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 on: Today at 05:42:11 pm 
Started by Johnnysdred - Last post by Johnnysdred
Hey guys, long time follower but first time posting.  I recently switched from using Yorkville 801's to JTR Captivator 212's.  I liked percussive aspect the Yorkies and have been using them for 3-4 years. Downside, heavy (140 lbs) and using the casters was always awkward.  After reading some posts here about JTR, I started an email conversation with Jeff at JTR.  He gave me simple facts and responded quickly to my concerns. I purchased a pair and, man, I wish I'd found these earlier.  Just an amazing sound from such a light weight cabinet (70 lbs). I've had a chance to use them in a variety of different applications with the last being an outdoor event for St.Patricks day (500-750 ppl).  I had all the low-end I needed and still had plenty of head room. If you are in need of sub cabs that won't break your back and have all the low end you'll need for small -medium club, wedding tent events, small-medium outdoor events give these serious consideration.
Here's my set up:
2 RCF HD32a's
2 Captivator 212's
XR18 using Aux fed subs

 on: Today at 05:25:05 pm 
Started by Sam Costa - Last post by Sam Costa
Hello everyone,
Hoping to see if someone could chime in on whether or not this would be the optimal sub placement for most of the shows I run.

80% of the shows I'll be deploying 2 - Dual 18" sub cabinets per side (passive Carvin TRX218n) Traditionally I've been floor stacking these on carts I've build for ease of in/out transport of venues. Also, traditionally with the mains stacked on top with either 1 or 2 KF650's per side depending on the width of the venue and coverage needed.

I do notice the "power alley" when deployed in this manner, but being that I've got 4 dual 18" sub cabs available, would it be a better solution so that I get more constant sub coverage on a dance floor by placing all the subs directly in front of the stage on the floor or keep them to the side (as shown) as I typically do and get additional subs placed in the middle (between the two stacks) ? a lot of these shows there are people dancing directly in front of the stage and I'm just trying to make it sound as best as possible for the audience dancing.

Running all my networking through EAW UX3600, it sounds great but would like to see if there is a better way of deploying subs for better coverage.

1- QSC PL6.0 on subs
1- QSC PL4.0 on lows
1- QSC 4.0 on mids,
1- QSC 3204 on highs

I also fly the mains on certain events so they are well above everyones head for larger venues and the subs stay stacked directly below the mains.

Here's a pick of a recent show a few months ago..  It sounded good but did notice some area along the front where the sub wasn't as coherent and thumping on your chest. The correct splay was used on the mains for the KF650's and those sounded great in all areas of the dance floor.

 on: Today at 05:17:25 pm 
Started by Mark Wilkinson - Last post by Marc Sibilia
The OP's cabinet is vented, so there is virtually no "air stiffness" other than at Fb. Assuming the same Fb, dual chambers are functionally identical to a single and free air.

That is almost true. There is no stiffness below Fb, but above Fb there is. Mark will normally have processing (HPF) to control excursion below Fb.  Now he may get into excursion trouble between Fb and the normal excursion maximum above Fb where the system is relying on the air compliance.  The system will no longer have an excursion minimum at Fb because there is no net pressure change in the box to drive the port air velocity.  The excursion will just keep climbing as frequency goes down as if it were an open baffle until it hits the HPF.


 on: Today at 04:55:44 pm 
Started by Mark Wilkinson - Last post by Art Welter
The old Maryland Sound "clams" (Karlson couplers) would exhibit bad cases of cone sag.

On one side they would be hanging out of the basket, and on the other side they would be depressed into the basket-because of the mounting angles.  Especially in clubs where the were installed (like the old Hammerjacks in Baltimore for example.)
They fixed that with the "Bearclaw" quad Karlson, vertical cone orientation- probably dumped the singles in those clubs.

Damn, we're old...

Wish I could rotate some of my sagging skin ;^).

 on: Today at 04:51:15 pm 
Started by Diogo Nunes Pereira - Last post by Ed Spoto

That's will prove to be the real hardship of this gig. Keeping tempo among 6500 musicians spread across the grass of a soccer field... 105 meters by 64.

We're accountting something around 80+ speakers on poles in the field for sections monitoring, plus wedges for the leaders and director.


When we have to keep large amounts of people in time (half time shows etc.) we have used a high power FM Transmitter with a timing track.  The performers use small cheap portable FM receivers with earbuds and tune to the correct frequency. 

 on: Today at 04:49:46 pm 
Started by Sam Costa - Last post by Sam Costa
The NT5's haven't come out of the case since I started using Shure Beta 27's as overheads.

Thank you for the replies fellas.

 on: Today at 04:48:55 pm 
Started by scottstephens - Last post by Karl Winkler
I've never tried mixing and matching companders, but I'd be curious to hear what it sounded like. My guess would have been that less aggressive companders could probably be tolerably mix-and-matched for spoken word, but the more aggressive ones might not produce usable results if mismatched. Not sure what the A-T is using, but the Sennheiser HDX always seemed fairly benign to me (at least as compared to HiDyn+, anyway).

Two questions for the OP: did you have to disable the pilot tone detection on the receiver to get it to work with that transmitter, and how does the combination sound?


Russ caught it before I did - yes, RF is RF, and it is true that many companders are fairly similar in their response, but this is the reason that all the different wireless manufacturer's products are not compatible with each other. Even different series from the same manufacturers are not compatible. Scott's description of the audio sounding compressed is very likely due to compander mismatch.

But with most modern wireless mic systems, there is also the pilot tone squelch. It appears from Scott's comments that it works, that in this case the two systems have the same pilot tone, but of course this is not the case with all wireless mic systems.

 on: Today at 04:47:21 pm 
Started by Mark Wilkinson - Last post by Art Welter
1)  All the high power 18" drivers I briefly checked, have a moving mass of a little over 1/2 lb.....I never quite internalized before how much force it must take to oscillate that much would seem the dynamic strain on the suspension if motor looses full controll would dwarf stain at rest.....but time does take its toll.....who knows....   
2)Maybe a bigger issue than mounting orientation, is always keeping driver excursion within full motor control...?
3)Anyway, if the box I've built shows the same full power vibration reduction and distortion measures well at high level, I'll probably put slot ports on both ends where I can periodically flip the box.
1) Something else to "internalize"- assuming the driver's suspension and magnetic forces were symmetrical, the cause of the cabinet "walking" you want to avoid is actually the result of asymmetrical wave-forms presented to a single vertical driver. Dual opposed drivers cancel any of those causes of asymmetrical weight shift.
2) Unless you implement the DC offset scheme, or rotate the drivers, suspension sag will offset the driver to a bias towards one or the other ends of the motor linearity range.
3) OK. Sag on PA drivers is so slow, pick a designation for even and odd years ;^).

 on: Today at 04:32:36 pm 
Started by scottstephens - Last post by Stephen Kirby
Since my day job is electronics production factories, my thing there, which I think applies to SR, has been keep it until you need something new to be competitive, or until the maintenance becomes a risk to the business.

Competitive can be taken anywhere as leading the pack (more expensive) or keeping up enough to stay in business (lowest common denominator).

Thus ROI varies with industry trends and obsolescence. 

 on: Today at 04:31:11 pm 
Started by Richard Turner - Last post by Dave Pluke
Whats the worst dog of a loudspeaker you ever owned

I'd have to say the "Warp 2" 'sub' cabs we purchased from Anicom Sound in Minneapolis, back in '75-ish.  Loaded them with two Gauss 15" speakers in each so, not only were they incredibly inefficient, they were also heavier than heck.  An added bonus?  They wouldn't fit through the stage doors at some venues.  Other bands of the day were using W bins and Scoops.  We had to be different!


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