Bringing Columns To Light
This month in Real World Gear we look at loudspeaker columns. Since moving to Jacksonville, FL, I’ve been adopted by
their symphony orchestra, which does a handful of “run-outs”
each season. Last weekend we played a fundraiser on the lawn
of a country club in a 130-foot long tent. Guerilla production
often requires efficiency and minimalism. We used a modified
Decca tree with outriggers and spot microphones, an LS- 9 and four Bose Panaray 402
loudspeakers – two mains and two delays at
40 feet – to cover two dozen round tables.
We were pleasantly surprised at how well it
worked for our septuagenarian patrons.
No audio product enjoyed as much
notoriety as Shure’s ubiquitous Vocal Master. The VA300’s 66-inch length stacked
nicely in a Chevy Caprice station wagon
(or other land barge of the day) with the
back seats down, leaving room for a drum kit and a combo amp.
Sound guys in the ’70s with spare time and a screwdriver discovered four eights flanked by a 10-inch woofer at each end, all
wired in parallel for a nominal 16-ohm load rated for 100 watts
that its powered mixer barely produced. They offered 140-degree
horizontal dispersion that narrowed at higher frequencies. The
10-inch spacing of the six loudspeakers we now understand to
provide coupling up to about 650 Hz, so the abundance of low-mids that characterize the Vocal Master sound is no surprise.
Though frequency response was quoted as 50 to 10,000 Hz,
vocal mics with a “presence peak” were desirable and the most
exercised control on the mixer was its 10,000 Hz shelving treble
control. Shure’s VA305 dual tweeter pack accessory included a
5,000 Hz crossover and mounted on top of a VA300 column to
provide the last octave of HF response. Does anyone remember
the frequencies of the four yellow or orange “Anti-Feedback”
notch filters on the left? See the answer below... Be sure to check
out Vocal Master’s Facebook page.
Mark Frink
Associate Editor
mfrink@livesoundint.com
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