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This is why I love PSW. Thanks, all!

I don't delay individual channels to the back line. I delay the main speakers to the back line. I have experimented by turning the delay on and off. With the delay off you hear the band and it is also coming out of the speakers. With the delay on the speakers aren't as obvious you just hear the band louder. Now the result is more beneficial with a band like a "Big Band" or sometimes referred to as a Jazz Orchestra. If you know what you are listening for you will notice how much smoother the transition is. But the average audience member just knows it sounds really good. And it works even outdoors for a rock concert. I do it all of the time.

 

But, the ideas come from peoples' minds, the tech is just a tool to realize the ideas.  The current power of computing and manufacturing puts staggering capabilities into many hands.  Look at 3D printing for instance.

b) if the drummer is sufficiently loud then there is often (at least in my limited experience) bunch of snare in the vocal mics... so, are you gonna delay those, too?

The vocal mics have some distance from the drums, so they are already delayed to some extent.  They are probably closer to the speaker plane than the drums.

Keep in mind they are biamp only, so factor in the higher amp cost versus simply the speaker cost.

Now that was exactly what I needed to know....while its not a deal breaker its definitely info I didn't see mentioned in the company literature. But I was suprised to hear you say that it sometimes gives JBL vibes with the distortion. They are selling 4 of these for $1k total.

Drumset Delays are a fun thought experiment.

Delaying those signals in the PA back to their acoustic source can really help when the acoustic source sound is significant compared to the PA - e.g. smaller venues.  You can extrapolate this concept to backline amps as well.  I'll frequently delay the bass and guitar amps in the PA according to their distance from the downstage edge. 

Hwever, adding delay on input channels, esp. if those same channels are used for stage monitors (not split to a separate monitor console) can mess with musicians.  I had a bass player call me out on a ~5ms delay I had on his line...  wow.  I'd be very concerned with any input delays pushing 10ms...

On larger systems, esp. outdoors, I find the PA dominates and the acoustic stage sound is less significant, so delaying the PA to backline is less critical. 

In that case, I focus more on time aligning the different mics on the kit back to the Overheads. 
 - use a stereo bar to X/Y the overheads in a single spot
 - Measure from snare drum to OH, and apply that much delay to snare mic.
 - I'll often estimate delays for Toms, hat, kick... based on one snare measurement.  but you could measure those too...

.... I find this can really 'focus' the drum sound, when the ACOUSTIC drum sound is insignificant in the venue. 

so:  Acoustic sound is significant - delay the PA to the backline.
       Acoustic sound is insignificant - delay sources to each other on-stage.

... Anyway, thats what I've been experimenting with recently.  It can really make your head hurt if you start to consider every path from every source to every mic.  Yikes...

We will probably never in our lifetimes ever again see the level of innovation demonstrated during that time period by such a small group of brilliant people. Our children and grand children may never see it.

It was rare to see such research outside of academia.  As much as some people like to deride higher education, it's given us massive benefits.

Out of stock. And the price is already $2400...
I don't dream about it anymore

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Mac
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The amazing thing with technology changes in the last hundred years is how few people actually were the ones that made such large advances.

Granted, today things are advancing at a far more rapid pace because of access to computers and whatnot, but even small advances require the efforts of HUGE teams to make breakthroughs.  Gone are the days when someone working in their garage could come up with something new that could fundamentally change humanity.

I disagree, individuals have access to pretty powerful design tools for only modest capital outlays. Using computer software decision trees we can incorporate powerful features in product design.  We are in the very early days of AI and I expect it will reveal massive pros and cons, but it should help improve productivity which means more stuff for less cost (if the gubmint ever stops making so much damn inflation). 

JR

Option 1, and assume about 1 mSec delay for every foot difference between the drums and the FOH speakers (number of feet between the line between the 2 FOH speakers and the drum, not the literal distance on a straight line from the drum to the speakers).

Add an additional 1mSec (or 2) to account for the digital mixer processing delay. (And as Mike just posted, this is done on the main output).

This does help to tighten up the drum sound, but as you say, it is imperfect as the distance from each audience member to a speaker and to the drums varies depending on where they stand.  Shy of using headphones, this is the reality of live sound and the laws of physics.

I never pan the drums for the same reasons others have listed.

That should be take away 1ms or 2 to account for the delay that the processing will add.

Delaying the mains to the backline can really help to tighten everything up. At least it has worked great for me. I also am careful to do the best as I can to time align the Front Fills to the house system and put in them only what will be missing in that area.