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[Stephen Kirby]

I have a dolly where two DSRs sit angled face to face with the backs in opposite corners.  Fairly compact.  But there are times when I'm using them in a bar gig, throwing them in the back of my Mazda 3 or just moving them around.  It seems like more handles would be nice, but it's never been a problem for me.

Agreed about the load in logistics.  Grassy fields, stairs, dumbwaiters, narrow hallways.  All add to the pain of a gig.  At least out here we rarely have to deal with snow and icy parking lots.  A couple times in the mountains was enough for me.  Pile the gear onto a snowcat?  Okay, but I won't be back next year. 

[Scott Holtzman]

I have a dolly where two DSRs sit angled face to face with the backs in opposite corners.  Fairly compact.  But there are times when I'm using them in a bar gig, throwing them in the back of my Mazda 3 or just moving them around.  It seems like more handles would be nice, but it's never been a problem for me.

Agreed about the load in logistics.  Grassy fields, stairs, dumbwaiters, narrow hallways.  All add to the pain of a gig.  At least out here we rarely have to deal with snow and icy parking lots.  A couple times in the mountains was enough for me.  Pile the gear onto a snowcat?  Okay, but I won't be back next year. 

Surprisingly this winter we dodged and really bad days.  Back inn the day when we were pushing around a 2300lbs of Apogee speakers and amp rack we utilized a trailer.  Pulled by an old Dodge conversion van.  Was a real hoot. 

I digressed as usual, the ramp to the van froze over as we were loading in.  Pushing these cases up an ice covered ramp was a mess.  We had our boots and Carharts so it warmth was not an issue.  It was comical. I am glad we moved on from those days.

[John Ferreira]

... Back inn the day when we were pushing around a 2300lbs of Apogee speakers and amp rack we utilized a trailer.....

Scott I still have my AE5s, and they still sound amazing with the P5 analog processor.  In the large and spacious PA Plus warehouse here in Toronto, they always won blind shootout comparisons to Meyers UPAs.

[Nick Andrews]

Not that I see googling, but here is a brochure page.

Exactly what I've been looking for ... Hoping they have a Monitor angle , and ability to rotate the horns

.. specs look awesome , and weight !

[Mike Pyle]

Exactly what I've been looking for ... Hoping they have a Monitor angle , and ability to rotate the horns

.. specs look awesome , and weight !

I have a pair of NXM10A from when they first started the NX series. They do have a monitor angle and rotatable horns.

[Peter Kowalczyk]

I've been using DSR112s for a few years now - primarily for monitor duty, though they go out as a SOS DJ rig quite frequently.  My company owns several, and I just purchased several more for a restaurant / venue I manage to complete their monitor package and facilitate a secondary portable PA for their summer deck soloist and duo shows.  (Shoutout again to the one and only Mike Pyle for supplying them!)

If Yamaha asked ME how they could improve the DSR112, I'd recommend:
 - Plywood construction instead of MDF (yeah, $$$, I know)
 - Reinforce the bottom rear corner of the trapezoid, which takes the brunt of any careless handling by tired techs.  Aforementioned MDF cannot take this abuse.
 - Place rubber feet on the 'Floor' side of the trapezoid when in monitor position.
 - Handles on the sides
 - Dual-angle pole cup
 - A fully enclosed cover.  We have some covers from Cloud 9 that have a bottom flap and hard board reinforcement and are sooo much nicer than the stock Yamaha slip-over ones.  The slip covers do not protect that bottom rear corner, while the fully enclosed ones do. 
 - An elegant method of enabling symmetrical monitor placement; which is to say, having either side 'down' in monitor position.  The amp and connector panel prohibits this in the current design.  An alternate input panel for power and signal on the top or bottom of the enclosure, which would be the sides in monitor position, would do it.  Cooling the heatsink, now down against the floor in this alternate monitor position, would be an issue to solve.
 - There's a relatively large space between the Horn and Woofer on the DSR, which, if reduced, could theoretically improve the the vertical polar pattern.  I have not measured this nor found it to be objectionable however, just a thought. 
 - I'd be content to do away with the 'D-contour' and integrated high-pass functions and the switchable white LED, but I understand why those features are a selling point for other applications than mine.

An acoustic upgrade to the DSR118W sub would be most welcome.  They do alright in the 60 Hz kick drum region, but don't really go that low.  I once measured them beside a QSC KW181, and the 181 went waaay lower.  The integrated casters on the KW181 are a nice feature too that Yamaha could to well to emulate.  A DSR118 over a DSR118W makes a killer drum fill, but the sub is underwhelming for FOH Duty.

FWIW, to reach back a few pages into this thread, I once did a hasty A/B comparison of a DSR112 and UPA-1P, just using pre-recorded tracks.  The DSR112 is actually a bigger box, while the UPA is both smaller and (substantially) heavier.  As such, the DSR is tuned lower; the UPA is obviously intended to be used with subs, while the DSR can get away without them for basic playback.  However, the HF section of the UPA blows the DSR away in uniformity of coverage subjective 'smoothness,' and overall the UPA wins in sheer clean output...  Unsurprisingly ;-) 

[Nick Andrews]

I have a pair of NXM10A from when they first started the NX series. They do have a monitor angle and rotatable horns.

that is actually a really cool form factor... i wonder why they discontinued them?

[Mike Pyle]

that is actually a really cool form factor... i wonder why they discontinued them?

I think it was just the rising cost of neodymium, and not enough of a market at the time for the added expense of the cabinetry.

[Richard Penrose]

I am very keen to hear how the new RCF NX45a will compare to the Yamaha DXR15's. I am also very interested to know how the NX32a will compare to the Yamaha DSR112 and FBT Ventis 112a and FBT Mitus 112a!
Is there a rough date when the new RCF NX45a and NX32a will be shipping?

[Scott Bolt]

I've been using DSR112s for a few years now - primarily for monitor duty, though they go out as a SOS DJ rig quite frequently.  My company owns several, and I just purchased several more for a restaurant / venue I manage to complete their monitor package and facilitate a secondary portable PA for their summer deck soloist and duo shows.  (Shoutout again to the one and only Mike Pyle for supplying them!)

If Yamaha asked ME how they could improve the DSR112, I'd recommend:
 - Plywood construction instead of MDF (yeah, $$$, I know)
 - Reinforce the bottom rear corner of the trapezoid, which takes the brunt of any careless handling by tired techs.  Aforementioned MDF cannot take this abuse.
 - Place rubber feet on the 'Floor' side of the trapezoid when in monitor position.
 - Handles on the sides
 - Dual-angle pole cup
 - A fully enclosed cover.  We have some covers from Cloud 9 that have a bottom flap and hard board reinforcement and are sooo much nicer than the stock Yamaha slip-over ones.  The slip covers do not protect that bottom rear corner, while the fully enclosed ones do. 
 - An elegant method of enabling symmetrical monitor placement; which is to say, having either side 'down' in monitor position.  The amp and connector panel prohibits this in the current design.  An alternate input panel for power and signal on the top or bottom of the enclosure, which would be the sides in monitor position, would do it.  Cooling the heatsink, now down against the floor in this alternate monitor position, would be an issue to solve.
 - There's a relatively large space between the Horn and Woofer on the DSR, which, if reduced, could theoretically improve the the vertical polar pattern.  I have not measured this nor found it to be objectionable however, just a thought. 
 - I'd be content to do away with the 'D-contour' and integrated high-pass functions and the switchable white LED, but I understand why those features are a selling point for other applications than mine.

An acoustic upgrade to the DSR118W sub would be most welcome.  They do alright in the 60 Hz kick drum region, but don't really go that low.  I once measured them beside a QSC KW181, and the 181 went waaay lower.  The integrated casters on the KW181 are a nice feature too that Yamaha could to well to emulate.  A DSR118 over a DSR118W makes a killer drum fill, but the sub is underwhelming for FOH Duty.

FWIW, to reach back a few pages into this thread, I once did a hasty A/B comparison of a DSR112 and UPA-1P, just using pre-recorded tracks.  The DSR112 is actually a bigger box, while the UPA is both smaller and (substantially) heavier.  As such, the DSR is tuned lower; the UPA is obviously intended to be used with subs, while the DSR can get away without them for basic playback.  However, the HF section of the UPA blows the DSR away in uniformity of coverage subjective 'smoothness,' and overall the UPA wins in sheer clean output...  Unsurprisingly ;-)

The UPA is an extremely nice sounding speaker.  I am pretty happy with my DSR's though.  As you point out, even if money was no issue (until I win the lottery, money still remains an issue ), there is still the weight (77 lbs each).  Can't see myself putting that thing up on a stand by myself!

Thanks for the information.  I always wondered how it would sound side by side.  As you pointed out, the horn on the UPA is a thing of beauty!

[ProSoundWeb Community]