Bruel & Kjaer were quick to send me a PDF of the 2235 manual when I requested it on their web site support portal: https://www.bksv.com/en. This also included calibration info.
2235 placed in the optimum listening position in the room. Volume was set to my preferred listening level so as to be pertinent to my listening habits
White EQs are inserted between the Dangerous Monitor Section and the Focal Studio Mains. Not inserted on feed to Dangerous Monitor because I did not wish to have it color all my listening buses, such as headphones and alt monitoring.
Produced pink noise with Pro Tools signal generator at -18db. Set gain levels for optimum input on the B&K mic, the VP26 preamp and the input to PAZ Analyzer. I set the PAZ low frequency resolution to 10Hz and the Detection to Peak. The goal is to flatten the frequency response in the room. I manipulated the White 4400 Monitor Bus Equalizer to push frequencies that were being eaten up by the room and also pull down frequencies that were overly resonant in the room. On the PAZ Analyzer I utilized the Peak Hold mode and reset it every time I made an adjustment so it would reflect the equalization. I utilized all the frequency weighting curves at my disposal in order to give myself a wider reference. These included “A” (human ear), “B” (A with more lows), “C” (high and low filter), and “Z” (linear). The equalization I arrived at was a balance between the weight curves.
I then listen to a variety of musical programs that I am familiar with so as to make any final tweaks to the White 4400 equalization using the my own subjective taste. I utilized the EQ in and out switches on the 4400 to better understand the direction the tuning was going.
POTOKAR DISRUPTING WITH ANALOG AUDIO ART IN A DIGITAL AUDIO WORLD
Hear BBC segment on Georga Tech Margeret Guthman Musical Instrument Competition which highlights 2015’s winner of Most Unusual Instrument, Inventor Ed Potokar and his Magnetic Percussion Tower. Find Ed’s interview in the program at 49:15. Ed has had a profound influence on the records made at Michael Tudor’s studio, Mama’s Place Prod. First, with Ed’s Potofone line of ribbon microphones, there is a classic sound with modern design. They are unrivaled on guitar amps and drums. Second, with a one of a kind piece of musical art, a commission of a plate reverb, the PotoPlate is the magic glue that analog legends are made of. It is deserving of it’s own blog post and slide show. Some day to come…
Tech John Valesio gets voodoo kitty brain power to repair Lexicon Prime Time Model 93
The Prime Time 93 needs TLC from time to time. Now and then you power up and it sounds as if a mini electrical storm is going on inside. Usually all that is required is to re-seat all pc boards and connectors and make sure chips firm in their sockets (that is more than I can say for myself). A little prayer to the Lexicon gods couldn’t hurt… and of course the mandatory voodoo kitty.
Luthier Rick Mullen‘s Workshop During A Standard Procedure.
More than just an adjustment, Rick successfully performs a heating a clamping method to cure the warped neck on an Alvarez acoustic 12. Says Rick Mullen, “Sometimes a guitar needs a full neck reset, but sometimes a heating treatment will do the trick.” Rick revived Duncan Sheik‘s Gibson acoustic 6 with the same procedure. After, Duncan claimed the guitar never played so well. I wonder what other guitar ailments Dr. Rick can remedy? hmmmmm….
Andy Stack brings his Ska outfit over to Mama’s Place
Taking a momentary break from his roots rock band Buffalo Stack, Andy is a one man Reggae rhythm section. Who knew?!!! Engineer Michael Tudor set Andy up with a thunderous Zen-on Bass. Bass is the same model destroyed by Kurt Cobain in Smells Like Teen Spirit Video.