Meyer Sound's Total Solution

1.2 Control Electronics Units

• 1.2.1 Electrical and Acoustical Crossovers
• 1.2.2 Amplitude Correction
• 1.2.3 Phase Correction
• 1.2.4 Connections
• 1.2.5 CEU Level Control
• 1.2.6 User Controls

1.3 SpeakerSense

• 1.3.1 Introduction
• 1.3.2 Amplifier voltage gain and SpeakerSense
• 1.3.3 The case against predictive limiters
• 1.3.4 Standard SpeakerSense connections
• 1.3.5 MultiSense Connections
• 1.3.6 Limiter Operation

1.4 Power Amplifiers

• 1.4.1 Output power classifications
• 1.4.2 Power amplifier voltage gain
• 1.4.3 Amplifier level controls
• 1.4.4 Drive level requirements
• 1.4.5 The importance of matched voltage gain
• 1.4.6 Matching output power for biamplified systems
• 1.4.7 Amplifier polarity
• 1.4.8 Bridged mode operation

1.5 Self Powered Systems

• 1.5.1 Introduction
• 1.5.2 Remote Monitor System
• 1.5.3 The LD-1A

1.6 Equalizers

• 1.6.1 The Meyer CP-10 Parametric Equalizer
• 1.6.2 Graphic vs. Parametric
• 1.6.3 Complementary Equalization
• 1.6.4 Error in Center Frequency
• 1.6.5 Error in Bandwidth

1.7 Connections

• 1.7.1 Line level connections
• 1.7.2 Speaker connections
• 1.7.3 Cable Reference
• 1.7.4 Speaker Pigtails

1.8 Speakers

• 1.8.1 Maximum Power ratings
• 1.8.2 Coverage Angle
• 1.8.3 Internal Networks
• 1.8.4 Driver components
• 1.8.5 Rigging
• 1.8.6 Weather Protection

1.9 Measurement

• 1.9.1 Measurement Microphones
• 1.9.2 Real-Time Analysis
• 1.9.3 Phase Poppers
• 1.9.4 Source Independent Measurement
• 1.9.5 Source Independent Measurement

1.10 Meyer Sound's Total Solution

• 2.1.0 Introduction
• 2.1.1 Comb filter frequency
• 2.1.2 Comb filter level
• 2.1.3 Identifying comb filters

2.2 Speaker Interaction

• 2.2.1 Introduction
• 2.2.2 Factors Affecting Interaction
• 2.2.3 Array Configurations
• 2.2.5 Point-Source Arrays (Narrow)
• 2.2.6 Point-Source Arrays (Wide)
• 2.2.7 Parallel Arrays
• 2.2.8 Crossfire Arrays
• 2.2.9 Split-Parallel Arrays (Narrow)
• 2.2.10 Split-Parallel Arrays (Wide)
• 2.2.11 Split-Point Source
• 2.2.12 Point Destination Array
• 2.2.13 Monitor Sidefill Arrays
• 2.2.14 Vertical Arrays

2.3 Reflections

• 2.3.1 Introduction
• 2.3.2 Grazing Wall Reflections
• 2.3.3 Parallel Wall Reflections
• 2.3.4 Rear Wall Reflections
• 2.3.4 Corner Reflections

2.4 Dynamic Acoustical Conditions

• 2.4.1 Temperature
• 2.4.2 Humidity
• 2.4.3 Absorption

3.2 Frequency Range

• 3.2.1 Introduction
• 3.2.2 Three-Way
• 3.2.3 Three-Way (DS-2)
• 3.2.4 Four-Way
• 3.2.5 Five-Way

3.3 Power

• 3.3.1 Power Loss over Distance
• 3.3.2 Speaker Loss over Distance
• 3.3.3 Power Capability over Frequency

3.4 Coverage

• 3.4.1 Coverage Angle and Distance
• 3.4.2 Equal level contours
• 3.4.3 Speaker Placement
• 3.4.5 Example Theatre Coverage
• 3.4.5 Example Arena Coverage

3.5 Speaker System Subdivision

3.6 Main Arrays

• 3.6.1 Introduction
• 3.6.2 Splay Angle and Coverage
• 3.6.3 Amplitude Tapering
• 3.6.4 Array Coverage
• 3.6.5 Verify Splay Angle
• 3.6.6 Array Reference Tables
• 3.6.7 Array Do's and Don'ts

3.7 Fill Systems

• 3.7.1 Introduction
• 3.7.2 Downfill/Sidefill
• 3.7.3 Frontfill
• 3.7.4 Delay Systems

3.8 Stage Monitor systems

3.9 Speaker Selection

• 3.9.1 Introduction
• 3.9.2 Mains
• 3.9.3 Subwoofers
• 3.9.4 Fills
• 3.9.5 Stage Monitors

3.10 Specifications

• 3.10.1 Self Powered Systems
• 3.10.2 Externally Powered Systems
• 3.10.3 Weights and Measures

4.8 Balanced lines

• 4.8.1 Normal
• 4.8.2 Polarity Reversal
• 4.8.3 Unbalanced Lines
• 4.8.4 Field example

4.9 Polarity

• 4.9.1 Introduction
• 4.9.2 LF Driver Polarity Verification
• 4.9.3 Multiple Speaker Cabinets
• 4.9.4 Polarity of Multi-way Systems
• 4.9.5 Polarity or Phase?
• 4.9.6 Subwoofer Polarity Optimization

4.10 Crossovers

• 4.10.1 Acoustical Crossover
• 4.10.2 Crossover Alignment Considerations
• 4.10.3 Crossover Alignment Procedures

• 5.1.1 Alignment Goals
• 5.1.2 Dividing Lines

5.2 Interfacing the Measurement System

5.3 Mic Placement

• 5.3.1 Primary Mic Positions
• 5.3.2 Secondary Mic Positions
• 5.3.3 Tertiary Mic Positions
• 5.3.4 Multiple Microphone Positions Example

5.4 Architectural Modification

5.5 Speaker Repositioning

5.6 Gain Structure Adjustment

5.7 Delay setting

• 5.7.1 Introduction
• 5.7.2 Choosing a Reference Speaker
• 5.7.3 Delay Tapering

5.8 Equalization

• 5.8.1 Introduction
• 5.8.2 Room/EQ/Result Measurements (SIM®)
• 5.8.3 Complementary Equalization Field Example
• 5.8.4 Strategy
• 5.8.5 Should the system be set flat?

5.9 Alignment Procedures

• 5.9.1 Introduction
• 5.9.2 Single Systems
• 5.9.3 Setting Delays
• 5.9.4 Lobe Study and Combined Systems
• 5.9.5 Combining Systems

5.10 Example System Alignment

• 5.10.1 Introduction
• 5.10.2 Setup
• 5.10.3 Equalizing the Main Cluster
• 5.10.4 Polar Reversal discovered
• 5.10.5 Equalizing the Main Side System
• 5.10.6 Combining the Main Systems
• 5.10.7 Setting Delays
• 5.10.8 Equalizing the Delay Side System
• 5.10.9 Combining the Delay Systems
• 5.10.10 All Systems Combined

6.9 Miscellaneous

7.2 Meyer Sound Design Verification Checklist