But with only one measurement you would most likely only "correct" a standing wave or reflection at the point of measurement.
That would mean that it may sound better if your ear is where your measurementmic was, but even worse if you go back a meter or so.
To be able to ignore reflections and standing waves you would have to make at least 3 or 4 measurements in different distances from the speaker and average them.
This is why it's important to set up your tones on the flattest possible speaker possible. Think of setting up your tones as similar to the process of preparing a record on reference monitor. The idea is not that it will sound best on a system where the bass is hyped or which has a smile EQ. The idea is that whatever kind of system you play through, the sound you set up "translates" when you play it on a different kind of speaker. It might not be the best sound possible, but this will help you avoid a situation where you have the worst sound, because you dialled in too many lows or highs.
The FOH is probably never going to be FRFR. Neither is the sound equipment when you play in a giant arena. So having a sound check is essential. Get one of your band members (the drummer) who knows your sound to stand up front a little ahead of your gig and figure out what is lacking or is too hyped in your sound. When your set comes up, have a friend ask the sound man nicely to set everything appropriately, or if that fails, at least to set it all flat as possible. There's a reason even big bands do a sound check
Good tip, never thought about it as preparing a record on a reference monitor (which I do and understand)....does make me feel a bit better about trying it.
I had to laugh though at the suggestion of getting our drummer to listen and critique my sound ;-).
Now that I have an Atomic CLR I think I'll go for it, but will take an amp as a backup!
From my experience I can tell that a sound programmed on good studio monitors in a proper room at gig volume will translate well to most speakers you encounter in a live situation
FYP
If you minimize the distance between you and your monitor, that may minimize more room sound variations than EQing for each stage you find yourself on.
Gizmo - I don't ever change the Kemper for a particular room. If you have it sounding right for you at gig volume, and your monitor is relatively close, it will sound just as much the same (if not more) as any other amp/fx combination you could use.
My main goal is consistency. I strive for that through my monitors at home which is my normal listening experience. That helps me stay consistent from profile to profile. Then as changes are needed from room to room you lock in a different output EQ or can lock in a different room verb. Those features I love about the KPA. Being able to lock in those changes on the KPA wthi a few pushes of the button is a Godsend. The rest I leave up to the FOH engineer.
This is an interesting topic. I have a DBX Driverack PA that I use on my PA in my jam room and it works pretty good for that, you just place the calibration mic where you want the best sound and hit a button and it automatically EQ's your system for that room. I haven't thought about trying it on my FRFR monitors that I use with the KPA and modelers, it might help, I'll have to try it some time.
It would be interesting to use your DBX Drive Rack to analyze your FRFR without room and standing wave issues to see what corrections are made to make them more FRFR. You would need to be outdoors with the speaker elevated on something.
CK is correct. This whole idea of correcting the KPA's FRFR amp for the room is somewhat futile. Think about this: The KPA simulates an amp and cabinet. Does anyone correct their real guitar cabinet for the room?...NO. The FRFR amp is aimed at sounding just like the amp/cab by being as flat and uncolored as possible so the tone captured by the KPA is accurate. The room is the room....no matter if its a real amp or the KPA through FRFR or cab.
bd
If you minimize the distance between you and your monitor, that may minimize more room sound variations than EQing for each stage you find yourself on.
Gizmo - I don't ever change the Kemper for a particular room. If you have it sounding right for you at gig volume, and your monitor is relatively close, it will sound just as much the same (if not more) as any other amp/fx combination you could use.
I can see what you mean paults and agree, if it is a small room and there's not a separate FOH feed. That would be just the same as using my amp without being mic'd up, which is rarely the case.
I think most of us who play out in small venues where we are mic'd usually get told to "turn down". So we set up the amp as best we can and hope the sound guy does his best.
I used to use wireless and try to walk down the room during a gig..didn't work too well for me. So I want to send the board the best sound I can for the room at that time..isn't that why there are separate main and monitor outputs with individual eq's?
Gizmo
Ok, just got the DEQ2496 + RTA mic and gave it a quick test.
I am really amazed how good this works. Like i said i never really liked the sound of my two JBL EON 15G2 as monitor units. With the AUTO EQ Function i get an awesome and balanced tone in no time, removing the boomy bass and the "plastic" mids. The EQ curve shows some really drastic frequency cuts which i didn´t expect to be there. I would have never been able to dial in such an EQ curve by ear....
I´ll try to capture some sound examples soon.
The drastic cuts are very likely because of standing waves and reflections from nearby walls and the ground
The drastic cuts are very likely because of standing waves and reflections from nearby walls and the ground
No such problems here. It´s really the speakers. They are opzimzed for volume and bass response i guess. But who cares? I am very satisfied with the sound now and don´t have to buy new speakers. 
Make 2 more meassurements in different positions and look at the eq-curve
Make 2 more meassurements in different positions and look at the eq-curve
Actually i did about 10 measurements around the rooms. The mic position is crucial and you need to find the optimal spot. But that was expected.
The drastic cuts are very likely because of standing waves and reflections from nearby walls and the ground
That is exactly right. Most rooms in a home are 3 to 5 meter square with 3 meter ceilings. The resonant nodes will be in the 55 to 70 hz range with peaks and valleys reaching +/- 12 db or more without treatment. They reoccur in even orders (doubling) through the audible range, improving as the frequency increases. Usually taming the fundamental (lowest) frequencies helps the most.
As soon as you move your EONs to a different room....lather, rinse, repeat!
I own 4 DEQ4096's and 2 calibration mics. Its amazing the difference they make, especially on FOH mains.
bd
Well I tried this with my DBX DriveRack PA and didn't have much luck. The thing that baffles me is that the DriveRack works so well with my PA, I was really expecting some good results. Oh well, at least I know what doesn't work 
Well I tried this with my DBX DriveRack PA and didn't have much luck. The thing that baffles me is that the DriveRack works so well with my PA, I was really expecting some good results. Oh well, at least I know what doesn't work
Did you also try different distances with the RTA mic? It took me some attempts to find out a good distance which reflects in a good sounding EQ curve.
Did you also try different distances with the RTA mic? It took me some attempts to find out a good distance which reflects in a good sounding EQ curve.
Yes I did, but maybe not enough. To be honest, I'm not sure that I had the DriveRack setup correctly, I need to mess with it some more when I have more time, something just wasn't right.
Yes I did, but maybe not enough. To be honest, I'm not sure that I had the DriveRack setup correctly, I need to mess with it some more when I have more time, something just wasn't right.
If the Drive Rack works similar to the DEQ there´s a lot that can go wrong. The first run of measurements was completely messed up since i didn´t flatten the target curve that the DEQ tries to adopt to...
After two days of playing around i found some great sounding settings. Since you can store the different curves you can always go back and check again. Also cool for live gigs, you can try different curves in no time. After 2 days of playing i switched back to my 4 x 12. 
I can say i will definitely keep the EONs.
I think the most appropriate solution to the original topic would be to run a similar process with the FOH and make EQ adjustments there!
I believe Don has pointed out from the first page of this discussion the critical (and the week) point of trying to EQ a room: it's not only that you would eq for a single (larger or narrower) spot. It's that the various reflected frequencies arrive at one spot in different times. IOW, the sound in each spot changes continuously.
The only solution I've come across is a dinamic eq: motorized faders react to the time-changing overall signal. It's expensive, it's not perfect anyway and of course it won't address the need for eq'ing each spot by itself, or finding a compromise for the whole room.
The only solution for really improving the sound of a room is to design it first, then to treat it for reducing resonances and stationary waves.
For an already existing room, properly placed tube (or other kinds of) traps give interesting results. But placement has to be designed for the room, after some measures.
