How I Tuned An Arena Sound System With A M32 (With Just Six Matrix Outputs)

►► Get my audio math survival spreadsheet found in my audio toolkit:
www.producedbymkc.com/audioto...
Sometimes you've got a huge show with a minimal toolset. And you've still got to make it sound amazing : )
Here I walk you through my console setup, routing overview, design file, and tuning settings I used to make this rig sing.

[@CameronMagee]

👏👏 Show sounded great. Hearing you teach it is even cooler. Thanks for serving and thanks for sharing.

[@MichaelCurtisAudio]

Thanks, Cam : )

[@peevonb7070]

great stuff!

[@MichaelCurtisAudio]

Thank you so much!

[@jthunderbass1]

Very cool! Looks like fir events this big, I would want a DirectOut Technologies system processor.

[@MichaelCurtisAudio]

Yes, having some external processing can definitely make things easier. I've never used a PRODIGY, but hear their stuff is great.

[@immanueltetteh6232]

Love your patience with how you teach ... I love every single thing you have taught here ...I would love you to do a video on the math aspect of audio (how to calculate the boxes and amongst others) #Micheal Curtis

[@MichaelCurtisAudio]

Thank you so very much for the kind words. I'm glad this video has been helpful to you. Are you asking how you calculate how many line array boxes you need?

[@immanueltetteh6232]

@@MichaelCurtisAudio yeah that is one ..I'm actually a church sound ingeener looking to understand all the maths there is in the audio field.

[@MichaelCurtisAudio]

I would get Michael Lawrence's book first, then jump to Bob McCarthy's book. www.amazon.com/Between-Lines-Concepts-System-Alignment/dp/B0BBL6QQ12/ref=sr_1_1?keywords=michael+lawrence+between+the+lines&qid=1662569172&s=books&sprefix=michael+lawrence+betwee%2Cstripbooks%2C204&sr=1-1

[@lhenn_]

Hi Michael, thank you so much for your videos (and your spreadsheet)! I wonder about the limiting without a dedicated processor: Could you maybe make a quick video about how one could use the compressor as brick wall limiter to secure the speakers (including the calculation, dBu, dBfs, conversions, etc.) without a DSP? :)

[@MichaelCurtisAudio]

I'm glad my videos have been helpful to you! All of the speakers in the array I had already had DSP built in that would provide limiting. Even if you did set up a limiter on your console to protect the speakers you can't guarantee that each speaker will not limited because the signal will eventually be sent to a high compression driver and a low woofer. Only a limiter after that "split" can ensure that the individual drivers won't get hit too hard. But, you can "help" protect yourself with a limiter early in the chain. If I'm on something like the M32 I would use the Precision Limiter across my LR mix with the threshold at -1dBFS, attack as fast as possible, release at 100ms, squeeze OFF, output gain at -1dBFS.

[@lhenn_]

@@MichaelCurtisAudio Sure, but I was thinking about this if I do the crossover via the desk, too. That way, one would have control over the split and the low/mid/high channels. Of course, this would only (if at all) work for small setups. But I would be interested in your opinion, if having a dedicated DSP rack unit is really necessary in times of modern digital consoles (like the X32/M32/UI24/..) with EQ, compression, delay for Auxes and matrices. ;)

[@MichaelCurtisAudio]

@@lhenn_ Got it! Although you certainly do a ton with just the processing built into most modern digital consoles, I still like having an external processor to outsource those duties to, especially in larger contexts. Most desks don't have all pass filters, which I would miss. I also would have preferred in this case to drive each of the RCF hangs with a processor channel for every two boxes, so twelve processing channels total, which a normal console couldn't handle. It's not necessarily that the tools in a DSP are superior, I just prefer more granularity and control.

[@lhenn_]

@@MichaelCurtisAudio Definitely! And you‘re right: In larger applications (I’d say everything beyond the classic 2.1 or 2.2 systems), it makes absolutely sense to outsource those things from the mixer. And then there’s the problem with amp racks in rental (even local for small bands/…). I’d rather trust my limiter settings on a fixed installed DSP inside the rack than some self-called sound engineers with their mixer setup out there. ;) Anyway, I really appreciate you taking the time to share your thoughts on that topic!

[@MichaelCurtisAudio]

@@lhenn_ You're very welcome!

[@cameronfindlay3894]

Hey Michael, Love the content. I am looking at getting a few of the HDL 6 or HDL 10 boxes in the near future. What are your thoughts on them?

[@MichaelCurtisAudio]

I've used the HDL 6-A's on a ton of shows, but haven't touched HDL 10-A's. The HDL 6-A's are super light and sound great without having to man handle any EQ on them. The only processing I'm usually applying is a low shelf on the entire hang to get the LF to my desired target curve. Then sometimes a high shelf on each PA zone if I have a system processor with multiple outputs. This most recent show I did in the Fort Smith Convention Center showed me where they "top out" SPL wise. I mixed the country act for the mid-show entertainment, but the "party band" for the even't afterparty wanted things significantly. Averaging 98-100dBA at FOH, which meant it was at least 6dB hotter on the dance floor. I had two hangs of 9 boxes there. It was plenty for coverage and the other band, but if you want to REALLY push them that's where I felt they lacked some gas. Again, killer box, especially for the price and weight, but not if you want to run shows super hot.

[@nathanaelbagaforo2298]

Love your videos, Michael!! I'm a little bit confused on how did you do your set up on tuning, did you still used an interface or directly on the M32? If you go directly to the M32 can I ask how you did it or make a video of it, would be a lot of help!!

[@MichaelCurtisAudio]

Hey, Nathanael. In this video the M32 is acting as my mixing console and my "processor" (utlizing the matrix outputs to apply level adjustments, EQ, timing adjustments, etc.), but I'm still using a separate audio interface for my reference microphones and signal generator from SMAART. You can use the console for all three of those tasks when in a pinch, but I've only had to do it once. Carrying a separate interface simplifies things greatly.

[@Uzrdinma]

Hi Michael. In a situation where you have multiple speakers, would it be advised to use a processor? If yes, how is the tuning done?

[@avolution2449]

Hi Michael, many thanks for all your videos. Just a couple of questions regarding this one - from a total newb so apologies in advance if necessary! - : were the EQ decisions you ended up using influenced by the results of the traces you captured or more done by ear? The traces were roughly OK with your target trace ? I'm fascinated by this subject but got a lot to learn yet! Many TIA👍

[@MichaelCurtisAudio]

I always start with the data and use EQ to get to my target curve, THEN I use my ears and verify those results and make any further changes.

[@diegoreis6584]

Never heard of a name Cristal Clear!!! That's definitely a differential hehehe

[@michaelwilliams9508]

Nice video.......I have a m32 and wanted to know if you have any training videos for beginners

[@MichaelCurtisAudio]

Thank you! I unfortunately don't. When it comes to anything X32/M32, Drew Brashler has a ton of great info on his channel. Check him account.

[@66fitton]

@@MichaelCurtisAudio Good on you for mentioning Drew instead of promising to make the video on it lol. Too many channels won't send viewers to another channel when they damn well know that it will help them with their problem. Appreciate that you did that Mike

[@MichaelCurtisAudio]

@@66fitton Thanks for that, Steve. Drew does fantastic work and has specifically focused on providing an incredible amount of resources on the X32/M32, so I'm more than happy to point people there. There's plenty to go around : )

[@libr25]

Hi Michael, if you are only sending a single sub output from matrix 4 , how were you able apply delay to bottom sub

[@MichaelCurtisAudio]

Great question! The subs I had were QSC KS118's which have some built in DSP that lets me add delay to them when needed.

[@libr25]

@@MichaelCurtisAudio thank you. My sub don’t have a built in delay, is there a workaround?

[@MichaelCurtisAudio]

@@libr25 You can send your sub matrix to multiple outputs, then use the output delay on each of those to apply the necessary delay.

[@libr25]

@@MichaelCurtisAudio thanks Michael

[@Clkysor]

I have a question why wasn’t there a cross over on the subs? There was a low pass filter at 98hz on your speakers but why not a 98hz High pass on your subs? Just wounding out of curiosity.

[@MichaelCurtisAudio]

Great question! The KS118 subs already have a built in LPF at 98Hz, so any extra one isn't needed.

[@JimFactor]

cool, tell about the pa delays on the same project

[@MichaelCurtisAudio]

Are you asking about the speakers in the air covering the bowl?

[@JimFactor]

@@MichaelCurtisAudio And about the main system too, I wonder how you are using m32 and delay (in the mixer)

[@MichaelCurtisAudio]

@@JimFactor Got it. So how I used the delay lines in the output processing to time align everything?

[@JimFactor]

@@MichaelCurtisAudio yes! how to set up the whole system (pa, sub, front fills) with x/m32

[@MichaelCurtisAudio]

@@JimFactor Ok, cool. So basically start from scratch: a zeroed out console file and blank routing/patching setup and go from there?

[@matthewsippi7887]

Great but am a little bit confused about setting up m32 board for the first time

[@MichaelCurtisAudio]

How the LR mix is routed to the matrices? The output processing?

[@matthewsippi7887]

@@MichaelCurtisAudio I mean how to setup the entire board for the first time ?

[@MichaelCurtisAudio]

@@matthewsippi7887 Got it!

[@immanueltetteh6232]

Aaaare you seeeerious!!!?

[@MichaelCurtisAudio]

:D!

[@nathanlively]

zippy zippy top end!