Favorite Stage Monitor

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Re: Favorite Stage Monitor

Dave Barnett said:
And they're using "audiophile" capacitors.
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It depends on what you call "audiophile?

Some of these caps run several hundred dollars EACH. i highly doubt any live sound product has those in them.

Some people call standard poly caps "audiophile".

So as with everything-it depends on where the reference is.
 
Re: Favorite Stage Monitor

Its interesting to compare Turbosound's TMW115/112 with the d&b M4/6. Both use VERY similar drivers with a similar enclosure.

The d&b has a simple crossover with only 2 capacitors and 2 inductors.

The aim is to cross the LF and HF smoothly (amplitude & phase) but not to flatten the total amplitude response. The DSP in the D12 does that. That way you can take advantage of the efficiency of the HF driver minimizing the power your amplifier needs. The result is a passive wedge that performs almost like a bi-amped wedge on a much less powerful amplifier than you would otherwise need. Nexo use this trick with their PS15s.

In contrast Turbo have flatten the amplitude response with a much more expensive and complex passive crossover (see below). You don’t need a special amplifier and DSP. You would expect it would cost more, but in my market it’s 1 / 2 the price … If you want that little bit of extra performance that a DSP can offer, you can run it bi-amped … still much cheaper than the d&b. You pay a lot for a good wedge with a brand name!
 

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Re: Favorite Stage Monitor

Ivan Beaver said:
It depends on what you call "audiophile?

Some of these caps run several hundred dollars EACH. i highly doubt any live sound product has those in them.

Some people call standard poly caps "audiophile".

So as with everything-it depends on where the reference is.
Click to expand...

d_and_b_audiotechnik_m4_12-620x410.jpg

Okay, these are just the regular MKPs, but the same company markets copper foil, silver foil, and paper-in-oil caps, they're positioning themselves as an audiophile capacitor line.
 
Re: Favorite Stage Monitor

Peter Morris said:
Its interesting to compare Turbosound's TMW115/112 with the d&b M4/6. Both use VERY similar drivers with a similar enclosure.

The d&b has a simple crossover with only 2 capacitors and 2 inductors.

The aim is to cross the LF and HF smoothly (amplitude & phase) but not to flatten the total amplitude response. The DSP in the D12 does that. That way you can take advantage of the efficiency of the HF driver minimizing the power your amplifier needs. The result is a passive wedge that performs almost like a bi-amped wedge on a much less powerful amplifier than you would otherwise need. Nexo use this trick with their PS15s.

In contrast Turbo have flatten the amplitude response with a much more expensive and complex passive crossover (see below). You don’t need a special amplifier and DSP. You would expect it would cost more, but in my market it’s 1 / 2 the price … If you want that little bit of extra performance that a DSP can offer, you can run it bi-amped … still much cheaper than the d&b. You pay a lot for a good wedge with a brand name!
Click to expand...
Hi Peter how do you think the TMW112 would hold up on large stages? What popular wedges besides the D&B would you compare it to or would you say that this wedge would beat?
 
Re: Favorite Stage Monitor

Franklin Benjamin said:
Hi Peter how do you think the TMW112 would hold up on large stages? What popular wedges besides the D&B would you compare it to or would you say that this wedge would beat?
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I have used them on large stages with a big amp – Powersoft K6, and they go very well, but vocals only. If you want more SPL you can Bi-amp them, or use the TMW115’s for even more SPL. We have both and use them accordingly.
In terms of sound quality, the 112's sound a little better than the 115's. They are up there with the best of them. I like them both better than our Nexo PS15 Series1’s … FWIW not quite as good as a focused EAW Micro wedge.
 
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