I'm using 2 of the Sanway plate amps in a small 2.2 system. Approaching 2 years of regular use now with no issues but yes the plate amps get a bit expensive if you need a lot of power. Not sure about the D24K2, haven't seen anybody use those and it looks different from the admark/morin/cvr amps internally (those have proven themselves). In this case i'd rather get their FP14K clone.
Yes the FP Series are Lab FP clones. I have read somewhere that the only thing that differs is the absence of the primary side current limiter (13A). About those chinese Class D's i'm not so sure, the power supply may very well be a clone of the Powersoft K20 psu but the output boards look completely different so if they are clones they at least changed the board layout. Also don't see any mention of the Sanway D24 having PFC while the admark/cvr amps do have that.
Anyways this is going off topic, sanway makes decent quality amps and i can vouch for their Plate Amps as well as the FP clones (FP10000Q and FP14000).
Anyways this is going off topic, sanway makes decent quality amps and i can vouch for their Plate Amps as well as the FP clones (FP10000Q and FP14000).
Only 7kgs 4kw@4ohms X2 class D
30 to 300v usable mains input
https://m.admarksound.com/power-amp...er/power-amplifier-for-subwoofer-speaker.html
30 to 300v usable mains input
https://m.admarksound.com/power-amp...er/power-amplifier-for-subwoofer-speaker.html
So I've got a few gigs under my belt with the 4 keystones and I'm now curious about different ways of setting them up. I ran one gig with them setup in 2 separate stacks and had issues with a power alley that was to be expected. The last gig, we ran all 4 in a row at the front and they sounded great but I'm a little bass fiend and I always crave more! Now the question I have is in regards to a picture I saw a little while ago where someone stacked 4 keystones on their side in a v formation. To my understanding (limited) the keystones need to be upright as they benefit from the ground plane effect but if I ran them in a wedge formation upright, would there be a noticeable increase in spl at the cost of dispersion? Would Running them like this with ply over the top of them to create a large horn be beneficial at all? Unfortunately I don't have the space to set them up and play with them bar just before gigs and things are normally a bit mental on that front!
@watafu I have done four stacked in a V. You may have seen my pic on the DSL Users Group page on Facebook.
I would say that you don't lose ground coupling anymore than you would stacking double-18's. Mouth-to-mouth in this configuration, there's an insane amount of bass available. Turning the boxes into a V creates an even larger horn with more gain and directivity. This setup gave me head-to-toe bass.
I regularly run all four laying down. Usually the center two mouth to mouth and then the outer two with the mouths inward. I feel that gives the most even response. I've also done pairs of mouths. No huge difference, except that in smaller rooms there's a larger center of less bass in the middle when you're up close. That can be good or bad depending on the gig. I have a lot of fans that like to get close to the band where they're not hearing the main speakers anyways, so having that pocket can be advantageous to not blow them away.
That being said, these feel like they go past the first few meters of people before they really kick in, like most tapped horns.
I would say that you don't lose ground coupling anymore than you would stacking double-18's. Mouth-to-mouth in this configuration, there's an insane amount of bass available. Turning the boxes into a V creates an even larger horn with more gain and directivity. This setup gave me head-to-toe bass.
I regularly run all four laying down. Usually the center two mouth to mouth and then the outer two with the mouths inward. I feel that gives the most even response. I've also done pairs of mouths. No huge difference, except that in smaller rooms there's a larger center of less bass in the middle when you're up close. That can be good or bad depending on the gig. I have a lot of fans that like to get close to the band where they're not hearing the main speakers anyways, so having that pocket can be advantageous to not blow them away.
That being said, these feel like they go past the first few meters of people before they really kick in, like most tapped horns.
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Perfect answer, I think for the gigs we run which is mainly EDM in a long narrow room the wedge formation might be exactly what I'm looking for! I think I'll definitely look into trying this out for the next gig. While I definitely don't think we where lacking in bass at the last one, it's always a bonus if we can gain a little more with physical alignment and take the strain off of the amps and drivers a little. How are you strapping your cabs that way? I figure you could ratchet the pairs of cabs and I don't think they would want to walk about too much but it's always a concern mid gig!
I ran sound in a club with approximately 300 people recently and they said if they got anywhere near the keystone subwoofers they felt like it was sucking all the air out of their lungs. Lol. In other words, they loved it. Keystone's are still killing it. Just wanted to say thanks again Art.
Using two behringer nx6000 for subwoofer power. Four keystone subwoofers. Four JBL SRX 722 tops With QSC 1102 amps. Dbx driverack pa 2 crossover. Allen and heath SQ6 mixer. Top cabinets delayed 6.3ms. crossover at 80hz for keystones and 100hz for tops. I also use the dbx mic to analyze the room and set the system flat. Then I EQ the main output of the mixer for my preferred EQ curve. Behringer amps get a lot of hate, but I tried them at Art's suggestion, and they do indeed kick like a mule for low end.
Nice setup dude!!! I'm also looking in to Admark,CVR and Sanway For amplification.
I have a Pa2 also.... Wish I have a Lake or XTC
But....does it really matters? I mean ...can you hear it? On the gearlsutz forum they bash the PA2...they say you need a venus360 or Lake or XTC, Pa2 suck.... Can't tell cause I don't have them next to each other to do a blind test.
PD.
Do you splay the sr722's?
I read comb filtering is a bitch when you put 2 single source cabinets next to each other.
You need to splay them but the horn need to be appropriate like 60 degrees or 45, normally single point cabinets have a horn of 90 - 120
Not good for side to side splayed arrays if you don't use narrow beam horn lens.
I have a Pa2 also.... Wish I have a Lake or XTC
But....does it really matters? I mean ...can you hear it? On the gearlsutz forum they bash the PA2...they say you need a venus360 or Lake or XTC, Pa2 suck.... Can't tell cause I don't have them next to each other to do a blind test.
PD.
Do you splay the sr722's?
I read comb filtering is a bitch when you put 2 single source cabinets next to each other.
You need to splay them but the horn need to be appropriate like 60 degrees or 45, normally single point cabinets have a horn of 90 - 120
Not good for side to side splayed arrays if you don't use narrow beam horn lens.
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PA2 measures fine but what i don't like about it is that it doesn't have free routing, afaik channels 1/2, 3/4 and 5/6 are always linked together.
According to JBL...
The 75° coverage
angle of the SRX722 is wide enough to
provide coverage of an audience when
used one-per-side yet narrow enough
to allow splaying of multiple
enclosures without excessive coverage
overlap.
I put them side wall to wall and really haven't heard any anomalies when walking left to right and listening.
The 75° coverage
angle of the SRX722 is wide enough to
provide coverage of an audience when
used one-per-side yet narrow enough
to allow splaying of multiple
enclosures without excessive coverage
overlap.
I put them side wall to wall and really haven't heard any anomalies when walking left to right and listening.
The cabinets are trapezoidal, so yes they do splay at whatever angle JBL intended them to.
I have a friend that can get me an unreal deal on Mackie speakers, and I was looking at their DRM12P passive line array tops. Normally I would never have even looked at that brand for line array, but he's telling me these are great for cheap. Same can be said by another friend who recommends the Presonus CDL12P tops (which I've heard and didn't sound bad). Anybody hear the new Mackie stuff?
I have a friend that can get me an unreal deal on Mackie speakers, and I was looking at their DRM12P passive line array tops. Normally I would never have even looked at that brand for line array, but he's telling me these are great for cheap. Same can be said by another friend who recommends the Presonus CDL12P tops (which I've heard and didn't sound bad). Anybody hear the new Mackie stuff?
So you don't like the 722 anymore?
It have the 2451 HF driver, other srx have the 2445,2446
Maybe if you swap the drivers in them
The presonus have soft dome tweeters 8 in like an vertical array, there are 2 models , the plastic one $999, the ply ones $1999 , you can have one per side till 6 per side.
The Mackie's I don't know, if those are the one that have FIR filters i bet they are decent , competing with EV ETX series and JBL SRX800's active series.
It have the 2451 HF driver, other srx have the 2445,2446
Maybe if you swap the drivers in them
The presonus have soft dome tweeters 8 in like an vertical array, there are 2 models , the plastic one $999, the ply ones $1999 , you can have one per side till 6 per side.
The Mackie's I don't know, if those are the one that have FIR filters i bet they are decent , competing with EV ETX series and JBL SRX800's active series.
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