ProAudio Review - April 2008 - (Page 47)

problem, staying audible in the mixes without muddiness, a testament to the truthful low-mid response of the 4328s. Kicks sat right where I hoped they would without any frequency response humps like I'm often used to getting. Still, the overall bass content of my mixes was a little less than consistent, so I tried EQing the system a bit. Using the Control Software (although I could have used the remote) I fiddled with the low and high shelving EQ, experimenting with different corner frequencies and value. Only two dB of boost or cut is offered, but a slight bottom boost and top cut got me where things sounded a little more pleasant to my ear … just in time, as I had to master a compilation CD for the local entertainment weekly. Here, the 4328s and the 4312 sub really rose to the occasion, allowing me to hear detail and imbalance in the mixes that I quickly corrected. The music wildly veered from country, to rap, from indie to pop, but “the moving bullseye” of consistent bass was easy to hit. On a 12-song CD, I only retouched the EQ (after some real-world testing in my car, computer, headphones, etc.) on two songs — way better than my typical results. I found my QC procedures to be much more “double-checking” than revealing. JBL was kind enough to provide a second 4312 subwoofer for this review, and the performance was predictably positive. With such a 2.2 system, bass management must be selected to engage the subs, but their information is not summed, the bottom stays in true stereo, like the top end. The second subwoofer allowed the system to have more headroom and achieve higher bass output levels, but performance was not improved much at lower monitoring levels. The use of a second sub would be highly recommended for audio post applications, especially if there were a true LFE output. Be forewarned: with a second sub and RMC, one can spend a lot of time experimenting with placement and analyzing the results the myriad of combinations can be both useful and overwhelming. | SUMMARY Now that I've tasted the sweet fruit of total monitoring system control, I'm never going back. I have always found it hard to get levels exactly matched from left to right speaker and even harder to calibrate my sub properly (what with subjective crossover frequency, level, placement and polarity adjustments). The ease of the RMC setup and the consistency of the results has been an eyeopener for me. A perfectly tuned system, with speaker muting, dimming and soloing, remote control and bass management gives you very significant tools that will help you work better and faster. Those of you with 4326s or 4328s should seriously consider adding the 4312 sub and completing the system. Then, for those of you who are considering affordable, widely available professional bass trapping products for your room, rest assured that the final hurdle, more accurate monitoring, is now clearable thanks to a system anchored by a LSR4312SP. Rob Tavaglione has owned and operated Catalyst Recording in Charlotte, NC since 1995. He welcomes your questions and comments. Contact him at rob@catalystrecording.com. | REVIEW SETUP Soundcraft Ghost mixing console, Digital Performer 5.12 workstation, Mac Pro computer, Lucid Gen X 6-96 wordclock www.proaudioreview.com April 2008 | ProAudio Review | 47 http://www.bias-inc.com http://www.bias-inc.com http://www.bias-inc.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - April 2008

ProAudio Review - April 2008 Contents A Little More Recognition Please Studio News and New Products API 1608 16-Channel Analog Console TASCAM X-48 Digital Audio Workstation SSL Matrix Super Analogue Console Toft Audio Design Series ATB Analog Console KRK Systems Exposé E8B Powered Monitor Broadcast News and New Products ZOOM H2 Portable Digital Recorder Producing Surround Sound at 50th Grammy Awards JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Audio Production For Gaming Euphonix S5 Fusion Digital Post Production Console NAB Hot Gear Soundcraft Vi6 Digital Live Production Console Go To A Show! Contracting News and New Products Studio Consoles Studio Wireless Microphones Alicia Keys “Superwoman”

ProAudio Review - April 2008

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