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KV2 Audio VHD5.0 Constant Power Point Source Array - Introduction
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- Опубліковано 20 лис 2016
- The VHD5.0 Constant Power Point Source System is a true feat of engineering. The system delivers audio over large areas with clarity and definition simply not achievable from the digitally processed line arrays that are so commonly used today.
Love the KV2 Brand.... has never let me down... rain or shine.... always superior and clean sound even after 8hrs of thumping
this box is 5 years old, but today 2020 is current, it's the best, congratulations sorry that in Brazil it doesn't exist
Aqui tu
Do sem. Mercado
I agree for all what you discuss sir,,in an actual sounds in an open fields ,thats what you can hear with your ears.I am an audio enthusiast,a technician, and a sound system owner.In my actual experience,in order to hear in a clarity both
mid and high freq. i used to install or position them in a surround type.Here mid and high are define,,THANK YOU
it was introduced here in south africa last year,if am not mistaken,and hey i heard it playing at 2 big events,it is good indeed.
Very nice. I watched your video with the point source verse line array argument. Very educational. Danley feels the same way you guys do about point source verse line array
Stuart McDoniel fef6rguhtt
I can enjoy concerts at small venues where there's no line array and bands sound loud and unique. I grew to dislike larger venues with line array systems however, where you take two steps to the right and it feels like you just went to a different concert and EVERY SINGLE BAND SOUNDS THE SAME. I keep looking at my old concert photos from the late 90s when stages looked massive and you were really blown away by those speaker mountains!
With everything closed I hope you guys make a lot of videos
I'd like to see the horizontal polar plot and the group delay or phase response
Nice
Hello from Greece.
Those flown boxes look like Danley Jerichos
Sólo falta checar el audio en realidad simplemente con personas... Saludos from DJ el Zatiro León Gto México...
Good job Jonathan.... Wheres Dave Croxton ?
How does this compare with the Danley J3 Jericho Horn
Wow! This is wonderful! How much does it cost & how will I get them?
Isso que eu chamo de um mega sistema de som 😰😰
I assumed you mesured the dB @1mtr distance and how much does inverse quare law effect @100meter ? Will the system be sufficient for a rock concert full off crowds @100 metre distance ?
Well it would be 1/10,000 or - 40dB - whatever air absorption knocks off in the highs.
Wait a Second... THAT WASNT THE KV-2 I WAS LOOKING FOR
Celso Ociran yeah... I was looking for the tank
❤️
Kolik to žere?
I can't wait for line arrays to go away.. I miss great audio
What if I want to use less subwoofers VHD 5?
how heavy are the boxes?
Hi Matthew,
VHD5.0 module: 151kg (332.2lbs) - 1 per side
VHD8.10 module: 92kg (202.4lbs) - normally you will need 2 - 3 of those per side
SL412 (as downfill) is 60kg (132.28lbs) - 1 per side
More information here: www.kv2audio.com/products/vhd5.html or here: www.kv2audio.com/vhd50-constant-power-point-source-array.html
+KV2 Audio 09535014509
希望拥有一套
Danley sound labs are really efficient speaker boxes
Yep fine if horrendous Group Delay is your goal. Synergy tend to chuff at high power. But lucky for Tom it is masked a bit by the Mid/Hf at tbe throat. Bless him he does try.
@@amgineacoustic Danley J5 caleb does get it out of the world performance. Like best in class with dB spl.
Which I believe the vhd 5 will not do.
Yeah it’s nice but I was expecting a derp gun
I miss point source ..especially the old 4 way systems with 15 inch folded horns for the lows,...back then the snare drum had real impact at 250 hz......
MTL4 und MTH4 konnte das auch in den 90er
In car audio class D amps are more efficient and have better bass quality than class AB amps, all the comments seem to say otherwise for pro audio, can someone explain?
Anyways I think it would be cool if someone built a folded horn wall in a car but it would probably be way too big, everyone seems to be going 6th order nowadays for bandwidth
Car audio works on 12v DC power. Pro audio runs on 120-220v AC power.
Well because subwoofers handle only bass, the resolution of the amp doesn't need to be as great. You could probably get away with a really low frequency "switching" in the pulse width modulation because you don't need to cover the highs. This means you could build cheap subwoofer amps that switch at 1 kHz or thereabouts which would be filtered out to avoid an annoying tone in your subwoofers. Full range amps would need to switch at least 100kHz to be several times the highest frequency they will play.
There is less point to a folded horn in extremely high SPL car systems. Maybe the ones trying to get the most out of a 12 or whatever. By the time you are getting to a wall you can compress the air more with a direct radiator. Horns trade force for displacement, but inside a world record car, the speakers act more like pistons compressing a small air volume in a car cabin. Getting loud in a field is more about moving a large amount of air at low pressure rather than trying to compress a small amount of air to extreme SPL.
dyammm
gek piro entek e kabeh ku kang?
Allmost good as FUNKtion one. But less funky. More sweaty
"Almost as good as FUNktion One" now theres a funny. FK1 one is rubbish. Sounds awful so I guess you have a point. And like Void all three have more waffle than breakfast yet more Band Pass nonsense on LF. Do these people believe their own crap I wonder. It is all quite funny. They getting away with it coz your aberage punter is always impressed by meaningless Spec Sound bites. I love how this rig has not 1 but 2 crossover points were there should be any at all. KV2 has recently been the replacement in a london club where some other crap Flipside used to be. Same Turd different Polish I guess
@@amgineacoustic I'm not going to say Funktion One is bad but you usually need more than one box per side to do huge events in which case it ceases to be a point source and you end up with more interference problems than your average line array when trying to array multiple F1 boxes. They do have some line array systems out though now.
@@TimpBizkit Vero? Not seen or heard but told it just F1 rearranged. Not a wide horizontal coverage device. F1 sound nasty cannot handle complex waveforms. So I do not think you can call the vero worthwhile most use of F1 is for EDM you can use any ol shite for that usually.
Amgine Acoustic and who the fuck are you m8
Bluetooth spiker
Yes and where is the real kv 2????
Its a system to carry on your poket.....humm! Everyone is looking for small, loud and clear, when you guys go big.
that guy so small
. hein
I like the idea of it very much but I think the good old school line array technology with many modules hanging under each other is way better looking. And I don’t really like the outside design of these.
Max Hopp Line array = old school?
Thanks feeling very old now. 😑
Some are looking at speakers and some are listening. Choose wisely :)
Sure. Cuz everybody knows how a speaker system looks is far more important than how it sounds. Clown.
Rat?
Far too much DIGITAL isn't always a good thing
Tyrone Nelson it’s the future get used to it dude
Charles Byrne EXACTLY, that's the problem, have you seen the world lately??
But some of the worlds highest powered systems run on analogue platforms, and the some of the worlds well known musicians all prefer analogue class ab equipment because it sounds better, class d equipment has way too much crossover distortion, does that explain things better for you?
Scott 1 What i meant is that people are giving new digital equipment a bad name by giving you false numbers and watts for a sales point, these days when newer equipment fails which it can be designed to do (so people go out and spend more money) they throw it away I'm an electronics engineer and i repair / rebuild all kinds of equipment like this all the time and newer equipment is getting more common for repair because newer things are becoming less reliable, all i mainly hear and believe is that old equipment is simply built better and lasts
Yes i repair alot in the speaker and power amplifier department (rather than the mixing desks which barely go wrong anyway) so when it comes to repairing amps especially the peavey, behringer, kam, mackie ev ones i only seem to get an issue with the slightly newer amps which have the switching power supplies which dont really seem to cope with as much abuse as the slightly older ones which have the torroidal power supplies, but in general it all depends on the make and brand you use, so if you are using speaker boxes and arrays at festivals and gigs its probably better to stay with the expensive high end brands like rcf peavey and ev so you know whatever components in them are used, you know they are going to last
well im sorry too tell you, i have custom designed quad 21inch hybrid sub cabnet that can produce 10 hertz at 138db at 1m from ground 8000watts RMS 16,000watts peak for 15 seconds before an autocut off kicks in
better than sex. But you'd need a box the size of a living room.
Unless you have unlimited amount of cabinet space, running even the best modern drivers down to 10Hz is inevitably going to limit the potential maximum output at higher frequencies, where people can and want to hear powerful sub bass.
Well to be fair, Meyer just announced their VLF which goes down to a claimed 11Hz.
Of I course I know no one is really doing it for a PA sub. I was simply pointing out how the poster above would effectively cripple the performance potential of any sub, regardless of driver size and quantity.
I added in the joke relating to Hoffman's Iron Law, though obviously that is very pertinent here.
I just wondered that if the OP had achieved the performance claimed above - whether they realise how much output is lost proportionally as EQ is added incrementally, to increase output at lower frequencies beyond the natural Fb frequency of the cabinet.
Thanks for replying, but I really do understand exactly how the amount of power involved, such as that typically required to achieve the dB level claimed above, would be catastrophically damaging when applied to a sub driver.
However if Meyer's specs are correct (I'm assuming 11Hz is their -3dB figure, though it may be -10dB) it clearly can be done with the right engineering!
I note they do not specify a ratio of how many VLFs would be required to keep up with one 1100LFC, which shares the exact form factor. I was surprised at the latter, since the few designs I know that can get near such low frequencies (basically only Danley and specialised theatre designs) are horn or bandpass boxes.
Presumably Meyer must have wanted to allow easy integration with Leo / Lyon + 1100LFC arrays, which no doubt influenced the bass reflex design.
Scott 1 - I'm not attempting to be snarky or smug, but it appears these guys are pretty confident they've managed it:
meyersound.com/product/vlfc/
I was wrong however. Apparently Meyer's VLFC only goes down to 13Hz - which is suspiciously not referenced to any dB scale.
I don't know if Mick Hughes uses it in his "TM" vertical broadside end-fire centre clustre subwoofer array, for those 360° gigs which date back to when they were running Milo / 700s, or if it's placed in an exploded configuration to achieve a helicopter ground vibration effect, which is apparently used on some Metallica songs.
When you mention PA only reaching 50 - 70Hz, I assume you mean full range boxes, as opposed to subs?
Nearly all rider friendly arrayable modern large format tops (eg K1, MLA, Leo, Anya etc) are pretty comfortable down near to those frequencies if needed, though I rarely see them run so low - since obviously subs are always available at that level, which can better take the load off such LF extremes (eg J can go lower, but before the D80 and ArrayProcessing came along - it made more sense to reinforce circa 100Hz and under, via arrays of J or B2 subs, plus infras for the lowest notes).
I completely agree that such extreme low frequency performance is not needed for most modern music programme material (outside of cinema LFE channels).
However for demanding EDM with sustained low synth lines, there are capable subs from the likes of d&b, F1, Danley, EM Acoustics, Martin and KV2 - all capable of going near flat to or below 30Hz.
Curiously KV2 seem to run all their subs up to a 125Hz electrical crossover point, though I suspect they are taking advantage of the inherent increased sensitivity at frequencies up and over the 100Hz mark.
I agree that for normal use, we don't need frequency response going into the low 20s.
If I'm spec'ing, tech'ing or managing a rig with that capability and processing granularity - I err on the side of caution, if offered the opportunity to raise the lowest HPF, just for the sake of being careful and increasing headroom.
Hence I'm not disagreeing about this *not* being either normally practiced or necessary - I'm just pointing out it can be done, at least by one touring system.
My original comment was simply in response to the post at the top. Given the capabilities of modern design and prediction software - I see no need to put costly drivers at risk, for the sake of a fleeting reading to prove the extremities of the capability of some fancy big sub design!
I think it should be apparent that I understand the limitations of human hearing, not to mention the lack of utility for such sound reinforcement solutions - but you did ask who was actually using this type of product, and outside of LFE channels in cinemas, there clearly is at least one band!
We have a 2 x 21 being brought to prototype f3 is 22Hz - 300Hz 148dB SPL 8Kw program coverage upto 1000Metres. Good DI minimal GD. Incidentally Danley TH only system supplied with a Timetable so you know when to expect the LFE. These guys are not breaking any new ground. But are inventing new ways to bullshit the market
100Metres!! 🤣🤣🤣 is that it?? We consider that a mid field distance here.
And you have to be joking about KV2 having "Articulate Bass" it doesn't
And is very "One note" monotonic.