rooms, it can also seem short.

Delay systems should be placed where the base system is less understandable when environmental obstacles are overcome:

Inside. We try to overcome the direct reflections of the inner echo. Your goal is to find out where the direct signal-to-echo ratio reached about 50/50. Here are the reflections at the level of P.A. and you lose the sense of the voices. You can use the best quality speaker for the room to get the perfect results.

Outside. Outside, you try to stay balanced and the crowded back of the crowd reaches a peak of clarity. increases. This is when the main system needs more support to ensure the same amount is detected further away from the source.

Add a subwoofer (or two)

Adding a subwoofer to an audio system can be more efficient because the low-frequency content is played by the subwoofer rather than the entire system. 

Take the intersection

If you add a subwoofer to the whole system, you will also need a crossover network. This unit has a full-range speaker filter that removes sound at a certain frequency and a low pass filter that removes sound above a certain frequency. Depending on the system, overlapping frequencies between 60Hz and 120Hz in full-length speakers and subwoofers can lead to destructive suppression and amplification. This frequency overlay uses a crossover and helps create a smoother transition with the subwoofer. Yu can create a smooth transition from the subwoofer system to the whole system.

Follow these steps to set up the transition between the subwoofers and the whole system.

• Set the low-pass filter of the low buffer to the highest stop frequency. This creates an overlap between the frequency response of the subwoofer and the entire system.
• Play heavy programmed music with bass throughout the system.
• Experiment with the tilt position of your subwoofer to find out which position offers the best bass. Leave the polarity to the setting with the highest bass puzzle. This means your subwoofer is compatible with your full range speaker.
• From now on, you can try low and high-pressure filters until you find a filter that offers a smoother transition. Again, of course, the subwoofer should increase the low-frequency response of entire systems. You shouldn’t feel an increase or decrease in frequency.
• If your crossover network is properly calibrated, you can listen to a wide range of your favourite music. After all, your ears are your best tool.

Sub-regulation

If the subwoofer and full speaker are separate, bass frequencies can be cancelled. This is compensated for by the use of a subwoofer tuning delay.