Big Power Amplifier and 3-way Speaker System

How Much Amplifier Power Do I Need?

I'm playing people music in a coffeehouse. How much speaker power do I need?

Our rocks gathering will play in a 2000-situate show corridor. What number of watts will we need?

I just got some PA speakers. I need to play them as noisy as they can get without exploding them. Which speaker would it be advisable for me to get?

At Crown, we frequently are posed comparative inquiries, and this article will give a few answers.

To begin with, characterize your objective. Would you like to control a few amplifiers so they play as boisterous as conceivable without wearing out? Assuming this is the case, all you have to peruse is the area underneath. Would you like to accomplish a specific clamor in a specific scene? Assuming this is the case, jump to the area called Power versus Application.

How much power can my speakers handle? 

You can decide this by taking a gander at the speaker's information sheet. Search for the Nominal Impedance spec. Ordinarily, it will be 2, 4, 8 or 16 ohms. Next, search for the amplifier detail called Continuous Power Handling or Continuous Power Rating. It may be called IEC rating or Power limit.

In the event that you can keep the power amp from section (by utilizing a limiter), utilize a power amp that provisions 2 to multiple times the speaker's constant power rating per channel. This enables 3 to 6 dB of headroom for tops in the sound sign. Speakers are worked to deal with those transient pinnacles. In the event that you cannot shield the power amp from cut-out (say, you have no limiter and the framework is overdriven or goes into criticism) the enhancer power should rise to the speaker's constant power rating. That way the speaker won't be harmed if the amp cuts by overdriving its info. For this situation there is no headroom for pinnacles, so you'll need to drive the speaker at not as much as its full appraised power in the event that you need to keep away from bending.

On the off chance that you are fundamentally doing light move music or voice, we suggest that the speaker power be 1.6 occasions the Continuous Power rating per channel. In the event that you are doing overwhelming metal/grunge, attempt 2.5 occasions the Continuous Power rating per channel. The intensifier power must be evaluated for the impedance of the amplifier (2, 4, 8 or 16 ohms).

Here's a model. Assume the impedance of your speaker is 4 ohms, and its Continuous Power Handling is 100 W. In the event that you are playing light move music, the intensifier's 4-ohm power ought to be 1.6 x 100 W or 160 W ceaseless per channel. To deal with overwhelming metal/grunge, the speaker's 4-ohm power ought to be 2.5 x 100 W or 250 W constant for each channel.

On the off chance that you utilize substantially more power, you are probably going to harm the speaker by driving the speaker cone as far as possible. On the off chance that you utilize substantially less power, you'll presumably turn up the amp until it cuts, attempting to make the speaker sufficiently noisy. Cutting can harm speakers because of overheating. So remain with 1.6 to 2.5 occasions the speaker's nonstop power rating.

Power versus Application 

This segment will recommend how huge a power enhancer you have to fill a setting with boisterous, clear stable. Essentially, the more intense the sound framework and the greater the room, the more power is required. Amplifiers with high affectability need less power than amplifiers with low affectability.

The rundown underneath suggests the complete speaker power required for a few applications. Every application has a scope of intensity depending on the ideal clamor and the run of the mill amplifier affectability.

In accumulating this rundown, we made the accompanying presumptions:

Common amplifier affectability is 85 dB SPL/W/m for home sound systems, 95 dB SPL/W/m for little PA speakers, 100-105 dB for medium PA speakers, and 110 dB for huge PA speakers.

The prescribed power considers sign pinnacles of 10 dB for people, jazz and popular music. In reality the pinnacles may be as high as 25 dB, however, we're taking into account some unintelligible momentary section.

The suggested power takes into account sign pinnacles of 6 dB for shake music that is very restricted or packed.

As indicated by Crown's central enhancer engineer, Gerald Stanley, intensifier ceaseless power and speaker pinnacle power are about the equivalent. Normally, crest power is just 1 dB higher than persistent power and relies upon pinnacle term.

Absolute speaker power required in different applications

Nearfield checking: 25 W for 85 dB SPL normal (with 15 dB pinnacles), 250 W for 95 dB SPL normal (with 15 dB pinnacles)

Home sound system: 150 W for 85 dB SPL normal (with 15 dB pinnacles), 1,500 W for 95 dB SPL normal (with 15 dB pinnacles)

Society music in a café with 50 seats: 25 to 250 W

People music in a medium-estimate assembly room, club or place of love with 150 to 250 seats: 95 to 250 W

Society music at a little open-air celebration (50 feet from speaker to group of onlookers): 250 W

Popular or jazz music in a medium-measure assembly room. club or place of love with 150 to 250 seats: 250 to 750 W

Popular or jazz music in a 2000-situate show lobby: 400 to 1,200 W

Shake music in a medium-estimate theater, club or place of love with 150 to 250 seats: At least 1,500 W

Shake music at a little open-air celebration (50 feet from speaker to gathering of people): At least 1,000 to 3,000 W

Shake or substantial metal music in an arena, field or amphitheater (100 to 300 feet from speaker to gathering of people): At least 4,000 to 15,000 W

Despite the fact that a stone show in a field could be controlled by 15,000 watts (permitting just 6 dB of headroom for pinnacles,) you'll frequently observe enormous visiting sound organizations utilizing 80,000 to 400,000 watts all out. That much power is expected to deal with 20-to-24 dB crests with no cut-out, and to control additional speakers for even inclusion of an enormous region.

On the off chance that one amplifier won't deal with the complete power required, you have to separate the absolute power among different amplifiers and various enhancer channels. For instance, assume you need 1000 watts to accomplish the ideal normal din, yet your speaker's power taking care of is 250 watts ceaseless. You could utilize a power enhancer of 500 watts for each channel. Interface two amplifiers in parallel on each channel. That way, every speaker will get 250 watts (not considering the adjustment in intensifier control at various impedances, and not thinking about link misfortunes).

Note that on the off chance that you parallel two speakers, their absolute impedance is divided. For instance, two 8-ohm speakers in parallel have an impedance of 4 ohms. All things considered, every speaker would get half of the enhancer's 4-ohm control.

Power Calculator 

On the Crown site is a number cruncher that decides the speaker power required to accomplish the ideal SPL at a specific separation. It likewise represents the quantity of dB of enhancer headroom required for sound pinnacles. Content going with the adding machine gives the conditions utilized. Snap on the accompanying connect to go to Crown's capacity number cruncher: Calculator

To utilize that number cruncher, you have to know the amplifier affectability, crest headroom, audience remove, and the ideal SPL. We should analyze each factor.

Affectability

The affectability spec can be found in the amplifier's information sheet. Ordinary affectability for a PA amplifier is 95 to 110 dB-SPL/watt/meter. Greater speakers, for the most part, have higher affectability than little speakers, and high-recurrence drivers have higher affectability than low-recurrence drivers.

Pinnacle headroom

Since music has transient pinnacles that are 6 to 25 dB over the normal dimension, the power intensifier needs to deliver enough capacity to deal with those crests without contortion.

For instance, on the off chance that you need 100 watts nonstop capacity to accomplish the ideal normal SPL, you need 1,000 watts persistent to deal with 10 dB pinnacles, 3,162 watts to deal with 15 dB pinnacles, and 10,000 watts to deal with 20 dB pinnacles. Obviously, the pinnacles require definitely more powerful than the normal dimensions. In the adding machine's Peak Headroom field, enter 6 dB for shake music that is compacted or restricted, or enter 20 to 25 dB for uncompressed unrecorded music. In the event that you can live with some transient cut-out which might be indistinct, enter 10 to 15 dB.

Audience separate from the source 

This is the separation from the amplifier to the most remote audience. In the event that you are utilizing a few amplifiers that reach out into the gathering of people, this separation is from the closest amplifier. For instance, if the crowd is 100 feet down, and you have speakers at 0 feet and 50 feet, the audience separation is 50 feet.

In the event that you don't have the foggiest idea about this separation, you can make an unpleasant gauge from the common qualities beneath. Make certain to enter the separation in meters (m).

Café: 16 to 32 feet (4.8 to 9.8 m)

Little club or assembly hall: 32 feet (9.8 m)

The medium club, assembly hall or place of love: 45 feet (13.7 m)

2000-situate show corridor: 110 feet (33.5 m)

Little open-air celebration: 50 feet (15.2 m)

Arena or field: 100 to 300 feet (30.5 to 91.4 m)

Wanted SPL

Recorded beneath are normal sound weight levels (SPL) for different kinds of music. The SPL meter was set to C-weighting, moderate reaction. You may need your framework to be in any event 10 dB over the foundation commotion level to accomplish a decent sign to-clamor proportion.

New age: 60-70 dB

People: 75-90 dB

Jazz: 80-95 dB

Established: 100 dB

Pop: 90-95 dB

Shake: 95-110 dB

Overwhelming metal: 110 dB.

Different Considerations 

The figurings talked about here apply to anechoic or outside conditions. In the event that the sound framework is inside a setting, the room resonation will expand the SPL normally by 6 dB. You can utilize this room gain as an additional headroom.

Assume you have to supply 1000 watts for pinnacles, and your speaker's ceaseless power taking care of is 250 watts. A speaker's pinnacle power taking care of is ordinarily multiple times its ceaseless power dealing with. So the speaker can most likely handle 1000 watts top. That implies you can utilize a 1000 watt intensifier to drive that speaker - as long as you utilize that power for pinnacles, and don't drive the speaker ceaselessly with 1000 watts. As such, don't turn up the amp so high that it cuts.

Consider the possibility that your sound framework utilizes a functioning hybrid and a different power-amp channel for every driver. Apply the adding machine to every driver type. Let's assume you have a 3-way framework. Decide the power independently for the subs, midrange drivers and high-recurrence drivers. Every one of the three kinds of the driver should deliver the equivalent SPL at the s

Kenwood KAC7005PS 5 Channel

KAC7005PS 5 Channel have a large power Amplifier.

Your placement choices are very spacious and suitable placed almost anywhere due to its small size to put Kenwood KAC7005PS on the dashboard of your car. Installation was very neat and hidden, can be placed under the seat, for easy connection to the amplifier cable channel 5 way speakers and head unit audio player or radio.

The sound quality is very impressive. Almost no distortion or hissing sound at all. The lights do not dim when the bass hit good. It has a lot of power that is sufficient for smaller systems. Bass hit much harder than I imagined to be gained from a small package. and was also very easy to install.

produced vocal sound quality is very good, the vocals sound pretty clear, high tones (Hight frequecy Level) can be reproduced very well. bass sound quality, sound pretty solid sound. bass sounds quite round and bertenaga.untuk sound quality is pretty good product. low tone can be reproduced very well. for power amplifier, this product although large and small but powerful enough to drive the single voice coil subwoofer Kenwood. because this type of subwoofer, does not require a large power power so it is efficient and it has been adapted olek product manufacturer manufacturer. splitnya speaker consists of a pair of tweeters and passive crosover which by the manufacturer so that the author has been in the custom car audio package Kenwood product is very match with the excellent quality of this product would, could be an alternative choice to complement your sound audiomobil.

So if you are not experienced in the installation of car audio, and want to build their own device to your car's audio system, you should use products audiomobil Kenwood, in one complete package system, to guarantee satisfaction in terms of audio.

Recommendations for the best car audio sound quality.

Car audio package, consisting of

Kenwood KAC7005PS 5 channel power Power Amplifier
KENWOOD KAC-M846.subwoofer 12 "inch
Kenwood KFC-W3013
Double Voice Coil subwoofer diameter 12 "inch.
Speaker split KENWOOD KFC-S703P component.

5-Ch Design - Power your entire system with a single 5-channel amplifier.  

This powerful one amplifier solution for front and rear speakers plus subwoofers, is an easy solution for any vehicle to enahnce your factory sound system.

• Variable High-Pass Filter - Filters low frequencies out of the music and passes only signals above a certain frequency (called the cut-off frequency) to mid and high range speakers.

• Variable Low-Pass Filter - Filters high frequencies out of the music and improves efficiency and sound quality by allowing only the low frequencies to pass to the subwoofer.     

• Variable Bass Boost - Adjust the fixed bass boost frequency (40Hz) to maximize natural bass performance.

Subwoofer Kenwood, made of injection molding PP.cone which is certainly good quality.

• Sensitivy: 85db.Frequency

• Respone: 34-300Hz.

• Size (WHD): 326mm x 326mm x 170.5mm.

• Mounting Depth: 153mm.Gross Weight: 7600g.

• Magnet Weight: 1780g.spesification:

Kenwood subwoofer diameter 12 "Single Voice Coil.

• Impedance @ 4ohm.

• Peak Input Power: 1200 watts.

• Rated Input Power 400 Watts.

Feauture Woofer: 300 mm PP injection cone.

• Sensitivy: 85db.Frequency Respone: 34-300Hz. 

• Size (WHD): 326mm x 326mm x 170.5mm.

Kenwood split component specification: 6.5 "

Component Speakers General Features

• Component 2way speaker System

• Supplied with a Pair of Grille

• Include OEM Location Tweeter Bracket

• Include Bracket for GM Peak Input Power.

Compact Mixer - Behringer XENYX 2442FX

The family XENYX mixer from Behringer has no less than 13 members, from small models 502 up to 2442FX. The majority of passive XENYX mixer is now designated 'FX', indicating that they incorporate onboard effects section. The XENYX 2442FX as the name suggests, provides a total of 24 inputs, up to 10 of the mono microphone input / line, within four to two designs, all contained in a compact case with a 418 x 438mm weight of just less than 6kg.

I immediately liked the general appearance and compact size; quiet but effective color scheme and layout of the main panel is neat and logical. Most of the input and output connectors on the top panel, which does not make them easy to see and reconfigure from the operator position, and no additional sockets on the rear panel XENYX 2442FX. Everything seemed to be just where I expected to be, and there is enough space to operate all functions without problems.

The trip down the track mono

Mono channels (1-8) about as simple as you can get. At the top of the board is balanced XLR mic input with (global) phantom power is available, followed by a TRS jack, which is the input line; The second jack socket is tip = send, ring = return insert point, for the tapping of the signal channels if required external processor, and the signal is sent (and back) after the first preamp stage. In many compact mixers, especially those with a built-in effects, insert jack is a useful place from which to get the output directly, by inserting a half jack; I am pleased to say that the XENYX 2442FX is equipped with a direct out right for mono channels, and this can be found on the rear panel, along with some useful connection point.

Under the socket is slim rotary control, which adjusts the input sensitivity of the channel to match any source connected to it, and always-useful low cut 18dB button to switch on / octave filters, which attenuate frequencies below 75Hz. In common usage, this will be a key component to reduce unwanted low frequency of the input signal and consequently plays a major role in obtaining clean mix - I tend to use it on almost everything except kick drum and bass, and it is often useful for they, too!

In only one of these mono channels, three-band EQ, sweep center of the design, as it is based on equity used in the UK tables designed success, which is reckoned to have a character that is very musical. Whatever it is described as, works well and sounds good, and every band seems to have a subtlety about it; I find it easy to get the sound I wanted and there are a lot of control (± 15dB) available. Low and high shelving bands circuit, which kicked at 80Hz and 12kHz, respectively, and the band can be centered in the middle of anywhere between 100Hz and 8kHz. I spent some time playing my favorite CDs through the table and listened to on headphones to get to grips with the performance of EQ, and the more I play around more I like this EQ - it's pretty smooth and I like the way the three bands operating in their own domain without affecting everything else, even at extreme settings.

The 2442FX has four auxiliary sends per channel, two of which can be switched to operate pre-fader or post-fader (switching is per channel, but the switch affects both Aux 1 and Aux 2 together), and the remaining two are always post-fader . Aux 3 also labeled 'FX' as it is configured to feed the internal effects section should you wish. These four aux sends are post-EQ, ie. EQ settings applied to the aux outputs from each channel, and for live sound work I prefer this, because if the resource needs of EQ applied to front-of-house signal (eg. you need to drop a few mid-tonk out of the vocals) then you may not want in a good monitor.

Routing channel output options are provided by a combination of bus and control the output switches pan. As the 2442FX is a true four-bus mixer, you might want a group of, say, all the drum mics single bus so that the entire kit can be turned up or down (usually down ...) with a single fader, without affecting the balance of the individual mics in that group. For example, to send a channel for the sub-group 1, you select the '1-2' button and turn the control pan hard left; hard right settings will send a signal to the group 2. Of course, it can be set anywhere in between if you use subgroups 1 and 2 as a stereo subgroup. The same thing applies when using subgroups 3 and 4, and if the 'LR' is pressed, the output channel is sent directly to the main bus stereo output - and you can, of course, use them all at the same time if you like, which would be useful if you need to feed over a PA system.
In each channel there is a Solo button, which can be used to monitor and to control the level, and there are actual Mute button (hooray!) The mute all outputs of channels (including auxes) and displays a warning when the yellow LED is active. I just use a few small table formats from other manufacturers which have 'channels on the' switch instead of 'dumb on' switch, and although basically perform the same function I prefer to have a traditional mute button, as is the case here. Last but by no means least is the clip LEDs, which warned of excessive signal levels after the EQ section.

Nice pair

The remaining channels (9-16) has a stereo input, but the first two (9/10 and 11/12) also has a mono microphone input and a low cut filter, extending up to the mic capability useful 2442FX 10 if you don 't need all channels stereo - and for most of the band's performance I would rather have a mic input of anything. Channels 13/14 and 15/16 only has a line input jack, which normalled so anything that is connected to the left input (with not plugged to the right) will be applied as a mono signal is the same on both sides of the channel. All channel stereo from 9 to over four-band, still not swept mid EQ version, with low and high-middle centered on 500Hz and 3kHz. After another session with CD and headphones I liked the sound of it too. There is an additional stereo inputs on balanced RCA phono connectors for CD, cassette or similar, the only jump to the main output but can be separately monitored in the headphones.

Part of the master

The main section contains all the main, sub and an additional bus send control, and re-aux. Fourth subgroup faders each have a pair of buttons, which send their output to the left and right (or both) the main bus routing, and the main mix outputs are controlled by a single fader stereo rather than separate ones for the left and right. The master aux output is rotary control, each equipped with a Solo button for monitoring, and Aux 3 are internally connected to the built-in effects unit unless the jack is inserted into the Aux 3 socket back. It's in the master section we find an additional eight inputs that justify '2442' model number, in the form of left and right inputs to four re-aux, all of which can be transferred to the main output, although they can not be highlight - they are all given directly to the left , right or, if you connect the jack to the left socket only, well, with the exception of Aux 3 back, which does not have the option of direct mono. If you really need Aux 3 appears in both the left and right outputs, you can reassign through subgroups.

The main part contains an integrated digital effects processors, which are internally connected using 3 Aux bus, so no cables are required. I really appreciate this feature as it reduces setup time and make things simple and easy, and certainly no chance to make a wrong connection! The Aux 3 acts as a master control input level control for effects processors, and Aux 3 return control determines the amount of wet signal is mixed back into the main mix. Selecting the effect program is simply a matter of rotating rotary switch to the program number you want to appear on the LED screen, and then press the same button to load it. This is the setting that makes sense, because it means that until the button is pressed, confirm that you want to change the program, the current program continues without interruption.

There are one hundred preset, 00-99, grouped into 10 banks of 10 with each bank that is dedicated to the same effect. For example, 00-09 is room reverb effects ranging from Small Hall to the Church, and 40-49 are the initial reflection of rearly Reflection 1 to Ghost Ambience, and so on. Two latter groups 80-99 double effect, including things like Short Delay and Reverb Flanger + Soft Fourth on Interval + Medium length. Preset does not have adjustable parameters, but with this many to choose from it's very unlikely that something did not fit in there somewhere, and I found everything I tried was good for the task. Group title printed on the panel just above the selector buttons and display screen, but the individual presets are not displayed, so you also need the appropriate page of manual (also downloadable) or, as I do, you end up knowing two or three favorite settings you anyway. The information is printed on the white panel on gray, and not easy to read in low light, but I love the clear blue LED display.

The XENYX 2442FX provides control room and headphone monitoring flexible, and monitor sources can be selected as the main mix, sub-groups and subgroups 1/2 3/4. In general, anything that is selected as CR / mobile sources are also pushing the main output meter, which is nice, clear vertical ladder 12-LED. Mode Switch only under CR / phone control level lets you choose what to monitor - in Solo mode, the normal function of the solo at the active site, which allows monitoring of each channel stereo, group or re-aux who have a spouse each button is pressed, and the PFL mode level Set the level of pre-fader channel signal is displayed on the meter output is left alone, so that the control input can be adjusted with a good trim. I like the fact that two headphone sockets are provided, and a headphone amp seems to have plenty of power for live monitoring.

Making connections

Despite all the channel input connection on the top panel, the output and return are behind. The main mix signal is available on a balanced XLR and jack output, and has a pair of insert points as well, which can be used to connect external equipment, such as compressors, who would you want to patch on before the main fader. The main mix also appears in the form of an unbalanced on CD / Tape Out sockets on the top, which is a useful point to take footage of, although this will be influenced by the position of the main fader mix. Next to the main out is the output of the left and right control room, which carries the same signal as the headphone output and unbalanced. There are eight subgroups balanced outputs on the rear panel as well, although they are wired in parallel pairs (1 and 5, 2 and 6, etc.) and therefore can be connected to the analog input of an eight-track recorder without using cables 'Y'. Channels 1 through 8 have balanced direct output socket, and it should be noted that they eat from the point just after the channel fader, so that they are influenced by all the control channels including a mute button - very handy to record individual tracks studio.

Glance down feature set for 2442FX manufacturer revealed the words 'USB / audio interface', but there is no USB port anywhere in the mixer. There is, however, a small white cardboard box packed with 2442FX (and that would be easy to miss, so do not be in a big rush to throw away the box and packing material) which contains units Behringer UCA200 USB audio interface. This little device has a pair of RCA inputs and outputs, and a USB cable to stay connected to the computer.

No switches or other controls (it's like a simplified version of the Behringer UCA202), and to use it all you do is plug - it's powered by the USB port so there is not even a battery or PSU. Let's be clear - XENYX 2442FZ not have a built-in USB port, but it comes with an external interface is that you can, of course, use with other devices - and it is this flexibility that I really rather like, because you can connect to each input or output without being limited by fixed route designed into the mixer. There is a free, easy to use software called Audacity that can be downloaded from the website Behringer (no packet multitrack recorder / editor as well), which I installed on a PC and used without difficulty. In fact I was so taken with the UCA200 that I have since bought UCA202 version, which is available alone (I do not think you can get from the UCA200 without mixer).

Practical and polite

I found the XENYX 2442FX is very easy to use. It seems well built and nicely finished, and very light and
compact to move around, although if I had one I would transport it in a hard case to avoid possible damage to the rotary control, which is not nutted directly to the metal front panel. Speaking about the case, 2442FX is equipped with a pair of strip rackmount, so put it in the right travel case would be an easy option. I like the feel of the smooth faders and rotary control center detent on, and everything worked as expected with no surprises. The strength of blue LEDs and very bright but, as it is located just above the meter output and just below the control monitor / aux return, I have to keep putting my finger on it so I could see the surrounding area - a small square stick masking tape on it makes it just about true. I enjoyed the time I spent playing around with the 2442FX, and take the exit on the job is a pleasure - I have not covered all the fine detail here, so it's worth a trip to Behringer's website to check out all the numbers. This neat little table not covered in bells and whistles, but good price, flexible, easy, doing very well and just got on with the job - I kind of mixer.

Sound Man And Sound Woman

Basic tips, knowledge, theory, which is used for the Operator Sound System

Previously I say thank you for visiting this blog. This time I am writing various tips, knowledge, and theory, which is used for the Operator Sound System (Soundman and SoundWoman). Based on the experience of colleagues Soundman / Woman at home and abroad, and also of the lessons I learned in school Sound System School in Indonesia. In order to improve the ability and motivation to learn for colleagues These Sound as both beginners and professionals.

Soundman different from the Sound Engineer.

As we have seen, different Soundman with Sound Engineer. Differences between the two are as different racers and car makers. Racers are Soundman, maker / designer car is Sound-Engineer.

Soundman need two main skills: mastering tools correctly and critical ear (Golden Ear). Audio theory needed to be able to master the tool correctly. Golden Ear can be obtained by studying or practicing special. With both of these two skills, then Soundman / Woman could make the event a success.

Leraning specifically for Sound Engineer

For colleagues who want to be Soundman with both the above skills, can follow a certified training in Sound System School. Until now, only these institutions are willing to teach the Golden Ear. Because Golden Ear is the secret science of the senior who was a senior Soundman. There have been many Soundman in training them and all recognized the usefulness of this training in the workplace. Their cost is very affordable and complete lessons for Live Sound. His learning method is easy to understand, with the practice of using analog and digital instruments as well.

When colleagues interested in becoming a Sound Engineer, it must learn specifically for Sound Engineer requires precision calculations and in-depth research in the design of the software products both sound system, acoustic recording studios, sound equipment, etc., in order to produce quality sound. Electro Voice sound system, JBL, Meyer, Bose, RCF, etc. are products of the research team successfully Sound engineernya.

Sound Engineer responsible for designing audio systems are good quality and appropriate. This task requires a good education. Colleagues who wanted to take a sound engineer school can study at the Institute of Education Institutions associated with sound engineering such as the David Klein (lpdk.info), Yamaha Sound Engineering (yamaha.co.id), Universitas Pelita Harapan (music.uph .Ac.id), Institut Musik Indonesia (imimusik.com), SSR (jakarta.ssr.com) or SAE (jakarta-sae.edu). for full info web search online teaching Institutions Sound System Based on international standards.

For those who want to explore software-based recording like Nuendo, StudioOne, Sonar, Cubase, Protools, etc,  can be studied in MusikTek (studiomusiktek.com), or directly with Mas Agus Hardiman, Dolphin (dolphindaw.com) led by Mr. Rudi, LPLK Tristar (digital-music-production-course.blogspot. com), or can be learned for free on various websites created experts like Andrian Roult, etc.

Soundman PRO License Certificate

Above all, you must be up-to-date information by reading magazines audiosyastem device AUDIO. And do not forget, that recognized the public, you need a license certificate Soundman PRO. This license card is proof that you are a professional Soundman truly worthy to serve the community. Soundman PRO license certificate obtained through oral and practical exams are supervised audio experts.


Thank you once again. Let's share and learn together!

Introduction About What Is That Sound System

What is the Sound System?

Now, this is to convey sound information that can be heard by many people within range (radius) and certain scope it takes a loudspeaker, either in the open or in the room. In other words, we need a facility such as the Sound System.  According to my reasoning about the meaning or definition of Sound System is an electronic device system to process and raise 1 (one) or more sources of sound (sound) are mixed in a single device speaker loudspeaker sound is heard in the sound level can be set according to the capacity of the room and the audience so that sound information can be captured by the ear within the scope of spatial sound. Mixing sound (noise) can be from several sources Vocal and coupled with the presence of music in a single sound is heard simultaneously. To capture resources needed a tool that Microphone for the vocal.

The use of these devices commonly found in almost all places and conditions. While in the presentation room definitely needed a tool loudspeaker/speaker system that dialogue can be heard by the audience presentation meeting participants. Use of Speaker System may be seen in places of worship, both in mosques, churches, and others. Probably in most homes already complete this device for family entertainment, even with a complete audio facility that includes Microphone, Mixer, Equalizer, Big Power Amplifier and 3-way Speaker System. When we listen to music concerts in the open courtyard (field) or in the studio building and certainly not immune from the name of the sound system. Very different from the use of power capacity in the presentation room that has limited space with the use of a sound system in an open area. The direction of the range sound and energy spent Power Amplifier + Speaker should be proportional to the number of audiences. There's no way we use Low Power in a large area. We can see this equipment is installed in the tower of the mosque with a positioning device in the form of Horn-Speaker outdoor and indoor devices in there Amplifier which is equipped with facilities Mixing Sound Source (AUDIO MIXER).

Operation Sound System

To be able to operate this device primarily for live music concert it takes people who really understand about Sound System, except for a simple portable speaker device in the home or office can be operated by laymen origin of these devices are able to remove noise mic (vocals) on the speaker and do not happen feedback (feedback). People who can operate these devices are usually commonly called Operator Sound System. The operator Sound System is not necessarily good at Audio Analysis System. People who are really in charge of the smallest thing we call the aspect Electronic Sound Engineering Audio / Sound Technician, they have highly trained experts both skill and perfect hearing. When encountered obstacles when Sound operated, they will be able to repair the damage suffered by that time. Sure they have the tool kit in the form of a screwdriver, soldering and other-other. People who are involved in the operation of the entire device Sound System we call Sound-Crew / Sound-Man.

What is contained in a simple sound system (Portable Speaker)

Usually in the Portable Speakers for home and office has been equipped with 2 pieces striking Jack Input for Portable speaker to the microphone jack and facilities to control the power VOLUME Input Level (Gain Level) to Level Power Output of Speaker. Other facilities included in this device is  Tone Control to set the width (bandwidth) frequency noise. Frequency noise (noise bandwidth) that can be heard people naturally start from 30Hz to 16KHz. Later we will learn/discuss challenged Controlling Tone tool to organize this. What I mean by System Sound is a person who understands the science of Electronic for Audio equipment and understands the uses and should be settings properly. Of course, he also has perfect hearing.

In a content / article on this blog, I write about the meaning of Sound System and functions as well as directing you to be able to operate this device so that the results are perfectly audible. Here we not only discuss the device's sound system but also learn about the System Sound (Audio). Quite broad meaning and knowledge about this Audio System. I may not write complete in one blog page, it will require a very long time. So in this section, I discuss them in several categories or listing page, in the beginning of this site we start from Basic Introduction of Sound System. I will continue to do the editing and upgrades in this blog are based on the level, of what I write is based on facts and my ability to recognize and operate this audio device.

I suggest you to see the contents so that you can know from the beginning of the article Introduction to Basic Sound System and any necessary device in it.

If you want to ask or give advice to me, please to provide questions and input to be useful for us all.

Reference 

Handbook for Sound Engineers is the most comprehensive reference available for audio engineers. All audio topics are explored: if you work on anything related to audio you should not be without this book! The 4th edition of this trusted reference has been updated to reflect changes in the industry since the publication of the 3rd edition in 2002 -- including new technologies like software-based recording systems such as Pro Tools and Sound Forge; digital recording using MP3, wave files and others; mobile audio devices such as iPods and MP3 players.

Over 40 topics are covered and written by many of the top professionals for their area in the field, including Glen Ballou on interpretation systems, intercoms, assistive listening, and image projection; Ken Pohlmann on compact discs and DVDs; David Miles Huber on MIDI; Dr. Eugene Patronis on amplifier design and outdoor sound systems; Bill Whitlock on audio transformers and preamplifiers; Pat Brown on fundamentals and gain structures; Ray Rayburn on virtual systems and digital interfacing; and Dr. Wolfgang Ahnert on computer-aided sound system design and acoustics for concert halls.

JBL Headphones Synchros S700

Review of products JBL synchros S700 headphones  , and will be compared with the V-Moda M100, the closest class with this price range. As my first review ever on this blog I describe as accurately as possible in the words of the English language though not perfect, but at the same time may be understood clearly to to maintain your confidence to a product class hi-end headphones this.

Although it is not easy to get headphones for $ 300 without having read some of the objectives of true audiophiles. But I have confidence in a brand new and LiveStage DSP technology, which really can get the satisfaction of, or failure due to not liking. For that I saw, and almost sure it will have a warm sound, embracing, like Bose. Or I was totally wrong in this assessment.

With the same settings I have tried to use this with the iPhone 5s, no amplifiers, no EQ, DSP ON, and compared with Vmoda M100 and Sony XB920.

Let us begin to review JBL synchros  S700 Headphones:

Bass: Feels heavy, but not too dominant for my taste: rolleyes:. Every single low notes right, and equipped with texture and shape, and is expressed in a definite way above you can grab a pen and draw it. Crank up the volume, select EQ, and you will feel your head reeling, without sacrificing a lot of detail. It does not add unnecessary bass tracks that do not need it, like other bass heavy headphones. Compared with the M100, is both deeper bass with more extending, despite not having "fun" signatures with less punchy sound and forward. Bass there, but not IN-YOUR-FACE kind of bass, like the Sony XB-920 are quite muddy and vibrating in my ears. But as I said, these cans are more than willing to go if you push them. wink.gif Very little to no distortion at max volume.

MID: it's really hard for me to fully describe it, because I do not have experience in this field. It sounds so rich and accurate, the sound can be heard with tone crispier than with my V-Moda, not necessarily a good thing if you listen to rap / hip hop music, but for most of the time, it works very well. biggrin.gif

Top: Clear. Crispy. Sharp. Every detail shines like a Christmas light in a dark house, nothing is lost, but never felt hard in my ears, not like my Audiotechnica M50. Raise the volume and the bass did not bother, each tone has its own path. After a few moments listening to the S700 and will return to the V-Moda M100, I immediately felt that something was not right: the edge of the square is now gone, leaving me with a half circle. I hope you understand what this means. cool.gif

Extensive stage and have a great instrument separation.

JBL country is intended to make the music sound like they were originally intended to be, and I agree! In fact so much, that now I turn off my EQ and do not need the help of the BBE Sonic Max applications to improve my listening experience. I really like this S700 much. They also said LiveStage technology will make you feel like at concerts, sometimes not, but most of the time, it was a kind of music that is really important. Do not expect them to perform magic.

DSP and LiveStage: To turn off and DSP feature, which is basically an integrated amp inline, press the left button for 3 seconds, and there is a fine white light and a few beeps to tell you so. When off, it still works but it does not sound like a living, and I have to go back to my fiios Andes EQ or Amp to match the sound. At no point did I feel the need to plug in an amp while the DSP is ON, it really TOO MUCH in this configuration. For casual listening, works well without the DSP, but I would never pay $ 300 for it.

There is a phrase in the box that says: "Nothing is more powerful than the original." I'll never come up with a better phrase to describe the  JBL synchros S700, because for me, they are that good.
Now, because no one is perfect, let's jump to the build quality, accessories, and important observations.

In the box: You will find aux cable 2x 3-button, for android and iPhone. They 2.5mm to 3.5mm. You read it right, 2.5mm input on the left side of the headphones, sincere, what on earth were they thinking? Is there any way humanly possible to get a replacement? I do not know. Next is 2.5mm to USB cable, used to fill the internal li-ion battery unit. It took about 2 hours from empty to full. A bag is also included, and because the headphones only change to the side to sit flat and not much anyway, it's pretty big. You have to unplug before storing it in this case, I wonder how many times I could do it before 2.5mm connector or cable breaks. For $ 300 headphones I expected more, or maybe Vmodas raised my expectations a little too high?

Build quality is top class, with no cheap plastic look and a very solid construction. This is one tough couple cans. Most are made of aluminum, it looks and feels like it was made by apple. I would say it's strong enough to be in pairs with the M100, but at the same time has a classy feel and look into it. Hard anodizing in mine is sempurna.namun, cables come with a big disappointment, I just saw this thin wires in the sub $ 50 headphones. And unfortunately, there is no substitute at the moment due to the 2.5mm input on the unit. Those who know where to get a better cable, please let me know.
I can not upload pictures as I am writing this review on the iPad, but I hope to be able to upload some pictures soon.

Important observation: There Are 12 positions to adjust the size of the S700, and I pulled it down to 11. For those with a head bigger than me, this could be a potential problem. (I have an average head size)

• It Can be used with DSP OFF, but I have not used a lot in this way because it sounds so much life when on. The battery should last at least 28 hours.

• As stated earlier, not the best quality cable and 2.5mm on the side of the headphones, so it can be difficult to find the right replacement for it.

• Although Headphones are comfortable, clamping force is still very strong in mine, I could not wear it for more than 2 hours straight.

Bottom line: great sound, headphones that deliver accurate, and then some more. It sits on the line between accuracy and audiophile grade headphones modern clarity, and wipe the floor with any consumer-directed integrated headphone amp in this price range (beats, monster, soul, 50cent, you name it).

Well here it is. I hope this review has been helpful for those who have a hard time finding reviews, questions, do not hesitate to ask me before buy this product.

The Accuphase C-200 Preamp - That's the understatement of the day!

The Accuphase C-200 preamp was Accuphase first pre-amp offered in America and began the uncompromising standard of excellence that still exists today. The C-200 was manufactured from 1975 – 1977 if I recall correctly. Cosmetically, this unit is at least an 8 out of 10. There are 4-5 small and shallow scratches in the top edge of the champagne facing – all less than 0.5 inches long. The black paint is almost new condition and has been waxed with a Teflon-based car wax. All lettering on the front and back is perfect, complete and readable. All lamps function. Timeless, classic looks. In looking at the pictures in this listing, they make it appear that the black top has spots and that there are long scratches and spots on the face. I assure you this is junk on the lens or possibly floating in the air when I snapped the pics. These imperfections are NOT present on the unit.

I bought this based on my research specifically about its phono stage. The phono stage has several unique things – gain pots to help adjust for different cartridge outputs; variable cartridge loading from 33k – 100k ohms to help get the absolute most out of your cartridge; and a low frequency boost from 0 to +1dB specifically for phono.

Given its age, I did a few things to it:

• ALL electrolytic capacitors have been replaced with new Nichicon Fine Gold, Nichicon Muse and even some Blackgates. I stayed with the original capacitance values but in some cases increased the voltage ratings for the new caps. New phenolic mounting boards were made for the replacement power/filter caps since they are significantly different physical dimensions than the original Elnas. Further, the boards are isolated from the chassis by rubber grommets to reduce vibrations to the caps. The original design has the capacitor supports physically coupled to the chassis so all vibrations would be communicated to the capacitors.

• Other capacitors that were originally electrolytics were replaced with film caps in accordance with the Service Manual as of July 1976. Key signal capacitors were also replaced with upgraded audiophile caps.

• I replaced the original two blade power jack with a current IEC jack and connected the chassis to the ground lug so you can use your own updated power cord.

• All pots/switches were cleaned with Caig

• A generous amount of Dynamat has been added to the chassis for vibrational damping.

I have been using this pre since I completed the work earlier this summer and everything works perfectly on this. I am using Disc 1 for my turntable and Aux for my CD player. Everything is dead quiet. There are probably 50-60 hours on the rebuild- not even broken in yet.

If you are looking at this or other vintage pre-amps, please consider that these units contain a number of electrolytic capacitors. Electrolytics are generally considered to have a lifespan of 15- 20 years, after which they frequently fail and leak acid. This is not urban myth as I have had a few devices destroyed from such leakage. In considering the purchase of any electronic device that is more than 15 years old, you should either (a) realize that all electrolytic capacitors must be replaced soon in order to preserve the performance, integrity and electrical safety of the device, OR (b) ensure this has been done within a reasonable time prior to your purchase of the device.

From what I have read so far, the C-200 is a great preamp and still holds its own with today's modern high end preamps. It also is supposed to have an excellent phono section with two inputs with variable load and gain. This works perfect for me as I have three turntables that I use. I have my mmf-phono pack that I can run on one of the other inputs.

This thing is a tank too, weighing in at 30+ lbs (14kg)!! I couldn't pass up this deal considering what they normally go for. I'm taking a chance on it as it is not tested, but judging from the condition it's in and the feedback of the seller, I'm feeling pretty good about this purchase.

Let me know what you all think!

I have the Accuphase C-200  integrated from the same era and it's wonderful. Accuphase is considered by many as the Japanese McIntosh. There is a lot of love for Accuphase over on AudioKarma, as well as a few Accuphase service gurus in case you need help or direction and don't find it here.

I've compared my Accuphase preamp to a few more modern mid-fi brands that I also own (Luxman, Onkyo, Yamaha) and it is clearly a more sophisticated phono stage. But I still think you can better it with a lot of the "new-generation" phono stages. I would still love to own one though. General philosophy is not to modify it but to restore it by recapping. (Replacing all the electrolytics) I don't have the schematic but i'd say you have 30-40 caps in there. A nice piece.

That's the understatement of the day!

I recapped the C-200, replacing only the eight large filter caps and a couple of resistors that suffered from "resistor rot". After that, I got the ole' girl up and running and it's been doing nothing but surprising the heck out of me! This is truly a state of the art preamp that easily stands its own ground amongst modern preamps costing well beyond $5k, and probably higher dollar units! It can only get better once I get around to replacing all the small electrolytic caps on all the pull-out boards. However, the way it's sounding right now, I don't think I'm in any rush to do that, but it will be done eventually.

In my system, this preamp is creepy spooky! There has to be some kind of perfect synergy going on between my gear because I have never had my systems before put so much life and feeling into the music like this system does, and it has only done this since the C-200 was added. I mean, it did a darn good job before with the KingRex Pre-Amp, but the Accuphase takes it leaps and bounds ahead, and the KingRex is not a preamp to sneeze at. That little digital preamp easily competes with units costing many thousands, both tube and SS. The C-200 is just amazing in the fact that it is such an improvement over the KingRex.

Before

After