Lorem Ipsum Dolor !"#$%"&'#(#)"*&!#+!,+"-.,"" *&'+(."/.#(&.,(#)"" %0123"42566"781901:5;<8"=;"!;>"$;?=10;:8;@" "%=@A"B0C1"4A0=<8"09"/0;=@0!"## “Awesome” Elliot Scheiner – Engineer (Foo Fighters, The Eagles, Steely Dan) # $%&'!'#("#)*#+*!'#(+,*!-.)-#'/'+')-#()#.############################ 0*)-!*/#!**+#-&.)#.001!.-'#+*)(-*!()23# Great speakers in a great The PhantomFocus SystemTM is a custom turnkey solution for studios desiring the Yes Master mastering, Nashville, with room do not equal great highest level of monitoring accuracy in Lipinski monitors in a PhantomFocus their control room environment – any TM monitoring. System Two – Mid Field environment – any speakers! Although proper acoustic treatment in a control room is vital to good monitoring, a common High Point Manor, Nashville, with Utilizing an amalgam of techniques, Dynaudio M3 and BM6A monitors in a myth is that it will “tune” your speakers to proprietary protocols, hardware and software, PhantomFocus SystemTM Three – Dual accuracy. the PhantomFocus System is a powerful tool in optimizing monitor systems. Without using Our experience tuning dozens of control room any sort of psychoacoustic DSP, it monitors (over forty in Nashville alone) in concentrates first on “reach out and touch every imaginable environment - from bedrooms the vocalist” imaging where pinpoint detail is to multi-million dollar recording complexes, to spread out before the listener in an almost control rooms of our own design - has taught us holographic panorama. Secondly, full and this: Great speakers in a great room do not accurate frequency response is achieved by equal great monitoring. Even after some incorporating several elements that can important laws of acoustics have been obeyed include: speaker/listener position calculations; such as identifying and treating first reflections proper speakers stands; damping and isolation and calculating listening position/speaker devices; subwoofer systems; laser alignment; placement relative to the axial room modes, 360 degree phase control (all-pass filter); room dimensions and wide band low frequency crossovers; and corrective equalization. The attenuation, the results are always far from ideal. success of the system will only be limited by Until now, many professionals have adhered to the room acoustics evaluation that must frequency curves that have been deemed precede the process. acceptable rather than what could be. 2 7-*"&A188"–"#851"-=823"%=@A"+>;5C3=0"/D"/0;=@016" 7-*".;8"–"+C52"%=@A"+>;5C3=0"/FG"B5:5A5"#*DH"/0;=@016" # “%&'#4&.)-*+5*01"#6*)(-*!()2#78"-'+#("#()0!'9(:/8#-!.)",.!')-;# “CA-'!# &'.!()2# .# 7A5;@0:-0<C6" *>6@8:&/".;8"I"#851"-=823#1"()2# <&')#8*1#"(-#()#-&'#"=''-#",*-#8*1#0.)#./+*"-#!'.0&#*1-#.)9#-*10&# D7EF"B# G# =."# >'!8# (+,!'""'9B# .)9# A!.)?/8B# G# 9(9)H-# 'I,'0-# -*# :';;;# -&'#()9(>(91./#-!.0?";#@.!/#&."#,'!A'0-'9#-&'#.!-#*A#.#,!*A'""(*)./B# C='"*+'J”"– Elliot Scheiner – Engineer (The Eagles, Steely Dan, .001!.-'#/("-')()2#')>(!*)+')-E”"– Jay DeMarcus"– Founding Foo Fighters) Member and Bass Player of Super Group Rascal Flatts, Producer of Chicago XXX " 3 Introducing the Now, the engineer can enjoy the intimacy and PhantomFocus SystemTM – impact of near-fields along with the enveloping low end of large in wall monitors – Near Field – near fields as the perfect combination. However, the system mains goes well beyond that for two reasons: One - he will be hearing the accurate, anechoic chamber Near-field monitoring is the backbone of the response curve of his speakers in his studio studio industry that engineers rely on to make environment for the first time with imaging that their tracking and mixing decisions. Although has to be heard, not explained (see testimonials). some near field speakers are designed to go Two - the low frequency of the system is down as low as 30Hz, in practice that will rarely, typically around 20Hz. Surprisingly, many large if ever, be heard. Most near fields will roll off at soffit monitors do not even go that low. about 100Hz or higher because of various Top: Typical frequency response of The PhantomFocus System – Mid Field offers frequency cancelations caused by the boundary consoleconsole mounted near- fieldfield speakersspeakers the same qualities as the near-field system but effects of floor, walls, ceiling and console before and after PFS implementation with an enlarged image and longer throw. These bounces, as well as axial room mode interaction. systems have been implemented in mastering Therefore, making comments or decisions about Bottom: Frequency response of main suites and often used in a PhantomFocus low frequency information is a little like “The monitors beforebefore and after PFS System – Dual where the near field and mid field Emperor’s New Clothes” - and of course it’s not implementation speakers share the same subwoofer system but just the low end being distorted by these issues. are tuned separately. Then, if a subwoofer is added to extend the low frequency performance, what you end up with The PhantomFocus System – Mains may be is inaccurate speakers with some low end. configured several ways depending on the This is why several speaker manufactures have studio’s goals. If, after evaluation, the low-end added DSP to their monitors in an attempt to extension is found to be sufficient, the mains can ameliorate these problems, because they realize be tuned by themselves using PhantomFocus that it is impossible for them to build a monitor protocols in crossover gains and digital that is immune to real world conditions. processing. If the low-end measurments reveal a However, it is also impossible to design DSP deficiency, then the appropriate PhantomFocus that can be as aggressive and as intuitive as it System will be implemented (no less than a PFS- needs to be to really tune a serious monitor Three). Or the mains can share the subwoofer system – it cannot be sold in a box. system with near fields in a PhantomFocus System – Dual. Introducing the PhantomFocus SystemTM - Near Field – near fields as mains. Generally speaking, large monitors in a studio have been used to “see what the low end is doing,” and near fields are used most of the time to make the sonic decisions with or without a subwoofer. 4 #851"-=823"*>6@8:" /=3"-=823"*>6@8:" /5=;"/0;=@01"*>6@8:" The most popular PhantomFocus Mid-Field Systems deliver the same Depending on the studio’s goals, the System choice offers the frequency full frequency response as the Near- main monitors can either be tuned to response of large mains but with the Field System but with a wider and maximize the existing monitors, have intimacy and impact of near field larger image. A PFS-Three is used the low end extended or match the speakers – the perfect combination. here with a pair of Quested monitors low frequency response of the Near- Here a PFS-Four is being used with at Full Moon Studios. Fields in a PhantomFocus SystemTM Mackie monitors in a very modest - Dual (a Near-Field PFS will often “G)#Q0-*:'!#*A#RFFSB#@.!/#%.-P# former dining room studio with &/ have a more extended low end than spectacular, down to 20Hz, results. ()"-.//'9#.#7A5;@0:-0<C6"*>6@8: " large mains). Pictured here is the The &A188"I"/=3"-=823#()#51//#6**)# Gallery at Reba McEntire’s &/" #“G#&.>'#.#7A5;@0:-0<C6"*>6@8: " M'0*!9()2T"#G@QD#0*)-!*/#!**+B# Starstruck Studios in Nashville with -0C1"()#+8#&*+'#+(I()2#"-19(*#K%&'# 1-(/(P()2#-&'#'I("-()2#U1'"-'9#VUREF";# Boxer T5 monitors. L()()2#M**+NB#.)9#0.))*-#".8# %&'#!'"1/-"#&.>'#:'')#.+.P()2W#+(I'"# ')*12&#.:*1-#&*=#.001!.-'#-&("# )*=#&.>'#1)!'./#"-'!'*#(+.2()2#.)9# “<(-&#-&'"7A5;@0:-0<C6"*>6@8:B# +*)(-*!()2#"8"-'+#(";#G-#&."#-!1/8# ()".)'#:.""#!'",*)"';#%&'# @.!/#%.-P#&."#2(>')#*1!#+.()"#)'=# 2(>')#+'#.)#'92'#()#-&'#O1./(-8#*A# 4&.)-*+5*01"#78"-'+#&."#:'')#-&'# ,1!,*"';##G)0!'9(:/8B#=&.-#8*1#&'.!#("# +8#+(I'"B#.)9#(-#("#:8#A.!#-&'#+*"-# :'"-#()>'"-+')-#G#&.>'#'>'!#+.9'#()# =&.-#8*1H>'#2*-B#.-#.)8#>*/1+';#<'# (+,*!-.)-#'/'+')-#()#+8#"-19(*J” – +8#"-19(*J” – Ron Ruane – Full /*>'#(-J#Q1!#0/(')-"#/*>'#(-J”##– Cliff Bob Bullock – Engineer (Shania Moon Recording, Charlottesville, Williamson – COO, Reba’s Twain, George Strait, Reba VA Business, Inc., Starstruck Studios, McEntire) Nashville, TN 5 # -CU" C//#"8"-'+"#1"()2# Is the PhantomFocus System some phase control, custom dampening )'.!#A('/9"#"&.!'# sort of DSP-based psychoacoustic modules and speaker stands. (9')-(0./#",'.?'!# effect? ",.0()2B#-=''-'!] Mid Field Systems include a dual or No. It is quite simply, having your quad subwoofer system, high- -*]-=''-'!B# monitors properly set up and tuned, resolution digital processor with ')&.)0()2#(+.2'# correcting frequency and phase equalization and phase control and 0*+,.-(:(/(-8# anomalies that are normally ignored custom-dampening modules (with the A!*+#"8"-'+#-*# in studio control rooms. stands being arbitrary per the "8"-'+;# particular monitor size). Aren’t you just using an RTA and a graphic EQ to change the frequency Soffited Main Monitor Systems may response? include all of the above without the stands depending on the studio’s Phase and frequency information is specific goals. measured using a 24th octave time &A8"-0C1"J56=<"*>6@8:6K" domain data analyzer. The tuning is How long does it take? performed by actively adjusting the 7-*".;8K#XBFFF#,'.?#<.--"#A*!#0*)-!*/#!**+"#1,#-*# crossover frequency points, slope and On average, two days – the first day RSBFFF#01:(0#A''-# gain while the phase relationship to set up and align and the second to between the speakers and the tune. subwoofer system is continuously 7-*"&L0K#YBFFF#,'.?#<.--"#A*!#0*)-!*/#!**+"#1,#-*# Can I use a PFS-One in a small monitored assuring a sonically EZBFFF#01:(0#A''-# room? seamless coupling. High-resolution 7-*"&A188K#RBFFF#,'.?#<.--"#A*!#0*)-!*/#!**+"#1,#-*# (24 bit/96kHz) digital parametric Absolutely. There is no danger of SB[FF#01:(0#A''-# equalization is applied at the same overpowering the room. You will time toward a target frequency curve only benefit from a higher followed by a period of critical performance in the low end. 7-*"-0C1K#EBFFF#,'.?#<.--"#A*!#0*)-!*/#!**+"#1,#-*# listening and tweaking.