ProAudio Review - May 2008 - (Page 55) BUYER’S GUIDE | Live Sound Speakers A-LINE EMMA Solutions-1 HighDefinition Line-Source System FEATURES: Two-way EMMA 806A module with 8 X 6.5” LF drivers; 8 X 6.5” HF ribbon drivers; EMMA S410A 4 X 10” subwoofer; 1,500W Bang & Olufsen ICEpower; onboard DSP; DuraTexcoated birch ply enclosures; transport system; all hardware. PRICE: $8,799. CONTACT: A-Line Acoustics at 716-5244084, www.a-lineacoustics.com. PRICE: $7,500. CONTACT: Meyer Sound at 510-486-1166, www.meyersound.com. STUDIO | MACKIE Continued From Page 42 BAG END P-Quartz-R Subwoofer FEATURES: Four 18” INFRA cone woofers; two Minima One onboard 1,000W amplifiers. PRICE: $5,750. CONTACT: Bag End at 847-382-4550, www.bagend.com. SLS LOUDSPEAKERS PLS8695 Powered Line Array FEATURES: Two-way; eight 6.5” woofers; nine PRD500 ribbon HF drivers; onboard amplifier; NeverMar coating. PRICE: $5,495. CONTACT: SLS Loudspeakers at 417-883-4549, www.slsloudspeakers.com. ALESIS ProVenue 15 FEATURES: Two-way; 15” woofer; 1” compression HF driver; pole mount socket; powder-coated metal grille; mounting hardware; polycarbonate cabinet. PRICE: $399 CONTACT: Alesis at 401658-5760, www.alesis.com. TANNOY iQ 10/15 FEATURES: Three-way; 15” woofer; 10” PowerDual concentric driver; biamp/triampable; birch plywood cabinet; steel grille; onboard mounting hardware. PRICE: $5,865. CONTACT: Tannoy North America at 519-745-1158, www.tannoyna.com. TALOS LK-2236L FEATURES: Three-way; two 12-inch LF neodymium drivers; one hornloaded 10” MF driver; two 1.5” exit HF compression drivers with 3” voice coils and wave-shape device; 48Hz – 17kHz; 120-degree dispersion; triampable; flying points; integrated handles; metal grille. PRICE: $2,120. CONTACT: Talos at 703-764-7005, www.musictechnology.com. DYNACORD D-Lite 2000 System FEATURES: Subwoofer/satellite system; 15” powered subwoofer; two satellite speakers with 12” woofers; polypropylene cabinets; 1,000W Class D amplifiers; cables. PRICE: $5,500. CONTACT: Dynacord/Telex at 952-884-4051, www.dynacord.com. MCCAULEY FM850 Floor Monitor Features: Two-way biampable vented high pass enclosure; direct radiating 15” LF loudspeaker; horn loaded compression driver HF; 50Hz – 20kHZ; power handling: 1000W (low), 220W (high); max peak SPL: 134dB; 12-Ply birch construction; dual NL4 connectors. PRICE: $3,750 CONTACT: McCauley Sound at 877-McCauley, www.mccauleysound.com MEYER SOUND M2D Compact Curvilinear Array FEATURES: Two-way; twin 10” lowfrequency/mid drivers; 4” high-frequency driver; Ribbon Emulation Manifold; onboard 600W amplifier; QuickFly rigging system. through the A/D and D/A converters, plus some time is required for DSP number-crunching in the mixer. A trip from mic in to line or headphone out takes just under 3 milliseconds at 44.1 kHz. Doubling the sample rate cuts that delay in half, suggesting that nearly all of the monitor latency is a function of the digital filters in the A/D and D/A converter chips. Most players won’t be thrown off by a 3 ms delay, but vocalists might have a different problem. The delayed sound of your voice in the headphones arrives at your eardrum at a slightly different time as the direct sound from your vocal cords. When added together, there will be phase cancellation at certain frequencies. The singer’s voice will sound fine on the control room monitors and in everyone else’s headphones, but it might sound odd in the singer’s own headphones. Some singers find this bothersome, some don’t notice or can ignore it, and others turn up the phones volume so the electronic signal swamps out the acoustic one and the comb filter nulls become negligible. During my preamplifier testing, my voiceover subject asked me if the mic was in the wrong position when she first heard herself from the 1200F’s headphone output. I used my Mackie 800R preamp to check out the 1200F’s ADAT optical input, comparing the sound of a mic connected to the 1200F with the same mic connected to the 800R. Since they use the same mic preamp circuit and A/D converter chips, I expected the sound to be essentially identical through both paths, but it wasn’t. The high end sounded slightly harsher through the 1200F. As a sanity check, I connected an analog output of the 800R to the 1200F through an Insert input. Now the two preamps sounded identical. Q: What can make a digital interface less than perfect? A: Clocking. For my initial ADAT input check, I had set the 1200F to synchronize its word clock from the incoming ADAT stream. Returning to the ADAT connection between the 800R and 1200F, I set the 1200F to internal word clock, the 800R to external word clock, and used the 1200F’s BNC word clock output to sync the 800R. Now, the mic sounded identical through either preamp. This tends to support the lore that deriving a clock signal from an incoming ADAT optical stream isn’t quite as robust as a direct word clock connection. Since I rarely use ADAT I/O, I can’t vouch for the quality of the cables lying around the shop, but this illustrates the importance of good digital connections or at least a MACKIE continues on page 56 ➤ www.proaudioreview.com May 2008 | ProAudio Review | 55 http://www.meyersound.com http://www.bagend.com http://www.a-lineacoustics.com http://www.alesis.com http://www.slsloudspeakers.com http://www.tannoyna.com http://www.musictechnology.com http://www.dynacord.com http://www.mccauleysound.com http://www.proaudioreview.com
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