Metric Halo 3d is a DSP (Digital Audio Processing) card, which hosts multiple effects such as reverb and delay, as well as a summing mixer for my flute, Wind Synth (NuRAD), and the MainStage app. The mixer is controlled by expression pedals via MIDI.
However, the most important usage of the 3d DSP for my setup is to tune the output monitor. The Mackie SRM150 monitor speakers are only 5.25″ and are not flat-responding ones. I use Metric Halo ULN-2 3d onboard DSP 12 Band EQ to compensate for the issue.
First, I use Metric Halo SpectraFooX to output pink noise from the Mackie SRM150 stereo pair, then loop the signal back using one of the EarthWorks condenser microphones to measure the discrepancies, which then the 12 Band EQ to surgically correct.
Metric Halo 3d 13 Band EQ
It is worth mentioning that the 3d DSP mixer allows two signal paths, one for the Mackie SRM150 output and the other for the FOH (Front Of the House) engineer with a clean signal without the EQ.
Chrostensen Wood Fute info from “THE FIRST HUNDRED YEARS OF THE BOEHM FLUTE IN THE UNITED STATES, 1845-1945: A BIOGRAPHICAL DICTIONARY OF AMERICAN BOEHM FLUTEMAKERS VOLUME I” BY Susan Marie Beagle Berdahl
The catalogue description of the wood flute indicates that African grenadilla and cocuswood were used. Christensen claimed that the wood he purchased had been seasoned, after splitting, for ten years in the open air, making it of superior quality. The process for making the wood flute was described as follows:
The important product is shipped in rough logs, four feet in length, which are split and cut in the required dimensions for the body, head and foot-joint. These pieces are in turn bored with a small reamer of about 3/8 inch in diameter and stored in a dry corner to season. As five years must elapse before this wood becomes thoroughly air dried, an immense supply must necessarily be kept on hand. Artificial seasoning or kiln-drying destroys its life and timbre.
When seasoned and ready for manufacture, each piece is carefully bored with graduated reamers to the required size, the walls turned and thinned and ferrules placed on each end. Now comes the test to detect any hidden cracks or checks. The piece, while suspended from a string, is struck with a small mallet; if the blow produces a clear, bell-like tone, all is well, if not the piece is thrown aside. The next process is to place the perfect pieces in reservoirs or vats of oil where they remain from four to six months. This method safeguards against cracking and warping, preparing and filling the wood so thoroughly that forever after, oiling inside the bore is unnecessary.
In cutting “the tone holes an ingenious invention is employed, which bores and phrases each hole in its acoustically correct position, absolutely accurate; a feat practically impossible by the old-time hand methods.
