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General guide to Comp driver eq?
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Noyzmunky View Drop Down
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    Posted: 21 February 2020 at 9:50pm
Hey guys, I'm looking for an idiots guide to basic Compression driver EQ.

if they come in a 2.8k on a passive xover and are a bit spiky are there any tried and tested sound engineer tricks for smoothing down the aggressive nature of the 2'' comp driver?

Any help or advice appreciated. I am of course able and willing to sit there with my ears and experiment. It certainly helps if I have a reference point or two to start from though.

Cheers.
my name is Inigo Montoya...you killed my father, prepare to die!.
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Points: 509 		Post Options Post Options   Thanks (1) Thanks(1)   Quote doller Quote  Post ReplyReply Direct Link To This Post Posted: 22 February 2020 at 10:37am
I think that is why they used to put attenuators on 2 inch comps . Sometimes you just need to turn them down a bit. Easy on an active crossover. remember the sensitivity is average 110db watt. more in some cases. two 12 inch 100db watt will struggle to keep up.

Edited by doller - 22 February 2020 at 10:38am
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Points: 1649 		Post Options Post Options   Thanks (0) Thanks(0)   Quote DMorison Quote  Post ReplyReply Direct Link To This Post Posted: 22 February 2020 at 12:29pm
First, if you haven't got the levels reasonably well matched between the mids and highs, as doller says, you'll need to get that sorted.

Second, if you have plots for the specific combination of CD & Horn from the manufacturer, you should be able to see any particular peaks on that which you may want to take down.
If you're using a combination that isn't what the manufacturer did their measurements with however, that doesn't help.

Next up, you have a couple of options depending on how good you are at recognising specific frequencies.

If you are already good at that, play back various tracks that you're already familiar with, see what freq's stand out, and pull them down with PEQ (preferably) or GEQ if that's all you've got.

If you're not confident to do that, then you can cheat a little - again, while playing back familiar material, dial in a boost on the PEQ. Keep it narrow (definitely less than 1/3 octave) and only a few dB of boost - you don't want to blow anything.  Sweep this boost back and forth to see what frequencies stand out, and then switch it to a cut to smooth out the response.
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Take a look at the Flecher Munson Curves. Highest sensitivity point is around 2-4kHz, which for me the "aggresive" range - but also obviously depends on the driver - and xover you´re using, as that could be introducing some anomalies at the xover point. The best is to listen with a 31-band graphic (or full parametric) plugged in and have a play around. Smile


EDIT: Ok, as above!








Edited by Earplug - 22 February 2020 at 12:41pm
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MarjanM View Drop Down
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Is this 2 way or 3 way crossover? 2.8Khz is way too high for a 2 inch CD.
Is it an off the shelf crossover? If that is the case, please just throw it away and get someone to design you a proper crossover.
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Noyzmunky View Drop Down
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Points: 1260 		Post Options Post Options   Thanks (0) Thanks(0)   Quote Noyzmunky Quote  Post ReplyReply Direct Link To This Post Posted: 22 February 2020 at 6:43pm
Cheers Dmorison and earplug, that gives me some starting points and some tinkering skills to play with.

@marjan: You're correct, of course, They cross over at 2.7khz, not 2.8...I'll be sure to pass your comments on to Ken Hughes at Shermann though… I'm sure he'll take them onboard

https://www.shermann.com/archive/data-sheets/ca4-data.pdf
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Points: 11776 		Post Options Post Options   Thanks (0) Thanks(0)   Quote ceharden Quote  Post ReplyReply Direct Link To This Post Posted: 22 February 2020 at 6:56pm
Slightly different situation in that cab.  There's a 6.5" midrange doing 700-2.7kHz.  Why it's a 2" rather than a 1" doing 2.7kHz upwards is another question however.
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I'm sure the 2" was selected for it's durability but a 1.4" or 1.5" exit driver would have produced better top-of-spectrum output and still be bulletproof, hell a 1" exit driver would have got the job done here.
That said, with this being a smaller 2" exit driver(3" VC) it should still be capable of good output up to 15khz give or take but that will require a high shelf boost. This can easily be done in a passive crossover when sizeable level matching is necessary to make the mid/highs blend with the lows, but if it isn't then it is one of the more common things done with external processing. Fine tuning the response to flatten response anomalies is best done with a measurement system and parametric EQ, takes all the guess work out of it.

Edited by Conanski - 22 February 2020 at 7:50pm
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These shermann cabs are really underrated imo.

A pair of cb218’s or some cb215’s a side underneath and they are really great for live music.

Use the settings applied by Shermann and you shouldn’t have too much issue with the comps.


Edited by wires - 22 February 2020 at 7:51pm
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Elliot Thompson View Drop Down
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Points: 5175 		Post Options Post Options   Thanks (0) Thanks(0)   Quote Elliot Thompson Quote  Post ReplyReply Direct Link To This Post Posted: 23 February 2020 at 12:43pm
Originally posted by ceharden ceharden wrote:

Slightly different situation in that cab.  There's a 6.5" midrange doing 700-2.7kHz.  Why it's a 2" rather than a 1" doing 2.7kHz upwards is another question however.


Very common for boxes aimed for live work. The Live Sound Reinforcement Community generally do not like sibilance whereas, the Pre-Recorded Sound Reinforcement Community generally favours it. So, a natural roll-off beginning around 10 kHz will calm the words that use a lot of consonants.

Best Regards,  
Elliot Thompson
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Points: 1260 		Post Options Post Options   Thanks (0) Thanks(0)   Quote Noyzmunky Quote  Post ReplyReply Direct Link To This Post Posted: 24 February 2020 at 1:27pm
that's pretty much why I went for these cabs. Vocal and clarity over upper range.
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