EAW’s KF700 Series

Touring Usage Guide

The Laws of Physics | The Art of Listening
 EAW’s KF700 Series

Touring Usage Guide

Since its inception, EAW has combined market feedback with top-level engineering to
produce a range of utility-driven tools that address the needs of the touring sound market.
Over the last few years, EAW Engineering has worked steadily to find techniques that allow
typical users to create loudspeaker arrays that act as a single unit. Developing and
integrating the various loudspeaker modules in the KF850, KF860 and KF900 Series has
led us to new ways of looking at array building that provide even coverage throughout
large venues.
These years of R & D have resulted in the logical, step-by-step array-building process
contained within this Guide. While we focus here on KF700 Series arrays, the basic
approach applies to these other EAW array-oriented products.

1
 I – The Five Basic Steps of Array Building
Venue sizes and styles vary dramatically. It is not uncommon for a concert tour to play a 1,000 seat club, a 3,000
seat theater and an 8,000 seat arena on successive nights. Creating the right array for each venue is vital to
maintaining consistency and establishing a true continuum of success. Our experience has led us to develop
a five step approach to designing the appropriate array for any venue.

1 DESIGN ARRAY COLUMNS

Design a single array column that will address each vertical audience zone in a cross-section running from the stage
through the center of the venue to the rear-most seat. Be sure to factor in the array trim height. To seamlessly cover
each vertical zone (front, middle, rear, balcony, etc.) requires that the system engineer properly apply the various
array modules in his/her arsenal including subwoofers. This is the primary key to delivering a uniform response to
the entire venue.

Design an Array Column

Balcony

Main Seating

Downfill

Subwoofers

2 DETERMINE HORIZONTAL COVERAGE Determine Horizontal Coverage

The horizontal coverage angle of any venue can be
readily determined through inspection of its plan view.
Once the horizontal coverage requirement has been
Right & Left Clusters
determined, calculate the number of columns 5x 30° Module Each
required to thoroughly address the entire Provide 150° Coverage
venue based on each column's horizontal
coverage pattern.
150° 150°

STAGE

Seats Not Sold

Seats Not Sold

2
3 IMPLEMENT SIGNAL PROCESSING
Module-specific array processing, currently supported by most digital platforms, allows the user to address coverage
of each vertical audience zone independently (i.e. separate settings for long throw, main coverage and downfill
array modules). This usually does not require a separate processor channel for each row.

Powering and Processing for a Large KF700 Series Array

10x KF755 (inverted)

2 Processor Outputs* for upfill KF755's
Independent Powering Capability per Row * Optimally, each row should see two separate processor outputs,but
the only difference between the settings would be a subtle,but impor-
tant,change in the signal delay. This can more cost-effectively be
achieved by splitting the outputs of a single processor and routing one
pair through an external delay.

20x KF750
3 Processor Outputs for main coverage KF750's

5x KF755
2 Processor Outputs for downfill KF755's

(Seven Total Processor Outputs Control 35 Modules)

4 APPLY ARRAY SHADING (AS3D™)

AS3D array shading is a technique EAW Engineering developed to minimize destructive interaction between array
modules and produce even coverage in three-space (three dimensions). AS3D requires that the array amplification
be zoned in horizontal rows to permit implementation of subtle bandwidth and row dependent amplifier adjust-
ments. Array shading has a dramatic impact on the consistency of tonality throughout the venue.

5 T WEAK
That is, adjust EQ to suit your taste. The first four steps of array building should provide the user with uniform
coverage throughout the venue such that he can set EQ at the mix position with full confidence that each
adjustment has the same impact throughout the venue.

Tweak with Confidence

The mix heard at FOH

is the mix everybody in the venue will hear

3
 II – KF700 Series Array Philosophy
Since we set out to develop the KF700 Series for ease of use, we insisted that arrays designed to cover any venue
could be flown quickly, easily, and safely as a dead hung cluster. Such a system would save the user both time and
money while providing his/her client with an acoustically consistent and aesthetically pleasing cluster.

To further enhance utility, the KF700 Series uses a multi-axial approach that creates compact modules that provide
the high “Q” pattern control associated with much larger devices. Combined with the tightly packed, dead-hung
nature of the cluster, this allows for maximum coupling of array elements, providing tremendous output capability
through the low and mid frequency subsections of the array.

Finally, KF700 Series arrays will provide uniform coverage with relatively simplistic processing. We have developed
AS3D array shading to enhance array control and coverage without requiring additional DSP units.

THE GOLDEN RULES

Both our experience and user feedback has led us to develop two Golden Rules for KF700 Series usage. Following
these rules will not guarantee success. However, not following them will definitely compromise array performance.

1 Never let an audience member see a handle on a module in their primary cluster. (It is alright if someone seated
house-right sees a handle on the house-left cluster). The KF700 Series loudspeakers provide a 30∞ horizontal pat-
tern that drops off very rapidly outside of this nominal angle. Since the physical angle of the enclosure is also 30∞,
if you can see the handle, you are out of the pattern. The difference in performance will be audible.

2 Provide separate processing for each row of KF755’s. Using multiple rows of KF755’s allows KF700 Series arrays to
work in a number of challenging venues, but each row of KF755's must be processed independently in order to
achieve proper integration. (N. B. This requires only two channels of output per row in large arrays in which the
KF750's alone produce sufficient LF response.)

Distributed HF Horns MF Line Source LF Line Array III – Building Arrays:Bandwidth by Bandwidth
The soon-to-be-released KF700 Series Owner’s
Manual provides information regarding the funda-
mental design attributes of the modules within the
series. These systems are designed to exhibit pre-
dictable behavior when arrayed, but it is important to
realize that array behavior is not the same as module
behavior. In fact, when arrayed, the individual
devices within a module combine with their counter-
parts in adjacent modules to achieve a different level
of performance that must be addressed as a system. It
is vital to understand the nature of this device cooper-
ation in order to consistently build and ultimately
tune these high performance clusters.

4
LOW FREQUENCY LINE ARRAYS
The low frequency components within an individual KF750 array module behave as a tuned dipolar array, but in a
large format cluster the low frequency devices couple to behave as a line array (a column of closely spaced devices).
These LF line arrays provide tremendous output along the primary axis of a dead hung cluster, and their coverage
pattern mimics the contours of most venues. As a result, the LF subsection requires little adjustment except incre-
mental level attenuation as additional modules are employed.

MID FREQUENCY LINE SOURCES

The mid frequency horn in a KF700 Series module occupies the full frontal dimensions of the enclosure. As a result,
adjacent modules (including KF755’s) couple to behave as a true line source that exhibits increased directivity with
increased size, providing high levels of pattern control throughout the operating bandwidth. Projection of lower
mid frequency information is also improved to the point that low/mid energy in the long throw may need to be
attenuated to provide more spatial consistency.

The impulse response of a line source is most notably influenced by the edge events. That is, an impulse response
measurement reveals two distinct upper mid frequency arrivals coming from the physical edges of the line source
(i.e. the top of the top module and the bottom of the bottom module). Thus at an observation point beneath the
cluster the first measured arrival comes from the lower line source edge while the second, noticeably later, arrival
comes from the topmost edge. These multiple arrivals in turn produce comb filtering in the front rows of a typical
venue which, fortunately, can be eliminated with appropriate AS3D array shading .

HIGH FREQUENCY DISTRIBUTED SOURCES

The high frequency horns in a KF700 Series array are not prone to coupling as they are physically separated and
behave as distributed sources much like the behavior of KF850 arrays.

When using KF755’s as down/front fill loudspeakers, the mix position is typically provided with high frequency
output from the KF755’s as well as multiple rows of KF750’s. If the arrivals from the KF755's and the next row of
KF750’s are near one another in level, the bottom of the high frequency operating range becomes dominant at
front-of-house position. However, implementing appropriate AS3D array shading will eliminate this build up of
1kHz to 2kHz energy at FOH.

In long throw applications, the air's absorption of HF energy significantly impacts response as the distance from the
source increases. Techniques will be discussed later in this Guide that allow the user to address this specific issue.

Array Performance Issues Addressed by Bandwidth

Weak HF Response

Too Much Low Mid (300 – 600 Hz)

Multiple MF Arrivals

Multiple HF Arrivals Create

Too Much Low HF (1 – 2 kHz)

5
EAW’s KF700 Series

Touring Usage Guide

INTEGRATING MODULES INTO AN ARRAY COLUMN

The Laws of Physics | The Art of Listening

 I – Using KF750’s for Primary Coverage
As discussed in Section 1, array columns are created based on a venue’s cross-section. Naturally, the overall depth of
the venue will govern the number of KF750’s in the column with larger venues requiring more KF750’s per column.
For basic guidelines on the quantity of KF750’s required per column in specific venue types, see Section 4.

II – Using KF755’s for Downfill Coverage

When clusters are flown, most venues require downfill in order to effectively cover the front of the audience. Since
the KF755 uses an asymmetrical multi-axial design, it will provide downfill coverage from a deadhung array.
Properly integrating KF755 downfill modules with appropriate processing and AS3D techniques will provide even
coverage to the front of the venue without creating interference issues in the transition area between KF755 and
KF750 coverage.

Dedicated downfill module processor settings* allow users to integrate KF755’s into a KF750 cluster without
modifying the KF750 processing. The unconventional settings that result will make a KF755 sound tonally
unbalanced when listened to in the absence of a KF750 array above. This is entirely intentional and provides
for tonally transparent transition from downfill coverage to the primary cluster.

IIa – Adjusting KF755 System Gain and System Delay

As the user moves from venue to venue, (s)he need adjust only two critical KF755 parameters: system gain and
system delay, both of which vary with trim height and number of KF750's per column.

Default KF755 gains are set for given KF750 quantities in the standard array processing. This gain however, must be
adjusted as trim height varies. If the cluster is flown higher than the default setting’s assumptions, the KF755 gain
must be increased to compensate for increased throw and vice versa.

Adding downfill gain to compensate for additional trim height

1x KF755 (inverted)

4x KF750

1x KF755

26.3'
20'
0 dB
12'
1x KF755 (inverted)

4x KF750

1x KF755

25' 30.6'

-1.32 dB
12'
4.3' difference in throw results in 1.32 dB less output in the nearfield
Add 1.32 dB additional downfill gain to compensate for 5' increased trimheight

* Processor settings will be released in text format as part of the Touring Usage Guide.

6
Default processor settings delay the KF755’s back to the acoustic origin of the KF750 column. As more KF750’s are
used per cluster, the apparent origin of the column moves upward and increased KF755 system delay is added with
each row of KF750’s.

Default processor settings apply system delay to KF755 downfill modules based upon assumed typical trim heights
and FOH locations as described in Section 4. If FOH is atypically close, this delay should be increased. If FOH is
atypically distant, the system delay should be reduced.

Adding downfill delay to compensate for additional trim height

1x KF755 (inverted)

4x KF750

1x KF755
0.931msec arrival differential at FOH

20'

100'
1x KF755 (inverted)

4x KF750

1x KF755
1.169msec arrival differential at FOH

25'

1.169 msec - 0.931 msec = 0.238 msec

Therefore add 0.238msec of additional downfill delay to compensate for 5' of increased trim height

All default delay settings are configured to allow users to fine-tune delay at FOH. Downfill delay and gain can be
simply adjusted and tuned by ear. Coherent summation is a very audible phenomenon. Acoustical analysis
systems, such as SIA-SMAART, aid in the ability to fine tune these parameters. If FOH location and trim height are
typical and appropriate processing is being utilized, then KF755 integration should be as simple as powering up.

III – Using SB750’s

Virtually all pro audio applications require sub bass reinforcement and a ratio of at least one SB750 per every two
KF700 array modules is the rule of thumb. The SB750 offers users the flexibility of stacking subwoofers on the
ground or flying them with the array. Users can insert flown subs as rows above and/or below the main array, or in
columns along the off-stage side of the main array. (Inserting flown subwoofers directly withing the main array is
not recommended.) Each location has benefits and trade-offs. Most venues require a combination of locations for
optimal performance. In all cases, the subwoofers must be timed for coherent arrival in order to achieve
appropriate summation throughout a venue.

IIIa – Groundstacking SB750’s

Many users will choose to use SB750’s in a traditional groundstacked configuration. In addition to providing even
sub bass coverage throughout a venue, this technique also provides maximum sub bass impact in the front rows,
a quality many fans have come to expect in high-energy live music performances.

7
 The SB750 has the same footprint as the other KF700 array modules, creating attractive clusters when all
loudspeakers are groundstacked. It also features a stacking pad that keys into the enclosure above it, providing a
safer groundstacked configuration. All groundstacked modules should also be connected with fly hardware. Sound
system designers should note that an SB750 measures nearly 4-ft in height, so that most applications will only
allow a two-high stack of subs on the deck.

IIIb – Flying SB750’s

Flying subwoofers, while unconventional, offers the designer a variety of advantages. Sightlines to performers are
completely unobstructed providing a better experience to more concert-goers. But the greatest benefit of flying
SB750’s lies in the ability to create dipolar arrays† of subwoofer devices, providing vertical pattern control within
the subwoofer pass band. This added control increases projection and apparent impact at great distances.
Additional processing also allows for subwoofer beam steering.

Unlike conventional ground stacked subwoofers, flown subwoofers lose the increased output benefit provided
by coupling to the floor. This loss of overall output could be a detriment if too few subwoofers are utilized with
a given performer.

Since KF700 Series arrays are zoned in rows to allow for AS3D® implementation, flown SB750 modules are most
effectively deployed in rows either above or below the array.

When multiple rows of SB750’s are placed at the top of an array, they provide significant subwoofer projection
and good overall vertical coverage but lack the near field impact associated with ground-stacked subwoofers.
This configuration requires additional stacked subwoofers to provide the impact associated with near field seating,
but the number of modules on the deck is greatly reduced.

Subs flown above an array

2x SB750
3x KF750
1x KF755

1x SB750

† For more information on Dipolar Array Technology, visit the Technology Section of EAW's website:
www.eaw.com/pages/TechSupport/Technologies/NewConcepts/TDA.html

8
Multiple rows of SB750’s can also be flown from the bottom of the array. These subwoofers provide both the
coverage and impact associated with ground stacking with minimal sightline interference. However, flying the
entire array out to the desired height for optimal front fill coverage may place the rows of SB750’s too low for some
venues and associated staging.

Subs flown below an array

3x KF750
1x KF755
2x SB750

Flying subwoofers at both the top and bottom of an array allows for the creation of a dipolar array, providing signif-
icant pattern control through the sub bass passband. A dipolar array results when direct radiating devices are spaced
such that their center-to-center distance is equivalent to one half wavelength within the operating bandwidth.

Dipolar sub array

1x SB750
3x KF750
1x KF755
1x SB750

Sub frequencies have very long wavelengths. As a result, dipolar subwoofer arrays are not typically possible.
However, by flying SB750’s both at the top and the bottom of a KF700 Series array, dipolar array can be created,
providing pattern control as low as 40Hz.

This configuration is not generally recommended when more than four rows of KF700 Series modules are being
used in the full range array because the dipolar array grows too large and pattern control becomes excessive in the
upper sub bass range with pronounced lobes above and below the cluster. This limits the ability to project sub
frequency information upward to the far reaches of the venue, significantly reduces the subwoofer output in the
front rows of the venue and reduces gain before feedback from mics onstage.

When SB750’s are used above and below four rows of KF700 modules, the slight near field attenuation can be
addressed by adding delay to the bottom rows of SB750, in essence steering the subwoofer lobe to the desired
location. In a small to medium arena, 6.5msec of delay on the bottom row of SB750’s forces the greatest subwoofer
output to FOH while providing tremendous impact in the near field and still covering the back of the venue.

9
 Dipolar sub array w/ beam steering

1x SB750
3x KF750
1x KF755
1x SB750 6.5 msec delay
on bottom row

In some venues a column of flown subwoofers is appropriate. As stated previously, two-high flown subwoofer
columns are the same height as three-high KF700 array module columns. These two-high subwoofer columns can
be used in smaller venues and flown on the offstage side of the cluster, close to the venue wall. This configuration
will provide similar performance to flown rows while once again maintaining clear sightlines. Again, SB750
columns should not be inserted between KF700 columns.

Flying subs as a column

0
KF700 KF70 s
e r
S le i e
SB75 Series u
0 module mod

0
KF700 KF70 s
r i
S e le e
Series u
module mod
SB75 0
0
KF700 KF70 s
S er i e l e
Series u
module mod

Offstage Onstage

IV – Using KF755’s for Upfill Coverage

Many larger venues (medium and large arenas) require upfill in order to reach the farthest seating. This seating not
only requires increased output to overcome inverse square loss relative to the cluster, but also requires significant
high frequency emphasis in order to overcome the attenuation caused by air absorption. KF755’s are designed such
that when inverted and processed independently as long throw elements, they meet both criteria.

It should be noted that the KF755, though commonly thought of as a dedicated downfill module, is a very high Q
device. It exhibits the same pattern control as a KF750, but utilizes asymmetrical horns to project this coverage at
an angle relative to the front of the enclosure. Consequently, KF755’s can readily double as long throw elements.

10
Much like the downfill processing, KF755 upfill processing allows for the integration of KF755’s into a KF750
cluster without modifying the KF750 processing. Once again this results in some unconventional processing.
The main KF750 array provides more than adequate LF information and projection to the upper seating, and
the upfill merely provides the information that is missing. Therefore only two channels of processing are required
for optimal upfill integration. In default upfill settings, the KF755 upfill modules are high passed at 350Hz and
provided with high frequency equalization to counteract air absorption in typical venues.

In medium (13,000 seat) arenas, a single row of inverted KF755’s is adequate to provide appropriate upfill
projection. In larger arenas (18,000+), two inverted rows are more appropriate to provide upfill at 300 feet.
In either case, the upfill modules must be delayed so as to sum with the energy from KF750 column.

1 row upfill KF755's in a medium arena

0.3 msec
arrival difference

1x KF755 (inverted)
4x KF750
1x KF755
2x SB750

2 rows of upfill KF755's

in a large arena
1.237 msec & 1.756 msec
delay differential
C
B
2x KF755 (inverted)
4x KF750 A

1x KF755 Arrival difference from A to B – 1.237 msec

2x SB750
Arrival difference from A to C – 1.756 msec

Default processor settings apply system delay to KF755 upfill modules based upon assumed typical balcony
locations and throws as described in Section 4. Acoustical analysis systems, such as SIA-SMAART, aid in the ability
to fine tune these parameters. If, however, balcony position and throw distances are typical and appropriate
processing is being utilized, then KF755 upfill integration should be readily achieved through the use of
default settings.

Each row of inverted KF755’s requires two processing outputs with each row seeing different delay settings so as
to sum coherently in the balcony. Thus two rows of inverted KF755’s require four processing outputs. However,
another approach eliminates two of the four.

11
 The main upfill processing (crossovers, equalization, device delay) is the same for each upfill row. Only the system
delay changes. As a result, two fully processed outputs can be used to tune the upfill. These outputs would then feed
a delay line providing four outputs: two with more delay for the top row, and two with less for the second row.
A delay unit must be carefully chosen such that the latency delay through the unit does not exceed the desired
delay for the second row of upfill.

4 processor outputs
driving 2 rows
of upfill KF755's

Digital
In processor
with four
available outputs

2 processor outputs
driving 2 rows
of upfill KF755's

Digital
delay
with a
latency
less than
0.2 msec

Digital
In In processor
with two
available outputs

12
V – Determine Horizontal Coverage
This fundamental step is actually quite simple. With the KF700 Series, this coverage must be narrowed to the most
appropriate multiple of 30° (90°, 120°, 150°, etc.). Dividing this required coverage by 30° yields the required
number of array columns.

When determining horizontal coverage, it is important to remember the “visible handle” rule of thumb. Because
the KF700 Series pattern edge exhibits dramatic attenuation, the clusters can be flown much closer to on-stage
without the feedback problems associated with conventional arrays. This allows the mixer to take greater advantage
of the KF700 Series stereo separation. It is possible to observe stereophonic information while seated directly in
front of one of the primary clusters.

Out of
coverage pattern
30°

One side shown for illustration purposes

13
EAW’s KF700 Series

Touring Usage Guide

AS3D™ (ARRAY SHADING IN THREE DIMENSIONS)

The Laws of Physics | The Art of Listening

 INSTALLMENT 3: AS3D™ (ARRAY SHADING IN THREE DIMENSIONS)

1 – Overview
The primary goal of an arrayed loudspeaker system is consistency. The FOH engineer needs to know with
confidence that the tonality present at the mix position is the same throughout the venue. With any array of devices,
interactions are present that can create inconsistencies throughout a performance space. The KF700 Series was
designed to minimize these effects, but also to isolate those that remain and develop simple tools that resolve
these issues without the introduction of complex processing. As discussed in Part 2 of this guide, dedicated down
fill, primary, and up fill processing are the first steps in this optimization. AS3D™ array shading is the next.

2 – Vertical Array Shading

The key to consistency of coverage when dead hanging KF700 Series product is zoning the array amplification
in rows. This allows the user to adjust the gain for each row to optimize performance.

AS3D™ for a 2 over 4 over 1 array Figure 1 shows the

appropriate AS3D settings
for maximizing coherence
of this specific array which
10x KF755 inverted we use to illustrate the
No adjustment
Independent Powering Capability per Row

effectiveness of AS3D in
the remainder of this section.
5x KF750 Please note that the
Mids -6 to -9 dB addition of upfill rows does
not affect the primary and
5x KF750
Mids -3 dB downfill response.
Except for the downfill
5x KF750 delay,all these adjustments
Highs -3 dB can be implemented by
5x KF750 adjusting amplifiers that
Highs -6 to -9 dB have been zoned by rows.
5x KF755
Highs & Mids
Appropriate downfill delay

Vertical Array Shading in the Mid Frequencies

As discussed in Part 1, an array’s mid frequency impulse response is governed by two distinct arrivals that are
directly linked to the ends of the line source. If the array is short, these arrivals occur close together. In larger arrays,
the arrivals are further apart.

These dual arrivals create problems in areas that lie off of the primary array axis (like the nearfield). In the far field
the arrivals sum coherently. In either case, attenuating the mid frequency devices at the top of the cluster softens
the second arrival, virtually eliminating any harmful interaction in the front of the venue. Depending on the size
of the array, one or more rows of mid frequency devices will be turned down using simple amplifier adjustments,
improving the consistency of mid frequency coverage.

14
This simple technique provides the added benefit of softening the projection of the dominant low/mid lobe.
This spatial smoothing results from introducing asymmetry to the mid frequency line source drive signals.
As a result, the shading adjustment tempers the low/mid output in the far field, providing extremely consistent
mid-range coverage throughout any venue.

The dramatic impact of this array shading can be readily demonstrated by creating a model of array performance
using EAW's Phased PointSource Technology optimization and modeling program, F-Chart*. These complex
frequency response charts predict array performance at a variety of listening positions. For the sake of legibility,
only three locations are shown (0°, -10°, -20°). These locations are illustrated in Figure 2.

Array Response Locations

At 0°, -10° and -20°, these are the listening locations used in our model
Figure 2

Please note that the data presented below are based on a computer model of how a line source behaves as described
in such acoustical texts as Beranek and Olsen. Before building the full array model, EAW engineers created a
preliminary model of a single KF750 midrange device and then performed extensive measurements of an actual
KF750 to confirm the model's accuracy. Thus while these graphs do not represent actual array measurements, they
are based on measured data.

* For more information of PPST, visit the following URL at our website:
http://www.eaw.com/pages/TechSupport/Technologies/NewConcepts/PPST.html

15
 AS3D™ array shading techniques and their effects
on the mid frequency response of a 4 over 1 KF700 Series array

Array response without AS3D™ Now we add 9 dB attenuation on top row of KF750's...
20 20

0 0

dB SPL
dB SPL

-20 -20

B K B K

-40 -40
20 100 1000 10000 20000 20 100 1000 10000 20000
Frequency (Hz) Frequency (Hz)

Figure 3 Figure 4

...and finally we add appropriate delay

... plus 3 dB attenuation on second row of KF750's... on the bottom row of downfill KF755's.
20 20

0 0
dB SPL
dB SPL

-20 -20

B B K
K
-40 -40
20 100 1000 10000 20000 20 100 1000 10000 20000
Frequency (Hz) Frequency (Hz)

Figure 5 Figure 6

0 degrees -10 degrees -20 degrees

(in the vertical plane)

The first chart (Fig. 3), showing array performance with no processing or equalization, predicts significant comb
filtering at most locations with the best summation at the far field. The next two charts (Figs. 4 and 5), show how
performance improves when the top row of KF750's is attenuated 9 dB and the next row down is attenuated 3 dB.
The final chart (Fig. 6), depicts final array performance when appropriate delay is added to the bottom row of
downfill KF755's. Note that overall output decreases only marginally while overall performance improves
dramatically.

Vertical Array Shading in the High Frequencies

The high frequency response at FOH is governed by both the KF755 and KF750 horn arrivals. For best performance,
the KF755 must be allowed to dominate. By simply shading the KF750 high frequency devices in the row above the
KF755’s, the build up of energy between 1kHz and 2kHz is eliminated as demonstrated in Figure 7 below. Note that
this response is generated by the same computer model referenced above.

By implementing these simple techniques, effective and extremely consistent array performance can be provided
using the simple dead hung array. These subtle adjustments are also achieved without a requirement for additional
processing. In fact, short of overall low frequency level adjustment, KF700 Series arrays can be utilized and
optimized by making minor adjustments to a few amplifier channels night in and night out in varying venues.

16
 Array HF response with and without AS3D™
0

dB SPL
-5

B K
-10
500 1000 10000 20000
Frequency (Hz)
without AS3D with AS3D
Figure 7

3 – Horizontal Array Shading

The only issue that remains is how to adjust level in the horizontal plane to account for throw distance differential
when the array is zoned in rows. The answer is quite simple.

Many venues require no horizontal array shading as throw distances should be relatively consistent. However,
in venues that are particularly long or particularly narrow, output levels on the short throw sides may become
excessive. This can be addressed in two ways depending on the situation. Neither method requires additional
processor adjustments.

17
 Adjusting for excessive level in short throw sections

10x KF755 inverted

20 KF750

Gap box
1
3
5x KF755

OFF STAGE ON STAGE

For excessive level in short throw areas of a venue, turn off the gap box (1) for some attenuation (1.5 dB in this case).
For greater attenuation, also turn off the top box (2).
For a wider area of attenuated coverage, also turn off the gap box in the next column (3)

Figure 8

The first approach is appropriate when an array is already hung and listening tests show short throw levels to be
excessive. In this case, the user simply unplugs the KF750 that lies directly above the KF755 and points in the
direction where decreased output is desired. We have dubbed this array module the gap box. Unplugging the gap
box has little impact on the vertical performance of the individual array column; it merely decreases the output
of the array in that direction of radiation.

When even greater output reduction is required a second level of horizontal tapering can be achieved by
unplugging the top KF750 in the column that addresses the direction of interest. Eliminating both the gap box
and the top box in an individual column not only reduces the output of the column even more, it also expands
that column’s vertical coverage to more adequately address the increased vertical angle associated with closer
proximity to the array. In an extreme situation, increase the horizontal area of attenuated coverage by unplugging
the gap box in the second column in.

The second, more complex approach works best when the designer knows beforehand, either through experience
or calculation, that short throw levels in a particular venue will be excessive. In this case, amplification should be
zoned such that the problematic column can be controlled as a unit with the rest of the array remaining zoned in
rows as discussed above. This column can then be attenuated with far greater precision to suit the specific needs of
the situation.

18
EAW’s KF700 Series

Touring Usage Guide

DSP SETTINGS

The Laws of Physics | The Art of Listening

 Sub In Gain Delay HPF LPF 1 Band PEQ Lim/Comp SB750 Out
KF750 Main In Gain Delay 1 Band PEQ Gain Delay Lim/Comp KF750 + KF755 LF O
3-way
crossover 4 Band PEQ Gain Delay Lim/Comp KF750 MF Out
4 Band PEQ Gain Delay Lim/Comp KF750 HF Out

Downfill Main In Gain Delay 2-way 3 Band PEQ Gain Delay Lim/Comp KF755 MF Out
crossover 4 Band PEQ Gain Delay Lim/Comp KF755 HF Out

Upfill Main In Gain Delay 2-way 4 Band PEQ Gain Delay Lim/Comp KF755 MF Out
crossover 3 Band PEQ Gain Delay Lim/Comp KF755 HF Out

Upfill Main In Gain Delay 2-way 4 Band PEQ Gain Delay Lim/Comp KF755 MF Out
crossover 3 Band PEQ Gain Delay Lim/Comp KF755 HF Out
or

Upfill Main In Gain Delay

2-way
4 Band PEQ Gain Delay Lim/Comp KF755 MF Out
crossover 3 Band PEQ Gain Delay Lim/Comp KF755 HF Out

Delay KF755 MF Out

Delay KF755 HF Out
Headline
External Digital Delay
Copy Single row of KF750’s recommended for:small to medium nightclubs with no balcony
Use One-Over-One KF750 DSP Settings

19
1_ 1 KF750 over 1 KF755 Assumed Trim Height:20 ft.
Single row of KF750’s recommended for:
> small to medium nightclubs with
KF750 DSP SETTINGS Assumed Distance to FOH:50 ft.
1 INPUT
no balcony
Use One-Over-One KF750 DSP Settings
DELAY 0.000msec
LF
GAIN +6.5dB
DELAY 1.896msec
HPF 40.9Hz 24dB Butterworth
LPF 170Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 152Hz -6.5dB 4.8 2.92 0.21
MF
GAIN -1.5dB
DELAY 0.000msec
HPF 177Hz 24dB Link/Riley
LPF 1k39Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth* One-Over-One Configuration
EQ1 1k19Hz +4.5dB 1.1 1.54 0.91 recommended for:
EQ2 520Hz -4.5dB 4.8 3.30 0.21 theaters and performing arts centers
EQ3 1k00Hz -4.5dB 5.7 3.92 0.18 where arrays may be flown
EQ4 218Hz -1.0dB 2.0 1.41 0.50
HF
GAIN +0.0dB
DELAY 1.102msec
HPF 1k47Hz 24dB Link/Riley
LPF 22k0Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 10k7Hz +12.5dB 3.0 3.28 0.48
EQ2 2k62Hz -6.0dB 1.8 1.23 0.56
EQ3 6k73Hz -3.0dB 6.0 4.17 0.17

KF755 DSP SETTINGS

LF (take signal from KF750 LF)
INPUT
DELAY 0.514msec
GAIN -6.0dB
MF
GAIN -3.5dB
DELAY 0.000msec
HPF 354Hz 24dB Link/Riley
LPF 1k14Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 500Hz -8.5dB 2.2 0.99 0.52
EQ2 874Hz -5.5dB 10 6.84 0.10
EQ3 1k26Hz -3.5dB 3.6 2.49 0.28
HF Downfill delay for this configuration is based
GAIN -2.0dB on the trim height and distance to FOH listed
DELAY 1.102msec above. For more information on adjusting
HPF 1k68Hz 24dB Butterworth gain and delay to account for different venue
LPF 22k0Hz 24dB Link/Riley geometries,see Section 2 of this Guide.
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 11k3Hz +9.0dB 2.1 2.41 0.57
EQ2 5k99Hz -7.0dB 9.0 5.10 0.12 * Q, Bandwith and USP-2Q all define the width of
EQ3 2k33Hz -9.5dB 1.8 0.69 0.68 the EQ curve. Different DSP units use different
EQ4 3k92Hz -6.0dB 5.0 3.41 0.20 nomenclature to define this parameter. If you are
unsure which to use,contact the DSP manufacturer.

20
 Two-Over-One Configuration
2_ 2 KF750 over 1 KF755 Assumed Trim Height:20 ft.
recommended for:
KF750 DSP SETTINGS Assumed Distance to FOH:60 ft.
1 INPUT
> large theaters and performing
arts centers where arrays may be flown
DELAY 0.000msec
LF
GAIN +2.5dB
DELAY 1.896msec MF -3 dB
HPF 40.9Hz 24dB Butterworth
LPF 170Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 152Hz -6.5dB 4.8 2.92 0.21
HF -6 dB
MF
GAIN -0.5dB
DELAY 0.000msec
HPF 177Hz 24dB Link/Riley
LPF 1k62Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 1k19Hz +4.5dB 1.1 1.54 0.91
EQ2 520Hz -4.5dB 4.8 3.30 0.21
EQ3 1k00Hz -4.5dB 4.2 2.89 0.24
HF
GAIN +0.0dB
DELAY 1.102msec
HPF 1k68Hz 24dB Butterworth
LPF 22k0Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 10k7Hz +12.5dB 3.0 3.28 0.48
EQ2 2k57Hz -6.0dB 2.0 1.36 0.50
EQ3 6k73Hz -3.0dB 6.0 4.17 0.17

KF755 DSP SETTINGS

LF (take signal from KF750 LF)
INPUT
DELAY 0.712msec
GAIN -6.0dB
MF
GAIN -3.5dB
DELAY 0.000msec
HPF 354Hz 24dB Link/Riley
LPF 1k47Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 490Hz -8.0dB 2.1 1.02 0.53
EQ2 874Hz -5.5dB 10 6.84 0.10
EQ3 1k26Hz -3.5dB 3.6 2.49 0.28
HF
GAIN -2.0dB Downfill delay for this configuration is based
DELAY 1.102msec on the trim height and distance to FOH listed
HPF 1k96Hz 24dB Butterworth above. For more information on adjusting
LPF 22k0Hz 24dB Link/Riley gain and delay to account for different venue
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth* geometries,see Section 2 of this Guide.
EQ1 11k3Hz +9.0dB 1.8 2.07 0.66
EQ2 5k99Hz -8.0dB 9.0 4.38 0.12
EQ3 2k33Hz -10.5 1.8 0.58 0.72 * Q, Bandwith and USP-2Q all define the width of
EQ4 3k92Hz -6.0dB 5.0 3.41 0.20 the EQ curve. Different DSP units use different
nomenclature to define this parameter. If you are
unsure which to use,contact the DSP manufacturer.

21
3_ 3 KF750 over 1 KF755 Assumed Trim Height:20 ft.
Assumed Distance to FOH:80 ft.
Three-Over-One Configuration
recommended for:
KF750 DSP SETTINGS
1 INPUT
> pavilion (shed)
> small to medium arena (one row of upfill
DELAY 0.000msec KF755’s may also be required)
LF
GAIN +1.5dB
DELAY 1.896msec
HPF 40.9Hz 24dB Butterworth MF -6 dB
LPF 170Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 152Hz -6.5dB 4.8 2.92 0.21
MF
GAIN -1.5dB
DELAY 0.000msec
HPF 173Hz 24dB Link/Riley
LPF 1k62Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 1k17Hz +4.0dB 1.1 1.54 0.91 HF -6 dB
EQ2 520Hz -4.0dB 4.8 3.32 0.21
HF
GAIN +0.0dB
DELAY 1.102msec
HPF 1k75Hz 24dB Link/Riley
LPF 22k0Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 10k7Hz +12.5dB 3.0 3.28 0.48
EQ2 2k77Hz -7.0dB 2.1 1.19 0.50
EQ3 6k73Hz -5.0dB 6.0 4.12 0.17
EQ4 5k14Hz +1.5dB 4.2 5.95 0.24

KF755 DSP SETTINGS

LF (LF is muted)
INPUT
DELAY 0.859msec
GAIN 0.0dB
MF
GAIN -3.5dB
DELAY 0.000msec
HPF 354Hz 24dB Link/Riley
LPF 1k47Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 490Hz -8.0dB 2.1 1.02 0.53
EQ2 874Hz -5.5dB 10 6.84 0.10
EQ3 1k26Hz -3.5dB 3.6 2.49 0.28
HF
GAIN -2.0dB Downfill delay for this configuration is based
DELAY 1.102msec on the trim height and distance to FOH listed
HPF 1k96Hz 24dB Butterworth above. For more information on adjusting
LPF 22k0Hz 24dB Link/Riley gain and delay to account for different venue
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth* geometries,see Section 2 of this Guide.
EQ1 11k3Hz +9.0dB 1.7 1.95 0.70
EQ2 5k99Hz -8.0dB 12 5.84 0.09
EQ3 2k33Hz -11.0dB 1.8 0.54 0.74 * Q, Bandwith and USP-2Q all define the width of
EQ4 3k92Hz -6.0dB 5.0 3.41 0.20 the EQ curve. Different DSP units use different
nomenclature to define this parameter. If you are
unsure which to use,contact the DSP manufacturer.

22
 Assumed Trim Height:20 ft.
4_ 4 KF750 over 1 KF755
Assumed Distance to FOH:100 ft.
Four-Over-One Configuration
recommended for:
KF750 DSP SETTINGS
1 INPUT
> large pavilion
> large arena (one or two rows of upfill
DELAY 0.000msec KF755’s may be required)
LF
GAIN +1.5dB
DELAY 1.896msec
HPF 40.9Hz 24dB Butterworth MF -9 dB
LPF 170Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 152Hz -6.5dB 4.8 2.92 0.21
MF
GAIN -1.5dB MF -3 dB
DELAY 0.000msec
HPF 173Hz 24dB Link/Riley
LPF 1k62Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 1k19Hz +4.5dB 1.1 1.54 0.91 HF -3 dB
EQ2 520Hz -4.5dB 4.8 3.30 0.21
EQ3 1k00Hz -4.5dB 4.2 2.89 0.24
EQ4 218Hz -1.0dB 2.0 1.41 0.50
HF
GAIN +0.0dB HF -9 dB
DELAY 1.102msec
HPF 1k68Hz 24dB Butterworth
LPF 22k0Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 10k7Hz +12.5dB 3.0 3.28 0.48
EQ2 2k57Hz -6.0dB 2.0 1.36 0.50
EQ3 6k73Hz -3.0dB 6.0 4.17 0.17

KF755 DSP SETTINGS

LF (LF is muted)
INPUT
DELAY 0.931msec
GAIN 0.0dB
MF
GAIN -3.5dB
DELAY 0.000msec
HPF 354Hz 24dB Link/Riley
LPF 1k47Hz 24dB Butterworth
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 490Hz -8.0dB 2.1 1.02 0.53
EQ2 874Hz -5.5dB 10 6.84 0.10
EQ3 1k26Hz -3.5dB 3.6 2.49 0.28
HF Downfill delay for this configuration is based
GAIN -2.0dB on the trim height and distance to FOH listed
DELAY 1.102msec above. For more information on adjusting
HPF 1k96Hz 24dB Butterworth gain and delay to account for different venue
LPF 22k0Hz 24dB Link/Riley geometries,see Section 2 of this Guide.
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 11k3Hz +6.0dB 1.8 2.50 0.56
EQ2 5k99Hz -8.0dB 10 4.87 0.11 * Q, Bandwith and USP-2Q all define the width of
EQ3 2k33Hz -10.5 1.8 0.58 0.72 the EQ curve. Different DSP units use different
EQ4 3k92Hz -6.0dB 5.0 3.41 0.20 nomenclature to define this parameter. If you are
unsure which to use,contact the DSP manufacturer.

23
Upfill KF755 UP FILL (1 or 2 modules) One Row of Upfill KF755’s
recommended for:
KF755 DSP SETTINGS
> theater where arrays cannot be flown
LF (LF is muted) > medium arenas where the balcony
INPUT is above the level of the array
When only 1 row of upfill is used (theater or small arena)
DELAY 0.300msec
GAIN 0.0dB
When 2 rows of upfill are used (large arena)
Top Up Fill Module
DELAY 1.237msec
GAIN -5.0dB
Second Up Fill Module
The delay of a single row of KF755 upfill
DELAY 1.756msec
modules is calibrated to meet the acoustic
GAIN -5.0dB
origin of an array comprising 3-high
MF KF750’s over a single KF755 downfill
GAIN -1.5dB module (Three-Over-One Configuration).
DELAY 0.000msec When used with smaller arrays,the delay
HPF 195Hz 24dB Butterworth should be decreased. When used with
LPF 1k44Hz 24dB Butterworth larger arrays,the delay should be
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth* increased.
EQ1 1k19Hz +4.5dB 1.1 1.54 0.91
EQ2 520Hz -3.0dB 2.4 1.67 0.42 Gain adjustment for a single row of upfill
EQ3 841Hz -3.0dB 3.4 2.36 0.29 KF755 modules is based on a throw
EQ4 218Hz -1.0dB 2.0 1.41 0.50 distance of 235 ft.to the midpoint of the
balcony. If a given venue’s throw is longer,
HF gain should be increased and vice versa
GAIN 0.0dB for a shorter throw.
DELAY 0.646msec
See Section 2 of this Guide for more
HPF 1k56Hz 24dB Link/Riley
details on adjusting these parameters.
LPF 22k0Hz 24dB Link/Riley
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth*
EQ1 10k7Hz +12.5dB 3.0 3.28 0.48
EQ2 2k88Hz -13.0dB 3.8 0.80 0.39
EQ3 4k94Hz -2.0dB 8.5 5.95 0.12

Two rows of Upfill KF755’s The delays for two rows of KF755 upfill
recommended for: modules are calibrated to meet the
> large arenas where the balcony acoustic origin of an array comprising
is above the level of the array 4-high KF750’s over a single KF755
downfill module (Four-Over-One
Configuration).
When used with smaller arrays,the delays
should be decreased. When used with
larger arrays,the delays should be
increased.
Gain adjustments for two rows of upfill
KF755 modules are based on a throw
distance of 300 ft.to the midpoint of the
balcony. If a given venue’s throw is longer,
gain should be increased and vice versa
for a shorter throw.
See Section 2 of this Guide for more details
on adjusting these parameters.

24
Sub SB750 DSP SETTINGS SB750 Subwoofers
recommended for:
LF > all applications at a ratio of 1 subwoofer
GAIN +6.0dB for every 2 full range modules
DELAY 0.000msec Subwoofer processor parameters require
HPF 35.14Hz 24dB Bessel only minor adjustment depending on how
LPF 93.09Hz 24dB Linkwitz-Riley they are deployed. Please see Section 2 of
PEQ Frequency Boost/Cut Q* USP-2 Q* Bandwidth* this Guide for more information on flying
EQ1 30Hz +6.0dB 3.3 4.59 0.30 or groundstacking SB750 subwoofers.

25
 The Laws of Physics | The Art of Listening

One Main Street, Whitinsville, MA 01588 tel: 800 992 5013 / 508 234 6158 fax: 508 234 8251 web: www.eaw.com
EUROPE: EAW International Ltd., tel: +44 1494 539090 fax: +44 1494 539091
EAW is the worldwide technological and market leader in the design and manufacture of high-performance, professional loudspeaker systems.