I am just as mystified about the power supply as you are. I honestly think it's got something to do with the host venues. Most of the competition hosts (at least for the indoor circuits) are held in high schools where the high voltage circuits to tie into are unavailable. There are several competitions in larger arenas, but they try to keep everything even across the board. So since the high schools can't provide high voltage circuits, neither can the arenas. True, the high schools could get industrial generators to provide the extra voltage, but that adds expense and for the host schools it would break the bank to rent that kind of power for the day. Since these events typically cost an audience member between $5 and $7 dollars there's not a huge profit margin and since the ensembles have been working with a single 120V power source for several years now, I don't see the governing organizations changing that anytime soon...unfortunately.
Saying "a single 120V source" tells us very little. It's the available amperes that make the difference. If the voltage is 120, there could be 15-20 amps available. There could be more. If there's a quad-outlet, there could well be four 20 amp circuits to use.You need to provide better info.
What mystifies me is that why the addition of tech to what has for decades been an acoustic performance form is power limited to a single outlet.
...Based on what I know from the contest info, I am not able to provide amps available, number of outlets the extension cord is plugged into, etc.
As I mentioned above in this post, the "soundstage" is becoming a very important part of an ensembles performance, especially in the drum and bugle corps/marching band performances. For example, one system I saw last summer a drum and bugle corps ensemble using had 1 15" speaker on the 25 yard lines, the "main" stage stack consisting of dual 15" speakers over dual 18" subs on about the 35 yard lines, and dual 15" speakers setup vertically on about the 45 yard lines. All were on varying angles to ensure the sound was getting up to about the 400 level of Lucas Oil Stadium which is where the judges they're trying to appeal to are sitting. This setup set their "soundstage" from 25 yard line to 25 yard line and allowed them to use some awesome panning effects that in previous years would've been difficult to do. And as I mentioned in an earlier post, the people coming to support the ensembles understand that the farther you sit away from the center of the competition area (be it a football field or basketball court) the less clear the sound will be. But it comes with the territory of the activity.
For the system I need a minimum of 2 subs, but ideally 4 total, preferably 18" - a couple I've been looking at are the EV TX2181, the EV TX1181, and the JBL PRX418S. I'm also looking at 4 mains with 15" woofers - a couple I've been looking at are the EV TX1152 and the JBL PRX415M. Reasoning for 4 mains is simply for the high end, but if something like the EV TX2152 or the JBL PRX425 would work for great high end sound I would not be opposed to them. Finally, I need to power it all. Again, because of application, daisy chaining would be the most practical way to connect all of the speakers in a L/R setup.
Do you mix from where the Judges are located? If not then how do you assess what the Judges hear in terms of the reinforced/acoustic balance and soundstage?
I'm not clear on why you would need 4 mains if all you really want is 'stereo' coverage for where the the Judges are located as any additional sources, be it for additional coverage or output, would seem to work against what you are trying to achieve and it appears that one sub and one main located together wherever you want left and right to originate from would do what you want. And if you're using subs then you probably don't need mains with 15" woofers, 12" woofers will likely do fine and allow for smaller, lighter boxes. If you are having to work on a budget, and the budget is likely a critical factor, as well as limited power then fewer, higher quality, greater sensitivity speakers may be your best bet.
And please explain how you handle that many inputs in 2 minutes!
I definitely understand that this is not the general goal of a system design. But the people who come to the show to support the ensembles understand that they're not going to a concert where everything will be crystal clear no matter where you're sitting. It just comes with the territory of the activity. It's not something that the ensembles do intentionally, but a side effect of the application in which we have to use these systems.
I was just going with the school of though, the more mains the higher the overall SPL. I'm probably way off with that idea and as you stated it'd probably be best achieved by going with fewer, higher quality, greater sensitivity mains.
High SPL and coherency are more easily achieved from a single location.Even though a single location can cover the entire audience and judging area, it can be run stereo (or 3 or 4 channel), and very wide panning effects can be utilized if desired.With a central cluster behind the performers, the precedence (Haas) effect will still make the individual locations of sound (each live acoustic performer) easily located, while the usual setup in front of the performers smears location detection ability, ruining the natural sound stage.Art
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