MTD115b
The L-Acoustics MTD115b loudspeaker enclosure and its accomp-anying analog controllers provide a highly versatile system that is designed for distributed sound reinforcement. intended for medium-scale touring, sub-hire or fixed installation, the MTD115b features proven components that are compatible with previous generation MTD enclosures while also benefiting from the economy, packaging and "plug and play" ease of use afforded by it`s companion LLC line level analog controllers (LLC115b-st for passive operation, LLC115b-2w for active two-way operation).
The MTD115b is a switchable active/passive loudspeaker enclosure containing a 1.4" exit compression driver that is directly loaded by the 15" loudspeaker in a coaxial configuration. advantages of the coaxial approach include: single point source radiation and excellent phase response, total wavefront coherency at all frequencies and axi-symmetrical directivity that produces identical horizontal and vertical coverage. Coaxial design also provides LF/HF superimposed dispersion characteristics that are free of polar lobing effects typical of traditional horn and woofer combinations. The end result is natural, studio monitor level sound quality, ideal for proximity use and perfectly matching semi-reverberant environments.
The MTD115b is designed for distributed sound reinforcement and can also be used in medium power front-of-house (FOH) applications for theatres, clubs, multi-purpose venues or corporate events. examples of distributed systems include delay rings for large-scale installations, surround effects channels for theatre or multimedia, distributed reinforcement for sports venues and delays for speech reinforcement in convention centre ballrooms. Due to its compact, wedge-shaped format, axi-symmetrical directivity and switchable active/ passive design, the MTD115b also provides a cost-effective floor monitor solution for live sound reinforcement. When used with additional subwoofers such as the sB115, sB118 or sB218, the MTD115b can be used in side fill or drum monitoring applications.
The L-Acoustics LLC115b-st and LLC115b-2w are dedicated analog controllers that provide optimum processing and sense return protection for passive or active operation of the MTD115b, respectively. Front panel design of the LLC115b-st and LLC115b-2w allows each unit to function as a patch panel, providing an ergonomic, cost-effective solution for amplifier rack packaging.
a pole mount socket and single stud anchor plate are included as standard on the MTD115b and the enclosure is Omnimount-ready. an adjustable U-bracket is available as an optional rigging accessory for ceiling, wall or scaffold mounting.
The enclosure shall be a switch-selectable active/passive, two-way, coaxial full range loudspeaker containing one direct radiating, bass reflex-loaded 15 inch low frequency transducer and one 1.4 inch exit, 3 inch voice coil diameter, titanium alloy diaphragm compression driver. as a full range system, the frequency response shall be 65 Hz to 14 kHz with less than ± 3 dB variation and the usable bandwidth shall be 50 Hz to 16 kHz (-10 dB).
The cone body of the low frequency driver shall provide pattern control loading of the compression driver and yield an 85-degree conical dispersion pattern that is axi-symmetrical. The 2nd and 3rd order passive filters employed in the enclosure shall provide a 1.2 kHz crossover point between low and high frequency components. in passive mode, long term power handling shall be 265 Wrms at a nominal 8-ohm impedance. in active mode, the crossover point between low and high frequency components shall be 1.2 kHz with 24 dB per octave Linkwitz-Riley characteristics and long term power handling shall be 265 Wrms for the low section and 150 Wrms for the high section at a nominal 8-ohm impedance. Connection to the loudspeaker shall be made via two parallel 4-pin Neutrik speakon connectors.
The enclosure shall have a truncated wedge shape with a curved front profile. Dimensions shall be 58 cm (22.8 in) high, 44 cm (17.3 in) wide at the front of the enclosure, 16.7 cm (6.6 in) wide at the rear of the enclosure and 47.4 cm (18.7 in) deep. When used on its rear side, the front baffle of the enclosure shall be oriented at a 41-degree angle with respect to vertical, allowing the enclosure to be used as a floor monitor. enclosure weight shall be 31.5 kg (69.3 lbs). Cabinet construction shall consist of 18 mm (0.70 in) and 30 mm (1.18 in) Baltic birch plywood with internal steel bracing and joints that are sealed, screwed and rabbeted. The finish shall be maroon-gray high resilient paint. The front of the enclosure shall be protected by a black powder-coated, 1.5 mm (0.06 in) thick steel grill that is covered with 10 mm (0.39 in) thick acoustically transparent open cell foam.
The enclosure shall have a 36 mm (1.42 in) diameter pole mount socket mounted on the bottom side and a single stud anchor plate mounted on the rear side along with four threaded inserts for attachment of an optional Omnimount bracket. Four recessed attachment locations shall be provided (2 each on the top and bottom sides) for rigging the enclosure with an adjustable U-bracket accessory with angular adjustment in steps of 10 degrees.
When operated in passive mode, the enclosure shall be used with a stereo analog controller and when used in active mode, the enclosure shall be used with a mono two-way analog controller. Both analog controllers shall monitor power amplifier outputs and employ sense return processing to provide thermal protection and cone excursion limiting for the loudspeaker components. Both analog controllers shall provide band limiting and corrective component equalization with three settings that are designed for front-of-house, floor monitor or operation with subwoofers. The stereo analog controller shall perform signal summation of the two input signal channels and both controllers shall provide a line level output signal with selectable band limiting and equalization for use of the enclosure in conjunction with three different subwoofer types.
The loudspeaker system shall be the L-Acoustics MTD115b.
- For passive operation the analog loudspeaker controller shall be the L-Acoustics LLC115b-st.
- For active operation the analog loudspeaker controller shall be the L-Acoustics LLC115b-2w.
- The subwoofer system shall be the L-Acoustics sB115, sB118 or sB218.
Features
- Switchable active/passive two-way enclosure (15" LF, 1.4" HF)
- High power coaxial driver assembly
- Point source radiation (85° conical directivity)
- Flexible format for distributed sound reinforcement
- Wedge-shaped for floor monitor use
- Suitable for medium- power FOH applications
- Designed for fixed installation and touring
- Compact, rugged construction, flexible rigging
- Analog processor control with sense return protection
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Used L-Acoustics
L-Acoustics is a French manufacturer of loudspeakers, amplifiers and signal processing devices for rental and installed sound markets. Headquartered in Marcoussis, just south of Paris, the company has satellite operations in the United States, United Kingdom and Germany, as well as a global Rental Network of production companies deploying and cross-renting its products. The company is also known for providing music festivals with its loud, powerful sounding speakers.In September 1984, Dr. Christian Heil, a physicist in the field of elementary particles with a passion for sound, created an electro-acoustic engineering firm named C.HEIL.TEA, later to be renamed L-Acoustics. In 1989, the company launched its MTD115, a high-performance coaxial loudspeaker for sound reinforcement use.
In 1992, Heil and his team pioneered the field of modern line source array loudspeakers with their V-DOSC system, which benefitted from L-Acoustics’ new Wavefront Sculpture Technology (WST) theory. Based on principles developed by Heil and fellow physics colleague Professor Marcel Urban, WST defined five criteria for design and use of true line source arrays. At the heart of WST is the internationally-patented DOSC waveguide, which was the first high-frequency device capable of creating a rectangular, constant-phase planar output.
In combination with WST, coplanar symmetry - the equivalent of coaxial assembly for HF, MF and LF drivers in vertical arrays - provides a coherent wavefront over the entire horizontal coverage at all frequencies. This behaves as if the sound was radiated by a single, continuous and articulated ribbon, and allows a highly coherent sonic signature in long throw applications, beyond the limits of previously traditional clustered systems.
Although Heil did not invent the underlying theory of the line array, his research and design work that ultimately resulted in the V-DOSC system altered the landscape of loudspeaker design. Today, nearly every professional audio loudspeaker manufacturer has adopted the line array model for their premier touring systems, and Heil is generally recognized as the "father of the modern line array."
Over the years, L-Acoustics has gone on to introduce other products, including the ARCS Constant Curvature Array (1995), dV-DOSC modular line source (1999), Kudo with K-Louver variable directivity (2005), P Series self-powered coaxials (2006), SB28 subwoofer with laminar vents and LA4 and LA8 amplified controllers (2007). The debut of L-Acoustics’ Soundvision simulation software in 2004 enabled system designers to create accurate 3D acoustical models of potential systems using the company’s products.
In 2008, 15 years after the launch of V-DOSC, L-Acoustics introduced its newest flagship system known as K1, designed primarily for large festivals and stadium sound reinforcement applications. Distribution of the earliest K1 systems sold was extremely limited to a small number of touring sound companies that agreed to participate in the manufacturer’s K1/Kudo Pilot Program,[7] providing feedback to L-Acoustics’ R&D team on its field performance.
Since then, the manufacturer has established both its new Rental Network and System Integration Charter, as well as debuted other new products, including the Kara and Kara(i) WST line source enclosures and SB18 and SB18i subwoofers (2010).
The K1 stadium line array system was recognized with the top prize for "Indispensable Technology - Audio" at the 10th annual Parnelli Awards ceremony held at the Rio All Suites Hotel & Casino in Las Vegas on October 22, 2010.
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Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.
Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.
Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.
Package: A completed and fully edited audio piece.
Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.
Phase: Time relationship between signals it’s all relative.
Power Output: A measure, usually in watts, of how much energy is modulated by a component.
Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.
Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.
Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.
Pre/Pro: A combination preamp and surround processor.
Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.
Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.
Q-and-A: Question and answer session.
Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.
Reverberation: The reflections of sound within a closed space.
RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television’s tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal.
RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square’s set of values. A reasonably accurate method of describing an amplifier`s power output.
SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.
Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.
Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.
Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.
Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better.
Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language.
Sound Bite: A portion of audio of someone speaking.
Sound field: The total acoustical characteristics of a space, such as ambience number, timing, and relative level of reflections ratio of direct to reflected sound RT-60 time etc.
Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.
Speaker: A component that converts electrical energy into acoustical energy.
SPL: Sound-Pressure Level. Measured in dB.
Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.
THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman’s eXperiment, after the engineer who drafted the original standard, or is named after the company’s founder George Lucas first movie, THX 1138. Nobody agrees on which.
THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.
User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.
Voicer: A radio report without background audio taken from a scene or otherwise.
Wrap: A radio report containing both the reporter and an actuality.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
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