Read more.. Sterling Winfield gained notoriety and respect early in his career for his contribution to Pantera's , Grammy-nominated release, Far Beyond Driven. For the sake of this tutorial, I'm going to set up four microphones; three in the orchestra or stalls level of a venue, and one in the balcony. I've named the inputs for the front, mid and rear orchestra, balcony and console. My microphones are condensers, so phantom power is on.
I've dialed the gain to a good starting level for the mics, and now we're ready to set up 'Foo. The first things to do is set the number of analyzer channels; it has to be at least double the number of microphones. The key here is to select the first microphone and pair it with the first appearance of the console. Do this for both the transfer function and level meter. Once you've done this, make sure that all your other settings are exactly how you want them- if you don't get it right now, it'll be painful to change later.
Two thirds finished! Save your window set, and make sure that you have the Instrument Channel Routing recall on. I recall everything just to be safe. Do it again and again: Duplicate the window set, change the routing and re-save. Save the first window set as the name of your next microphone, and give it a logical recall command-key.
Now change the instrument routings to the second microphone and source pair:. When you're done save the window set and do it again until you have a window set for every pair, remembering to change the response mic and match it with a unique console channel. Once that's done, you're finally ready to measure!
Here's how I use this technique: I set my microphones out so that they will let me measure the various speaker systems in several positions, then start finding the delays from one mic to all the speaker systems.
