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RE: Question for Satie

Posted by Satie (A) on August 25, 2016 at 13:17:19

In Reply to: Question for Satie posted by pwicca@cybermesa.com on August 24, 2016 at 05:03:06:

First of all. you have to eventually use REW or another program to check your results. The result should be a straight impulse response. The audible performance should be a wide and deep soundstage with well defined images with the images located in stable locations when they are immobile and track the slight or major changes when the are not (chamber music recordings often capture the swaying violin as the violinist sways and cyclically moves the center of the violin's output towards and away from the mic. Heifet does that on purpose to change the volume and tone of his instrument on the recording according to his interpretation, at times to the consternation of his engineers at RCA or DG who set him up differently from one take to the next even within the same piece going from one part to the next)

I use a tape measure because the laser can't compensate for the fabric offset from the driver, which is not really stable. The tape measure's loose end is sown to the center top of my recliner with about 20 loops of thread loosely enough so that the tab at the end does not get caught on the fabric.

I measure to the distances to the centers of each driver and compensate for the distance to the diaphragm from the contact point. I don't know what it would be for the 3.7 models and it depends on whether you have diaphragm front or magnet board up.

The panels are arranged perpendicularly to the tape measure by either using a T square or L square (I use the latter) and use the edges on the bass panels measuring the same distance (to each edge) since they are symmetrical relative to the center of the driver (should measure closer or the same than the edges).

I use a 3 way bubble level to straighten out the drivers to dead vertical and straight horizontal before doing the distance measurements.

I go for a 1/8" precision in the equidistant setup ( at this point I check for symmetry with a mono recording sarah vaughn or billie holiday with band or orchestra) and then fine tune the tweeter angle for the images to snap together and group images to separate out into components like cymbals on a drum set in a 1958 jazz recording. Or the violin section revealing individuation of the violins (only on older three or two mic recordings). The position of the 4 pianos in the Bach concerto is also very useful, as is the individuation of brass and reeds in big band recordings made in 2 or 3mic ballroom studio recordings..

Sorry I missed that yesterday. Hope this helps

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