User manual DYNACORD CXM15 BROCHURE

[. . . ] PRODUCTION PARTN ER www. production-partner. de 12 /09_01/10 www. promedianews. de P R O D U C T I O N PA R T N E R FROM The Dynacord CXM15 Coaxial floor monitor with optional FIR processing CXM 15 from Dynacord, a manufacturer based in Straubing (Germany), is a 15"/1. 4" box with a wedge design. The cabinet has been kept especially flat and compact so as to be as unobtrusive and easy to position as possible on stage. Despite the advent of in-ear monitoring, floor monitors are no relic of the past. On grounds of cost alone and the relatively time-consuming handling, in-ear monitoring is often not possible, and a great many performers and technicians in any case prefer classical monitoring on stage ­ and for a wide variety of reasons. [. . . ] Despite the simple design of the passive crossover, the response when the two paths are summed is linear. Between 200 Hz and 3 kHz, the sensitivity is just under 100 dB; above 3 kHz it is around 103 dB. The fine interference structure in the high frequency range is not the fault of the driver but largely an unavoidable sideeffect of the grille, as the black line showing the response when the grille is removed makes plain. Since the grille inevitably special reprint 12/09_01/10 production partner 3 TEST Dynacord CXM15 reflects a small portion of the sound back into the horn, some interference between the waves flowing in and out is inevitable. In terms of sound, though, fine structures like these are hardly of such critical importance as to justify dispensing with a grille ­ least of all that of a floor monitor. . . Taking the mean sensitivity of 99. 5 dB between 100 Hz and 10 kHz, the lower and upper 6 dB corner frequencies are found at 110 Hz and 17. 4 kHz respectively. For a 15" tweeter, 110 Hz is very high for a lower boundary frequency, but this is due to the compactness of the enclosure and its use as a monitor. As soon as the box is laid on a boundary surface i. e. in its normal working position (see Fig. 3), the lower corner frequency falls to 88 Hz. Thanks to the flat cabinet construction, the much dreaded 'monitor hole' in the frequency response is scarcely discernible here. 2 shows the high-pass characteristic of the bass reflex enclosure, with 360° of phase shift at the lower end of the frequency band and a relatively small phase shift in the area around the crossover frequency. The slight spatial displacement of the two paths seems partly to compensate for the 180° shift produced by the second order crossover. The electrical measurement of the impedance in Fig. 4 reveals the minimum impedance of 6. 8 ohms as well as the 70 Hz tuning frequency of the bass reflex resonator. All in all, what we are dealing with here is a thoroughly 'good-natured' box, from which, thanks to the secure foundation afforded by its coaxial driver, the desired results can be obtained with scant use of filters. The small 'nose' in the frequency response at 800 Hz is revealed by the spectrogram in Fig. 5 to be a resonance the causes of which could be many and diverse. Here we might be looking at an enclosure mode or perhaps a horn resonance ­ we cannot be sure at this stage. The coaxial chassis with its 15" woofer and 1. 4" tweeter and large horn and 7 show the isobar curves for the horizontal (narrow side) and vertical (wide side) planes. The nominal value of 60° as a mean value above 1 kHz is arrived at by a somewhat tortuous route. Above 8 kHz, the horn then begins to focus the sound more tightly and the radiation angle shrinks to 40° (-6 dB). 4: Impedance curve of the CXM 15 in passive mode showing the minimum impedance of 6. 8 ohms at 217 Hz and the tuning frequency of the bass-reflect resonator at 70 Hz Fig. [. . . ] The directionality is precise with the coverage relatively strongly focussed, though the runoff towards the edges is even. Voices in particular are delivered by the CXM 15 with great clarity, which is precisely what is required from a monitor. A high degree of presence in the reproduction is often equated with "aggression" or "obtrusiveness", but this is not at all the case here. The idea of using the CXM 15 in combination with a subwoofer as a small club PA, side-fill or drum-fill is also one that appeals. [. . . ]