posted 12-10-2019 07:29 AM                    

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I hadn't noticed the 4732 / 4372 typo myself - was working under deadline pressure on Friday.

Before anyone asks, I also don't know why JBLs were chosen for the stage channels and QSCs everywhere else. This is an upgrade of an existing, operating screen from 5.1 to Atmos, so maybe the JBLs are already there for the stage channels, and are being recycled into the new system. I was simply given the DARDT and told to come up with a Q-Sys design in which a Core 110c effectively takes the place of the DAC3202. In other words, all the real processing work is taking place in the CP850 upstream of the Q-Sys core.

I included the amp settings snapshot bank, so that when it comes to tuning, the power amp channel gains can be adjusted in order to get the levels roughly right, and in the case of the bi-amped channels, the LF and HF roughly equal with each other, before letting the Dolby Atmos Designer autotune procedure have at it; and then those gain settings can be saved, independently of any other settings changes made to other components in the design. I also included a parametric EQ for each channel, so that I can iron out any serious rough edges in the X-curve before the autotune, to reduce the amount of judgement that the algorithm, rather than human ears, will have to apply. The crossover snapshots are so that if any tech wants to play with the crossover points in future, (s)he can use the 2 and 3 slots for temporary experimentation purposes, without losing the setting that was in use before starting.

I hadn't thought of going as far as custom voicing with the stage channels, but might resort to that if I can't get them to behave themselves when it comes to the tune.

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Interesting. So you are using snapshots as a formal multiple save settings save. That is, once the system is calibrated...if one wants to experiment, they can play with it and then with a press of a button get back to the previous settings.

Whereas I start each tuning session by saving the design with a new unique name, I consider that file my way "back" to where it was. This comes from doing numerous studio screenings and ensuring that I can always return a system to how I found it. I often give the client the option of keeping what I've done versus the way it was. Unless they have a strong preference, I always put it back to how I found it.

I question the person that does the diligence to save their snapshot and the next person to not accidentally overwrite it. If I were to do something like that, I would definitely rename the buttons to what they are and "hide" (not bring out) the save button for the one snapshot I want as the reference to avoid accidents.

As for using JBL stage speakers and QSC everywhere else. I suspect your guess is correct...they existed, the customer probably was happy or happy-enough with them and could save thousands of $$$ to not replace them for brand uniformity.

That said, I have not found that any manufacturer has a lock on all speaker types, QSC and JBL included. They both have excellent speakers of various types. I have strong preferences for particular make/models in various roles. So it is not uncommon, in systems I've designed to have multiple brands.

As for Custom Voicing...that is definitely the way to go. It doesn't replace having PEQ and the like on each channel as a custom voicing will affect all speakers equally without regard to boundary conditions (Left/Right are going to be more bass heavy being near side walls than Center, for instance).

Using custom voicing can REALLY cut down on time and once you have it, you can save it as a User Component that can be dropped into ANY design (and they move from different Designer versions better than other components. Note, using JBL's parameters in Q-SYS will not necessarily be a 1:1 translation. If JBL used any shelving filters, those will need some hand tweaking but the PEQs go between the two environments pretty well.

I have a growing list of JBL speakers: