Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Ray Reid]

Another audio forum I frequent, is in yet another childish scuffle, arguing if "throw" exists, despite being provided with several links from eminent entities stating it's use.


http://www.voidaudio.com/news/news_item.asp?NewsID=33

- Stasys Series
Designed as a point-source touring system for medium-sized venues to the largest-scale stadium events, this series is also proving popular in club installations worldwide.  It comprises the Stasys 3 V2 mid-high enclosure, incorporating Void’s unique Waveformer technology, and the Stasys 4 foldback monitor, which is also designed for FOH deployment in smaller venues.  These units are complemented by the Stasys 8 horn-loaded sub, and the Stasys X wide-band horn-loaded sub, which uses five resonant chambers, extending the response down to 35Hz, and maximising both efficiency and long-throw projection.

http://www.prosoundweb.com/article/das_audio_deployed_at_stadio_atleti_azzurri_ditalia/

“This situation necessitated loudspeakers that had long throw characteristics capable of reaching the people sitting in the end-zone and goal area grandstands—while being lightweight so as to conform to building codes.”

http://www.meyersound.com/products/concertseries/msl-4/

"The Meyer Sound MSL-4 is a high-Q, arrayable loudspeaker designed for a wide variety of medium- to long-throw applications. The MSL-4’s tightly defined coverage pattern allows seamless integration into array clusters, which may be tight-packed for long throw or splayed for broader coverage. "

http://www.turbosound.com/cgi-bin/turbo_coranto/viewnews.cgi?id=EFupkyZVFErOTDcDta&style=print_news&tmpl=print_news

"To provide mids and highs, Landry selected Turbosound Aspect Series speakers. Six TA-880H speakers provide the long throw to the far ends of the arena, while three TA-550H models handle the midrange throw to the near sides. Three more TA-500HM speakers are hung below for short throw and floor coverage. The area behind and below the cluster is covered by a set of Turbosound TCS-59s as rear fills augmented by TCS-40s for downfill."


http://www.funktion-one.com/products/resolution-5-skeletal/
Overview:

"The Resolution 5S is a three-way, long throw loudspeaker enclosure designed to operate from 100Hz upwards."

http://nexo-sa.com/en/articles/1055/nexo-renews-its-residency-at-gentings-arena-of-stars/

"Sub-woofers placed at ground level under the main cluster were configured as left and right with 12 units of the NEXO 18”  RAYSUB 18PT controlled by a NEXO NX242-ES4 processor   The Ray Subs provide high sound pressure level output and offer long-throw even coverage. All audio signal is managed by an XTA DP 448 system. An existing Midas Heritage 4000 was used for FOH mixing whereas a new Yamaha PM5D was purchased for monitoring that was supported by a NEXO NX-Y16ES 16 channel Ethersound digital interface. The managing and controlling of the Ethersound network was done by an Auvitran AVE-Es monitor system."

http://www.electrovoice.com/product.php?id=14

Xvls
Three-way, long-throw element
High-output, three-way line-array system

    Rectangular cabinet design
    90º horizontal coverage pattern ideal for long-throw applications
    EV Hydra(R) time-synchronized vertical plane-wave generator provides excellent far-field summing
    Ring Mode Decoupling (RMD™) provides level-independent fidelity,
    greater midbass clarity, and high-frequency accuracy
    Proprietary rigging allows for rapid venue load-in and load-out


http://www.martin-audio.com/products/datasheets/W8LLongbowdatasheet.pdf
Since the launch of the W8L, Martin Audio has developed a patent pending technology, which provides an
exceptional degree of control over the curvature of the high frequency vertical wavefront. Our research has shown
that even very long throw systems benefit from a small but specific amount of wavefront curvature. By coupling this
technology with significant advances in high frequency device design we have created a quad-driver, high frequency
system with the very high efficiency of 119dB (1W/1m). This allows the W8L Longbow to cope with the most
adverse atmospheric conditions which can severely attenuate high frequencies over long distances. The new high
frequency system also results in improved HF summation of cabinets in the array and a corresponding reduction of
side lobes.

http://www.audioprointernational.com/news/read/das-audio-reinforces-stjarnan-fc-stadium/04934

Þorsteinn Halldórsson, the firm’s owner, said: “As most events of this nature cater to crowds of about 2,500 people we elected to install four of DAS Audio’s DR-12 2-way, full-range loudspeakers along with two BiDriver Plus systems, which are two-way, mid-high units designed for long throw applications. A D.A.S Audio DSP-26 stero/mono processor handles loudspeaker management duties and DAS PS-1400 stereo power amplifiers drive the speakers.”

Comments from the pros ?

[Tim Weaver]

No. Throw does not exist. However, there seems to be no better descriptor to compare how different speakers behave at X distance.

[Glenn James]

I understand 'long throw' speakers are generally designed to play louder at the expense of near field pattern control, clarity and heaps of technical tidbits I am sure others will add.

[kristianjohnsen]

I understand 'long throw' speakers are generally designed to play louder at the expense of near field pattern control, clarity and heaps of technical tidbits I am sure others will add.

Although "throw" isn't a specification as such, it is a reasonable word to explain how well the sound propriagates over distance.

If a speaker "throws" well it has the HF horespower to compensate for a lot for air absorption.

It also has a very uniform dipersion pattern, so that the "beam of sound" coming from it contains pretty much the same information everywhere. 
This is important in windy conditions where essentially the listener is moving around in the coverage area of the speaker, only that it's the coverage area that's moving and the listener that is stationary.

[Tom Young]

Another audio forum I frequent, is in yet another childish scuffle, arguing if "throw" exists, despite being provided with several links from eminent entities stating it's use.

"Throw" is a condition, or descriptor, for a type of loudspeaker and also for how a loudspeaker is deployed.

A high-Q loudspeaker with a narrow coverage pattern in both axis is typically described and used as "long throw". In this case, the loudspeaker will have greater acoustic output which equates to higher level at a longer distance than a lower-Q loudsepaker exhibits. If we employ this loudspeaker to cover the further seats, we are employing it as a "long throw" device.

If you owned a bunch of 60x40 point-source loudspeakers and assembled them into an array where the top tier was aimed at the furthest seats, these upper devices would be employed as "long throw". If the middle tier was aimed at the mid seats and mix position, these are deployed as "medium throw". If there was a lower tier aimed at the closest seats these are being used as/for "short throw".

If you constructed a long J-shaped line array system and aimed the upper devices straight ahead towards the furthest seats, these are "long throw". If the middle devices, where the bend begins, are aimed at the mid seating, these are "medium throw". If you then aim the lower 1-3 devices down significanty to cover the near seating, these are "short throw". Note that in this case you are also applying more gain to the upper devices and tapering the gain as you go down to the lowest devices. But also note that the speakers themselves are all alike. Same individual coverage and Q.

Take a typical off-the-shelf 2-way fullrange speaker and put it on its side, on the stage floor and aimed up as a monitor and it is "short throw". Put the same speaker on a stick and aim it in towards the dance foor and it is "medium throw". Add another and aim it out to the furthest seats and it is being used as a "long throw" device.

Although it is extremely unlikely that you wuld do this, you could construct a point source array with 40x30 speakers (which we normally think of as "long throw") on the top, deployed as "long throw". If you then added a lower tier (of 40x30 devices) and aimed them towards the mid seats these would be (in this case) "medium throw". If you then add a lower (bottom) tier (again: of the same 40x30 devices) and aimed these towards the nearest seats (with enough of them to cover all near seating) these would be "short throw" for this system. Note that your short throw devices, in this case, will need to be trimmed back quite a bit in level. The middle tier needs to be trimmed but not as much. The upper tier requires no gain (relative) trimming.

In summary; we often think of higher-Q (narrower coverage) devices as "long throw" and low-Q (wide coverage) devices as "short throw". And this is how they are most often going to be deployed. But due to site conditions, what we have available in our warehouse and other factors ...... we can use any type of speaker for long, medium or short throw deployment. I'm not saying this is ideal or "right", but it is sometimes a reality.

[Ivan Beaver]

If you have 2 loudspeakers that are producing the same SPL on axis up close-then they will be producing the same SPL at a distance-on axis.

As others have stated-what often sets a "long throw apart from a "short throw" is what is happening off axis.  With less osund off axis and more sound far away-it gets termed "long throw"

Something that often gets overlooked when comparing the sound of a "long throw" and a short throw box is the sound at a distance.  With a narrower pattern cabinet-the surround buildings/structures/walls etc will have less of an influence than with a wider pattern cabinet-which is bouncing the sound off of them-and influencing the sound we hear at a distance.

So the "long throw" box will sound clearer-due to less reflections.

Something that does not show up on the spec sheets and HAS to be experienced is how well the sound "holds up" at a distance. 

A cabinet that "starts off better" is going to hold together  better at a long distance-and sound much clearer.

A good test for this (and any loudspeaker) is to listen at some distance (be it 10' 100' 1000' etc) and close your eyes and listen and try to determine how far away the speakers are.

Can you tell how far the speaker is away?  Loudspeakers throw out all sorts of "sonic clues" as to how far away they are.  The ones that have less "clues" are the ones that have less self interference.

[michelvandebeek]

Another audio forum I frequent, is in yet another childish scuffle, arguing if "throw" exists, despite being provided with several links from eminent entities stating it's use.

Comments from the pros ?

Please read Bob MCCarthy's green book ... the part that explains how different coverage patterns wil result in different minimum-variance shapes and ratios will give you direction.

Keep in mind that a long throw speak is considered to be a speaker that can mantain the minimum variance to a farther distance. This will apply for both fullrange and sub.

Hope this helps.

[Kevin Maxwell]

I thought that speaker throw was during break down at the end of a long day how far the stagehands can pitch the speakers into the truck without hitting anything else. 

[duane massey]

Common confusion amongst the less-informed is the false concept that "long-throw" somehow means that the audio signal will be louder at a distance. I dislike this term for that very reason. I like Kevin's interpretation better.

[duane massey]

It does strike me as odd that the EV quote referred to a 90degree pattern as long-throw.

[ProSoundWeb Community]