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It is very simple.  When you have more than one box covering the same area, you WILL have interference (I don't care what the marketing dept says).

That interference is called combfiltering, and varies with freq based on the different arrival time of the different boxes.

That is what affects "the throw".  The more boxes you have, the more interference (now at more freq) you have.

That is the physics, and the marketing dept can't get around it, no matter what they say.

For those of us who really are here to learn, I'd like to understand a bit more about this. I realize that physics would dictate the best possible source would be a single point, but that driver limitations mean that you can only displace so much air per given driver. So speaker systems end up being built with multiple drivers, often covering the same frequencies. Am I wrong in assuming that when you say "When you have more than one box covering the same area, you WILL have interference," this principle also applies to multiple drivers within the same box?

An example is what I have: the DB Technologies IG4T. 4 drivers deliver the low-mid frequencies. When they are stacked, they stack so that the horns are closest together.

So (overly simplistically), although there is some destructive interference, it is taken advantage of in a way that helps create a more controlled, cylindrical dispersion pattern? And that you can make it so the inverse-square law is tricked a bit by the vertical spread of the drivers?

What about for systems where the subs are being fed from a different bus than the main L+R, do you add the "back line" delay to the subs too?

As to Frank's comment about measuring the full system's inherent latency; that is something that I need to do.  The portable stages that our town has are only 14' deep so the snare drum is maybe 10' back from the downstage edge.  My speakers are usually not more than 2' in front of the stage lip, so that's a maximum distance of 12' or 12ms of delay.  After subtracting a few ms for the inherent latency in the system, is the remaining <10ms of delay noticeable?

Yes.  It's surprising how noticeably tighter the hits are when you A/B it (I have done).  If the drums are audible acoustically with the PA, it can help.  If the PA is the only thing being heard, then it probably is moot.

What kind of console are you using?
The input pads are off, right?
The cables are tested to be working correctly  - balanced operation ?
The "talent" is speaking into the mic, in their "outside" voice ?
Chris.

x32
no pads that I know of
yes
yes, they are all good at projecting

Ive always had to gain vocal mics quite hight, but I'm almost out of room.

I have some sm58's and a couple beta 58 mics at my church.  I feel like I have to peg the gain to get a usable volume.  From my knowledge they arent knockoffs, but I personally didnt buy them.  Is this just the nature of these mics?  I dont mind buying new mics if needed.

What kind of console are you using?
The input pads are off, right?
The cables are tested to be working correctly  - balanced operation ?
The "talent" is speaking into the mic, in their "outside" voice ?
Chris.

Thank you all for the replys so far, it seems to me that longer term a cabinet with a much larger horn (3 or 4 inch) would prob be the way to go, we'll never be using this setup for massive outdoor events but being able to do 300-500 would be great

In the meantime I have what I have and by the sounds of it I'd prob be better off just running a single elx112p on each side for indoor events but I'm wondering if outdoor events it may be worth getting a couple of those T-bars that allow mounting 2 speakers on 1 stand, that way I could have 2 elx112p's on each side but have them tight together side by side to give more coverage? Thoughts?

Also in longer terms would I be best getting a pair of 15"s or save the cash and get a pair of 12's as I'll always be running a pair of 18 subs anyway, ev's for now but depending where I go with tops I would prob get the matching subs later down the line...

I have some sm58's and a couple beta 58 mics at my church.  I feel like I have to peg the gain to get a usable volume.  From my knowledge they arent knockoffs, but I personally didnt buy them.  Is this just the nature of these mics?  I dont mind buying new mics if needed.

For what your talking about the delay is applied to the entire main output mix, maybe about 18ms in your case.

What about for systems where the subs are being fed from a different bus than the main L+R, do you add the "back line" delay to the subs too?

As to Frank's comment about measuring the full system's inherent latency; that is something that I need to do.  The portable stages that our town has are only 14' deep so the snare drum is maybe 10' back from the downstage edge.  My speakers are usually not more than 2' in front of the stage lip, so that's a maximum distance of 12' or 12ms of delay.  After subtracting a few ms for the inherent latency in the system, is the remaining <10ms of delay noticeable?

I'm assuming this is kind of a Sound 101 level of question, so I'll put it here.

First, on the topic of delays on a channel. Not as an effect, but as a "correction:"
Suppose you have an outdoor stage, 40' wide, where the mains are set off to the ends and 5' in front of the stage. Then you have the drummer set up 15' back from the center of the stage front, and he's got a blistering snare. If you wanted to align the acoustic signal of the snare hit with when it comes out of the speakers, you've got some choices to make:
1. You could align as though you want it to correspond with when it reaches the front of the stage, so basically correct for 20' of difference between the snare and the theoretical line connecting the two speakers, 5' in front of the stage.
2. You could look at the hypotenuse instead, which would be as though the listeners were all pretty well looking at the stage from off to the side, or their view of the snare was obstructed by the speaker on their side. That delay would be more like 28'.
3. You could split that difference, or
4. You could ignore the theoretical problem and not delay it at all.

What is considered "best practice" in a situation like this?

Now for the panning question:

How do you experts pan your drums, if at all? Kick, snare and hi-hat centered, then maybe a wide pan that follows the visual (from the audience's POV) of the toms to get a bit of stereo? Or...?

I dont go so far as delaying individual channels and only for bigger shows will I delay the mains to the backline. If that can even be done - depends on if there is any offset between bass rig / kick / guitar rigs, etc. Not that I dont think those kinds of things are useful. I just try not to overcomplicate things if the return is minimal.
As far as panning kick center, snare 20% right, lo-tom 60% left, mid-tom center, hi-tom 60% right, ride 75% left, hats 75% right, overheads 100% left / right (if I'm using them). That's POV of the audience and assumes a 5 piece kit. I pan toms the same if it's a 4 piece and similar for a 6 piece - 20% left / right for the mid toms.
I have never bought in to the argument that most of the audience on the left wont hear things panned right - 45+ years of listening has proven that to be wrong until you get in to the 5,000 + plus attendees shows which I rarely do. Even then, with the clarity and precision of the big boy line arrays today, panning is probably still noticable and useful in much bigger situations.

Is there a decent set of EVs that'll match the looks of the subs but be powerful enough to give me more headroom without getting near to limits?

Interested in people's thoughts...

Unfortunately, I don't think that EV currently offers a truly "pro" level powered speaker.  Across their powered lineup, they have chosen to use the same high frequency driver, the DH3-B, which has a 1.25" voice coil.  This compares with Yamaha, which uses a 2" device, and then to JBL, RCF, and others which offer a range of products that use 3" or 4" horns.  In general, the larger the voice coil used in the horn, the more power it can handle and thus the louder the speaker can play.  The loudest speaker in EV's powered lineup is probably the ETX-35P which is a three way design.  It still uses the DH3 on highs, but adds a 6.5" midrange to a 15" low frequency driver.  It weighs 84 lbs, so it's not an easy one person lift if that is also one of your requirements.

There is definitely value is using the same brand of tops and subs, but I think you're at a point where you may need to make a strategic change if you want to have a powered system that can be used for loud, outdoor events.

Did you check with Community, they should have a schematic for you and possibly may still repair them. I had a large Community rig way back when and they were always great  with any questions or service I needed.