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 on: Today at 10:57:23 am 
Started by Steve Crump - Last post by Art Welter
Haven't used them, but I am a little sceptical about their claims - there's only so much a reflex-loaded 12" cone can do in the bass department.

120/126 dB for a 4" voice coil 12" with 3000 watts seems a reasonable claim.

The use of an isophasic wave guide instead of a conventional horn certainly will impart a "distinctive" dispersion pattern ;^).


 on: Today at 10:39:42 am 
Started by Pete Erskine - Last post by Christopher Irwin
Looks like the 1.5 update has been pulled? I downloaded it yesterday but its not listed on the site now

It looks like you are correct - I am going to keep waiting even though I downloaded that file, since I'm assuming that they need to fix something.  Also, yesterday I checked my beltpacks and they are currently on 1.06, so I'm assuming they will come out with a new version for that.

 on: Today at 10:22:17 am 
Started by andy foster - Last post by Sean Zurbrick
To answer your question, as the owner of a pair of 745s that's what I'd choose. Fantastic compression driver in that box and I love the 650 Hz crossover point. With a beefy woofer, they also handle bass well which is nice if used without subs.

That said, it does seem silly to buy if you have any other option - renting, hiring, borrowing. Unless you know it isn't the case, there's a decent chance you just need a diaphragm replacement, which is likely something you can do yourself.

To test either make extension leads from the box that has the problem and run to the compression driver in the one that's working OR swap power modules and see if the compression driver is working. If you find out the compression driver is bad get it fixed or replace yourself. Even if you have to pay for it yourself it will be 5% the cost of buying a pair of new speakers. Even if if a new diaphragm doesn't fix the problem, it's not a bad idea to have a spare in case one does blow.

 on: Today at 10:20:06 am 
Started by andy foster - Last post by Steve Litscher
If the urgency is just due to an upcoming gig, isn't there any chance of hiring instead of buying, to get you time to have the warranty repair on your current boxes sorted?
Would be a lot cheaper than buying a whole new pair of tops just because of one blown tweeter.


And... if you're always using them on top of the 8003 subs, why go with 15s? I'd be looking at the HD32a or DSR112 for top duties. You're probably passing them anywhere above 80Hz, so a 15" mid-bass seems unnecessary.

 on: Today at 10:12:10 am 
Started by Yusak Christ - Last post by TJ (Tom) Cornish
We upgraded from an LS9 to an M32 for our band 2 years ago.  Overall, the M32 offers many more features than the LS9, however it has one key limitation; it only allows for 32 mic inputs whereas the LS9 can handle 64, I believe.  If you are certain that your Church's music and worship service needs will not grow beyond 32 mic inputs, then the M32 is a very good option.  But, you need to look 10 years into the future because there is no expansion capability for the X32/M32 platform besides the old school sub-mixer approach.
I think this is good advice.  You'd be moving from a 13 year old design (the LS9) to a 7 year old design (X32/M32).   

There's nothing wrong with the LS9 for running IEMs - it has 16 XLR outs which would let you run up to maybe 14 mono mixes (assuming you're using two outputs for your main system).  This would be done with the sound person doing the mixes for the musicians.  This approach is both better and worse than the various personal monitor systems out there (personal monitor systems add cabling and stage clutter, not to mention cost.  It's not that hard to mix monitors from the sound board).

If you do decide to look for something else, check out the Allen&Heath SQ series.  You can use a phone app for user-adjusted mixes without the cost or clutter of a personal mix system.  If you do want that though, Allen&Heath has their ME series personal mixers.

 on: Today at 10:02:42 am 
Started by Steve Litscher - Last post by Taylor Hall
The new site looks great, I wager you'll see a big influx of new orders now!

My only suggestions would be to a) change the thumbnails for the larger outlet boxes to that of the fully assembled product like you have to the smaller ones on the bottom row, and b) adding pre-assembled stringer boxes to the site.

Other than that, everything is nicely laid out and the product pages have plenty of info without being cluttered or hard to read.

 on: Today at 09:56:13 am 
Started by andy foster - Last post by David Morison
currently have 2 jbl prx815w tops over 4 rcf 8003 mk2 subs, and it was quite the system

how ever a tweeter has blown and i need replacments quick, cant wait for warranty repair.

my first choice would be jbl srx15p but these are not available.

what is ready to collect at shop:

yamaha dsr 115 136db 1400w £900
ART 745-A MK4  133db 1300w £1100 (guy in shop swears this is the best option)
QSC equivalent

as these will always run in high pass the descision is not so easily made, it is the specs on the compression drivers that has got me thinking. rcf is 1.4" with a 4" voice coil vs the yamaha 2" voice coil 1" throat.

on the bear face of the figures and description i just do not understand which would be the best choice.

the music is strictly house music, ive got the bass sorted and just need ear shattering highs that i can dial back to suit and leave some headroom.

buying in next couple of days, desperate for help

ps, should i insist on the srx15p no matter what?!

If the urgency is just due to an upcoming gig, isn't there any chance of hiring instead of buying, to get you time to have the warranty repair on your current boxes sorted?
Would be a lot cheaper than buying a whole new pair of tops just because of one blown tweeter.

 on: Today at 09:46:32 am 
Started by Pete Erskine - Last post by Sam Drazin
Sam created a series of WWB tutorial videos for training/education purposes which will help you get the most out of WWB6.   They can be viewed here: 

Thanks for the shoutout, Pete!

Hi all, Sam from Shure here.  To echo Pete, my goal was to create a library of short, digestible videos to help break down some of the more complex or lesser known features of WWB.  Each video is around 5-10m, and focuses on one primary topic.

Also, the videos have been organized into a few playlists to help you find what you're looking for quickly:

Please let me know if there are any additional topics, workflows, or demos you think would make a helpful video, and we will get on it.  The best way to let us know is to comment in the video comments on YouTube.

 on: Today at 09:38:24 am 
Started by Keith Clark - Last post by Keith Clark
Mixer Inside The Mixer: Applications Of Console Matrix Sections
A variety of ways to utilize a matrix, from simple to more complex
By Craig Leerman • Posted in Reading Room on August 14, 2018

For a significant portion of my signal routing, I use the console’s matrix, which I think of as a mixer inside the mixer. In its most simple form, a matrix takes a selection of inputs (usually derived from the group and main output buses) and allows routing of those signals, complete with level control, to a series of outputs.

Complex matrix systems offer the ability to choose from a variety of inputs including external sources, and may offer processing including EQ, compression, limiting and even signal delay.

Here are several ways I use a matrix.

Continue reading on PSW:

 on: Today at 08:57:30 am 
Started by Steve Crump - Last post by Steve Crump
I run them... haven't used in such a context.  Anyone in VA feel free to reach out and I'm happy to set up a demo ... they're the real deal.

If you are willing, give some specifics on your experiences with the DV

*Type of work you are doing with them
*Size of crowds
*Size of area that you are covering
*Are you using two a side or just one.
*Subs in use?
*How do they compare to the other systems that you use?


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