Equalising a Sound System

When equalising a sound system you should always remember just what it is you are trying to achieve. Two fundamental reasons for equalization are:-

1.To increase the potential gain or power output of the system before feedback.

2.To improve the naturalness or intelligibility of the sound system.

In a space with poor acoustics or high levels of background noise, the most natural sound may well not be the most intelligible - a compromise must therefore by reached between these two qualities depending on the particular application in question - but at the end of the day it doesn’t matter how natural the system sounds if no one can understand the sound it puts out!

EQ

Pink

Noise

general.

Sound System Equalisation

Test Microphone

Spectrum

Analyzer

Sound System Equalisation

Before beginning to equalise a system, it is a good practice to listen to the “raw” system with speech or music programme. If such signals are distorted then stop and rectify them before attempting to equalise. Another good pre-equalisation test is to use a slow sine-sweep. This can expose a number of problems such as rattles or distortion or poorly controlled room modes and resonances - which pink noise RTA cannot discover. Finally, before equalisation, check the coverage of the system over the 2 to 4kHz bank. (If necessary, use the equaliser as a band pass filter to produce the desire range). If coverage is poor to begin with then no amount of equalisation will overcome this. Again adjustments to the system itself are required. Equalisation is the final tuning stage. Generally, a gradual transition between adjacent bands should be aimed for, particularly in studio monitoring situations where the maximum difference between bands should only be 3dB or so. A warning bell should be ringing if you are using much more than this! This does not mean however that more drastic adjustments should not be used - this is very often necessary with sound systems operating in poor or severe acoustic environments, but the reason why such a particularly large fader excursion is being used at a given frequency should always be carefully considered.

Once satisfied with the basic system, performance equalisation can begin. If using a real time analyser ensure that the microphone is in a sensible position i.e within the coverage area of the system and not in an area where strong local acoustics effects might be expected such as within 1 metre of a rear or side wall or in a balcony opening.

16

Page 19 Page 21
Page 20
Image 20
Klark Teknik DN360 manual Sound System Equalisation, Equalising a Sound System
Page 19 Page 21

DN360 specifications

The Klark Teknik DN360 is a legendary graphic equalizer that has made its mark in the world of sound engineering and music production. Renowned for its robust construction, precise sound manipulation, and intuitive usability, the DN360 is a staple in professional audio environments, including live sound reinforcement, recording studios, and broadcast facilities.

One of the standout features of the DN360 is its 30-band graphic equalization, which operates over a range of 20 Hz to 20 kHz. This extensive frequency range allows sound engineers to make finely tailored adjustments to audio signals, ensuring each frequency can be enhanced or attenuated to meet the specific needs of any performance or recording situation. The equalizer provides a 1/3 octave frequency spacing, which is critical in facilitating detailed control over audio content without introducing unwanted phase issues.

The DN360 employs advanced circuit design and high-quality components to ensure impeccable audio fidelity. One of its key technologies is the use of low-noise, high-performance circuitry, which contributes to the clarity of sound even at extreme levels. The equalizer also integrates an innovative feedback detection system, which helps in preventing feedback issues when used in live applications, a common challenge faced by audio professionals in dynamic settings.

In addition to the powerful equalization capabilities, the DN360 is designed with user-friendliness in mind. The layout features an intuitive front panel, making it easy for sound engineers to make quick adjustments during performances. The LED-level meters provide clear visual feedback, allowing for real-time monitoring of audio levels.

Another notable characteristic of the Klark Teknik DN360 is its rugged construction, which is essential for durability in demanding environments. The unit is housed in a sturdy metal chassis that can withstand the rigors of touring and frequent use, ensuring longevity and reliability.

The DN360 also offers a variety of connectivity options, seamlessly fitting into different professional audio setups. Balanced XLR inputs and outputs are provided, ensuring a clean signal path and minimal interference. Furthermore, the equalizer supports both stereo and dual-mono operation modes, enhancing its flexibility in various audio applications.

Overall, the Klark Teknik DN360 stands as a testament to innovation in audio processing equipment, delivering unmatched performance and versatility for professionals in the audio industry. Whether in a studio or on the road, it is a powerful tool for achieving sonic excellence.
Top Page Image Contents