DP448
Based on the already successful DP428 platform, the new 4 Series considerably increase sound company choice. The DP428 takes on the name DP448 to complete the family and share the common technology. The five models in the series are: DP448 4 In 8 Out, DP446 4 In 6 Out, DP444 4 In 4 Out, DP426 2 In 6 Out, and DP424 2 In 4 Out.
As the demands placed on professional audio systems continue to steadily increase, so must the technology be advanced to maintain the expected quality and useability. Based on a completely new processing platform, running at a native sample rate of 96kHz, the 4 Series set a new standard in terms of performance, flexibility, and ease of use.
Using the latest digital signal processing and high sample rates would be wasted if attention is not paid to capturing the signal as faithfully as possible, and reproducing it accurately. The range uses high-performance 24-bit converters on the inputs and outputs, running at 96kHz to give a bandwidth of over 30kHz and a dynamic range in excess of 116dB.
With two or four fully balanced inputs, and up to eight fully balanced outputs, it also offers greatly increased flexibility. Now it's possible to realise (for example) four two-way monitor systems, or your favourite DP226 configuration with an additional stereo processing channel, all in a single 1U unit.
With multiple inputs and outputs, the 4 Series are able to offer much more than a simple crossover system. To make configuration as simple as possible, a selection of templates are available to set the system up, taking care of routing and selecting useful crossover points.
However all of this is easily adjustable, including the routing. Any output may be fed from any input, or combination of inputs, forming a completely flexible matrix.
The 4 Series processing platform has been designed to operate at a native sampling rate of 96kHz, and also be powerful enough to cope with the additional inputs and outputs. Available on each input channel is a 28 band graphic equaliser, in addition to 8 bands of fully parametric equalisation. Each output path features up to 9 parametric sections, in addition to the crossover filters which themselves now offer slopes from 6dB/Octave up to 48dB/Octave.
All parametric sections can be reconfigured to many alternate filter behaviours, including the familiar high and low shelves and notch filters, but along with bandpass, elliptic and variable "Q" shapes, and phase adjustment, in 2 degree steps. Each output also features a combination of limiters, a limiter which is designed to protect individual drivers from over-excursion/over-driving, and an additional look-ahead "D-Max" limiter for added safety.
Add to this sub-millimetre accuracy when introducing time alignment with completely flexible ganging of all channels, and it can be seen that a member of the 4 Series will fit the bill in any system configuration.
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Used XTA Electronics
XTA Electronics is a leading professional audio company based in the UK. We design and manufacture professional audio equipment used extensively around the world in both live touring and installed applications.From humblest beginnings in a spare room in Worcestershire, to the million pound facility of the present, the XTA story is far from ordinary.Have a read through our history and find out how it all began, with a mic splitter, right up to the present day with our range state of the art digital signal processing.
Andrew Grayland and John Austin former R&D manager and one of the Technical Directors of Klark Teknik started XTA in 1992. Having overseen many of the benchmark products produced by KT, both Andrew and John felt that DSP (digital signal processing) technology could find a home at the heart of PA systems.
At this time DSP was often disregarded because of its audio quality, but Andrew and John felt with the right algorithms and using 32-bit processing coefficients instead of 24-bit – what the majority of DSP designs were using – digital equipment could be designed that would sound very pure and clear.
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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.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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