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Sound Reinforcement - Forums for Live Sound Professionals - Your Displayed Name Must Be Your Real Full Name To Post In The Live Sound Forums => LAB Lounge => Topic started by: Robert Lunceford on February 09, 2019, 02:30:27 PM
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What is the standard that determines if a speaker is a true professional level speaker vs MI level?
In what category would you place the following lines of speakers?
DB Technologies IG series
EV QRX series
JBL STX series
QSC KW series
RCF NX series
Yamaha DZR series
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They are all MI level speakers. Many pro users and hire companies will have stocks of these for parties, amateur hire and small scale stuff. In Italy, Gardaland (their largest theme park) is powered by hundreds of QSC’s all round the park running 18 hours a day and they are a good number of years old. The line is a bit more blurred these days and many MI speakers are truly great, some professional ones are terrible. I would recommend deciding what you need to do and the sort of coverage you need, then your budget, at that point take same recommendations and try and get a listen before you decide.
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What is the standard that determines if a speaker is a true professional level speaker vs MI level?
In what category would you place the following lines of speakers?
DB Technologies IG series
EV QRX series
JBL STX series
QSC KW series
RCF NX series
Yamaha DZR series
Most of those I would classify as semi-pro rather than MI
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If I can buy it at banjo hut then it’s not a pro level speaker.
More often than not, if I can buy it on the internet it’s not a pro level speaker.
Sent from my iPhone using Tapatalk
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Not sure I can buy into Pro vs MI. To me it is more about application, sound quality and SPL. The labels don’t really tell you much.
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Who cares? Just use the right speaker(s) for the job.
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While I equate MI as being pretty much anything you can purchase at a box store, that isn't true nor is it accurate. Each manufacturer has levels that they market the products within. RCF, for instance, has an entry-level MI/Portable grade, an intermediate Pro level, and a touring level. Same with JBL, EV, QSC and just about every other vendor.
If we class systems based on the type of company that will employ the said product, we could easily say that the QSC K series is a pro level speaker. I don't think it is, but it gets employed as such. I feel that any speaker under $1k is MI grade. This is the price point where the men become separated from the boys. It is no longer entry level and it is no longer cheap. When it breaks, it hurts. When it comes to buying more, it is a considerable cost to chew on. Pro-sumer is a more modern term used to class speakers that fall below touring grade, but are also considered semi-affordable. Speakers like the VRX, SRX, KLA, DZR, ETX fall into this sort of zone. They are not cost prohibitive and are certainly not cheap, but are also not tour grade. If you ask me, there really isn't a pro-sumer grade option that isn't also a pro-level speaker.
Of your entire list, the only one I don't feel is quite pro level is the KW. Two reasons for that. It is only just hitting the $1k mark at full retail and it really doesn't have elements in it that are any better than the K series. It is really just a wooden box version of the K series.
As you step into the Pro level there is typically a clear distinction between them and the MI grade stuff. The components are better and the sale price tends to stick relatively close to the MAP price. You can get SRX 812's for under $1k, but only just and you have to have one hell of a hookup. The RCF NX line has quite a disparity in pricing from their MAP and dealer hookup, but you will still spend over $1k per unit. The other thing that seems to clarify pro level gear is the cost between it and the next step up. If you have three speakers from the vendor A) costs $500, B) costs $1,000, and C) costs $5,000 and there is no step between the B option and the C option, you have a pro level speaker. JBL has the SRX and then the next step up is the VP series, which costs multitudes more. One is pro level, one is touring grade, this means that the PRX is therefore clearly an MI grade speaker in comparison. Same with most of the other brands. They all have a point where the next best thing costs double or more. There really is only Touring grade, Pro level, and MI grade options. Some vendors muddy the waters by offering many different options to stick themselves in many market segments. One last way to tell you are buying pro level speakers is if it only available through a dealer that is listed on the site. Companies like Danely Sound Labs, JTR, D&B, Meyer etc. fall into that distinction where they really don't offer MI grade and the name alone sells the product as being Pro or touring grade.
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Ive been on pro tours that have k10's on stage. Madison Square Garden level tours. That being said, most of the boxes employed were what you'd traditionally call Pro Level. My point is that you should use whatever level your clients demand and what works for the situation.
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While I equate MI as being pretty much anything you can purchase at a box store, that isn't true nor is it accurate. Each manufacturer has levels that they market the products within. RCF, for instance, has an entry-level MI/Portable grade, an intermediate Pro level, and a touring level. Same with JBL, EV, QSC and just about every other vendor.
If we class systems based on the type of company that will employ the said product, we could easily say that the QSC K series is a pro level speaker. I don't think it is, but it gets employed as such. I feel that any speaker under $1k is MI grade. This is the price point where the men become separated from the boys. It is no longer entry level and it is no longer cheap. When it breaks, it hurts. When it comes to buying more, it is a considerable cost to chew on. Pro-sumer is a more modern term used to class speakers that fall below touring grade, but are also considered semi-affordable. Speakers like the VRX, SRX, KLA, DZR, ETX fall into this sort of zone. They are not cost prohibitive and are certainly not cheap, but are also not tour grade. If you ask me, there really isn't a pro-sumer grade option that isn't also a pro-level speaker.
Of your entire list, the only one I don't feel is quite pro level is the KW. Two reasons for that. It is only just hitting the $1k mark at full retail and it really doesn't have elements in it that are any better than the K series. It is really just a wooden box version of the K series.
As you step into the Pro level there is typically a clear distinction between them and the MI grade stuff. The components are better and the sale price tends to stick relatively close to the MAP price. You can get SRX 812's for under $1k, but only just and you have to have one hell of a hookup. The RCF NX line has quite a disparity in pricing from their MAP and dealer hookup, but you will still spend over $1k per unit. The other thing that seems to clarify pro level gear is the cost between it and the next step up. If you have three speakers from the vendor A) costs $500, B) costs $1,000, and C) costs $5,000 and there is no step between the B option and the C option, you have a pro level speaker. JBL has the SRX and then the next step up is the VP series, which costs multitudes more. One is pro level, one is touring grade, this means that the PRX is therefore clearly an MI grade speaker in comparison. Same with most of the other brands. They all have a point where the next best thing costs double or more. There really is only Touring grade, Pro level, and MI grade options. Some vendors muddy the waters by offering many different options to stick themselves in many market segments. One last way to tell you are buying pro level speakers is if it only available through a dealer that is listed on the site. Companies like Danely Sound Labs, JTR, D&B, Meyer etc. fall into that distinction where they really don't offer MI grade and the name alone sells the product as being Pro or touring grade.
Hello Luke, I am replying to your post, not to you directly but in general, as you made some good points.
First, let's not consider rider friendliness as a criteria. Let's focus on performance and quality only.
You mentioned the JBL SRX in comparison to the VP line so we can use that as an example.
The SRX835 goes for around $1600 and the VP7315 around $8,000. The VP speaker costs 500% more, but how much more performance are we getting for five times the cost? I would make a guess that the SRX has at least 90% the performance as the VP. Why would someone pay 500% more money for 10% more performance?
Aside from rider acceptability, what else are we getting that makes the professional level speaker worth 5 times the price?
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To be pro the product needs to be built to be maintainable over a period of probably 20 years.
The product needs to be part of a full ecosystem for transport and deployment.
Technical data needs to be provided to allow the performance to be modelled.
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As a non-professional, I think of professional as anything that a (reputable) professional sound company would keep in their inventory. 10 to 15 years ago (I lose track of time as I get older) the lowest quality speaker in one of the professional sound companies in our local area was the QSC HPR boxes. Everything else they used was higher quality / higher $.
I would speculate that many of the speakers mentioned in the OP are used by reputable professional sound companies at events and tasks for which they are appropriate.
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To be pro the product needs to be built to be maintainable over a period of probably 20 years.
The product needs to be part of a full ecosystem for transport and deployment.
Technical data needs to be provided to allow the performance to be modelled.
Notice that Lyle's points are not sonically skewed. "The sound" becomes a lower driver on the value matrix.
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To be pro the product needs to be built to be maintainable over a period of probably 20 years.
The product needs to be part of a full ecosystem for transport and deployment.
Technical data needs to be provided to allow the performance to be modelled.
I believe the Bose 802 met all the above criteria.
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It’s a crazy time, when MI products can often perform as well or better than some pro level products. I personally think that build quality, ruggedness is often more the differentiating factor, hence price. That’s not to say boxes like srx and dsr aren’t great for the money, but I’ve seen bits come loose inside both these brands and I kind of accept this. If it were d&b, KV2, Danley, L’Acoustic, JBL Pro, et al, we would be ringing the rep. I can’t count how many pieces of pretty mediocre crap was toured on the basis it didn’t break much.
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I had a response typed last night and I thought I hit post, but apparently not.....
The long and short of it was that, like all things, there is a 1% club. To me, the differentiation between Pro-level gear and Touring Class gear is just that. MI grade is entry level, Pro-level is the next obvious evolution and Touring Class is the stuff used by the 1% club. I would will a bet that the true overall difference between the Pro-level and Touring class stuff is 5%. The last little bit is exponential in cost but marginal in actual performance improvement. We, of course, know it is not cheap to be on the cutting edge. The epitome of quality and performance has no price tag unless it is a wooden box with simple electromagnetic devices in it.
I don't feel that we will ever see a product made to last 20 years anymore. I can see 10-15 years being possible, but honestly feel that even the best option available that just released today, will not be serviceable or even relevant in 20 years. I hypothesize that in 20 years we will have speaker systems that have built-in boundary detection, automatic DSP ( for beam steering and cancellation ) and motorized speaker element alignment that will allow us to simply throw the speaker/s in the sky and it will do the rest for us. I also think we will have truly wireless mixers that control the stage box and can run off of batteries if need be. I think the XLR will be phased out completely in favor of a purely networked audio format that has power and signal in a single cable run utilizing a proprietary connector. Heck, we may even have speakers that are no longer pistonic in nature, are scalable and modular, allowing a speaker to be erected in any size needed. The possibilities are endless! The days of speakers that people use for 20 years is over.
The effects are already starting to show. 10 years ago you couldn't buy a line array without spending nearly $10,000 per element. Today you can buy real units that are very acceptable in operation and quality for less than $2,000 per element. In another 5-10 years, that same technology and performance will only cost you $1,000 per element. The current 1% club products will continue to advance and continue to cost multitudes more until we finally reach universal consciousness and the experience of music and sound can be enjoyed without even needing a sound system at all. Universal consciousness will be the point where a band can play and whoever wants to tune in can hear it however they desire and be present to the experience without even physically being there. They say the first person that will live to be 1,000 years of age is already alive today. If that is true, then there is truly is no limit to what we can do with sound.
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I think that Community has hit the nail on the head with their philosophy for making speakers.
1. Speaker must make sound.
2. Speaker must make good sound.
3. Speaker must continue to make good sound.
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...will continue to advance and continue to cost multitudes more until we finally reach universal consciousness and the experience of music and sound can be enjoyed without even needing a sound system at all. Universal consciousness will be the point where a band can play and whoever wants to tune in can hear it however they desire and be present to the experience without even physically being there. They say the first person that will live to be 1,000 years of age is already alive today. If that is true, then there is truly is no limit to what we can do with sound.
What kind of coffee do you drink in the morning?
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Universal consciousness will be the point where a band can play and whoever wants to tune in can hear it however they desire and be present to the experience without even physically being there. If that is true, then there is truly is no limit to what we can do with sound.
If that is true, could cure G.A.S.
Now, how to monetize.
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The future may already be here. L-acoustics Lisa and d&b's Soundscape are hear and touring! Pretty impressive technology that really does improve the sound of live events - maybe of all sizes.
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Not a coffee guy really. I think by the time universal consciousness is a reality, money won't be a thing anymore.
I like to ponder the what ifs and the future of our existence. I was busy postulating how to do multichannel wireless audio right about the time the first digital mixers came to be commercially available. While I now realize that is no longer a needed reality, I think mostly of problem solving devices and tools to improve what we already have.
One of my more recent ideas was about guitar cabinet design. Guitarists are on a craze for smaller more potent rigs. We have been making guitar speaker cabinets the same way for nearly 60-70 years. So I wonder about making horn loaded and or phase coherent designs that outperform the current standard in every way and still allow for conventional micing techniques.
My most recent thought was about stage snake drops. We have networked audio that connects a mixer to a stage box and then we use analog snakes to route signal around the stage. Why haven't we just made networked drop boxes? A single brain with X number of network connections handles all the traffic while each drop box can have say 8 in and 4 outs, or a series of options like 16 in 8 out, or 12 in 4 out; whatever. We don't typically need more than 4 drop snakes for even a fairly busy stage and we need power at each location anyway, so why bother with an analog drop snake. I'm thinking of say a network switch/brain that connects between the mixer and however many stage boxes you need. Each box has an address that can be assigned and you can put #1 at the drums, #2 by the bass and guitars, #3 by the keyboards and #4 goes to the front for vocals or whatever. Then you patch at the mixer how you need it. You can have redundancy and daisy chain the stage boxes. You can use custom and readily available lengths of network cable and for fixed installation, you can even make the in-floor boxes so the connections are really safe. No more big heavy snakes and snakeheads, less copper to carry around and no need for a splitter anymore if you go with a monitor/FOH/ that can utilize Dante or AES50.
Just thoughts that pop in and out of my head.
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My most recent thought was about stage snake drops. We have networked audio that connects a mixer to a stage box and then we use analog snakes to route signal around the stage. Why haven't we just made networked drop boxes? A single brain with X number of network connections handles all the traffic while each drop box can have say 8 in and 4 outs, or a series of options like 16 in 8 out, or 12 in 4 out; whatever. We don't typically need more than 4 drop snakes for even a fairly busy stage and we need power at each location anyway, so why bother with an analog drop snake. I'm thinking of say a network switch/brain that connects between the mixer and however many stage boxes you need. Each box has an address that can be assigned and you can put #1 at the drums, #2 by the bass and guitars, #3 by the keyboards and #4 goes to the front for vocals or whatever. Then you patch at the mixer how you need it. You can have redundancy and daisy chain the stage boxes. You can use custom and readily available lengths of network cable and for fixed installation, you can even make the in-floor boxes so the connections are really safe. No more big heavy snakes and snakeheads, less copper to carry around and no need for a splitter anymore if you go with a monitor/FOH/ that can utilize Dante or AES50.
So something like the Allen & Heath Dante products (https://www.allen-heath.com/dante/)? Or their AB168 and DX168 stage boxes?
Or the Turbosound IQ speaker series (http://www.musictribe.com/Categories/Turbosound/iQ/c/Turbosound-iQ?colExpFlag=,iQ) that can all be networked together via their Ultranet protocol, thus eliminating the need for XLR?
It seems that the future is now.
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If that is true, could cure G.A.S.
Just like there is a market right now for records, turntables, and 8 track players, the future entrepreneurs will cater to the GASaholics of today with antique speakers, analogue mixers, and XLR cables.
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Just like there is a market right now for records, turntables, and 8 track players, the future entrepreneurs will cater to the GASaholics of today with antique speakers, analogue mixers, and XLR cables.
I'm rapidly becoming an antique analogue mixer.
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As a sidebar issue, how about Pro versus MI support. It seems there is some concern with formerly Pro level gear companies being restructured and part of that is loss of key personnel and support closer to the MI level.
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I'm rapidly becoming an antique analogue mixer.
The definition of an antique is at least 100 years old. Unless you're a lot older than I think you are, you are probably more "vintage".
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I'm rapidly becoming an antique analogue mixer.
You can have my PM3K when you can pry it from my cold de....
Wait, that 6 pound box can do 128 x 64?
Processing and dynamics on every input/output?
Control from a tablet?
It only costs .......
and. and. and...
Chris.
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The definition of an antique is at least 100 years old. Unless you're a lot older than I think you are, you are probably more "vintage".
TJ, are you saying that I am an antique?...or maybe like Tim, I just feel that way.
Bill
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The ~1K speaker market today is filled with speakers that can easily be used in a professional setting IMO. The output and sound quality are pro quality and likely far from the weak link in the venues they are appropriate for use in.
It is however, undeniably true that modern MI boxes have focused more on output and sound quality than they have on durability.
Higher end speakers differentiate themselves through their grit IMO.
Now, I won't be arguing that a SRX box is going to sound "just as good" as a MEYER UPA. That would be silly. I would argue that the SRX box is 1/4th the price and half the weight though. I would also argue that most venues would never notice the difference in sound quality (although we here might).
I would further add that a specific company (JBL for instance) makes speakers from "unworthy as a foot stool in a frat party" .... like the JRX, to "touring ready" VRX. You have to address a specific speaker model to determine how "pro" it is.
As with all things, YMMV.
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The ~1K speaker market today is filled with speakers that can easily be used in a professional setting IMO. The output and sound quality are pro quality and likely far from the weak link in the venues they are appropriate for use in.
It is however, undeniably true that modern MI boxes have focused more on output and sound quality than they have on durability.
Higher end speakers differentiate themselves through their grit IMO.
Now, I won't be arguing that a SRX box is going to sound "just as good" as a MEYER UPA. That would be silly. I would argue that the SRX box is 1/4th the price and half the weight though. I would also argue that most venues would never notice the difference in sound quality (although we here might).
I would further add that a specific company (JBL for instance) makes speakers from "unworthy as a foot stool in a frat party" .... like the JRX, to "touring ready" VRX. You have to address a specific speaker model to determine how "pro" it is.
As with all things, YMMV.
I recall the difficulty last century when Peavey attempted to make and sell a series of truly professional boxes. The first obvious problems was an existing distribution that didn't appreciate the differences. But worse than unappreciative customers, it was maddening to try to convince dealers that the extra expense was justified. If the dealers think the price is a ripoff they are not going to support selling them to customers.
Robustness is just one factor, more rigid cabinets, more consistent drivers (for arraying), etc. These all cost money, that our market segment rejected.
Modern MI boxes like everything else continue to get better, but there will still be differences between them and the big boys. Whether the entire cost difference is justified is another debate for another day.
JR
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The definition of an antique is at least 100 years old. Unless you're a lot older than I think you are, you are probably more "vintage".
A guy has to have aspirations!
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A guy has to have aspirations!
I think there is a small surgery to fix that. :P
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I recall the difficulty last century when Peavey attempted to make and sell a series of truly professional boxes. The first obvious problems was an existing distribution that didn't appreciate the differences. But worse than unappreciative customers, it was maddening to try to convince dealers that the extra expense was justified. If the dealers think the price is a ripoff they are not going to support selling them to customers.
Robustness is just one factor, more rigid cabinets, more consistent drivers (for arraying), etc. These all cost money, that our market segment rejected.
Modern MI boxes like everything else continue to get better, but there will still be differences between them and the big boys. Whether the entire cost difference is justified is another debate for another day.
JR
Hi John,
Always a pleasure to hear from you.
You have a good point. No one blinks at spending >4K on a MEYER box, while many people would look at you funny if you suggested that they pay the same for a JBL or QSC.
As far as arraying, I think that the current "MI" level customers tend not to need it, or don't care as much about the artifacts produced. With a simple one top per side over some set of subs (multiple can be used), you can fill a pretty decent sized club .... say up to around 500 cap with "MI" speakers (SRX, DZR, RCF, etc). Perhaps once you grow beyond this level of sound reinforcement, you really should be thinking about a more pro level setup.
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Hi John,
Always a pleasure to hear from you.
You have a good point. No one blinks at spending >4K on a MEYER box, while many people would look at you funny if you suggested that they pay the same for a JBL or QSC.
As far as arraying, I think that the current "MI" level customers tend not to need it, or don't care as much about the artifacts produced. With a simple one top per side over some set of subs (multiple can be used), you can fill a pretty decent sized club .... say up to around 500 cap with "MI" speakers (SRX, DZR, RCF, etc). Perhaps once you grow beyond this level of sound reinforcement, you really should be thinking about a more pro level setup.
Scott;
Speakers that can be arrayed are starting to reach the semi pro boxes (?) as in the DB Technologies IG series. These column array speakers can be doubled up for more output and vertical steering to some degree. They also include RDnet for a much larger menu for control and monitoring. Interesting times as Pro Level boxes are pushed into the Semi Pro / MI range.
Douglas R. Allen
https://www.youtube.com/watch?time_continue=1&v=IeUv4qmAqeU
https://www.youtube.com/watch?v=yhCYYAsTUd0&t=8s
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Scott;
Speakers that can be arrayed are starting to reach the semi pro boxes (?) as in the DB Technologies IG series. These column array speakers can be doubled up for more output and vertical steering to some degree. They also include RDnet for a much larger menu for control and monitoring. Interesting times as Pro Level boxes are pushed into the Semi Pro / MI range.
Douglas R. Allen
https://www.youtube.com/watch?time_continue=1&v=IeUv4qmAqeU
https://www.youtube.com/watch?v=yhCYYAsTUd0&t=8s
Impressive GUI and a very interesting concept.
I looked up the 2X10+HF model price ($1600). That competes well in price with the RCF745a, SRX812 and DZR12 ... at least close enough to be in spitting distance.
I would be interested to hear how it competes with those systems side by side. It certainly looks good. I like the idea of the 2x10+Horn setup. The SRX722 was always a favorite of mine with a 2x12+Horn.
Have you heard them?
This speaker does indeed look like Pro level features being pushed down into the Semi-Pro/MI range.
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Impressive GUI and a very interesting concept.
I looked up the 2X10+HF model price ($1600). That competes well in price with the RCF745a, SRX812 and DZR12 ... at least close enough to be in spitting distance.
I would be interested to hear how it competes with those systems side by side. It certainly looks good. I like the idea of the 2x10+Horn setup. The SRX722 was always a favorite of mine with a 2x12+Horn.
Have you heard them?
This speaker does indeed look like Pro level features being pushed down into the Semi-Pro/MI range.
I have the IG4T and know others who have them and the IG3T's as well. Everyone seems to be very happy with them as am I. With 2 aside and enough subs people are doing the 800 crowd size events. For me a clean box with a 40lb weight is a winner as does my back! ;-) Search here IG4T and my name as I've put a few post up.
https://www.facebook.com/371069353615/videos/10154842280948616/
https://www.youtube.com/watch?v=ZIpSyEdm_nU
Douglas R. Allen
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A guy has to have aspirations!
And as an antique, an aspirator as well. ;)
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IMHO I think what separates MI/PRO/Touring speakers from each other is how well they perform over time.
A MI box is usually not worth repairing. It's cheap and when it breaks, you throw it away.
Once you move into boxes that can be used reliable for a few years (5+) and can be repaired when they break I consider them PRO.
Touring grade I expect to sound good and be reliable 15+ years from now. I retuned an EV Xarray system today for a band, Xn tops over X-Sub with Dynacord PowerH amps. The speakers are around 17 years old and still sound stunning once you dial in the amps. There is a whole lot of systems used today that I regularly mix on where I wish I could have something like this Xarray system.
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I have the IG4T and know others who have them and the IG3T's as well. Everyone seems to be very happy with them as am I. With 2 aside and enough subs people are doing the 800 crowd size events. For me a clean box with a 40lb weight is a winner as does my back! ;-) Search here IG4T and my name as I've put a few post up.
https://www.facebook.com/371069353615/videos/10154842280948616/
https://www.youtube.com/watch?v=ZIpSyEdm_nU
Douglas R. Allen
How is the column attached to the sub? Is it simply on a pole short enough that it doesn’t raise the column off the sub?
I remember reading that there was concern that the weight of two speakers stacked might damage the pole cup in the ig4t.
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How is the column attached to the sub? Is it simply on a pole short enough that it doesn’t raise the column off the sub?
I remember reading that there was concern that the weight of two speakers stacked might damage the pole cup in the ig4t.
This video shows the stacking and linking hardware. It looks well thought out.
https://youtu.be/gZ_y9iCDypQ?t=1216 (https://youtu.be/gZ_y9iCDypQ?t=1216)
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Wherever the line is drawn, portable column arrays are below that line.
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How is the column attached to the sub? Is it simply on a pole short enough that it doesn’t raise the column off the sub?
I remember reading that there was concern that the weight of two speakers stacked might damage the pole cup in the ig4t.
Robert;
For me this was a test only. I currently have just a pair but wanted to try them out stacked. I was in a very small club and they wanted the least amount of room taken up by the band as possible. I used a 7 1/2 inch long solid metal pipe. Its 8 inches total internally for the sub and top socket so the full weight of the tops rested on the sub. If you look at the ceiling you'll see the tops are about 1 inch from the ceiling on the right and less than 3 from the beem on the left *it looks farther away than it is" . I felt this was the best chance for me to test the system stacked with no worries about falling or someone getting hurt has they simply couldn't fall over. As far as the socket I wouldn't go out this way and would get the sub stack system in the video posted by Patrick Cognitore.
https://youtu.be/gZ_y9iCDypQ?t=1216
I did a quick video in the room before I really set the eq or sub/top volumes and crossover point as the room was boomy. I ended up with the subs around 90 and tops 110 if I remember right. The single column covered the room great and I was very impressed with output and headroom I had available.
Again not a great sound to start but it came together well. https://www.youtube.com/watch?v=S0JSr854T-o
Douglas R. Allen
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Wherever the line is drawn, portable column arrays are below that line.
Really depends on the level of speaker in the "Column Array" line. Products like the RCF TTL6A as an example. A pro level speaker.
https://www.youtube.com/watch?v=UEDXPwkyPrY
Or these little speakers throwing quite well on a very windy day.
https://www.facebook.com/371069353615/videos/10154542841443616/
Douglas R. Allen
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Wherever the line is drawn, portable column arrays are below that line.
20,000 sq ft room, 1300 people, 1 RCF TTL11A over a TTS26A sub per side.
https://www.youtube.com/watch?v=CZZ5QY5MV5Q
https://www.youtube.com/watch?v=TSGN6SEF0fk
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1-JBL VP7215 per side 3-JBL VP7118 subs center clustered for about 800 outdoors
https://www.facebook.com/timelinejourneytribute/videos/1204520906357168/
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TT, yes. EVOX, no.