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 21 
 on: Today at 12:42:13 pm 
Started by Christian Ekren - Last post by Christian Ekren
Hey all, apologies if this has been discussed before - didn't find anything after a cursory search.

Anyway, I'm wondering if anybody knows if it's possible to use a Sennheiser EW300 IEM G3 transmitter and an EM500 G3 receiver in the same band tuned to the same frequency as a wireless Point to Point setup?

I've seen instructions on how to setup a Shure PSM900 and UR4 for PTP use, but unsure if Sennheiser can do something similar.

Thank you!

Sent from my LG-H931 using Tapatalk


 22 
 on: Today at 12:40:56 pm 
Started by Phil Lewandowski - Last post by brian maddox
...
If youíre doing 1080p or higher you get into a more complicated realm of SDI where thereís type A and type B.  Decimator does both.  BMD just does type B.  Itís not a big deal if you stick with everything from the same company but thatís hard to count on.

This^^

The A and B thing can get pretty infuriating when you're mixing and matching various manufacturer's products, so that's another interesting gotcha.

 23 
 on: Today at 12:28:41 pm 
Started by Steve Kennedy-Williams - Last post by Andrew Hollis
MPC Live can do this via USB. Electribe 'red' can do via SD.

 24 
 on: Today at 12:21:03 pm 
Started by Steve Litscher - Last post by Ivan Beaver
They go about 10hz lower, where a lot of EDM is going these days.
I'd like to know how well a pair would play with a pair of Orbit Shifters
The following is a general statement, and is not inferring or referencing any of the products in discussion, It is for general information and consideration.

The useful output of any loudspeaker is a combination of extension and sensitivity and power handling.

A simple number ( goes 10Hz lower) doesn't tell anything about how loud it is at that freq.

The -3dB or -10dB etc MUST be referenced to SOMETHING or else it has NO meaning.  It should be referenced to the sensitivity to have any valid meaning.

But sadly, there are plenty of examples of top manufactures whos own graphs and simple number spec sheets are VERY wrong.  I have some that are more than 20dB off.  that is only a factor of 100.  What if your pay check was off by 2 zeros?  I bet you would care THEN.  HA HA

ANY loudspeaker EVER made, including soft dome tweeters, can EASILY reproduce 1Hz.  So every loudspeaker goes down to 1 Hz.

Now how LOUD they are at 1 Hz is a TOTALLY different story.

You MUST know more information than a simple number.

Simple numbers will get you trouble every time.

 25 
 on: Today at 12:13:12 pm 
Started by Nathan Riddle - Last post by Ivan Beaver

I think I have measurements of the 4550 and 4552 on the TD-1 horn.  If I can find them I'll post them... eventually.
All of the TD1s I have known have B&C drivers for HF.

I don't know what the TD2 had in it.  I will check with Tom.

 26 
 on: Today at 12:12:35 pm 
Started by Don Gspann - Last post by Don Gspann
If you keep your transmitters powered on ( as you should ) the metal trays reduce intermods between transmitters .  Other than than any easily implemented visual organization that works for you and your crew is the right answer.


He said I should have the low numbers by the front edge of the table laid out 10-1, top row 20-11, ???
I think his logic was that the low numbers go out first. i our case they do go out first, for the first act, then it varies by act after, so who cares.

 27 
 on: Today at 12:00:57 pm 
Started by Chris Gruber - Last post by Mal Brown
Just landed an Audio Technica AE2500. First gig on it. Last night and I was able to dial in some really cool stuff.  Band was a 4 pc, 2 Guitars band doing classic rock adaptations.  Everything from Beastie Boys ( of, not so classic) to LED Zep...   kick had a hole,  mic front face maybe 5Ē into the drum.  mapex 22Ē. Reasonably well tuned.  No flab to start.

I got a nice round sound out of the Dynamic side, and dialed in some serious click from the condenser.  Started playing around after letting the band settle in for a few tunes.  I low passed the condenser side fairly high by the end of the first set. Maybe 200 and cranked a fair amount of gain in the 3 to 4 k range.

Song to song I was able to go from round and defined to almost metal.  Nice out of 1 mic body.   Could probably do as well with an inside/outside setup with two good mics.  Maybe beta 52/91 combo.  But for 1 mic body this is a pretty cool mic.  Iíll be using it quite a lot I expect.


 28 
 on: Today at 11:58:52 am 
Started by Jongos Mandiri - Last post by Jongos Mandiri
As for whether your second speaker that was linked from the first speaker will lose any power, or sound different than the first one, the answer is not that you could tell.

Damping factor goes out the window with just about any speaker cable once you get past 50' ( 15 meters ). Or put more firmly, once your cable is longer than 50', DF is no longer existent enough to even consider it as a performance mark. The amount of power lost will be minimal. I suspect that the difference between the output of both speakers will be within 1/2 of a db. Or so little difference that you and 99.99% of others could never tell even if both speakers were right next to each other. The resultant change in frequency response will again be so little that if you did measure a difference, it was likely not because of cable length, but actually because of manufacturing tolerances.

Damping factor is really not even worth considering unless you are running subs or dealing with a critical listening environment. Critical listening means a silent room in which the listeners are there to critically evaluate the media. The losses in cables from length and gauge can be found online in the form of calculators, but again, the differences are usually so small with common cable runs that it really isn't worth beating your head against the wall.
Thx Luke...

 29 
 on: Today at 11:58:46 am 
Started by Richard Penrose - Last post by Kent Clasen
When I was evaluating the DSRs I thought the DSR115 was a tiny bit smoother across the pattern. And I just liked the way the 15's sounded a little thicker with subs. I have constantly been amazed at the spl output and sound of these speakers. When I was demoing I happened to have several other speakers in our shop to we did some listening: Fulcrum DX1277 (had for an install), Danley SM80, and the DSR112/115. The Fulcrum was processed level 1 and sounded the best, the DSR115 sounded closest to the Fulcrum IMO.

I am happy with the DSRs, but also would like to hear the DZRs. The 315 looks like a great box and could use more than 1/side.

Edit- we use SRX828SP subs
Me three... I love the way my DSR's sound, but I wish they just had better pattern control. What I mean is, in smaller rooms, I hear a lot of blurring or splatter from wall reflections. It makes it slightly harder to perceive or distinguish every instrument and vocal harmony in the mix. When they are outdoors, that's when they sound a bit more like touring grade boxes with natural sounding mids and highs.

I hope we are seeing the gap between MI and touring grade finally narrowing. If so, I am ready to upgrade.


 30 
 on: Today at 11:58:14 am 
Started by Jongos Mandiri - Last post by Jongos Mandiri
Hi,

For years we have some foldback speakers that sounded muffled & boomy & front of house lacked clarity & bass response.  So, I did some research. replaced cables and now we have exceptionally good sound reinforcement, just some room acoustics issues remain.

The usual advice I have seen for PA is that the speaker cables should be no more than 5% of the speaker impedance. 

However, over at Audioholics I read an article that suggested that 2% would satisfy the pickiest audiophile, so for the price of heavier cable in the total budget, I decided to try this.


Of course, for communal praise and worship. this is overkill but for contemplative audio presentations or preaching, clear & natural sound is most important especially for more aged parishioners.  So for us, well worth the extra expense of heavier cable in my opinion.  For me, the difference between 5% and 2% is obvious, some others canít pick it but I suspect their engagement with the presentation is enhanced anyway.

If working to 5% of speaker impedance in example 1, connecting 2 8-ohm speakers in parallel, the load to the 1st speaker is 4-ohms so the cable must be no more than 0.2 ohms (15m of 13 AWG).  The 2nd speaker is 8 ohms on the last cable so there we are allowed 0.4 ohms all up but we have already used up 0.2 ohms of our cable budget so we are allowed only another 0.2 ohms (5 m of 18 AWG).  Of course, this is the very minimal PA speaker gauge required and may not achieve the clarity you desire.  I expect heavier gauge wire would give cleaner sound if you can do it.  As the 2nd length of cable is smaller, you could just run 13 AWG all the way through as it may be cheaper to buy all the one gauge.

If working to 2% of speaker impedance in the same example, I donít think they make a speaker cable heavy enough for those lengths.  You could run 2 sets of 15m 12-AWG cables to the 1st speaker, 2 conductors for each binding post (0.08-ohms).  Then run 5m of 14 AWG between the 2 speakers or maybe use 12 AWG here if thatís what you have.  This is the upper limit to satisfy the most critical listener in the best listening environment.
There is no correct answer but hopefully I have defined an upper and lower limit for you.  Anywhere between these should be fine the choice is yours.

Regards,
Ken

Wow....thanks for sharing..interesting I'll study it..

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