There are now three models in the Wildsun 500 moving head wash family of luminaires. The 500C, the first in the range, RGBW with a 11° – 45° zoom and an average white of 4000K has met with true success and has already been adopted in the Dushow and Phase 4 parks, among others, and has also been included in the kit for the Bruce Springsteen tour with Morpheus. There is also the 500S (S for Stage), RGBW, with a tighter 8° to 40° zoom and a cooler white at 6700K to provide extra pep to the beams. It is this model that we have chosen to look at more closely.

There are also the K, ultra bright, white light, with one (very high power) 3000K warm white diode under each optic for the K3, a single cool white 7000K diode for the K7 and four white chips, two of which at 3000 K and two at 7000 K for the KD, which offers a range of whites.

[private]

PRESENTATION

This is quite an impressive device, not necessarily in line with the current trend. There is no miniaturisation here, one senses that the focus was on the effectiveness of the device: a bulky head with a large diameter, obviously oversized optics and a large and sturdy moving head bracket happily overspilling its base.

Its weight also tells us that we are dealing with one serious piece of equipment: 23 kg. The aluminium and steel plates are omnipresent, the sign of a very robust construction. The plastic covers are particularly well-finished with the curved profile and sleek design that we have become accustomed to with Ayrton.

But the most striking aspect after the first glance is the rounded head, with 31 large crystal eyes in the front and a curious system of black fins hiding behind, through which we can see a tangle of copper and aluminium… We will return to this in more detail later.

As mentioned above, the Wildsun 500S is part of the moving head Wash family. It is actually a special version of the Wildsun 500C, the first in the series. Just like its twin brother, it has a zoom and a colour mixing system for mixing red, green, blue and white, but the Wildsun 500S stands apart for its significantly narrower X5 zoom (8° to 40° according to the manufacturer), and also and especially the choice of a white light source with a 6700K rating, instead of the 4000K of its alter-ego. This version seems to be designed for stage use (hence the “S” for “Stage”): a narrower zoom in effect means an increased range and the cool white is intended to reinforce the impression of brightness of the projector.

Separate control of the 4 LED light rings adds effects to this wash.

The machine has 3 concentric rings of LED light sources plus a central LED. These 4 sets can be controlled independently or in symbiosis, which adds a very interesting “effects” dimension to this projector’s capabilities.

It is equipped at source with a nearly universal wireless control system, and the firmware may be updated if necessary through the DMX line, via a dedicated housing.

There are 3 DMX control modes on offer, allowing the user the choice of 17, 24 or 49 DMX channels for a more or less evolved level control.

Lastly, what we find on unpacking deserves some attention: a sturdy brown cardboard type sock protects the camera … And a nice surprise inside, in addition to the variety of accessories such as the pair of “Omega” hooks, a safety sling and user manual in English/French, there is the projector comfortably housed in a black casing moulded perfectly to its shape. The foam protection, which comes as standard, is stamped with the Ayrton logo and is reusable and designed to facilitate the manufacture of flight cases, while providing optimum protection for the machine. A bright idea that will delight providers.

The machine is delivered in a carton containing this famous damping foam that is specially moulded to the shape of the device.

UNDER THE HOOD

THE HEAD

This includes the essential functions of the device.
A thick plastic (polycarbonate) glass, housed in a rounded wide black plastic cover protects the full light output. The closed design of this set-up means that the optical system is kept free of dust. 4 screws allow for easy removal of the casing, thereby uncovering the movable plate of the zoom, which houses the 31 LED sources that are visible from the outside of the device.

One of 3 precision systems that allow for the guidance of the zoom movement. Distributed over 120 degrees, they ensure the alignment of the zoom lens with the collimators during movement. Clockwork precision!

There are 3 micro stepper motors that ensure the movement of the zoom plate. Their run is reduced.

Three small stepper motors, distributed at 120 degrees, allow the movement when displacing this plate, while 3 sliding guides ensure perfect alignment of the zoom lens with the collimators located underneath, regardless of the position of the plate. Indeed it appears that the zoom lenses fit into the collimators to form one piece when the zoom plate is in the lowered position (narrow zoom). The manufacturer did not skimp on the mechanical solutions used for the adjustments: solid guides are provided with precision ball cages sliding along large diameter calibrated rods, while the motors are “soft” mounted.
As for the collimators themselves, the primary optics that channel the naturally wide beam of the LED sources are very unusual pieces, consisting of 45-mm-diameter blocks. They are grouped and maintained on a support plate machined from a single piece, which is directly attached to the head’s aluminium frame. And finally, when removing the plate and all associated collimators, the 31 Ostar high-power 4-colour LEDs from Osram are revealed, combining red, green, blue and cool white in a single housing. This device totals 124 LED units or “chips”. The 31 “multi-chip” LEDs are welded directly onto a single round MCPCB (Metal Core Printed Circuit Board), with an aluminium core (or similar material), in order to allow optimal heat transfer between the LEDs and the cooling system. It is an unavoidable fact, LEDs get hot! Very hot in fact, since in general nearly 75% of the power consumed is transformed into heat. And it is well worth knowing how to dissipate the heat if you want the LEDs to last.

4 screws to remove the front cover and the mechanics of the device are revealed: 31 optical systems in 2 parts, with unusual dimensions (45 mm in diameter). The front part is mobile and constitutes the Zoom effect.

The (MCPCB) board, equipped with 31 Ostar RGBW multi chip LED by Osram.

Moving to the other side the head, which is dedicated to the cooling system, it is here that we see the manufacturer’s know-how on this point.
The rear frame, one perforated piece with numerous large fins, somewhat resembles a salad bowl. It is made of cast aluminium painted black.

It provides a protective layer enclosing the actual cooling system, which consists of a stack of thin layers of aluminium in which copper tubes are embedded. This is the heart of the cooling system: radiators known as a “heat pipes” using the principle of heat transfer through pipes and coolant. Three heat pipes of this type form a ring, each representing a 120° segment of a circle. This system, now standard in certain high-tech products (including the IT world), is still very anecdotal in the field of lighting. It works as follows: a phase-change liquid/gas mix is sealed in hermetic tubes, one end of which in turn is in contact with the heat source to be cooled (in this case the board supporting the LEDs, fixed in turn to a thick aluminium plate forming the base). Under the influence of heat, the mixture contained in the tubes becomes gaseous and therefore “pumps” the calories. It then disperses in the pipes to the other end where the fins are installed, which in turn are ventilated and cooled by the single fan fitted to the device head. This cools the mixture, which becomes partially liquid and returns to the heat source, and so the cycle continues.

A single fan cools the heat pipes that are in direct thermal contact with LED sources. It is isolated from the frame by

This closed-circuit system should not require any special maintenance. The fan used for the heat pipe is mounted on flexible fastenings in order to avoid transmitting its vibrations to the device and to reduce noise.

THE BASE

On one face, the base comprises a connector panel, equipped with classic XLR 3 and 5 DMX IN and OUT connectors, the power switch, fuse holder and a retractable antenna system for the wireless DMX solution installed on the device at source: a very useful little refinement.

The basics are there: Direct power supply, XLR 3 and 5 pin In and Out DMX connectors on the bases, on/off switch, fuse holder, and the retractable antenna for the wireless DMX system, well protected against impacts in its housing.

The antenna in working position. It is articulated and swivels 360 degrees.

The front panel on the base is dedicated to the man machine interface. In addition to the colour LCD graphic display that really looks great, albeit a little small (but the device menu is still legible), there are 6 keys for the menu navigation and a dedicated button to start the display when it is running on battery power…. As the device has this accessory integrated, the settings can be selected in a hurry on removal from the flight-case.
We also notice a tiny hole for the microphone for the audio trigger function for the recorded effects.

The 2 carrying handles on the base have a nice rubber finish and the underside reveals a plate for fixing a pair of Omega clamp rings. This plate can be removed, when, for example, the device is mounted directly on a standard support with 4 screws.

Very simple, the panel includes a colour LCD graphic display and control buttons, together with a tiny hole for the micro sensor and lastly the wireless system status indicator.

Part obviously added to the moving head bracket, kept in place by 4 large screws, it allows 2 "OMEGA" fasteners to be attached in quarter turn for standard hooks and a safety sling.

The AYRTON moving head luminaire has a dedicated electronic supply, consisting of 2 separate blocks (in the centre of the base).

The interior contains the motherboard/display, onto which a small green card is grafted: this is the OEM Wireless Solution module. On removing this, we discover 4 “driving” cards used to control the four LED rings independently. Then the electronic power supply is located at the centre, consisting of 2 distinct blocks, housed on both sides of the PAN axis. There is no motor in the base, they are located in the moving head bracket. The two small fans are also “soft” mounted to minimise the transmission of vibrations to the frame.

THE MOVING HEAD BRACKET

The arms of the moving head bracket are quite imposing, even though the rounded covers soften the overall look. They definitely have a large diameter head to bear.
But the unusual width is also explained by the integration of PAN and TILT stepper motors, one in each arm. And the motors used are visibly oversized. Could this be the harbinger of fast displacement speeds? Testing will tell… The movement is achieved in a conventional manner via a toothed belt and a crown in a high gear decreaser. There is also a motor control board in one arm for the zoom function and the PAN and TILT motor control board is housed in the other.

This arm houses the PAN and a relatively simple printed circuit board. To be noted that the cables that go to the head cross through a Teflon conduit to avoid any risk of abrasion during repeated rotations.

Traditional, the TILT movement is achieved by a toothed belt drive and wheels in a high gear decreaser, controlled by a recessed motor and a printed circuit board for controlling the zoom function.

The very discreet locking system of the TILT, a small rotary latch that helps to lock the device head in a variety of positions.

TESTS

The tests are performed according to our test protocol: dark, air conditioned room, projection on a white target, increased to a total diameter of 5 metres at a projection distance of 5 metres.

Light output measurements

I) narrow beam

At 5 metres, integration with 10-cm crowns

Measurements at I/2
Beam diameter: 0.81 m
Corresponding angle: 9.26°
Illumination at the centre when switching on: 9126 lux
Illumination at the centre when hot: 8450 lux
Flux when switching on: 3917 lm
Hot flux: 3627 lm

Measurements at I/10
Beam diameter: 1.56 m
Corresponding angle: 17.68 °
Illumination at the centre when switching on: 9126 lux
Illumination at the centre when hot: 8450 lux
Flux when switching on: 6727 lm
Hot flux: 6229 lm

Beam profile

II) Wide beam

At 5 metres, integration with 10-cm crowns

Measurements at I/2
Beam diameter: 4.10 m
Corresponding angle: 44.58°
Illumination at the centre when switching on: 432 lux
Illumination at the centre when hot: 400 lux
Flux when switching on: 4760 lm
Flux: 4408 lm hot

Measurements at I/10
Beam diameter: 7.2 m
Corresponding angle: 71.51°
Illumination at the centre when switching on: 432 lux
Illumination at the centre when hot: 400 lux
Flux when switching on: 7463 lm
Hot flux: 6911 lm

LIGHT INTENSITY CURVE

Brightness and uniformity

In narrow zoom mode, the i/2 angle is measured at 9.2°, which is slightly more than the data provided by the manufacturer (8). The beam transmitted is then particularly intense and sharp.
In wide zoom mode, the i/2 angle is 44°, which is above the manufacturer’s value.
The uniformity of the beam is very good, regardless of the zoom position selected.

The brightness of the projector is remarkable given its relatively low power consumption (less than 500 watts). The machine’s optical system obviously delivers excellent performance, as a zoom typically has very high flux consumption. The concept of “Green Power” therefore takes on its full meaning.

As with any LED source, the source temperature warms up over time and a decrease in brightness is to be expected (we call this “derating”). The Wildsun 500S, left with all sources burning at 100% capacity stabilised quickly, showing a decrease in brightness of less than 8%, which is a very big plus point: guaranteed brightness stability over time.

Colours and mixtures

The projector, fully equipped with LED sources, has a RGB colour mixing additive by default, coupled with a white light source. Compared to an equivalent discharge lamp-type light source with a conventional subtractive CMY, some of the primary or combined colours will be brighter, particularly in the case of Green, Blue, Magenta and Cyan. In practice, this notion is true with luminosities measured respectively at 42%, 4.6%, 16% and 47% of the total light emitted by the projector (all RGB + white light sources).

The red is deep (625-632 nm), the green intense (521-527 nm), the blue relatively dark (449-453 nm) but still bright (data collected from the manufacturer, from the OSRAM data sheet). As for the white, it provides the necessary power for many lighting applications by itself.

Moreover, the choice of cool white at 6700K as 4th source is unique to the Wildsun 500S. If it favours the impression of light power experienced by the human eye, it can come at the expense of a colour palette that is rich in warm hues and ambers.

The “multi-shadow” adverse effect generated by the beam of a projector equipped with multiple sources is naturally present here, although only slightly.

The quality of the colour mix is very good, the colours are uniform and do not have the tendency to vary on the periphery of the beam. The colour palette that can be obtained is very rich and the addition of white allows for the most subtle of pastel shades.

Effects

The dimmer is progressive (see its response curve). It is very good at low levels, without any visible plateauing effects (it is controlled in 16-bit mode).

The “Strobe” function has a maximum throughput of 25 Hz (which is normal given that the function is controlled exclusively by electronics). It has burst flash effects.

Independent control of the LED light-rings (3 concentric rings + the Central LED) expands the scope of application of the device. It is possible to work the two-colour beams for example, or even to use the central LED exclusively to produce the discreet “in view” cushioning.

The control channels are dedicated to the animation of these LED light-rings, offering the choice of several light-chasers for which it is possible to adjust the speed and cross-fading. An “effects dimmer” can even mix fixed CMY colours and dynamic effects or the pre-programmed colour “presets”.

As the device also has a “virtual” colour wheel, with different temperatures of white colours, plus a handful of specific colours in order to offer bi-colour combinations with only some of the LED light-rings coming into play. That said, on our test model, the white colour temperatures had not yet been calibrated, and pre-recorded colours do not match the references of the Rosco or Lee filters.
A specific DMX channel manages a dynamic variation of colour in cross-fade and the running speed is variable.

Zoom: impressions

Our measurements reveal a zoom range that varies from 9.2° to 44° (angle measured at i/2), which is a good 5 X ratio.
The narrow beam is very intense, well defined with no leakage.
The wide angle lights over 70° we keep its value at i/10, the threshold is taken as the “natural” limit of the visual perception of the beam. In this configuration, the intensity curve is a gentle slope with a slight central plateau. It is therefore easy to coat a large area quite uniformly with colour, even at a short projection distance.

Note that the effects achieved by the separate control of the LED light-rings are especially visually effective in narrow zoom, as in the wide zoom position the light emitted by an LED light-ring tends to “leak” into the optics of the neighbouring light-ring if it is off, which may impair the desired effect if you look at the device front on rather than its projected beam.

As regards the zoom speed, this is adjustable on the device via the menu (but not via the DMX). On the pre-production test sample, the zoom has a best of 2.1 s for its total excursion (as opposed to 3.2 s for its slow speed).
The manufacturer has indicated that it will be the speed zoom of the K7 that will be applied on the final series, which is a total excursion in 0.9 s in rapid mode (and the slow speed at 3.2 s), which should allow for stunning pumping effects.

Movement and noise: impressions

The Pan and Tilt movements are vivid and sharp; we really like the “generous” choice of motors. The reaction times are almost instant.

The PAN/TILT speed is adjustable on the device via the menu (4 speed). These settings primarily affect the absorbers at the end stop. The go/return speed of the 360° PAN varies from 2.3 s to 3.4 s, while that of the Tilt for a 180° go/return varies from 2.3 s to 3.6 s: very good results.

As regards the slow movements, such as the diagonals, the projector performs decently and the results are good.

As for the noise levels, the device really impressed here: it is particularly silent.
It has several control modes for its fans, but for standard use the “Auto” mode did the job nicely: the maximum threshold during movement, measured at 1 metre, is only 41 dB, which is 33.1 dB ambient. When the device stopped moving, with the LED lights on, the noise dropped to 39.5 dB, finally falling to 36 dB shortly after the LEDs were extinguished (the head fan stops at this point).

Finally, when we press our ear to the device, we can faintly hear the base fans and, as in all the scenarios tested, the head fan is almost inaudible. No annoying audible frequency was noticed. The vibration isolation of the fans is a true success story on this device.

CONCLUSION

The Wildsun 500 S is an atypical device at first glance that shines by its build quality and its technical nature. Its multiple usage modes associated with the internal effects, make it easily accessible and effective regardless of the conditions of use. Its very specific design and head covered with multiple large eyes provide a real visual signature: it is immediately recognisable on stage. Its effectiveness, both in terms of the zoom and brightness and also the quality of the colour mix, make this device the first choice among Wash LED moving head luminaires in its power range. Welcome to the new sought-after circle of projectors that cannot be ignored! A really nice comeback for AYRTON with these types of projectors.

[/private]

Based on its expertise in DSP and finite impulse response (FIR) with the ensuing success of its DSR series, YAMAHA hit the nail on the head by launching its DXR range of speakers on the compact sound distribution market. Speakers boasting the same processing technology but offered at an even keener price.
This new family comprises four models which share the same electronics and the same small tweeter. Christened DXR 8, 10, 12 and 15, it is therefore basically the number suffix representing the size of their woofer, which differentiates them.

The DXR family: from left to right, 8, 10, 12 and 15 inches.

To complete the range, two subwoofers, the DXS 12 and 15 have been especially created in order to meet the specific low frequency needs of the music scene and of small-scale events.

Production

Enclosure

The DXR models are moulded in matt black non-resonant ABS enclosures that are both attractive and discreet. They are equipped with heavy-duty honeycomb grilles with sufficient openwork to catch a glimpse of the front of the diffuser. The constant directivity dispersion horn, which is nearly identical to that of the DSR range, can also be clearly distinguished. Below is the boomer with at its base the two triangular ports of its bass reflex charge.

The brand-new enclosure design combines a trapezoidal base with a vertical wall structure with an hexagonal cross section. The general shape, with its sleek lines and sharp edges attracts attention. Visual perception, depending on viewing angle and ambient lighting, varies between truncated prism, convex polyhedral or simple parallelepiped. Beyond being pleasing to the eye, the truncated sides on the back of the loudspeakers have been optimised in order to allow for foldback on stage. In this case the projection angle with respect to the floor is 50°. Remarkably, only the DXR 8 does not allow this type of use due the simplified design of its shell.

Implementation system

Each enclosure integrates numerous fittings that facilitate implementation and operation. The base, fitted with four robust rubber feet, has two 35-mm base plates for standard feet. One is positioned perpendicular to the base plane, the other one is tilted at an angle of 7 degrees. This site value is relevant to the majority of small auditorium topologies. Once the speaker is mounted on its base, the tilt allows the optimisation of sound projection towards the audience and the minimisation of specular reflection from the ceiling or other reflective surfaces, for example upstage. Compared to the DSR range, which does not have this option, it is a true bonus. However, there is no system for locking the rotation of the enclosure.

DXR 15 behind: elegant industrial design and numerous functionalities.

As regards mounting, three rigging points on the top and at the back of the enclosures allow the speakers to be suspended by a conventional sling system. Yamaha also offers an optional bracket that can be mounted in both vertical and horizontal configurations on the enclosure and allows tilt and pan adjustment of the speaker.

In order to facilitate transport and handling, a single aluminium handle has been judiciously placed at the top of the 8 and 10 inches, whilst for the larger DXR12 and 15, two handles were deemed to be necessary. They are built into a housing on the sides and are ideally placed within the weight distribution of the speakers and provide sufficient prehension to allow for the installation of the speaker on a tripod pole. Warning! Even if this operation can be carried out by one person, it is highly recommended that you ask for help, notably for the DXR 15 and its 22 kg.

At the back of the speaker, built into its special housing, the monobloc electronics box can be found. At the top, the ventilation louvers indicate the presence of a 4-speed forced ventilation system controlled by a thermal regulator.

User interface

The control and connection panel, easy to read and complete, provides a number of functionalities, which can be listed in two distinct parts: an analogue mixer and a control interface for the DSP.

Small mixer

Intelligent, it can handle up to three simultaneous inputs. The first in XLR links with interchangeable input sensitivity at line level (+4 dBu)/mic level (-30 dBu). When in MIC position, input 1 was primarily intended to handle voice signals, the HPF (high pass filter) is automatically inserted. It is to be noted that no phantom power is added and that the THRU output with male XLR is simply wired in parallel before processing. Double inputs 2 (jack) and 3 (RCA) accept stereo signals from the so-called “general public” equipment (-10 dBV). Each source has its own power adjustment but the nature of the mix sent to the DSP is mutually dependent on the LINK MODE switch. In mono mode, it is the mix from input 1 with the selectable mono of inputs 2 and 3, which is sent to both DSP and DXR LINK output. In stereo mode, the mix from input 1 with only the left channels of inputs 2 and 3 feed the DSP. Simultaneously, the mix of the right channels for inputs 2 and 3 for its part, is sent to output LINK in order to be redirected to a second speaker. Such a system allows the creation of a simple stereo output without additional equipment.

Control and DSP interface.

• Filtering

In order to optimise the frequency link with the new subs DXS12 and DXS15 or with those of the superior DSR118 range, the user has two HPFs of the 4th order switchable to either 100 or 120 Hz.
A dynamic D-Contour filter with two distinct adjustment configurations has also been implemented. In FOH/MAIN mode, the DSP uses a physiological treatment to compensate when listening at low levels for the lack of sensitivity of the human ear with respect to the top and especially the bottom of the audio spectrum. The never-before-seen MONITOR mode is aimed at linearising the low register response by compensating for the interfering floor reflection whenever the speaker is used for foldback.

• Signalling

In addition to a specific start-up LED, the speaker has three further indicator lights signalling respectively: shutdown of the speaker in the event of malfunction, detection of audio signal and start-up of limiter. Incidentally the latter signalling and powering information are repeated on the front of the speaker by an LED with dual function that the operator can deactivate by means of the “FRONT LED DISABLE” switch.

Transducers

HF

Tweeter's Mylar diaphragm.

Highly conventionally, the high notes are entrusted to a tweeter coupled with a 1 inch closed diaphragm. The Mylar diaphragm peripherally supports the 35 mm coil supplied by a 150 W amplifier. This small motor that is fitted in the entire DXR family, is able to reach to 20 kHz without weakening. Unfortunately its low cut-off frequency between 2.1 and 2.4 kHz depending on the model, is, in my opinion, much too high to hope for a satisfactory directivity crossover for a 15 or even 12 inch boomer with the high-frequency horn.

BF

The woofer with the most classical design.

Securely fixed to the front with 8 Phillips screws, the 8-15 inch speakers are simple and traditional creations.
Equipped with a pressed metal basket assembly, an impressive ferrite magnet with central and peripheral air shaft, a cone-shaped paper membrane provided with a half-roll oilcloth suspension, these transducers with their tried and tested technology are fitted with a 2 inch coil for the 8 and 10’’ and 2 1/2 inches for the 12 and 15’’. Able to absorb 950 W of dynamic power, these transducers can provide peak acoustic pressures between 129 and 133 dB SPL.

Electronics

Various modules

The monobloc and compact electronic housing is a model of successful integration. It groups together no fewer than six distinctive printed circuits.

Electronics with to the left, the analogue circuits and the DSP on the other side.

The one dedicated to both the analogue mixer and DSP is protected from electromagnetic radiation by a metal shieldμ notably with respect to the universal power supply (100 to 230 V). It uses a new cutting method in order to meet the power needs represented by the 1100 W of the Class D amplifiers.

Past the 24-bit conversion, the DSP takes charge of all of the signal processing up to the power amplifiers. Calculations are carried out in 48 bits with 76 bit accumulation. All of the audio processing, notably crossover, multi-band parametric equalising, inter-transducer compensation delay and limiters are configured in a factory memory specific to each DXR model.

Switched-mode power supply and power amplifiers in Class D.

Digital crossovers providing linear phase response use FIR X tuning ™ technology. Crossover frequencies have been very precisely set at : 2.4 kHz for the DXR8; 2.3 kHz for the DXR10 and 2.1 kHz for the DXR12 and 15.

Safeguards

A protection system controlled by a special microprocessor and by the DSP permanently monitors the status of the power supply, of the power amplifiers, of the transducers as well as the audio signal level throughout the processing chain. If a fault is recorded, this system kicks in and the speaker is deactivated. This is notably the case for overheating, detection of short-circuit, or overvoltage in power grid.
When the DXR is powered, the protection system is active in order to avoid any switching noise in the speakers. Its indicator lights up for approximately two seconds and turns itself off once the regulated voltage is established.

Synopsis of safeguards.

Measures

Measure in axe

Amplitude and phase responses in function of the frequency measured on axe in the middle of the speaker's centre line.

The fine-tuning of the DXRs was entrusted to engineers at Nexo, Yamaha’s French partner. Regarding the amplitude/frequency curve, a slight pre-emphasis of the high notes is recorded, which is there to compensate for the inevitable weakening observed outside of the axis of the horns and allows to display an average response, for the entire coverage area, confined to a limited size as we will be able to see a little later.
In the low register, the small DXR cuts progressively and very regularly from 90 Hz. Its bandwidth at -10 dB drops to 60 Hz.
Crossover uses FIR-X technology and should have displayed a totally flat phase curve in the connection area. Yet the curve reveals the presence of two horizontal plateaux indicating a very slight phase delay, 60° to be precise, equivalent to 1/6th wavelength. This delay corresponds to a difference in acoustic pathways between woofer and tweeter of approximately 3 cm. It can be inferred that the tweaking of the inter-transducer propagation delay was carried out in the line of the horn and not in the middle of the speaker’s centre line.

Treatment measures

Amplitude and phase responses measured at the transducer terminals.

This in no way spoils the excellent results achieved by the Nexo engineers, who were able to judiciously take advantage of the DSP resources for fine-tuning the DXR. The curves in Figure 10 represent the conformation treatment applied to the audio signal for high and low frequency bands.

Horizontal directivity

The DXR8’s horizontal directivity behaviour is controlled correctly in the 90° of the announced dispersion angle.

Responses at 0°, 22.5° and 45° in the horn's horizontal plane.

The constant directivity horn displays good efficiency up to 14 kHz. Beyond this, the response drops but nonetheless remains consistent up to 20 kHz.
The woofer’s directivity is said to grow, which means that it increases with the frequency. After 500 Hz, at the nominal DXR dispersion angle, i.e. 45° outside of the axis, the response drops inexorably. This loss, which should prove to be more significant is minimised here as a result of the considerable equalisaton applied to the low frequency band. With this treatment, the connection at -6 dB between boomer and horn is near-perfect. The red curve represents the average of curves recorded from 10 to 10° horizontally. It is held in a 0/-3 dB template on a band between 80 Hz and 20 kHz.

Vertical directivity

Amplitude and phase responses in function of the frequency measured from 5 to 5° above the median plane H of the speaker.

Above the horizontal median plane, the measured response curves undergo more or less significant disruptions due mainly to two very distinct phenomena, which should be differentiated :

1. The difference in acoustic pathways between tweeter and woofer lead to noteworthy interfering behaviour in the recovery zone of the crossovers. The use of filters based on FIR technology with considerable slopes nonetheless minimises the relevant bandwidth. On the DXR, it does not exceed 1/3 of an octave centred on the crossover frequency.
2. The attenuation in the medium band observed from 1500 Hz is the result of the hyper directivity of the woofer at these frequencies, since the recovered energy outside of the propagation cone becomes insufficient to perfectly connect with the horn.

In practice, the importance of these measurements carried out above the horizontal median plane should be rationalised since once the speakers are placed on their tripod pole, the audience will be seated under this median plane most of the time.

Amplitude and phase responses in function of the frequency measured from 5 to 5° below the median plane H of the speaker.

Below the median plane, the response network is also disrupted but to a lesser degree.
From 3 kHz to 20 kHz, the curves are strictly parallel, showing the excellent vertical behaviour of the constant directivity horn.
Below this, the recovery zone experiences disruptions similar to those observed in the positive vertical place, then the curve dips to join a remarkable bump around 1 kHz. The latter, as a consequence of the previous explanation involving the woofer’s directivity, is directly linked to the increase in sensitivity measured in a speaker’s propagation cone.

Regarding vertical directivity, the +15 to -25° curves are held within more or less 3 dB over the entire 80 – 20000 Hz band. This is an excellent performance if account is taken of the difficulty to keep such a size during the design of a 2-way non-coaxial speaker.

Filter measurements

Various available filtering options.

Surface-based measurement of a DXR8 placed on a DXS12.

Amplitude measurement of the various filtering options offered by the DXS12's DSP.

Besides the dynamic D-CONTOUR filtering treatment, the DXR has HPFs of the 4^th order switchable to either 100 Hz or 120 Hz. These of course complement the filters on the bass boxes DXS 112 and 115. The recombination is perfect and the bandwidth at -10 dB drops to 47 Hz.
With the filtering method options offered on bass boxes, this band can be further expanded.

Listening

Words…

DXR 8 linked to a DXS12 by a standard 35 mm coupling rod.

A Beta 58 in input 1 on the DXR, and let’s go for the voice test.

First pleasant surprise, despite physical differences, the tone perception regardless of the speaker listened to is remarkably similar. In the line of the speakers, it is even rather impressive since this similarity affects the entire voice spectrum. The latter is full of warm low notes and discernable high notes but a little less pronounced than on the DSR.

Moving in the horizontal plane confirms the excellent control of the constant directivity horn. The high mid-range and high components remain balanced. On the other hand, a little lower, around 1 kHz, the woofer loses some of its splendour, all the more so since the limit of the field angle is being approached. This phenomenon on the DXR 12 and 15 is much less marked on the small DXR 8 and 10.

Placed in foldback position, the three large DXRs offer an impressive potential acoustic gain without resorting to external equalisation. The use of the D-CONTOUR monitor minimises the usual low medium masking effect and improves intelligibility to the detriment, however, of fullness. Singers should be delighted. Bass players and drummers, for whom the foundation is important, a little less so.

… and music

Musical tests confirm the good impression left by the voice test. The sound is full with a balance between harmonics and fundamentals, attacks and resonance. The signal processing signed Nexo provides an identity common to the four sisters. Their tonal behaviour is similar except of course on full power where for the reproduction of low tones the DXR8 quickly shows its limitations. It has to be agreed, the laws of physics are implacable and, except for having a clearance 3.5 times greater than the membrane on the DXR15, the small 8 incher, with the best will in the world is unable to compete with its bigger sister in terms of power.

Conclusions

With this series of efficient speakers, Yamaha makes FIR technology available to everyone. The quality of their sound rendition and the acoustic power they are able to deliver result in the fact that they have no cause to be jealous of many speakers used by professionals. On the other hand, the ABS enclosures, the integrated mixer and the very convincing prices, prove to be decisive arguments to seduce the market for musicians and mobile discos, even that of small-scale events.

When faced with the number of models on offer, the most difficult task is certainly the ability to make a choice. If the intended use is a sound system for conferences or the playing of background music, the DXR8 with its compactness, its light weight, its consistent coverage, probably represent the best possible choice. On the other hand, if the goal is to play music on the dance floor, or to provide a drummer with an ultra-powerful stage foldback, it would be best to go for the large model in the range.

Between the two, the DXR 10 and 12 would be adequate to equip rehearsal studios or even small jazz clubs.

Lastly, let it be known that a triphonic system made up of a pair of DXR8 and a DXS12 bass box, is able to deliver force and bandwidth equivalent to that of two DXR15. This alternative is to be considered if, during your next beach tour, space in the back of the Renault Kangoo is at a premium.

Manufacturer’s specifications: