Concaves linearray bei Prosound web LAB forum

euere meinenugne hier zu .

wie war noch mal ne MT 4 aufgebaut auf der EV seite sind dazu keine bilder mehr.

concave heist nach innen gewölbt. auch als crossfirering bekannt.

http://www.live-audio.com/messages/22868.html

trotz diverser versuche komme ich über die dbsound site nicht drauf.

das mit dem falsch macg mein rechner nicht.

hab plugins installiert fiere walls deinstalliert geht. nicht

gibts evtl nen dirketen link.

ahc scheisse was soll das gelaber

es geht halt nett .

bin ja auch nicht doof aber nur die eingangssteiet undann noch ne zweite, wo ich aus er nem logo nix sehe und meine maus sich nicht verändedrt das nutzt nix.

mach mit ACDsee oder XNview einfach ein paar scrennschots oder mit copy an paste in word un mail mir das

danke Thorsten.

diesen eindruck hatte ich such immer.

was evtl and ern doch kreativen amping und controller konsturketne lag hatte jede firmal anders.

mit MT2 arbeite ich heute noch ab und an ist aber kein vergelcih zu nem acess.

und die MT4 cluster ie ich bisher gehört habe waren immer scheisse.

da tat s4 noch besser.

hätte mich trotdem intereeisert, wenn die schon die MT4 um baeun und da irgend wie ein reihe bässe eine reihe mitelton und eine reihe riesen hochtonhörner neben einadner fleigen.

jetzt hab ich es eher zufälli selbst gefunden.

http://www.dbsound.com/SysCLA.htm

komme übrigens nun auch über die hauptseite da rein .

komisces windoof.

nun ja es sieht so aus, wie wennn DBsound

die boxen mit 4x40x20 grad hornern aus gestattet hätten, dann hängne die noch horn zu horn zumindest zwischen dem innneren und einem äusseren stack funktioniert das ja.
bei 40 grad winkel auf einander zu kommt es zu einem Beam .

die zweite reihe kommt ja nun nicht mit den hörnenr zusammen zielt aber eher auf den neu entstandenen quellen punkt.

das tut schon irgendwie .

kommt bestimmt brutal.

wenn man nun die Ansteuereung der Boxen ändert muss mannja die abstrahlcharteristik in gewissen grenzen verändern können.

im low mid koppelt das an ohne ende .

dann nch zwei reiehen bässe neben einander gehängt das kommt bestimmt brutal.

Das könnt mann aber auch doch mit einem assymetrischen line arry mahen, um noch mehr richt wirkung und spl zu bekommen.

prinzipkell auch mit nem symetriscehn.

und hier mal der Dialog

Last time i saw the pictures of CLA it looked just like high stack of boxes - nothing fancy. 8 high vertical stack of MT-4H makes 32 HF horns ribbon (with gaps and spaces between...).

von Chirs dem entwickler

can help you there. The MT4 concave array was configured by me in 1994. The first time it was flown was at the NEC Arena, Birmingham during an evaluation and comparison of a V-dosc system that Christian Heil had brought over to the UK for demonstration.
I proposed my concave configuration to Mick Hughes for a tour (that I can't name because the Live-Audio Board automatic censor throws it out - it was the Black Album tour though..) in 1995 and we rigged it using dB Sound MT4 at Albany, New York in the spring of 1995.
The finest hour for the concave MT4 array was probably Castle Donington Monsters of Rock in the UK in August 1995.
The key to using MT4 in this configuration was the replacement of the 2 x HP64 horns and manifolds with 4 x HP42 units, each with a DH2A compression driver, to increase the array density in the vertical axis and give some reasonable geometry in the horizontal. It was a line array, or rather three line arrays configured concave in the horizontal, but true line source it was not of course. It worked very well in the vertical axis, especially outdoors, and had only moderate problems off-axis horizontally where the HF column was separated by the midrange (on the other face the horns were adjacent and coupled very well).
You might be be surprised, but the fact that the system was large had one serious advantage. The low-mid and bass directivity control in the horizontal was excellent and much better than the antennae-like low-mid directivity of the current line array designs. Everyone has been concentrating on HF waveguides however the solution to the mid-bass directivity will be the line array holy grail of the next couple of years - you wait and see!
I hold a patent on concave array devices that came from work I did following the MT4 experiments and continue to develop the idea from time to time. I think dB Sound have made a few claims to have 'invented' the concave arrays but if you want to verify the truth you should ask Christian Heil or Big Mick Hughes.

It's important to remember that sound waves at concert levels (ignoring HF horn throats) baheave in a linear fashion. If the directivity control of the boxes is good (and a large box like the MT4 has this) the only serious intereference between the boxes is right in the focal point region near the array. Because the sound waves from each box are not modulated by the other, the coverage in the far field (in the frequency range range of pattern control) is going to be similar to the boxes in a convex setting set at the geometrically equivalent splay angles.

The advantage, as Chris put nicely, is that you increase the density of the drive elements of the boxes, which was the desired effect for this situation.

It's not ideal, but presents and interesting solution for what was at hand.

It doesn't eliminate lobing in fact. All I was seeking to do was overcome the array density problems of arraying MT4 where the box size was so great that, by the time the cabinets are articulated from the rear in the 'normal' convex configurations the horn elements are so far apart that the inter-cabinet interference is horrendous.
The more interresting subject is that of using 3 axis concave arrays to generate coherent point sources. This requires that the elements are relatively small - I have a 16 element model with excellent directivity from 400Hz - 3kHz. The notable characteristic is that the output can be steered by introducing very small amplitude tapering across the elements of the array. By small I mean less than 1dB overall can produce 10deg of beam steering and the output remains coherent in band throughout. The HF resolution is proportional to the diameter and directivity of each element however the lower frequency control is a product of the sum of the elements of course. The key is the geometry is that the origin of the array lies at the focus in 'real' space (where there is energy) as opposed to theoretical (where there is not) in the case of a convex array.
The original idea came from a review of multicell horns and the limitations in terms of space for compression drivers. I reasoned that one could invert the geometry with the same overall result and have all tthe space in the world to mount as many drivers as one wished. The steering ideas developed from that.
Now that line arrays are fairly well understood I think it might be interesting to pursue these ideas for high power single point source devices that would be more suitable for smaller venues and which might be steered or reconfigured in software to suit venue occupancy.
I also think that, using digital matrices one might have variable directivity for different sources - one might for example configure a signal to be directive to the audience and a secondary artefact at lower level to stimulate a degree of room reverberation

ich hol das mal hoch