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		<title>DanCornett: New page: &#039;&#039;&#039;Q:&#039;&#039;&#039; I have been looking at a device called an Ultracurve, which is supposed to help get better sound.  How does that work with the L1?  &#039;&#039;&#039;A:&#039;&#039;&#039; I used to use an (older) Ultracurve wi...</title>
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		<updated>2011-01-31T20:03:18Z</updated>

		<summary type="html">&lt;p&gt;New page: &amp;#039;&amp;#039;&amp;#039;Q:&amp;#039;&amp;#039;&amp;#039; I have been looking at a device called an Ultracurve, which is supposed to help get better sound.  How does that work with the L1?  &amp;#039;&amp;#039;&amp;#039;A:&amp;#039;&amp;#039;&amp;#039; I used to use an (older) Ultracurve wi...&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&amp;#039;&amp;#039;&amp;#039;Q:&amp;#039;&amp;#039;&amp;#039; I have been looking at a device called an Ultracurve, which is supposed to help get better sound.  How does that work with the L1?&lt;br /&gt;
&lt;br /&gt;
&amp;#039;&amp;#039;&amp;#039;A:&amp;#039;&amp;#039;&amp;#039; I used to use an (older) Ultracurve with a conventional set of speakers (pre-L1 days) ... both with an &amp;quot;installed&amp;quot; system and with a &amp;quot;transportable&amp;quot; system.  I&amp;#039;ve also used a combination of an Ultracurve (Auto EQ) along with a &amp;quot;feedback destroyer&amp;quot; (automatically creating notch filters).&lt;br /&gt;
&lt;br /&gt;
I have not had an occasion since use the L1&amp;#039;s where I wanted to break out the Ultracurve -- especially since having the T1 available to create a notch filter when necessary.&lt;br /&gt;
&lt;br /&gt;
The idea behind an auto-EQ is to &amp;quot;normalize&amp;quot;, or compensate, for the idiosyncrasies of BOTH the room and the audio system in order to create an overall &amp;quot;flat&amp;quot; &amp;#039;&amp;#039;(equal)&amp;#039;&amp;#039; response across the frequency range.  This is typically done by using a high-quality &amp;quot;reference&amp;quot; mic, feeding in pink noise &amp;#039;&amp;#039;(which has equal power at all frequencies)&amp;#039;&amp;#039; and measuring how the speakers, amps, and the room emphasize or reduce various frequencies ... and then creating a &amp;quot;mirror image&amp;quot; of that response to  give &amp;#039;&amp;#039;(in theory)&amp;#039;&amp;#039; an overall audio result which is &amp;quot;flat&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
This can work o.k., but is fraught with simplifying assumptions which can result in less-than-stellar results.  Here are some of them:&lt;br /&gt;
&lt;br /&gt;
1. When you try to create a &amp;#039;flat&amp;#039; EQ, you may be striving to eliminate the &amp;quot;good&amp;quot; acoustics of a particular room as well as the &amp;quot;bad&amp;quot;.  Even the greatest concerts hall are not &amp;quot;flat&amp;quot; in their &amp;quot;room EQ&amp;quot; ... that is part of what gives them their &amp;quot;character&amp;quot;, just as each person&amp;#039;s voice has it&amp;#039;s own distinctive character.&lt;br /&gt;
&lt;br /&gt;
2. The &amp;quot;acoustic response&amp;quot; of a room changes as a result of a number of factors:&lt;br /&gt;
&lt;br /&gt;
a) the overall volume at which the &amp;quot;reference&amp;quot; was taken.&lt;br /&gt;
&lt;br /&gt;
b) the amount of people in the room &amp;#039;&amp;#039;(this &amp;quot;referencing&amp;quot; of EQ is rarely done with an audience, because it can be most irritating!)&amp;#039;&amp;#039; -- although some more sophisticated systems have attempted to do the same with subtle &amp;quot;chirps&amp;quot; rather than simple pink noise while an audience is present.  For example, in many rooms the &amp;quot;empty of people&amp;quot; room response may sound a bit &amp;quot;too bright&amp;quot;, but once it is filled with an audience the sound can be &amp;quot;just right&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
c) temperature and humidity changes.&lt;br /&gt;
&lt;br /&gt;
d) placement of speakers and mics.  With &amp;quot;installed&amp;quot; audio systems, the speaker placement doesn&amp;#039;t change, but variations in location of mics and speakers can be terribly significant.&lt;br /&gt;
&lt;br /&gt;
3. The audio components may not be adequate to truly compensate for the &amp;quot;bad&amp;quot; characteristics of the room, which can lead to distortion or other generally weird effects.&lt;br /&gt;
&lt;br /&gt;
Now, with L1 Systems as your &amp;quot;audio source&amp;quot;, one of the major &amp;quot;variables&amp;quot; -- that of the speaker system -- has been already &amp;quot;tuned&amp;quot; to give a consistent, uniform sound.  All that &amp;#039;&amp;#039;(should be)&amp;#039;&amp;#039; left is the response of the room itself -- and I&amp;#039;ve not felt I needed to compensate for that room EQ in most cases.&lt;br /&gt;
&lt;br /&gt;
I will say that for an INSTALLED system I would include a multi-band EQ and do some amount of &amp;quot;room EQ&amp;quot; &amp;#039;&amp;#039;(even using MA12&amp;#039;s, which are sonically similar to L1&amp;#039;s)&amp;#039;&amp;#039;, although usually not for the purpose of making the room EQ &amp;quot;flat&amp;quot;, but simply to minimize some of the narrow &amp;quot;problem frequencies&amp;quot; inherent in the room.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
All that to say:&lt;br /&gt;
&lt;br /&gt;
I&amp;#039;ve tried an Ultracurve with an L1, but didn&amp;#039;t think it added enough value to be worth the bother.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
See original discussion at: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9311004063 Auto EQ at the Gig]&lt;br /&gt;
&lt;br /&gt;
See also these wikipedia articles:&lt;br /&gt;
&lt;br /&gt;
[http://en.wikipedia.org/wiki/Equalization#Graphic_equalizer Graphic Equalizer]&lt;br /&gt;
&lt;br /&gt;
[http://en.wikipedia.org/wiki/Sound_reinforcement_system#System_testing Sound Reinforcement Systems]&lt;br /&gt;
&lt;br /&gt;
[http://en.wikipedia.org/wiki/Room_modes Room Modes]&lt;/div&gt;</summary>
		<author><name>DanCornett</name></author>
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