![]() ![]() But of course, with a live performance I have to ensure that I don’t allow too much latency to creep in. I perform a lot of DSP processing in the FOH Tower that is akin to the way I approach a mix in the studio. Using FuzzMeasure, I am able to calculate the latency of the console and the various components of the processing chain. In my role as sound designer and FOH mix engineer, I use FuzzMeasure to tune my near field monitors as well as ensure all aspects of the rather complex system are doing as I had designed. Using FuzzMeasure to generate sweeps is highly preferable at times when the background noise floor is less than ideal as well as being less disruptive to other crews who, due to the nature of the environment, have to work during our system tuning times. The company we have selected to deliver the audio production component for the Handa Opera on Sydney Harbour project for the past 5 years is NorWest Productions, and they use a combination of SMAART and FuzzMeasure to tune the system. With these graphs I am able to quickly get an overview of what the monitors or equipment are doing sonically. My FuzzMeasure template will usually contain a SPL Frequency Response set to 1/12th Octave Smoothing, a Group Delay, an FFT Waterfall and an Envelope Time Curve. Often I am in a foreign environment or perhaps tired or even worse - both! So having some real data to both inform and confirm what I am hearing is invaluable. I use FuzzMeasure primarily as a way of confirming what I am hearing. Which ones do you use and what is their importance to you? Many of our users find the graphs in FuzzMeasure invaluable. I will usually align the mic preamp to a healthy level with a standard 94dB SPL 1kHz acoustic calibrator and then tell FuzzMeasure that its receiving 94dB so all my Frequency response graphs indicate real-world SPL levels. The MM-1 has been great and came with a calibration file from Beyer. The USBPre2 has a nice feature in that its second input can be easily set to be an analogue loopback of output channel 1. When working away from the studio I use my MacBookPro Retina with a Sound Devices USBPre2 and a BeyerDynamic MM-1 microphone. This recording is then imported into FuzzMeasure for analysis. I simply run the Sweep through any stage of my Pro Tools session or out and through my monitors, headphones or outboard gear and back into Pro Tools. ![]() Finally I have a standard 5 second Sweep Stimulus file generated from FuzzMeasure to allow for quick and easy testing and measuring any aspect of the present I/O, monitoring or even plugins. A channel with a Signal Generator for tone and pink noise, and a channel setup to record a calibrated reference mic input. As part of my standard Pro Tools session template are a few channels dedicated to analysis. My FuzzMeasure setup is primarily mix-session focused, so it’s geared around my Pro Tools HD system. Can you describe for us what your FuzzMeasure setup looks like? ![]()
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