When considering use, brand and cost during PA selection, one of the Holy Grail pro audio questions that challenges us time and again is, “How much is too much?” Think back to any system that you’ve been quoted, spec’d or had designed, and you’ve likely pondered: Is this want I need? Is this enough PA? Is this too much PA? Is the coverage appropriate? Will it sound good?
With a vast array of tools at a designer’s fingertips like Smaart, EASE, manufacturer line systems and others, one would think that these questions would just work themselves out. Still yet all too often, educated end-users can you walk into a room, live show or performing arts theater and wonder, “What in the WORLD was the designer thinking?” Well, the answer may be quite easy: He/she probably wasn't.
In this world of line arrays and computers thinking for us, many designers have fallen into a condition of plausible deniability. Systems often include: “It should sound good.” “EASE says it’s + or - 2 dB in the whole room.” “The program says it’s enough PA.” It’s as if the assumptive reliance on technology alone overrides one’s common sense, training and experience. There is absolutely always a place for technology in design; however, I’m encouraging professionals to use their best judgment and not rely solely on it as their only tool to alert them to a poorly designed system.
There exist essential questions that should be considered before technology enters the equation, which should help demystify this aspect of system design.
- What is the end goal?
- Who is the audience?
- How will the room react?
- What is being/needs to be covered?
- What’s the budget (i.e. How much?)?
So, what is your end goal? This question is important to attach early on because a benchmark needs to be attained. Set a realistic goal for performance. Do you want/need an airport paging system or your favorite artist’s touring rig, or something in between? Nailing down this benchmark will help mold the entire rest of the design.
Your audience is the next key factor. It’s no secret that different cultures and different musical styles demand different balances of system components and tuning. This means that a 2500-seat house of worship auditorium playing modern worship music live with a six-piece band with only two dual 18” subs is probably vastly underpowered in the low end given the style of music and current mixing styles. However, a 500-seat performing arts center doing predominately vocal theater with a three box a side cardioid sub array is probably a massive misuse of project funds.
Next, an educated analysis of how your room will react to the components installed must be considered. Room acoustics, current and future acoustic treatment, seating configuration and capacity are all things that will heavily affect the performance of any PA in a room. This is where experience really comes into play. Let’s be clear: line arrays are not a replacement for acoustical treatment or proper room design. Every room is different – even rooms built to exact specs. Speakers should be spec’d on a room-by-room basis, and rooms should be designed with acoustics in mind.
Knowing what you’re covering and why go hand-in-hand with any room. A great deal of attention needs to be given to covering the intended listening plane without unnecessarily spattering the rest of the room with sound. This component alone will help mitigate feedback to gain issues as well as help both the coherency of the end sound and help reduce unwanted delay and reverberation.
And, the million-dollar question: “What’s your budget?” Just because it’s expensive doesn't mean it sounds the best or is necessarily the correct choice for your room. In comparison, just because it’s cheaper than the powerfully marketed brands doesn't mean that it will sound bad or be unreliable either. Trust your ears. Don’t let peak SPL or paper specs be your only guide. You know what you like to hear – go with that, without a worrying so much about the name.
Be diligent about listening for intermodulation, distortion and transition between boxes. While the more expensive speakers may be just that, often times what you’re paying for are more options, more R&D and better “out-of-the-box tuning.” Often times, this will lead to better reliability and achieving a better end-goal; however, do balance it with an appropriate use of technology.
It’s been my experience that there is a middle ground in getting a great sounding speaker that has proper R&D background, low failure rate and proven use of technology. Budget is also not an excuse to under-design a system. I’m of the opinion that whatever the system used, your normal daily use should not exceed 60-80% of the available headroom of the box. Buying less boxes of a more expensive brand name in an effort to have a specific name on the box is the equivalent of putting a Ford Festiva motor in an Indy car. Pushing a PA 80-100% from day one is a recipe for disaster. Not only will the integrity of the final product be compromised, but you will also greatly reduce your longevity of the solution and in the end cause more headache and cost for yourself. Be realistic about your needs and budget, and choose the sound that fits those the best.
Combine these ingredients together with some professional common sense and you’ll find your way to a spectrally balanced system that is long lasting, meets and (hopefully) exceeds your demands on a daily basis and provides the best end-user experience for you and your audience. Don’t be afraid to use the technology that you’re blessed to have at your disposal – just be sure to not become complacent in its default recommendations. The best PA solutions in the world have found the perfect harmony of technology and intuition.
Josh Maichele, President
