12 line array cab plan

You can literally Google “VDOSC manual”

I have some measured impulse responses of a real array vs a Jericho on our website...

toastyghost wrote: I have some measured impulse responses of a real array vs a Jericho on our website...

Edited by gen0me - 09 January 2019 at 9:47am

gen0me wrote: And here comes 119 pages update from 2013 and 5 leaflets.. If you are saying about coaxially mounted speaker vs danley horns... notice BMS triaxial drivers and what is happening around their crossover frequencies. Has any of those big brands producers published weightened directivity plots? Look at the reflex plot of eighteensound reflex: http://www.eighteensound.com/Portals/0/EnclosuresKits/18_Sound_12_2_Ways_v1.pdf So only one producer is not ashamed? toastyghost wrote: I have some measured impulse responses of a real array vs a Jericho on our website... How would you compare best Danley to best line array? I think Elliot posted link to this paper. I just dont agree that reflex impulse response is lame. Nor to the conclusion of triple peak impulse response. It may happen on frequencies where wave will be splitting so far into hf range but im not convinced that it will look like tripple peak on single mountain. Tapped horns has this strange not decaying impulse response.

No, not a coaxial speaker. It's a real measurement of a 10 deep hang of a big name line array, large format. I won't say which, but it's similar for many of them.

You can 'think' all you like, I prefer to 'verify' and 'measure'.

I also never said anything about reflex impulse response nor tapped horns. You asked about line arrays...

If you can't be bothered to read the manual you asked for, then that's on your head dude. It's hardly massive, and is immensely useful. It should frankly be required reading.

Not so sure on 20k+ needing a line array. It's one solution sure, but then you're doing zero degree horrors to achieve it. I'd rather use out-fill, and delay lines with BIG point source if the option was available.

But yeah, that one resonated with me a lot (pun intended). I'd rather listen to/give an audience a consistent tonal sound at as many seats as possible than make sure all of them have a big number on an SPL meter. The infamous early line array 'nasally' sound outside of the pit / behind FOH is totally unacceptable to me. Strides have been made in that area - seemingly, treating the systems as sections of coupled point sources through array processing techniques, either done by computer or done by humans with FFT - but there's also still a lot to be said for improving direct to reverberant ratios at more seats.

To do that, you also need a better-behaved source, though.

I don't hate line arrays, far from it, they're a great tool that's massively improved the consistency of audio deployment for over 20 years. I've done multiple courses, manufacturer specific and agnostic, on designing and deploying them and done plenty of hangs myself. We own line array.
But I do think they're pretty much a done deal and there's only so many 'magic' tricks you can apply, many of which the big players already seem to have deployed

None of which currently appear to be able to tackle the primary issue of Europe being a pretty windy place with variable temperature.

Sounds like Glastonbury 2007, per chance.

Thermal layers refract waves....aim it as much as you want, but as the wave passes through the difference in density/S.o.S. difference, the wave bends from original path.

Wind is a doppler effect I presume, artifact of S.o.S. being only one or two orders of magnitude bigger than typical windspeeds, 30mph ish wind is 10% of S.o.S., and becomes significant. Although I would of thought some events may be suspended due to structural limits Vs some wind speed.

Mewh. Putting sound waves through air as a medium is a real PITA.

you have big format line array,exemple:2x15" or 2x12" then medium then small.