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Junior Varsity
Column speakers systems
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<blockquote data-quote="Rob Aylestone" data-source="post: 217102" data-attributes="member: 13871"><p>I’m amazed at the views here. There seems some real misunderstanding about columns and point source systems.columns, ever since their inception do one thing. They cover a wider area on the horizontal plane and a narrower one on the vertical. What they have never, ever done, is cover distance without a drop in volume that is very noticeable, but that’s the inverse square law showing it’s teeth. They have NEVER been able to throw. Focussed arrays point the energy where it is needed and the volume doesn’t drop off so much but they don’t do wide. When PA was public address, this phenomena was what every audio company understood so well. In fact most large venue sound solutions used the drop off in level to mask delay. You would (when we did not have any method of delay compensation) put the next column at a point where the last one was too quiet to annoy. People got it wrong really often and ended up with systems that were impossible. The people who got it right used the wide but not tall feature the way it was intended. In a low ceiling, small pub type venue. Columns can work really well, but if the room is deeper, volume difference gets unbalanced. Those plastic 12” boxes so useful for some things fail on others. So do columns. Pretty much you only have those two choices in basic design. I think this problem is why they started doing trapezoid cabinets, widening the effective pattern, but losing the column line array performance, which never really starts to correlate until you have numerous drivers. It’s not a new problem. Slade we’re doing rock and roll to 1000 capacity ballrooms in the 70s with 4x12” WEM columns, 2 a side with 100W to each one. One set turned in a bit, the other straight out. What has changed in nearly 50 year?</p></blockquote><p></p>
[QUOTE="Rob Aylestone, post: 217102, member: 13871"] I’m amazed at the views here. There seems some real misunderstanding about columns and point source systems.columns, ever since their inception do one thing. They cover a wider area on the horizontal plane and a narrower one on the vertical. What they have never, ever done, is cover distance without a drop in volume that is very noticeable, but that’s the inverse square law showing it’s teeth. They have NEVER been able to throw. Focussed arrays point the energy where it is needed and the volume doesn’t drop off so much but they don’t do wide. When PA was public address, this phenomena was what every audio company understood so well. In fact most large venue sound solutions used the drop off in level to mask delay. You would (when we did not have any method of delay compensation) put the next column at a point where the last one was too quiet to annoy. People got it wrong really often and ended up with systems that were impossible. The people who got it right used the wide but not tall feature the way it was intended. In a low ceiling, small pub type venue. Columns can work really well, but if the room is deeper, volume difference gets unbalanced. Those plastic 12” boxes so useful for some things fail on others. So do columns. Pretty much you only have those two choices in basic design. I think this problem is why they started doing trapezoid cabinets, widening the effective pattern, but losing the column line array performance, which never really starts to correlate until you have numerous drivers. It’s not a new problem. Slade we’re doing rock and roll to 1000 capacity ballrooms in the 70s with 4x12” WEM columns, 2 a side with 100W to each one. One set turned in a bit, the other straight out. What has changed in nearly 50 year? [/QUOTE]
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