Originally Posted by LTD02
yet are subjectively described as extremely tight/fast/whatever term you want to apply.
I realize most everyone participating is aware, but for those un-aware those subjective characterizations, are predominantly a function of the time domain. The time domain encompassing both the acoustic environment in which the system is utilized, and the overall top to bottom system coherency and signal (time) alignment.
A kick drum beater hit is a good example. Once EQ'd to the desired contemporary flavor (boom, smack, click), it can easily contain a multi-octave, very wide spectral content.
Outdoors, a system with an overwhelmingly large amount of displacement capability at low distortion levels, aligned coherently, possesses all the subjective snap, speed, tightness, and signal tracking transient ability
that one can imagine. Additionally, more realistically indoors, a well damped environment, whereas the LF decay characteristics aren't problematic, will lend itself toward that same goal. To elicit the coveted "speed" or transient ability, the material, in this case a kick drum, must be well delineated. How? Spectrally align all the components of the material in time, and assure the environment decay doesn't linger and recontribute thus smearing the material in time.
What's attainable outdoors (no LF decay issues), over a large scale state of the art PA is stunningly powerful and amazing. Typically, that's what the client wants. Now bring that indoors, the same fully coherent rig begins to encounter the nasty decay issues of the rooms interaction. Even the best rooms, this smears detail. And in bad rooms, it can turn to mush unless you're overwhelmingly within the near-field.
An interesting yet brief story; the local casino has a center bar, open stage and PA without any wall boundaries for hundreds of feet in any direction. The acoustic observations I've made in there are really quite interesting because they're so well defined. LF lobing is clearly heard as one moves around. without the usual boundaries, it's really fascinating how well defined the polar pattern of the LF is as one moves about. Clearly, either co-located subs, or a time aligned/controlled array would be in order. Each FOH guy I talk to really isn't interested sadly. It's a shame, because the sound attainable in there is extremely high quality. Apathy....oh well. So far, only one visit was I entirely impressed by the acoustic effort put forth.
WRT the PVG and boundary discussion, I don't understand/lost track as to what was initially being disagreed upon. I thought PVG/boundary gain is essentially well understood.
Quite interesting none the less, it's made me re-evaluate the manner in which I view it, which is always good...but I don't think I change my viewpoint.