jay michael

Thanks. Honestly seeing your set up with the sh50’s inspired me to level up haha.  I’ve got a pair of sh46’s on the way.  Mind you this won’t be in my living room, 4 skrams and the danleys should be a pretty potent combo for our studio 

Second cab almost done, 2 more to go. These go together pretty quick, considerably faster than othorns. Taking me about 4-5 hours per cab to assemble.   

Sweet thanks for the confirmation guys.  I’ve got a k10 on the way  

Also found recommended dsp settings for the prolites right from Danley for use with the 46’s.

Paul, could you elaborate on the dbx limiter issue? I’ve read quite a bit about them and it seems the lower models limiters were known for some issues like you mentioned but the venu360 limiters have many more options from what I can tell 

Looking at options for foam to line the chamber behind the driver.  Is there something specific I should be looking for? Or will any egg carton style foam work? Seeing some options on amazon for reasonable prices, or should I look at something from a more reputable source?

We are in Calgary.   Ive had my mic for a bit now, getting a feel for REW pretty amazing program.  Got things dialed in real nice now, sounding great!

Hey guys.  I’m needing to power 4 skram subs with 21sw152-4 drivers plus a pair of Danley sh46.  The danleys list 1400 continuous and 5600 peak handling.  On hand I have a pair of crest pro lite 7.5’s which I was using to drive a pair of 21sw152 in othorns.  Our events are electronic music, indoor 200-250 max  people as well as our festival with dance floors around 300 max.  Danley used at one point the prolite 7.5 for their speakers so they have recommended settings to use the prolites with the sh46’s.  I’m thinking of moving a prolite on the 46’s, keep the other as a back up and find something new for the subs.  I’m also using a dbx venu360 as dsp and would prefer to keep it that way as I don’t really want to give up the convenience of controlling everything off my iPhone or iPad with the wireless system it uses.

I am looking at used options likely, would like to spend about 2-2.5k.  I found a guy on prosoundweb with powersoft k-10’s in that price Range.  Do you think that would be a good fit? The specs seem to say on 2 ohm loads I could deliver 3k per driver running 2 drivers off each channel.  Our studio has been upgraded to proper 20amp  outlets, but sometimes venues used only have 15’s... our festival site has proper 220 on site.  Hoping my amp choice can work with all the above situations.

We are probably more conservative on volume that most, max volume has never really been our thing but I’d like enough power to drive things in a way that max sound quality is achieved. 

Ive asked this question on the Danley site and they are suggesting using their dna20k amps but that’s out of my budget considerations, maybe down the road.

if the powersoft k10 is not a great choice, could anyone recommend a different plan?

cheers

Yeah Cnc work can be pricy.  I had my guy do only the tricky stuff, parts with angles holes etc.  I cut everything else that was basic with a table saw. Cost me 400ish Cnc labour for 4 cabinets worth 

Getting a bit done. Sold about 2/3rds of my RCF 4pro system a couple nights ago, it’s headed to a indoor roller skating rink Got a great dollar out of them thankfully, but now I need some new tops. Any suggestions guys? Starting to dig through all the classifieds, I’ve always wanted some danley’s but I’d prob need to find used ones. 

Doh!!! 

Wood for 4 Skrams acquired.  I am looking at dampening materials for the low tune chamber. Seen most people using the egg carton shaped foam panels, is that the best bet? I suppose those foam panels come in various qualities, where are people sourcing it from?  

Thanks for the fastener info guys!  Damn Jesal... looking great!

Cool thanks.  I'm going to give this a try on my next cabs, t-nuts add a ton of work and generally just a pain in the ass. Ordered another pair of 21sw152's

If you are mounting drivers right into the baffle with no t-nuts what kind of fastener screw are you using?

Thanks man! Mic should be here any day.  Spent about 4 hours in our studio the other night getting a feel for things.  I used a db meter and did the old school trick using a sign wave signal at the cross over point, set the sub to inverted polarity and adjusted delay to the greatest null in db.  Seemed to work pretty good, but will play with it more with rew to see where its really at.  Sadly my dsp doesn't give me enough delay range, had to push the subs forward of my tops about 1.5 feet.  Stoked so far with the sound, cleaner than anything I've heard before, has a nice fast feel to it.   We have nothing but double 18's in this city, this is a totally different sound.  Our studio has a raised sprung dance floor, can literally feel the floor roll like waves on the water Haha

Thanks Josh. What software do you use? Any good reference materials that you have come across?  I've been watching a bunch of tutorials using smaart, but I don't know if I want to pay the entry price on owning it beyond its free trial. I've come across and bookmarked a few discussions using REW, re-reading them tonight

Currently digesting this thread. 

• Forums  I have a minidsp UMIK-1 mic on the way, been digging into

I have a minidsp UMIK-1 ordered and on its way. Been researching how to use software and the mic to align my full range tops to my newly built pair of Othorn's.  Ill be loading them into our studio space tomorrow and will start working to get them dialed in with my tops.   I'm using RCF 4pro4001's

https://www.prodance.cz/data/attachments/RCF 4PRO 4001-A datasheet.pdf

I usually cross them over at 80hz and will likely start with those settings.  Can someone help me or suggest a reasonable starting point that I can use as a delay for my tops?  I have the recommended crossover settings and eq recommendations that Josh provided and from the phase response plot posted at diy audio there is mention of 13.9ms. Not sure if that is referring to what I am looking for or not.   I have also seen it mentioned that the horn length is 3.8m long.  If I convert the 3.8m horn length considering the speed of sound I get 11.08 msec.   From what I have read and researched I completely understand this is more complicated and likely requires measuring equipment to get just right... Just wondering a good place to start to get me close while I wait the arrival of my mic.  Cheers and thanks   

Nice!

Thanks for the great description Josh, really appreciate it. Pretty reasonable cost to build so I'm going to knock off a pair to compare.  Thanks for the posting the design!

For anyone who might find it helpful.  Attached are cut lists to build 2 skram cabinets.  I tried many combinations of 4x8 and 5x5 to find the route with the least leftover waste.  Factoring in cost of materials for me in Canada, $73 per 18mm 5x5, and $105 per 18mm 4x8, this was the cheapest route... your mileage may vary depending on material costs.  Will require 6x 5x5 of 18mm and 1x 5x5 of 12mm costing about $487 Canadian.  I used the Cutlist optimizer app.  All pieces are accounted for as rectangles, some finish cuts will be required after the fact

Skramcutlist18mm.pdf

skramcutlist12mm.pdf

If possible it would be great to see a sim for the 21sw152.  How high do you think this will play smoothly,  150hz? or perhaps even higher?  Compared to a Othorn it seems like one should expect a slightly higher output with more usable response up past 100hz?  For the people who have heard both the othorn and the skhorn, is there a difference between the type of sound between the two?  Curious about what to expect as far tightness, speed, musicality and felt impact on the dance floor between the two.  Having already built some Othorns would it be worth the effort to give the Skram a try?  Cheers

Looks awesome Josh!  Since I am in wood cutting mode I believe I am going to give this a go!   I would assume the 21sw152 will still be a good match for this?  Quick question for anyone.  When Josh says we can follow the images he posted (I don't see a file link) to build the box, what would be the best way to go about this?  I am thinking print out the images and try to scale the images up to the desired dimensions?  Any thoughts how to best to do this?

following

That looks awesome Father Francis!  Thanks again for the encouragement to grab them, Cant wait to get them in front of some people

There is something very special about dancing with everything you have for hours on end.   It happens much less these days for me but for the occasional times when it happens I concur there are uplifting feelings that hang around long after

Thank you for the mind portal you opened with your speaker design and implementation discussion you shared.  I copied and pasted it into a document so I can easily keep returning to it.  I have a decent home system now but I think when my event hosting days really wind down I do want to focus on something much more impressive for my home needs.  The SEOS tech wasn't on my radar at all, that was a couple hour rabbit hole for me and I don't think I even scratched the surface haha!

I am guessing the midnight to midnight set was from Goa Gill?  I got to experience him at Oregon Eclipse festival a few years back, was happy to check that off the to do list.

With the software synth thing I do believe it is entirely possible to get a fantastic sound without hardware.   In the hands of a skilled user there is little reason anymore that software cant rival hardware....  but I think it takes a masterful understanding of the software to achieve those results.  I took some production lessons from an artist called Bluetech many years ago and he was a huge software fan.  His productions were very high quality and really proved to me that it could be done.   With that said, as his career evolved he did move more into hardware synths so perhaps it comes down to the financial side of things as a new producer would very likely not be able to outfit a studio with expensive hardware right from the start.  

You can check his stuff out here.  Really lovely human with an amazing musical vision for ambient and downtempo type stuff.  https://bluetech.bandcamp.com/  Truth told I am a bigger fan of his earlier works, sines and singularities, prima materia and elementary particles even if they are getting a bit dated. 

My buddy is uploading his 5.1 album to drop box for you, because of the size of the files it will have to come in chunks so I will get those to you when they are ready.

And sorry I forgot the other link I mentioned https://merkabamusic1.bandcamp.com/

Back to my original dilemma,  I randomly found some vintage bass horns on a local for sales site.  He didn't want to sell them individually so I now have 6 martin audio b115 bass horns in my garage, the price was to cheap to say no.  They are in amazing shape with fresh drivers as of 3 years ago, loaded with the recommended jbl 140e units.    I was able to set them up in his shop and give them a good lsiten for about an hour.   Until I get them set up and processed with the rest of my gear it will be a bit of a unknown but my first impressions were very positive.  Very accurate and warm sound with an incredible amount felt impact.  I figured just a pair of them would outclass the felt impact of my 6 - 15" drivers of my top cabinets... they are crazy loud with very little amplification.    They effortlessly produced clean and powerful psytrance kicks and bass notes that my reflex boxes could only dream of doing.  So yeah, lots of testing and tuning ahead of me.  For the buy in price I paid (peanuts) it will be a cheap experiment to see if the two way bass thing could be what I am looking for.  If it doesn't pan out well I guess next season Ill be researching some heroic top cabs to go above my othorns.

Thanks again SME for the very enlightening conversation!