|
| quote: | Originally posted by CarS
Question for you:
Do these systems tend to use DSP-based room correction systems?
Plus they mostly seem horn based: mainly cost driven cause less amp power is needed? |
As I've not been able to check completely "under the hood" on a lot of these systems, I wouldn't be able to tell you exactly what each place was using, and I might also add that Live Sound is not my expertise, my background is in Studio Engineering, so often my knowledge of this stuff comes from my Live counterparts whom I've had the chance to chat with in the clubs and at networking events, but at that level of sound reinforcement, it's safe to assume that in a lot of cases, there are multiple levels of both DSP and even analog controls that are being utilized to achieve the room sounds we hear.
DSP Room Correction is in it of itself a very standard tool for Live PA these days (the Driverack PA from DBX got me through many a gig back in my mobile DJing and Roadie days), and these systems are all very cutting edge so the kind of tools they are using nowadays I'm assuming utilize some more complex chain of devices to configure the sound that in many cases is the unique customization of the installer based on their own expertise and forward-thinking methods for achieving certain sound.
It's safe to say, therefore, there is definitely some DSP going on in nearly all the places you hear, but it's much more intricate than simply setting up a DBX for example and choosing a room template. These are systems that are all hand tweaked by career experts.
I can tell you, that surprisingly, Gary Stewart systems like the ones in Love and District 36, had NO DSP: they were all analog! My good friend Ruben Rivera, who was the live sound engineer at Love, District 36, and Sullivan Room for a short while, gave me some great insight into his process and he was a pure traditionalist in every respect.
I might also add that this is also one of the reasons why people will often comment on a sound system "not sounding like it used to back in the day." That's because all of these systems need to be tweaked almost constantly to maintain the kind of sound that can be considered pristine and mind-blowing. You move one couch, set up a new disco ball, or change around the DJ booth and everything has to be retouched and calibrated. Addtionally, the vibrations from subwoofers over time cause things to come loose and get messed around, so these systems have to be checked all the time, and if a club isn't investing in a professional acoustician coming in on a regular basis (which is very costly too might I add), over time the system quality will start to deteriorate.
FINALLY (sorry if I get carried away here: sound is pretty much what I do all day! LOL), as per your question for horn-based systems. There are no systems I am aware of that could only use horn drivers and achieve the kind of low end you'd expect from a nightclub sound system. I think what you are observing is actually only the visible part of the sound system you are seeing: the speakers for example you see on the rafters and up in the top of the ceilings in clubs are NOT responsible for the the low end and low mid frequencies of the sound system. They are purely there for the highs and high-mid frequencies, and that is why they are pointed at you because those frequencies are directional. Low end frequencies and low-mid frequencies on the other hand are non directional, and a lot of that thick bass you perceive also relies on resonance from the floor for it's power (and additionally physical resistance in order for the woofers to function properly).
Thus, that is why it is possible to hide subwoofers or blend them in to the architecture of the club, because they need to be based on the ground first and foremost, and because their placement is much less reliant on their direction relative to the audience. A lot of what you don't see is where the sound comes from in these bigger places, because the designers were able to put them in locations that don't interfere with dancing space yet provide the kind of power to convey the sound. That's also why I love sound systems that sound awesome but you never really see any of their components: the people who put them together are using room tricks and design to get everything sounding good as opposed to just pointing a speaker at somebody.
No matter what to get big sound you need a lot of amp power. To get true bass you will need some pretty big woofers, and that will draw a ton of wattage. I'm sure cost effectiveness is always relevant as with any business expense, but it's safe to say all the places that you love the sound of spent A TON of money to get it that way. The speakers, amps, and signal processing was probably far secondary in cost compared to the room construction fees, architecture costs, engineering costs, wiring/electrician bills (because you have to custom wire those places to allow for commercial power voltage as opposed to just a regular building) etc. etc.
Even in my world of the recording studios, unless you bought a famous vintage console and a bunch of gear where there are only 5 left in the world kinda thing, I can tell you personally that the biggest costs we've always had were building the damn things to sound good lol.
|
