Alec

Certainly an interesting box, and good to be able to have a full mix, rather than being limited to Ultranet's 16 channels.

And raises more questions as to whether an X32.2 is on its way, as possibly teased by Behringer last week (though it could also be yet another synth re-issue). There's been the unsubstantiated rumours of X32 firmware 4, possibly removing the 8 channel routing restrictions. As I see it, these routing restrictions would need to be changed for the DP48 to work. It also makes you wonder if an X32.2 might really be imminent.

Either way, MG continue to surprise - watch this space...

I've used mics made by micronic https://micronic.co.uk/collections/ear-hook-microphone and had good results for church use, and for a bit of amateur theatre use, and in my opinion they compare well sound wise to the pulse headset mics from CPC, but with the advantage of having a replaceable cable, and they only cost around £20 so can be treated as consumables.

Agreed on all points - have been using their BPE-S63 hear-hook mics (also available here from eBay) for the last year. Had two DOAs, but promptly and helpfully replaced. Happy with the performance, no issues with fit, they have proven robust, the removable lead is great, and delighted with the price.

Also delighted that they come with a range of connectors. My previous cheapies were 3 pin XLRs, where I had to keep reterminating to the TA4Fs I need. Much easier to buy them pre-terminated.

This would just fit in my van with the rest of the gear, but I can't find any reviews apart from a crazily awful disco on youtube.

Follow the links to the individual products from the page you quoted, and you'll find a few reviews. Not sure if they're that helpful, mind.

I've used Thomann's return service to buy multiple The Box Pro Achat speakers and send back the losers - it worked very well, took the risk out of buying unseen/unheard, and allowed a decent home comparison audition. Your kit's bigger, mind, but I'm sure the process would work out - email Thomann.

As with the others, I haven't heard any of the options you've mentioned, nor have I heard any Achat subs, but I've used other cabs in their range and they certainly punch above their price.

While, in theory, the dB Technologies sub has stacks more output than the Turbosounds, I'd be a little suspicious of a 129 dB 12" sub at that price level. In the end you're not going to get anything stunning - but you'd probably find the 15" Turbosound a little more satisfying.

You haven't mentioned what tops you're using. Or if the extra bulk/weight of a 15" sub would be an issue.

Why not buy a couple from Thomann, and use their excellent service to keep just the one you prefer? A far better result than asking people on a forum, where no-one yet has tried any of the models you are looking at.

Do you think it is worth getting just the diaphragm (there seem to be a few on Flea-bay) or do I need whole driver assembly?

 

And any suggestions for UK suppliers would be great!!!(not too confident of Flea-bay!)

I've not replaced just a diaphragm before, but would happily do so, as that's the moving/electronic part - the rest is just casing. Should be an easy replacement. You could re-assure yourself by disassembling the broken HF driver, to show how it fits together (pretty easily!)

Can't recommend any suppliers, just go for a UK based one, or you could be waiting weeks for delivery.

Could someone point me in the right direction for what exactly I should test to determine if it is the horn itself or the crossover...

Almost certainly the HF driver (to be precise, the horn is what sits in front of the HF driver). As well as checking the resistance as Doug says, you could also feed *low level* audio to the driver to see if it produces sound or not - headphone level is ideal for this. But unless anything has become disconnected, which is unlikely, my money is on the driver being dead.

A quick Google for B1520 replacement driver doesn't come up with any UK sources - though there will be some.

This isn't from the periphery! Admittedly, sound up by a stage can often be poor, but it's practically non-existent here. Imaging paying top dollar, queueing all day for prime position, and then being delivered this...

https://youtu.be/3WFpzhqQ2DU

Separately, I saw Mariah Carey at the Royal Albert Hall last night. Many occurrences of feedback during the night often for 5-10 seconds. And then a guitarist doing a centre stage solo, who was inaudible for approx 30 seconds. Surprising at this level of production...

We would like to know how far down we should tilt them? We can't find any real authoritive article on the subject which we would prefer because we have several groups arguing about the (such a silly) topic.

Given that it sounds like you have dissent, then you might want to demo various options, assuming the mounting hardware allows for that, without repeated re fixing. Actually hearing the effect of different positions and angles can be way more eloquent to the uneducated/wrong.

But, as has already been pointed out, if your target is even, intelligable coverage, then the best results are likely to be speakers high, with a good downward tilt, typically aimed around the centre of the audience area.

Your area sounds like it's not huge, and may not be an acoustic nightmare, so it's not a particularly huge challenge.

What you haven't mentioned is what speakers you have. Their dispersion pattern will dictate how well they will be able to cover the appropriate area, without dropping off at the edges, or spraying the sound too widely to increase undesirable reflections.