If the
622
is
used
in this
way, simply
connect each channel of
622 equalization
between
the
appropriate
output of
the electronic crossover
and the input of
the
appropriate
power
amplifier.
If
phase
reversal of an
individual
driver is necessary,
this
can
be
accomplished
either at
the power amplifier
output or at
the 622 input
(exploiting
the 622's
balanced
input
feature.)
3:
DANCE
The sound generally
desired
in
a
dance bar is one
that will
make the customers
BARS
get
out and boogie (or
sit
down and drink...).
This usually
implies a large bass boost
in the
region of
40-80Hz,
and a
smaller amount of
treble boost.
The
LF
and
HF
bands of
the 622 can
be
employed for
this purpose, leaving
the remaining bands
available for
"house
tuning".
In this case, we
mean
smoothing out midbass and
midrange acoustic
response of
the loudspeakers
in the room
.
The amount
of bass
boost is primarily limited not by subjective
considerations but
by
available amplifier
power
and
loudspeaker
bass
power-handling capacity. For
maximum capability,
bi-amping
is
recommended
because
the bass
amplifier
can
be
clipped occasionally
without
causing
obvious harshness.
In
this case, an
external
electronic crossover is necessary.
In
all cases, the setting of the 622 low frequency TUNING
and
BANDWIDTH
controls
is quite
critical in obtaining
bass that is punchy, "tight", and sensual,
without
being "boomy" (like "jukebox bass"). Correct settings will
vary considerably
with
loudspeaker type and room acoustics.
In
particular, satisfactory
results cannot
be obtained with a horn-loaded
bass
system with a cutoff
frequency above 40Hz.
Trying to
boost bass below
the
cutoff frequency of
the
horn
will
cause
severe
distortion and also
has the
potential
of
damaging the
drivers.
We do not
recommend
that
the D.J. be permitted to operate the 622
in
the
course
of
his normal activities.
The 622 should
be
adjusted once
by the
installing
contractor to the
manager's
specifications,
and
then locked
up.
If the D.J.
is to be
provided with
equalization, sufficient
power
to correct the sound of inadequate
records can be supplied by
a
simple 5-band graphic
equalizer
with
more limited
range.
If
the sound contractor has access
to a
third-octave
real-time analyzer
and
pink-
noise
source, these can
be of
substantial aid in adjusting the
MLF
and
MHF
bands
for
flat
acoustic
response
in the
midbass and midrange. Coloration
here
is
undesirable,
and can cause
customer edginess. It
can also interfere with
conversation. For
the same reason,
excessive
treble boost should be avoided because
of its potential for subliminal irritation.
If
a
third-octave
analyzer is available to monitor the
acoustic response
of the
system,
it is
not necessary or
desirable
to exactly match the channels
in the
frequency
range below
200Hz
according to Stereo
Matching above. This
is because
different
loudspeaker locations will ordinarily
produce different
bass
balances ]n
the
room unless the room
has
been
acoustically designed
and is symmetrical (like
a
good recording
studio control room). In
a
dance
bar, the
chances
of fhis occuring
are slight,
to say the least!
It is
quite acceptable
to adjust the two 622
channels
substantially differently
below 200Hz
to smooth
out
standing
waves, resonances,
and the like.
Above 200Hz,
equalization is much more
useful
in
correcting the
response
of the loudspeaker than
in
correcting room acoustics.
If
the
loudspeakers
are reasonably
well-matched, the
equalizer
channels should therefore
be adjusted
to
also be well-matched above
10
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