Soundvision: Network Handoff & On-Site Tuning Order Guide 6 of 8

Reference: SV-NET-01. Once the design is done in Soundvision, this is getting it into LA Network Manager, wired up, and then the actual order to work the room in once you're standing in it with a mic.

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Getting Online

Connect via Wi-Fi or a hardwired network adapter — either works, but make sure every amp is on the same IP address range before expecting them to show up. Load the saved Soundvision session into LA Network Manager. The group structure you built earlier carries straight over — this is the payoff for setting groups up properly at the start. Reorganize the on-screen layout by physical location (amps and tops together, subs together, fills together, delays together) so the view matches how you'll actually walk the rig, not just the order things were added.

Session Structure & Naming

Set up an "All" talker group, plus separate EQ groups (All EQ, Tops EQ, etc.) — hardware units typically expose 8 channels each, so anything needing more than that gets grouped/talked to collectively. Establish a consistent channel convention and stick to it project to project — e.g. channels 1–2 tops, 3–4 subs, 5–6 front fills, 7–8 outfields/delays. The exact numbering matters less than it being predictable. Name locations to match where you'll physically be standing when tuning each zone — e.g. front of house, front fills, out fill, a named balcony zone, delay. This is what lets you jump straight to the right group without hunting.

Input Routing

Set the P1's input fallback mode to AVB primary with analog as the fallback — so a network hiccup doesn't take the system down mid-show. Assign each AVB stream to the correct physical input in the routing matrix, and double-check gain staging on the way in, not just the output side.

Amp & Preset Management

If amp IP addresses change, you can drag amps between groups in the interface rather than rebuilding the session from scratch. Watch for family/unit conflict warnings — if an amp's loaded preset doesn't match what the session expects, the software flags it and lets you fix it directly rather than guessing. After any change back in Soundvision, hit resync to push the updated presets out, then bring the system back into synchronized auto-filter mode before trusting what you're hearing. Build and save custom presets (e.g. named per box/config) once you've got a setup you like, so a spare or replacement amp can just have the preset dragged onto it rather than configured by hand. Firmware updates work fine over Wi-Fi, though a hardwired connection is the more cautious default if you have the option.

On-Site Tuning Order

Even a fully optimized Soundvision design still needs real on-site correction — treat the software's output as a strong starting point, not a finished result. Start at front of house — and remember FOH reference isn't necessarily dead-center of the room, it's usually on-axis to one side, at a representative distance back from the PA. Work front fills next, nearest to farthest from center — check each fill both solo and blended with the main system together, since a fill that sounds right alone can still sit wrong once it's summed with the main PA. Move to outfields after front fills, then delay/balcony positions last — delay zones are usually the most straightforward of the pass, since it's the same program content just arriving with a different, already-calculated time offset.

Source: adapted from a purchased L-Acoustics Soundvision video tutorial series. Rewritten and condensed into a quick-reference workflow in Ryan's own words from the source material.