Oh, that's easy, there are color tables for it. You just have to read them.
Aside from that, these values won't equalize your bass nor will they provide a better performance. From what I can see, there's no low-cut (essential if you want to run a vented subwoofer) nor does it have a high-pass for the tops/sat.
But I get unusual values (e.g. 212 or 1.5M ohms) that do not map to the table, which lists values in the kΩ range. Reading from top left:
R1A: red, brown, red, black, green, brown (212.00)
R1B: brown, green, black, yellow, brown, red (1.50M)
R2A: red, brown, red, black, green, brown (212.00)
R2B: brown, green, black, yellow, brown, red (1.50M)
R3A: brown, green, black, red, brown, red (15.00k)
R3B: brown, green, black, yellow, brown ,red (1.50M)
R4A: brown, green, black, red, brown, red (15.00k)
R4B: red, brown, yellow, black, green, brown (214.00)
R5A: red, brown, black, red, brown, red (21.00k)
R7A: red, brown, red, black, brown, red (212.00)
You're not reading the resistors right. Not all resistors are in the same direction, the last color code will be red according to the table. To make it easier, why don't you just measure them with a multimeter?
Hi Art
Hope you're well. I came across a post on PA subwoofers and 20-40Hz that could be yours. Someone there mentioned L-Acoustics SB28 being good at 20Hz. I could get one (1) for about $3000. Is it worth it? On paper it would fill the spot marked by the red X on the image below. Or do you think I could almost equally well fill this gap with lengthening the ports of the two ASB6125s. It's for a small setup for max 100 people and the 20Hz area should be felt somehow.
Cheers
Mike
The SB 28 datasheet (PDF) says 25Hz at -10dB. So, unless you're changing the tuning, you will not be able to get the 20Hz.
Mike,
As I wrote there, from a cabinet volume size to output ratio, the 8.9 cubic foot SVS PB16-Ultra is a bit ahead at 20Hz output than the 43 cubic foot McCauley M421 tapped horn.
The L-Acoustics SB28 is tuned to ~30Hz.
It doesn't have near the output of the McCauley M421.
The SB-28 has larger ports and the drivers have more excursion than the JBL 2265H (8mm Xmax), so one may put out similar SPL in the 30Hz range as the pair of your ASB6125s, if you dropped their Fb to 30Hz as mentioned in post #56.
Does not sound like it's worth $3000 for output that would cost you nothing.
You are paying substantial costs for rigging hardware (you will never use) with a sub like the L-Acoustics SB28.
25Hz is only 1/3 octave below 30Hz...
Compared to home theater, PA gear is generally costs more for the octave of music from 16-32Hz.
It has been while but yes, I went back to the original idea of going completely analog. I got the BSS FDS 360 (two actually) and some frequency cards. Now I got (or hear) this problem: While one of the two ASB6125 has a powerful deep bass, the other sounds boxy by itself. This is the case whether my ear is right on the driver or far away. I tried everything, from switching outputs, cables and even the drivers. It must have something to do with the particular speaker box. There is a small piece of electronics right where the speaker cable connects inside the speaker. I cannot think of anything else causing the issue, as it's not related to outputs, cables or drivers. What could it be? Please, I'm so close after the long journey and now this! I never noticed it before. We moved the speakers and one was a bit roughly handled but nothing serious outside, not even a scratch or so.
Here's what I got so far:
- Highs: two JBL 2450H 2" with two 2385A horns powered by QSC PLX 1104
- Mid/lows: two ASB6125 dual 15" powered by QSC PLX 2402 (okay for now)
- Crossover: BSS FDS 360 with frequency cards at 1K2 (from Taiwan)
- EQ: Klark Teknik DN410 Dual Channel Parametric EQ (sourced locally)
- Compressor: TL Audio C1 Comp
- Mixer: SSL Six 6-channel (also with compressor)
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Bass speakers sound very different in different parts of the room.
If you have not tried exchanging the positions of the two speaker cabinets, that could be the source of the difference.
Probably the circuit board connecting wires to the connectors, drivers and barrier strip.
It is possible something is mis-wired, either a speaker not connected, or a polarity swap.
Either could cause a lack of deep bass.
You're amazing, Art! That was the problem. I switched positions and now the other has the boxy sound. But I learned much about parametric EQs and what they are good for and now they sound more even. All I did was to set FREQ to -1 and turn all to they left (200), GAIN on 9 and B/W on 1. On the "good" side I lowered GAIN and B/W a bit. What's really strange is that it's such a big difference. The better sounding one is next to a window.
The window is presumably located on a wall, which provides boundary gain, boosting bass.
Placed away a from a wall, the other speaker has 1/4 wavelength cancellations, the frequencies depending on distance to the walls.
Unless the room and speaker placement was symmetrical, the equalization used should not be the same.
The Klark Teknik DN410 filter bandwidth is variable from 1/12th octave fully anti-clockwise to two octaves wide full clockwise.
The switch labeled -1, 10, 1 is a multiplier of frequency.
"-1" is one tenth of the frequency indicated, 200 is 20Hz, 2K is 200Hz.
You boosted the octave centered at 20Hz by +9dB.
+3dB doubles power, +6dB quadruples power.
Boosting a frequency a full octave below the cabinet's Fb by almost 10 times the power is a good way to make the drivers flap and burn if a low note is played.
Unless you have modified your cabinets ports to a lower Fb than the stock 40Hz, the LF high pass filter should be set to around 35Hz (it's -3dB at whatever frequency indicated).
The LF filter is only 12dB per octave, the parametric filters can still negate it's function.
Sounds like you are using a device capable of surgical precision like a bludgeon 🙂 .
Reading the manual may help you get some utility from the DN410.
Cheers,
Art
Placed away a from a wall, the other speaker has 1/4 wavelength cancellations, the frequencies depending on distance to the walls.
Unless the room and speaker placement was symmetrical, the equalization used should not be the same.
The Klark Teknik DN410 filter bandwidth is variable from 1/12th octave fully anti-clockwise to two octaves wide full clockwise.
The switch labeled -1, 10, 1 is a multiplier of frequency.
"-1" is one tenth of the frequency indicated, 200 is 20Hz, 2K is 200Hz.
You boosted the octave centered at 20Hz by +9dB.
+3dB doubles power, +6dB quadruples power.
Boosting a frequency a full octave below the cabinet's Fb by almost 10 times the power is a good way to make the drivers flap and burn if a low note is played.
Unless you have modified your cabinets ports to a lower Fb than the stock 40Hz, the LF high pass filter should be set to around 35Hz (it's -3dB at whatever frequency indicated).
The LF filter is only 12dB per octave, the parametric filters can still negate it's function.
Sounds like you are using a device capable of surgical precision like a bludgeon 🙂 .
Reading the manual may help you get some utility from the DN410.
Cheers,
Art
Sorry, but this is getting utterly ridiculous. Folks here have been incredible patient with you.
If you ever asked your self why the FOH at an event is closed 360° and no one allows you inside, this thread is a perfect explanation. Some people don't belong there.
You are ignoring valuable advice (stay away from analog) and jump from one ordered device to the next, like a bored kid in a playground. How many Kilo of gear have you been sending back to the seller? I understand now why Thomann keeps a black list.
Your music is 100% synthetic computer made, so what sound advantage do you expect from vintage, analog gear? Maybe bragging rights in some kind of "know nothing about it, but anything better" PA-DJ community?
The only chance to manage such a PA system for someone like you is a DSP. With your analog "Sondermüll" only one unwanted touching of the wrong plug or switch during an event will kill your little PA system. Then you can sing Swiss folk songs with your audience for the rest of the night. You will never be able to get a decent gain structure in such an analog chaos.
You are 100% ignorant about the art of sound management and the knowledge and experience of sound engineers. You don't learn that from half reading 12 pages in 4 PA forums.
If you would not be so convincing in your style, I could swear you are a troll.
Probably you read and write in some other social media too, picking up those stupid ideas.
I know there are numberless people out there, desperately trying to make money from obsolete, old analog gear, that is 100% worthless and only taking up space in some basement corner. They constantly talk about the advantages and non existing "mellow" analog sound and the harsh, "metallic" digital sound. Just to sell something from the garbage bin.
If you look in the real world of pro-PA today, no one uses an amp with a heavy transformer any more or one of the various analog function boxes used in ancient systems. Which has reduced all that expensive gear from the past to zero value outside of a technical museum. It doesn't matter that an analog equalizer once was 3000$ a pair. It is over, gone. Compare it to a horse carriage without lights on the Swiss motorway at night. You are calling for disaster, even if horse and coach once had the price of a workers live's salary.
The last nail in your coffin is your fixation on "MAC" software. Just typically ridiculous arrogance. In a pro system you have Mac and Windows running side by side, each doing what it does best. You probaply think about changing settings on the fly during an event, because you are so incredible competent? Sound management is no minor task on your tablet. It is the base for the whole event. Much to important to be in the reach of any "DJ" or what ever you call the deaf nut on the mixer.
Again, sorry, but there is no value in helping someone doing things wrong. Even if it may not matter for you, the audience and artists coming to an event need some respect and deserve a good performance, not a PA break down.
PS there is one thing you are right: The Behringer "NX" line of amps is not the best choice. They have to be handled with care and often fail if driven hard. Power output is maybe half of that promised. The DSP software is the best about them. Since the street price was raised more than 100% they are no deal any more. I got my 3000D for 200€ new. Now 440€
If you ever asked your self why the FOH at an event is closed 360° and no one allows you inside, this thread is a perfect explanation. Some people don't belong there.
You are ignoring valuable advice (stay away from analog) and jump from one ordered device to the next, like a bored kid in a playground. How many Kilo of gear have you been sending back to the seller? I understand now why Thomann keeps a black list.
Your music is 100% synthetic computer made, so what sound advantage do you expect from vintage, analog gear? Maybe bragging rights in some kind of "know nothing about it, but anything better" PA-DJ community?
The only chance to manage such a PA system for someone like you is a DSP. With your analog "Sondermüll" only one unwanted touching of the wrong plug or switch during an event will kill your little PA system. Then you can sing Swiss folk songs with your audience for the rest of the night. You will never be able to get a decent gain structure in such an analog chaos.
You are 100% ignorant about the art of sound management and the knowledge and experience of sound engineers. You don't learn that from half reading 12 pages in 4 PA forums.
If you would not be so convincing in your style, I could swear you are a troll.
Probably you read and write in some other social media too, picking up those stupid ideas.
I know there are numberless people out there, desperately trying to make money from obsolete, old analog gear, that is 100% worthless and only taking up space in some basement corner. They constantly talk about the advantages and non existing "mellow" analog sound and the harsh, "metallic" digital sound. Just to sell something from the garbage bin.
If you look in the real world of pro-PA today, no one uses an amp with a heavy transformer any more or one of the various analog function boxes used in ancient systems. Which has reduced all that expensive gear from the past to zero value outside of a technical museum. It doesn't matter that an analog equalizer once was 3000$ a pair. It is over, gone. Compare it to a horse carriage without lights on the Swiss motorway at night. You are calling for disaster, even if horse and coach once had the price of a workers live's salary.
The last nail in your coffin is your fixation on "MAC" software. Just typically ridiculous arrogance. In a pro system you have Mac and Windows running side by side, each doing what it does best. You probaply think about changing settings on the fly during an event, because you are so incredible competent? Sound management is no minor task on your tablet. It is the base for the whole event. Much to important to be in the reach of any "DJ" or what ever you call the deaf nut on the mixer.
Again, sorry, but there is no value in helping someone doing things wrong. Even if it may not matter for you, the audience and artists coming to an event need some respect and deserve a good performance, not a PA break down.
PS there is one thing you are right: The Behringer "NX" line of amps is not the best choice. They have to be handled with care and often fail if driven hard. Power output is maybe half of that promised. The DSP software is the best about them. Since the street price was raised more than 100% they are no deal any more. I got my 3000D for 200€ new. Now 440€
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