D&B T Series

[AV Doug]

Hi All,

 

 

Looking for some advice on the T-Series. Has anyone got it, used it, like it, hate it?

 

What are the applications for use / size of venues / set-up configurations people are using that work / dont work.

 

 

 

Thanks.

 

 

Doug

[RichM]

Hi All,

 

 

Looking for some advice on the T-Series. Has anyone got it, used it, like it, hate it?

 

I haven't mixed a show on it, but I have rigged it. It's a brilliantly simple system, one person can do a hang in minutes.

[AV Doug]

I haven't mixed a show on it, but I have rigged it. It's a brilliantly simple system, one person can do a hang in minutes.

 

Good to know, what size of array were you hanging and in what config? What was the size of venue?

 

Cheers

[Simon Lewis]

Haven't used it too much, but had three clusters (in line mode) for an event in a noisy venue with long RT. It performed very well indeed with demonstrable speech intelligibility and predicable coverage. Set up was quick and easy.

 

To me, its main selling point is not just the compact line array that's almost as good as the bigger versions that d&b sell, but the fantastic flexibility of being able to use them point or line source, thus making them usable in ones or twos at conferences and small gigs.

 

d&b's support is very good too!

 

 

Simon

[BlueShift]

So I've used T in a variety of situations. 10 a side hangs over J-sub, smaller 4 a side arrays, front fills for V or J systems and also on sticks as a point source rig.

 

I should also preface this by saying I'm a big d&b fan in general. I have most experience with J and Q, and increasingly with V and T. I think their line array products are great. And I'd sooner have their subs than anyone else's.

 

T is a good box. It sounds d&b, its small, light, amp-efficient and versatile. As a box to own running an audio company, you should get a lot of mileage out of it. It kills at corporate work, and can certainly handle a band. However, there are a few drawbacks.

 

The method used to vary its dispersion (for point and line source applications) is a bit of an acoustical fudge. Essentially, they are using a 'lens' as part of the grille construction to 'artificially widen' the HF dispersion in line mode, and do the same to the vertical dispersion in point source mode. As an aside, thats why it has to be vertical in point source mode...

Its worth saying that this is the only adjustment made physically between the two modes, the rest is done in the amp.

While this is very effective, it does have its compromises. The coverage and tonality is not as smooth at the extremes of horizontal coverage as J or V, and so in my experience I wouldn't rely on it to deliver at 110 degrees. I'd play it safer and treat it more like a 90 degree box.

T also isn't the loudest small format array. While Q, V and J all get loads of great, clean loudness from relatively small enclosures, T doesn't quite hold up to the competition. Kiva, as an example, has loads more headroom...

 

That said though, I think these are fine compromises. You get a very very versatile box, that sounds great. You just need to be aware that it has its limits.

 

In short though, I'd buy it...

 

Oh, and T-subs are fine for filling out the T low end in an array, but I'd still bring something better and bigger for real sub, like a B4 or B2...

[gibbothegreat]

Hi All,

 

 

Looking for some advice on the T-Series. Has anyone got it, used it, like it, hate it?

 

What are the applications for use / size of venues / set-up configurations people are using that work / dont work.

 

 

 

Thanks.

 

 

Doug

 

Doing a gig tonight for the Edinburgh International Festival in the 3,000 seat Usher Hall: speech reinforcement for two actors (on DPA headset mics) over an orchestra. Have two hangs of 8 to cover the circle and upper circle, a stack of three a side for the stalls, and I haven't had to move the faders above -20 (and the gain on the mics isn't particularly hot either.) And that took marginally over an hour to rig, though the motors were already in place. Think it's a superb system...

[olly_steel]

I have around 50 elements of T on the musical I'm touring at the moment, doing venues from 1000 to 3000 cap. I've also used around 60 of them cover 6000 strong seating stands at a fairly well known sporting event last week, as well as 6 boxes in point source to do a tiny play for 150 people in the round.

 

Personally, I think it's great. In my opinion, its better sounding across different genres than Kiva, and the rigging is a tad nicer. It's quite fiddly at times but I can't think of a small format line array system that isn't. One small downside is that when using it in some UK theatres, you'll struggle to get enough uptilt versus limitations for point height, not too often though. As a general rule also, we've tried to keep it to a max of 2 boxes per amp channel rather than the 4 that D&B allow, main reason is for flexibility in array levels. Admittedly a nicety if you can afford the amps.

 

Can't say much for the T-Sub, it's really a low end extension rather than a Sub, can't say I've used them enough to offer opinion though.

 

 

Hope this helps.

[AV Doug]

Thanks for some good advice and points. It seems like its going to fit into the space we have a hole for. We use E right now so am aware of how good the D&B support is. Going to contact our suppliers and get some up on demo. Think that B4's would be the better option in terms of subs rather than going for the T sub

 

Cheers

 

The method used to vary its dispersion (for point and line source applications) is a bit of an acoustical fudge. Essentially, they are using a 'lens' as part of the grille construction to 'artificially widen' the HF dispersion in line mode, and do the same to the vertical dispersion in point source mode. As an aside, thats why it has to be vertical in point source mode...

Its worth saying that this is the only adjustment made physically between the two modes, the rest is done in the amp.

While this is very effective, it does have its compromises. The coverage and tonality is not as smooth at the extremes of horizontal coverage as J or V, and so in my experience I wouldn't rely on it to deliver at 110 degrees. I'd play it safer and treat it more like a 90 degree box.

T also isn't the loudest small format array. While Q, V and J all get loads of great, clean loudness from relatively small enclosures, T doesn't quite hold up to the competition. Kiva, as an example, has loads more headroom...

 

 

Thanks, some great points in here!

 

As a general rule also, we've tried to keep it to a max of 2 boxes per amp channel rather than the 4 that D&B allow.

 

Do you find you get higher levels if you run the speakers this way?

[BlueShift]

As a general rule also, we've tried to keep it to a max of 2 boxes per amp channel rather than the 4 that D&B allow, main reason is for flexibility in array levels. Admittedly a nicety if you can afford the amps.

 

To clarify for the OP, I believe Olly is doing this in order to have more gain shading ability in each box than running 4 boxes per channel. Whether you need or want that, depends on your application, and array design school of thought :)

 

The T10 is a passive box, with a nominal impedance of 16Ohms and a power handling of 200w RMS (800w peak). So 4 boxes per channel is only a 4ohm load, and a D12 will quite happily deliver 1200w per channel into 4 ohms.

 

The D12, being d&b's biggest and baddest amp, is quite capable of running 4 T10s per channel at full tilt.

 

With a D6, you get 3dB less out of each box.

[olly_steel]

As a general rule also, we've tried to keep it to a max of 2 boxes per amp channel rather than the 4 that D&B allow, main reason is for flexibility in array levels. Admittedly a nicety if you can afford the amps.

 

To clarify for the OP, I believe Olly is doing this in order to have more gain shading ability in each box than running 4 boxes per channel. Whether you need or want that, depends on your application, and array design school of thought :)

 

 

Exactly that. We never need extra level, it's purely for gain shading purposes.

 

AV Doug, I see you location is Aberdeen, I have the tour in Glasgow in 4 or 5 weeks time, you're welcome to drop in and have a listen if you can make the trip down.

 

Cheers

[AV Doug]

To clarify for the OP, I believe Olly is doing this in order to have more gain shading ability in each box than running 4 boxes per channel. Whether you need or want that, depends on your application, and array design school of thought :)

 

Please excuse my ignorance, I'm not familiar with the term 'gain shading' could you shed a little more light on the term.

 

Thanks

[GR1]

Google 'Gain Shading' and read the first document which comes up . It is by Electrovoice.

[AV Doug]

Google 'Gain Shading' and read the first document which comes up . It is by Electrovoice.

 

Hi, I had read this doc before, but didnt see the relationship between what it said and using two boxes per channel, however have had a lightbulb moment since and realised I was being pretty stupid!! I maybe didnt word my last post that well anyway, but thanks for the prod to read again and make me see daylight.

 

Getting some up on demo next week to have a try :)

 

Cheers for the pointers folks!