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Author Topic: dB GSL Series for Wacken Open Air  (Read 5104 times)

christoffer hafer

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dB GSL Series for Wacken Open Air
« on: November 29, 2017, 12:43:23 PM »

dB is build a new series for the soundproblems of the greatest Heavy Metal Event worldwide. "J" is not able to fit 80.000 metalheads with ther two 12" and the new cardiod Linesource of GSL should help to reduce the pollution of the near village. Some experiences in that here in staates ??
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Dave Garoutte

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Re: dB GSL Series for Wacken Open Air
« Reply #1 on: November 29, 2017, 04:03:16 PM »

Wha?
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Patrick Cognitore

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Re: dB GSL Series for Wacken Open Air
« Reply #2 on: November 29, 2017, 11:23:19 PM »

Wha?
I think he's referring to D&B's new system, the https://www.sl-series.com/. Apparently loud enough for an 80,000 pax heavy metal concert, while keeping sound away from the neighboring village as D&B is claiming a full-range cardiod dispersion pattern.
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Stephen Kirby

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Re: dB GSL Series for Wacken Open Air
« Reply #3 on: November 30, 2017, 05:27:08 PM »

Interesting.  They talk about the path length of the mids being similar to the side firing cardioid bass drivers but not how they compensate for needing to delay the side drivers by additional distance.  And then they zoom right past the path length of the HF section.  All of this managed by a passive network.  It would seem that they are relying on some combination of polarity inversions and filter generated phase shift.  Which could potentially make the steady state signals in phase, at least at the crossover points, but mean that transients are coming at different times from different band-passes.
Great respect for D&B, everything I've heard of theirs has been top shelf.  Just not following this part.
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Helge A Bentsen

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Re: dB GSL Series for Wacken Open Air
« Reply #4 on: December 02, 2017, 08:18:35 AM »

That LF section worked on the KF740, so it should work here as well.

I find it interesting that they choose to use passive filters to that extent in a box of this type.
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Kevin McDonough

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Re: dB GSL Series for Wacken Open Air
« Reply #5 on: December 08, 2017, 02:52:31 PM »

Interesting.  They talk about the path length of the mids being similar to the side firing cardioid bass drivers but not how they compensate for needing to delay the side drivers by additional distance.  And then they zoom right past the path length of the HF section.  All of this managed by a passive network.  It would seem that they are relying on some combination of polarity inversions and filter generated phase shift.  Which could potentially make the steady state signals in phase, at least at the crossover points, but mean that transients are coming at different times from different band-passes.
Great respect for D&B, everything I've heard of theirs has been top shelf.  Just not following this part.

Hey

What I got from the video is that the big 14" drivers are on their own amp channel, and then a second channel powers the passive network that splits between the side drivers for cancelling the 14"s, and the mid cones and high frequency sections of the 'main' sound.  Though the don't quote actual crossover frequencies, the side firing drivers play a relatively low frequency to allow them to cancel the sound from the 14inch main drivers, then there is a bit of a gap where no frequencies are played on this signal before the smaller main cone drivers starts to play.

In this way, they can "pre-process" the audio on this channel as it leaves the amp, and use FIR filters and lots of digital trickery to delay and cancel the low part of this signal for the side firing low signal as needed, and the buffer of no sound gives them space to roll this correction/EQ/delay off again so that the upper part of the signal that's being sent to the mid and high drivers isn't effected by the time it kicks in.

So what in effect is sent is a signal that has only the low end delayed, while the mid high is unaffected (other than some EQ or whatever is normally needed). Then the signal goes through the passive filter, where the already delayed low part of the signal gets sent to the 10", and the normal upper part of the signal gets sent to the mid and high drivers. Very clever way to do a lot of work with just 2 amp channels, and the crossover itself is probably actually fairly simple, as most of the fancy work will be done in DSP before it leaves the amp.

K


« Last Edit: December 09, 2017, 02:57:11 PM by Kevin McDonough »
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Geert Friedhof

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Re: dB GSL Series for Wacken Open Air
« Reply #6 on: December 09, 2017, 08:35:12 AM »

It would be very clever to be able to use the needed delay on the side-firing drivers for low-frequency fir-filters, which otherwise, without that delay, wouldn't be possible at those frequencies.
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Kevin McDonough

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Re: dB GSL Series for Wacken Open Air
« Reply #7 on: December 09, 2017, 03:01:09 PM »

It would be very clever to be able to use the needed delay on the side-firing drivers for low-frequency fir-filters, which otherwise, without that delay, wouldn't be possible at those frequencies.

Not a million miles away from Gunness focusing in the theory of it, in terms of the idea of pre-conditioning or pre-DSPing the signal before it hits the speaker,although obviously used in a different way.  In the Gunness focusing corrective EQ/Phase/Trickery is added ahead of time so that it automatically corrects for "ringing" of the driver, and in this case the DSP is added ahead of time to create the delayed low section before it hits the crossover, rather than waiting till its already split and separated out.  Or with iPal technology too, where processing the signal in specific ways before it hits the speaker begins to virtually the driver specs to better match a design.

K
« Last Edit: December 09, 2017, 03:11:50 PM by Kevin McDonough »
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Re: dB GSL Series for Wacken Open Air
« Reply #7 on: December 09, 2017, 03:01:09 PM »


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