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 on: Today at 01:36:18 pm 
Started by Victor Estrada - Last post by Luke Geis
The general rule is to have 2-4x as much power going to the subs as you do the tops. In your case you the same amount for each part. Not knowing the specs off hand of the SP4 et all, I would will a good bet that SPL wise, the tops and subs are about even. You can turn down the tops so that the sound is more as you wish ( the balance between subs and tops ), but you risk pushing the subs too far if you need more than what the two you have will put out.

I don't think a Driverack unit will do you much good. The IPR2DSP line has all the processing in it you need. I am not sure what the IPR2 ( non DSP ) unit has for X-over and limiting ( I'm sure it has something ), and I would probably use those on the tops. This will allow you to use the DSP in the other amp to really dial in the subs and keep them in line. I would also consider running the system with subs on an aux. This will help greatly at maintaining energy in the subs for what you really want that energy for.

Folded horn subs are a trade off. A single element folded horn design is about the same output as most dual 18" direct radiating units. Folded horn subs are more bandwidth limited and have a smaller working frequency range. So while it may have more output at a frequency of interest, it typically will have less output elsewhere. The only way to get the output to smooth out and extend with folded horns is to use lots of them. They will typically start going lower and the frequency response will even out, but it requires numbers of them to do that.

Direct radiating subs get a bad rap because they distort more easily and because they have less sensitivity than a horn loaded counterpart. It is not that they can't get loud, it is just that DR subs require more of just about everything to do it. DR subs also have the benefit of a larger working bandwidth. They will typically go lower in frequency response than a folded horn design. So I don't think that getting folded horn subs will inherently take your current system from here to there with less space used. If you really wanted output, you should have went with the QW series.

Touching back on subs on an aux. You have a dual 15" main that gets plenty loud as you say. If you cross them over around 100hz you should be running the subs at about 80hz for their crossover ( whatever works best acoustically ). Having the subs on an aux can free up headroom. Tests I have done show that you can get 3db to as much as 9db of headroom gained back depending on what you are doing. It also allows you to dial in or out as much sub content as desired for any given instrument or song ( again depending on use ).

Invariably the only way you will be able to balance out the PA to have the sub to top ratio you want will be to turn down the tops, or increase the number of subs and subsequent amplification. Most people prefer to have what is called a hay bailed sub region and to do this you have to have more potential sub energy. That means more subs and more power. As I mentioned before the typical goal is 2x to 4x as much potential.

 on: Today at 01:22:42 pm 
Started by Jay Barracato - Last post by John Roberts {JR}
I've fought my share of "intermittents" in industrial electronics-but I have to ask, are there any really, truly intermittents?  The laws of physics are never intermittent-so there is always a cause-the trick is finding the root cause-be it vibration, thermal, radiation or whatever.
For analog circuitry I agree and age old techniques to parse out intermittence include cold spray (to force thermal stress), and percussive (tapping) troubleshooting for mechanical stress. OTOH modern digital circuitry can get into what appear to be intermittent states from combinations of flawed software, and or obscure button press combinations. While technically this is deterministic, this can be very difficult to replicate.

I have one digital controlled appliance that can lock up under random powering up sequences. Almost impossible for me to troubleshoot (without access to code, boot-up circuitry, etc). I just leave it always powered up. (Life is short and I already fix enough of other product designer's mistakes.) 

A little like a couple of my GFCI outlets that randomly trip for no known reason. One likes to trip when power is interrupted. I don't know how to fix that, other than replacement, while I doubt the fault is from old age or stress.


PS: A classic joke about percussive repair is that the repairman charges the big bucks because he knows where to smack it.  ::)

 on: Today at 01:20:53 pm 
Started by drew gandy - Last post by drew gandy
So, in anticipation of shipping more gear around the country, I signed up for a Fedex account.  The rep told me some numbers that sounded pretty good for discounts etc.  Now that I've shipped a few times I'm finding it seems to be a rats nest of confusion.   For some reason or another, it seems like I have to call Fedex for almost every shipment.

A) Invoices are only available in text or spreadsheet type formats?  I understand how this could be useful for high volume shippers who use specialty software but... there's got to be an easy way to create a readable invoice!  Any suggestions for the best way to view these? 

B) I've been shipping Pelican style cases and getting dinged $12 per shipment for the "non-cardboard" fee.  I've heard from other folks shipping Pelicans that they don't think they pay these fees.  Is this something that can be waived? 

C) It's not clear to me how to bill customers for shipping costs promptly when I have to wait a week or more for an invoice to show up that tells me the actual shipping charges.  Are estimates good enough that I can just bill based on those?  Is this what most folks do? 

D) This is just a comment:  It seems that when shipping to a convention center, half (or more) of the cost is the handling fees at the venue.  Actual shipping costs are pretty low.  I guess it costs more to move the package a few hundred feet in the facility than it does to move it thousands of miles on a truck or airplane...

Any thoughts or suggestions? 

 on: Today at 01:03:39 pm 
Started by Jay Barracato - Last post by Stephen Swaffer

As to intermittent problems, there has been a standing joke among my friends (for decades) that I possess the "laying on of hands". Whenever someone brings me some broken thing and I lay my hands on it it starts working. Of course when I send something to a shop to get fixed it starts working, too, more often than not. This leads me to think that another aspect of trouble shooting is thinking in terms of setting traps for intermittent problems. Digital scopes, data logger, buzzers with alligator clips, etc.

I've fought my share of "intermittents" in industrial electronics-but I have to ask, are there any really, truly intermittents?  The laws of physics are never intermittent-so there is always a cause-the trick is finding the root cause-be it vibration, thermal, radiation or whatever.

 on: Today at 12:48:33 pm 
Started by John Schalk - Last post by Stephen Swaffer
If you wanted something better, I'd recomend these

They are a leverlock from Wago-I'm seeing a price of 56 cents each from Crescent Electric, so pricier than wirenuts-but the next smaller version (only good to #12) is really nice-I love them as long as I am not paying for them!  I used to be skeptical, but after being around them for years, I've never seen a Wago spring lock device fail from a bad connection.  In a situation like a this with frequent handling and vibration, these would probably be the most secure option.

 on: Today at 12:46:30 pm 
Started by Jay Barracato - Last post by Frank Koenig
Frank are you a pilot?

Hi Scott, FAA still thinks I'm a pilot. I have my doubts sometimes. I'm going to fly more next year -- really, I am, really. -F

 on: Today at 12:45:47 pm 
Started by Tom Harrison - Last post by Luke Geis
I have used the L'Acoustics X12 and they are a warm sweet sounding box. I have only ever heard one PS10 and it did not have any of its amplification and processing and I was thoroughly disappointed. It sounded really bad in fact and required a fair amount of work to make it sound acceptable. If it requires anywhere near as much work as it took me to get it somewhere, then it couldn't possibly be that great of a speaker.

The L' Acoustics stuff I have used has always been really nice and never disappointed. I have heard a couple different Nexo units ( not many in my area ) and was never super happy. I had a Nexo Alpha rig in one venue I came to manage, and when I replaced it with the JBL SRX stuff, it was an immediate improvement in quality of sound. However, I do feel that the Nexo rig was poorly deployed and was really not the correct solution for the venue, not so much that it was a bad sounding system. It is very difficult to beat L'Acoustics and D&B Audiotechnik. They are the upper echelon after all. While Nexo, RCF, QSC and a few others are in that market, they just aren't the same caliber.

 on: Today at 12:44:53 pm 
Started by Ed Hall - Last post by Ed Hall

I'm so used to only our area being called the "Gulf Coast"

Iím from the Philly Metro area, what do I know?

 on: Today at 12:39:55 pm 
Started by Jay Barracato - Last post by Frank Koenig
I still have my 260 - somewhere..

I've got one sitting on my bench right now with leads attached ready for action. But I confess I don't use it much.  -F

 on: Today at 12:36:52 pm 
Started by Scott Holtzman - Last post by Steve Litscher
There's a reason we own 14 of the DSR112s. :D

It's unlikely there's anything better at (or even near) the price point. We've used them over Orbit Shifters (1:1) at and outdoor gig and have had spectacular results. So versatile, great sounding, and need very little EQ. We chose them over the K12, KW152, HDL32a and SRX812p.

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