Scanned by

    Norton

    Norton™ Safe Web

    LA IMPEDANCIA MÍNIMA DE CARGA NO ES LA IMPEDANCIA DE SALIDA DEL AMPLIFICADOR - DAMPING FACTOR

    LA IMPEDANCIA MÍNIMA DE CARGA NO ES LA IMPEDANCIA DE SALIDA DEL AMPLIFICADOR - DAMPING FACTOR

    05:10 |
    Download Here

    You Might Also Like:

    TIME AND PHASE ALIGNMENT WITH A PROCESSOR - GROUND STACKED SUBWOOFERS AND FLOWN LINE ARRAYS - SMAART

    TIME AND PHASE ALIGNMENT WITH A PROCESSOR - GROUND STACKED SUBWOOFERS AND FLOWN LINE ARRAYS - SMAART

    8:14 |
    POWER AMPLIFIER MORE POWERFUL THAN THE LOUDSPEAKER - HOW TO SET UP THE LEVEL KNOB - VOLTAGE GAIN

    POWER AMPLIFIER MORE POWERFUL THAN THE LOUDSPEAKER - HOW TO SET UP THE LEVEL KNOB - VOLTAGE GAIN

    12:13 |
    LINE ARRAY IBIZA LA 210A DE PRO DG SYSTEMS - PRESETS EUROPEOS, AMERICANOS Y ASIÁTICOS - CURVA SMAART

    LINE ARRAY IBIZA LA 210A DE PRO DG SYSTEMS - PRESETS EUROPEOS, AMERICANOS Y ASIÁTICOS - CURVA SMAART

    20:41 |
    LIVE SOUND PROTOCOL TO CHECK THE ACTIVE WAYS - ALWAYS SWITCH ON THE LESS POWERFUL AMPLIFIER FIRST

    LIVE SOUND PROTOCOL TO CHECK THE ACTIVE WAYS - ALWAYS SWITCH ON THE LESS POWERFUL AMPLIFIER FIRST

    12:15 |
    HOW TO USE A 4-CHANNEL POWER AMPLIFIER IN A STEREO SHOW WITH FOUR LOUDSPEAKERS - PARALLEL MODE

    HOW TO USE A 4-CHANNEL POWER AMPLIFIER IN A STEREO SHOW WITH FOUR LOUDSPEAKERS - PARALLEL MODE

    8:50 |
    OPEN SOUND METER ANALYZER - 3. TIME AND PHASE ALIGNMENT OF SUBS AND TOPS (SUBWOOFERS AND SATELLITES)

    OPEN SOUND METER ANALYZER - 3. TIME AND PHASE ALIGNMENT OF SUBS AND TOPS (SUBWOOFERS AND SATELLITES)

    19:08 |
    WHO WAS THE PA AUDIO SYSTEM ENGINEER FOR THE BEATLES? - BILL HANLEY AT SHEA STADIUM, 1966

    WHO WAS THE PA AUDIO SYSTEM ENGINEER FOR THE BEATLES? - BILL HANLEY AT SHEA STADIUM, 1966

    6:45 |
    SMAART - 35. ALINEACIÓN EN TIEMPO Y FASE DE UN SUBGRAVE CON UNA CAJA SATÉLITE USANDO FILTROS L-R 24

    SMAART - 35. ALINEACIÓN EN TIEMPO Y FASE DE UN SUBGRAVE CON UNA CAJA SATÉLITE USANDO FILTROS L-R 24

    11:04 |
    WHICH IS THE BEST SUBWOOFER ARRAY IN NARROW STREETS? SUBS SPACED HALF THE WAVELENGTH APART

    WHICH IS THE BEST SUBWOOFER ARRAY IN NARROW STREETS? SUBS SPACED HALF THE WAVELENGTH APART

    8:16 |
    HOW TO SEND THE AUDIO SIGNAL TO THE SUBS - ANALOG CROSSOVER WITH FILTERED SUBWOOFER MONO OUTPUT L+R

    HOW TO SEND THE AUDIO SIGNAL TO THE SUBS - ANALOG CROSSOVER WITH FILTERED SUBWOOFER MONO OUTPUT L+R

    16:07 |
    POWER AMPLIFIER IN BRIDGE MODE WITH A CROSSED SPEAKON CABLE FROM 1+,2+ TO 1+,1-

    POWER AMPLIFIER IN BRIDGE MODE WITH A CROSSED SPEAKON CABLE FROM 1+,2+ TO 1+,1-

    7:48 |
    NEW IBIZA AND AVIATOR SOUND SYSTEMS SERIES BY PRO DG SYSTEMS - LINE ARRAY LA 210, 212 & S 218 SUBS

    NEW IBIZA AND AVIATOR SOUND SYSTEMS SERIES BY PRO DG SYSTEMS - LINE ARRAY LA 210, 212 & S 218 SUBS

    9:19 |
    CÓMO REPRODUCIR FUENTES ESTÉREO EN UN ALTAVOZ - 2. USO DE CANALES MONO CON EL MISMO PANORAMA (PAN)

    CÓMO REPRODUCIR FUENTES ESTÉREO EN UN ALTAVOZ - 2. USO DE CANALES MONO CON EL MISMO PANORAMA (PAN)

    7:44 |
    INVERTED GRADIENT SUBWOOFERS - FRONTBACK CARDIOID - HOW TO INCREASE SPL LEVEL IN THE AUDIENCE ZONE

    INVERTED GRADIENT SUBWOOFERS - FRONTBACK CARDIOID - HOW TO INCREASE SPL LEVEL IN THE AUDIENCE ZONE

    6:29 |
    15. ¿POR QUÉ SE COLOCAN LOS SUBGRAVES EN L Y R A CADA LADO DEL ESCENARIO SI PRODUCEN CANCELACIONES?

    15. ¿POR QUÉ SE COLOCAN LOS SUBGRAVES EN L Y R A CADA LADO DEL ESCENARIO SI PRODUCEN CANCELACIONES?

    7:43 |
    WHY LATERAL INVERTED GRADIENT SUBWOOFERS (SIDE FRONTBACK CARDIOID SUBS) IS SO COMMON IN LIVE SOUND?

    WHY LATERAL INVERTED GRADIENT SUBWOOFERS (SIDE FRONTBACK CARDIOID SUBS) IS SO COMMON IN LIVE SOUND?

    8:11 |
    LINE ARRAY TRIAMPLIFICADO DE TRES VÍAS ACTIVAS y SUBGRAVES - PROCESADOR y ETAPAS EXTERNAS

    LINE ARRAY TRIAMPLIFICADO DE TRES VÍAS ACTIVAS y SUBGRAVES - PROCESADOR y ETAPAS EXTERNAS

    10:03 |
    HOW TO CONVERT A BODYPACK MICROPHONE WIRELESS SYSTEM INTO AN IN-EAR MONITORING FOR ARTISTS IN A SHOW

    HOW TO CONVERT A BODYPACK MICROPHONE WIRELESS SYSTEM INTO AN IN-EAR MONITORING FOR ARTISTS IN A SHOW

    10:22 |
    TÉCNICAS DE ENVÍO A LOS SUBGRAVES - 2. SALIDA FILTRADA MONOFÓNICA MONO SUM L+R de la consola

    TÉCNICAS DE ENVÍO A LOS SUBGRAVES - 2. SALIDA FILTRADA MONOFÓNICA MONO SUM L+R de la consola

    3:42 |
    SMAART - 27. ALINEACIÓN DE SISTEMAS DE SONIDO IGUALES mediante el DELAY del PROCESADOR

    SMAART - 27. ALINEACIÓN DE SISTEMAS DE SONIDO IGUALES mediante el DELAY del PROCESADOR

    13:38 |