Which one's cheaper? They both have flaws and you'll probably only use it once.

I have the digital version. I like that it is very easy to read.

Jan, why would you use an SPL meter only once? They are handy devices. Moreover the RS version is actually pretty decent.

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Jan, why would you use an SPL meter only once?

Some people might use their meter twice. And a lot of people who bought one will pull it out just to varify they still have the system set up just the way they had it last week. They are the OC folks out there. Those folks need a meter - and a lot of other things.

For the most part, a consumer needs a meter to set up their surround system levels. The low cost RS meter isn't that helpful for anything else. If you get it right to begin with, how many times do you need to do this?

If you change components on a six month schedule, then you'll need the meter more often. But, even with that, the cost of components with auto set up is dropping to the point where a dedicated meter will soon be redundant and less accurate.

I know it's very difficult for someone unfamiliar with the sound of speakers in various positions to focus on the level and not the amount of frequency shift when running a basic test tone, but I really don't feel there is much value at all in a RS SPL meter given the limitations of the instument. Even after set up with a meter I still often find the need to adjust on the fly for various program material or to tweak for what the client prefers to hear. That makes this particular meter about as useful as a short set of SAE wrenches when working on a Lambourghini.

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They are handy devices.

I'm curious, what uses do you find for the meter after intial set up?

I'm not a multi-channel type, but don't most have built in mics and measurement systems?

I use my SPL meter for all sorts of things. I experiement with speaker placement (still have yet to find the best compromise), setting playback levels on my own recordings prior to mastering (makes a great double check), measuring levels at the race track (and in-car levels), at my shooting range, I've brought it to concerts out of curiosity - all sorts of things.

I similarly use an IR thermal sensor more than I expected, as well as my multi-meter, etc. There is an amazing amount of stuff out there to observe and to learn.

Sound and acoustics are all around us and fun to pay attention to, and the inexpensive Radio Shack SPL meters do a surprisingly good job overall.

I use mine regularly for comparing things, like CDPs, setting the levels equal before comparison. I also, with some regularity, sit and observe dynamic range as I listen to music. Also, as Elk said, it's useful for setting recording levels for the final CD transfer.

Dave

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Also, as Elk said, it's useful for setting recording levels for the final CD transfer.

How? I don't own a meter so I don't know how this is done. Don't you do a digital transfer? How do you set levels for digital out with a SPL meter?

I use an SPL meter to set up my mastering environment, that is the playback level to use as a "loudness" reference. I find this very useful for chamber music especially.

I'm not sure what Dave is referring to.

I make a reference CD and play it back in my two-channel system, comparing the playback level to other reference CDs. I don't want my self-produced CDs to be several dB higher or lower than my average CDs. (I have several low volume CDs produced by others that are several dB high or low.)

Dave

I suggest listening very carefully if you decide to try a click removing program. Noise reduction is never transparent; every algorithm has artifacts - although some are excellent, and expensive. The free and inexpensive programs do not even come close.

Instead, remove only those huge clicks that you can't live with - but leave the rest of the waveform alone.

I personally do not worry about how loud my CD is in comparison to others. I want the best sounding CD with the best S/N I can create. Thus I set peak levels to just below OdBFS (I do not set the peaks to 0dBFS as many CD players have trouble reproducing full range waveforms without distortion).

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Under these circumstances, do I need one, and if so which?

Well, Kevin, under the circumstances, I'd say no. I guess I'm not at all certain what you'll be measuring in a two channel system that would be of real value. When I do a speaker set up my ears are what become the most important measuring tool. I'm setting up in the first phase of the method for even and what I consider tonally correct frequency response. That isn't something I think a meter can tell you. You either hear it or you don't and knowing that there is a +8db bump at 80Hz is not that relevant to my set up since all room have bumps. The bump can be determined by many of the room interaction programs that are on the market and the way to minimize that bump is typically with room treatments and the position of your listening chair. I can tell when the speakers are positioned correctly to minimize the bump by listening and I'd rather rely on that than on a meter with its own problems in the low frequencies. In the middle phase of set up I want to minimze room reflections. I use a mirror for that to check what my eyes tell me. In the final stages of set up I'm working with finer details of performance, mostly staging and imaging along wih tweaking the timbre of the system. I don't see the use for a meter in that phase of set up.

If you're looking for speaker set up assistance, I would suggest you try the W.A.S.P. technique.

http://www.tnt-audio.com/casse/waspe.html

Yes the ears are the final arbiter, but I found my RS SPL meter valuable in helping me set up my subwoofer. When adjusting the gain, phase, and crossover levels, it helped get me there faster. Another tool in the toolbox was helpful. I never thought I needed a power screwdriver either - until I got one.

Exactly!