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Everything posted by Bill Fitzmaurice
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High passing both would be double filtering. But that's not necessarily a bad thing. PA pros with high quality DSP crossovers usually use 48dB/octave slopes for maximum mains protection and minimal pass band overlap. It's unusual for the slopes in powered speakers to be that steep, so your thought of trying it both ways is valid.
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Could be my ears ........ but ..... "BRIGHT" PA
Bill Fitzmaurice replied to Pirellithecat's topic in PA set up and use
What's the name of the band? The Luddites? -
Could be my ears ........ but ..... "BRIGHT" PA
Bill Fitzmaurice replied to Pirellithecat's topic in PA set up and use
Harshness very often is the result of high THD. That can be sourced with too high a signal level anywhere in the chain, going all the way back to the channel input trim. -
+1. That's the myth of underpowering, the notion that clipped signals will kill speakers. If that was the case there could be no such thing as distortion effects. Distortion can toast tweeters, but not because the amp lacks enough power. It's because the abnormally high harmonic content over-powers them.
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Could be my ears ........ but ..... "BRIGHT" PA
Bill Fitzmaurice replied to Pirellithecat's topic in PA set up and use
I did that too, until 20 years ago, when I went to DSP with auto EQ. But you can manually tune EQ almost as easily with one of these on your phone https://play.google.com/store/apps/details?id=radonsoft.net.rta&hl=en_US and one of these for your mixer http://www.flatkeys.co.uk/P!NG.php -
Could be my ears ........ but ..... "BRIGHT" PA
Bill Fitzmaurice replied to Pirellithecat's topic in PA set up and use
EQ isn't optional, it's mandatory. Without it you can't compensate for the room acoustics or tune out feedback. There was a time when I didn't have EQ. That would have been in the early 1980s. 😲 -
Anywhere between 1/2 and 2x the speaker rating is good for amp power. What manufacturers don't tell you is the mechanical power capacity of cabs, which can be as low as half the thermal rating. Very few have mechanical capacity equal to thermal capacity. To get a meaningful increase in amp headroom requires a 6dB increase. That's four times the power.
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Tossing random drivers into a box is a time honored tradition, started by Leo Fender, continued by Jim Marshall. 🤪
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Adding a 4" mid will do the job, but 200Hz is too low for the crossover. 800 to 1200Hz is the appropriate range. Read this: https://www.basschat.co.uk/topic/496512-replacement-hi-mid-driver-for-tecamp-puma-110-combo/
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Most, but not all. The Simplexx subs are ported boxes, but still employ well braced 12mm construction. That's the scenario if precautions aren't taken, so we do, using DSP to high pass and limit the signal from the amp.
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Oh, it has to be Penn and Teller. The sound is pure magic.
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Morecambe and Wise?
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There is one already, though room for more. https://billfitzmaurice.info/Builders.html
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The ones I design don't weigh a ton, because I employ well braced 12mm plywood construction. Commercial cabs tend to use minimally braced, if braced at all, 18mm or heavier material. That's because bracing is a labor intensive process, which adds to cost.
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That's correct. The cabs would probably be about the same size. The only reason for the 210 would be if a very small frontal area was desired. In that case the two drivers could be mounted push-pull, with one on the front and one on the back, or if you prefer one on either side. The name push-pull is a misnomer, as it infers that one cone is moving out while the other is moving in, which isn't the case, as they'd cancel each other out. But someone applied the name at some point and it stuck.
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The CH2010 are decent enough drivers. You still have to use speaker modeling software to find the ideal cabinet specs. Make sure you do them as a pair of 210 that you can stack vertically.
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It depends on the drivers. You can find 2x10 that has as much Vd as 1x15 with equivalent frequency response. The primary reason against that is said two tens would cost more than said fifteen. With electric bass cabs the 2x10 would have the advantage of wider dispersion provided they were vertically aligned. With subs dispersion isn't a concern, they all have 360 degree dispersion.
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In and of themselves cone sizes don't make a difference in low frequency output, that's determined by the cone displacement, Thiele/Small parameter Vd. There are twelves that have displacement equal to or better than some fifteens or even some eighteens. But as I noted those are premium twelves, which are only found in premium priced subs. They also require a lot of power to make use of that Vd, which also means higher cost. In the price ranges that most bands can afford, especially those who play pub gigs, fifteens and eighteens will have higher Vd than twelves. They also have larger cabinets, which also contributes to lower response and higher low frequency output. So as is always the case you can't consider just one factor, in this case the cone size. You have to consider all of the factors which when combined give the final result.
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It will be distracting. Remember than your bass cab drives the stage, the PA drives the room, so to do that the sub would have to be considerably louder than your bass cab. That's OK when it's few meters off to the side, but not right behind you. As for a 12" sub, there are some loaded with premium drivers that are up to the task, but by and large you're better off with a 15 or 18. The very term 'compact subwoofer' is an oxymoron.
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Let him do the hauling of a big monster PA, then he'll have a reason to groan. Too proper, I'm afraid. Mini line arrays are fine, but the majority of commercial offerings use midbasses that are too small for a band. I recommend six inch drivers at the minimum, but you just don't see them out there. There's very little in the way of mini line arrays that are reasonably priced. The RCF NXL 24-A MK2 is a good looking design, but the cost is off the wall. Worse, most of them require placing the lines atop the subs, which makes it impossible to place the subs properly.
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Fifteen loaded tops are a waste of cartage space. They can't replace subs, as being on a pole or whatever to get the high frequency elements above the audience ear height they don't get either floor or rear wall boundary reinforcement necessary for the lows. A fifteen loaded sub or two is no more of a problem to haul than fifteen loaded tops, ten loaded tops have much better midrange response and dispersion than fifteen loaded tops, and separate subs allows placing them out of the way.
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They spec well enough but the midrange response is very rough. Have you looked at the spec sheet? That's always the first step, followed by using speaker modeling software to see the low frequency response, required cabinet size and tuning. https://loudspeakerdatabase.com/LaVoce/NBASS10-20