The SP18 is an elegant and compact self powered sublow system that excels in deep sub and will make any small system sound big.
1 minute or less hook up time.. Self powered, self protected. Plug and play at it's best.
As default the SP 18 has a low pass at 60 Hz which matches the SP2-10 bassbin. A recessed switch disables the 60Hz and allows user defining the desired cross over frequency.
SP18 has Euro conform truck pack sizes of 60cm x 60cm x 80cm without castors. Sound Projects' Nano-armor™ coating protects your valuable system against heavy weather, dust, etc. It's easy to clean, durable, and non-reflective.
The SP18 is a frontloaded sub-low holding a custom designed 18-inch neodymium driver with an exceptional 30 mm excursion capability.
Forest Stewardship Council certified birch multiplex, a practical minimum transport size and an efficient gainchain make the SP18 an environmentaly responsible product.
The sound reinforcement system shall hold one low-weight neodymium 18-inch driver, powered by a 1000W amplifier. The maximum peak output of the total system shall be 132dB at 1m. The system shall reproduce the 30-60Hz frequency range. The systems coverage angle shall be omnidirectional.
The cabinet shall be constructed of cross grain laminated multiplex, covered by a protective 2 component polyurethane coating. The total system weight including amplifiers and audio control shall be 78 kg only. It shall have an IEC XLR-3 audio in and output connector and a powercon in and thru mains connector. The system shall be a self-powered design holding its own protective audio logic control electronics and amplifiers within the cabinet.
- Drivers: 1 x 18" high power, low weight, neodymium design.
- Freq. response: 30-60/250Hz (SPL mode)
- Max. peak SPL @1m: 132dB c.f. 2 (6 dB)
- Coverage angle: omni-directional
- Amplifier(s): MA1000™ technology
- Output: 1000W sine (DALC limited)
- Low pass 4th order: 60/250Hz
- Filter subsonic: 30Hz, 2nd order
- Input impedance: 20 kOhms balanced, 10 kOhms unbalanced
- Output impedance: hard-wired to input
- Power consumption.
- Mains voltage: 230V (other on request)
- Mains frequency: 50/60 Hz
- Idle: < 50VA
- Full load: 750 VA. DALC limited Ref. to continuous pink noise signal (6 dB crest factor within the specified range)
- A.L.C. (Single AudioLogic Control)
- Protection threshold: +4dBU
- Transient (soft power-up)
- DC-voltage short-circuit
- LED indication: power-on/signal/protect/switch (60Hz/Fr)
Additional descriptive data:
- Cabinet construction: cross grain laminated multiplex
- Finish: Nano-armor™ coating
- Weight: 78 kg
- Size WxHxD (mm): 600x600x800 (928)
- Rigging points: Easy-Rig™
- Audio connectors: IEC XLR-3 in/out
- Main connectors: powercon in, powercon out
- Max. operating temp.: -10 to 40 C ambient
Specifications subject to change without notice
Germany, February 2008
Eurogress Aachen is one of Germany’s most impressive international congress centres. As a part of a total renovation also the sound reinforcement system for the multiplex's main venue was upgraded to a Sound Projects Linex array system. Eurogress Aachen is a multipurpose centre with some 26 halls and conference rooms - its location in Aachen, in the middle of the so-called 'Euro-triangle' is attractive to both clients and audiences from Germany, Holland and Belgium. The centre was built in 1977, but since 1997 the exploitation company Eurogress Aachen has invested an average 3 to 10 Million euros per year in the modernisation of the building which is owned by the city of Aachen. With some 300 events per year (congresses, trade fairs, concerts) Eurogress has a total capacity of 3500 people. Flagship venue is the 'Europa Saal', offering a capacity of 2500 (standing) or 1800 seated. The three way split stage has a continuous variable height and can be lowered down to floor level, to give place to an additional 200 more seats.
Axel Dresbach is Eurogress' technical manager and responsible for the upgrading of the Europa Saal - the venue hosts a huge mix of events (some 10 per month) from carnival shows, stand up comedy during the first two months of the year, congresses (February-June) and concerts towards the end of each year. "After the summer holiday, we tie in with touring schedules of international artists, alongside a number of classical concerts." explains Dresbach, "To facilitate classical concerts, the Europa Saal has a relative long reverb time especially in the low bass region. The shape of the venue measures 40 m deep by 30 m wide. This makes it not an easy place for amplified sound. A precisely controlled and coherent dispersion of the sound system is essential to cover the whole venue, including the under the balcony seats, without hitting the walls. This is where most systems in the Europa Saal failed, resulting in extra reverberation and reduced speech intelligibility and musical definition. Imperative qualities for congresses and modern music that depend heavily on amplification".
In search for a replacement of the existing D&B sound system with C4 and C7 cabinets, Dresbach commissioned the Aachen-based rental company TLAC to supply a system combining good dispersion with perfect speech intelligibility. "The system we rented several times during the last three years was a Sound Projects Linex array," recalls Dresbach, "and that's what inspired us to go ahead with Sound Projects for the refurbishment of the installation at the Europa Saal." Sound Projects supplied a number of different configurations for tests in the Europa Saal with various events to determine the optimal layout and the number and type of cabinets to be used. "Our final choice was the combination of eight Linex array system speakers on each side with 12 SP18 subs," Dresbach explains. "In an attempt to reduce low end reverberation, Jan (Slooter, MD of Sound Projects) came with the idea to fly the subs as a centre cluster, and electronically adapt the shape of the subs by delaying the lower cabinets so that there is an angle from the sub cabinets pointing down from the ceiling." Apart from the flown configuration, the SP18 speakers can also be used in more traditional set ups like behind the line array speakers or on the floor in front of the stage. "This allows us to tailor the equipment to our clients' needs - when we have a congress or show with tables in the direct vicinity of the stage, the flying subs are the perfect solution." Dresbach enthuses. The system is steered by a Yamaha DM 2000 digital console (72 in/60 out) which also serves as central distribution network for the whole congress building - equipped with extra analog/digital converters, the console fits the multifunctional aspect of the Eurogress. In the Europa venue, the stage has an integrated monitor system, that can also be used as front fill speakers. "For this purpose we are now testing the Sound Projects X-act monitors." adds Dresbach.
After a testing period, the new Sound Projects system recently became operational and is now rented with the venue, either as basic system (comprising the Linex array and console), with extras like (wireless) microphones, SP18 sub woofers, monitors, etc or as a package system. Dresbach claims that rental rates for the equipment are very attractive, together with the fact that the system is tailor made for the hall. "The in-house system is very often used; usually, touring productions have their own equipment along, but because the venue is a little particular they prefer the Linex system - bands are quite happy to see that we have a system that fits the room and its acoustics so perfectly. It's a big step forward because more and more productions make use of the system."
Frankfurt, March 2008
SOUND PROJECTS revealed their new SP2-10, a twin drive hornloaded bass cabinet at last Prolight & Sound in Frankfurt. Meanwhile the new subwoofer is taken into production and the first 20 pieces have been delivered to the Norwegian SOUND PROJECTS agent PAP.
The self-powered SP2-10 complements the SP18 frontloaded vented sub-bass. With these identical shaped cabinets a sheer unlimited variety of low-end configurations can be composed to augment the low end of any imaginable sound system. Physically the SP2-10 matches the SOUND PROJECTS Linex™ line array system.
Like the SP18, it’s twin brother system, the SP2-10 is equipped with the same simple and elegant rigging or locking system. This means that, besides sound colour and headroom, the system engineer can also manipulate the radiation pattern. Both vertical beaming as well as different cardioide radiation patterns can readily be accomplished by any combination of stacking and/or rigging, augmented by digital beam steering if deemed necessary.
The SP2-10 is optimised to cover the most dynamic and the most powerful frequencies of music (60 – 160 Hz). Horn loading improves low frequency directivity and, because the horn also acts as an impedance-matching device, maximizes driver efficiency. The SP 2-10 offers more than double the efficiency over direct radiators and has the great musical benefits of fast transient performance. Because less amplifier power is required to achieve the same SPL relative to a large 15 or 18-inch direct radiating driver, driver excursion and, therefore, distortion are reduced.
The emphasis on musicality combined with maximum efficiency resulted in a curved horn shape with substantially reduced abnormalities in frequency response. Hence little or none electronic tweaking or “processing” is applied. That way, the engineer can focus on the music and is not fighting something he is unaware of. Since the introduction of the Master Blaster bin in 1983, Sound Projects has always endeavoured to create a smooth response in the acoustic device itself rather than correcting things electronically.
Dual ultra-long excursion 10" drivers are front-loaded by a hyperbolic horn with low flare rate. The rear of the driver is a closed compression box to extend the SPL performance of the cabinet over its bandwidth.
Meanwhile the SP2-10 is taken into production and the first 20 pieces have been delivered to the Norwegian hire company PAP (Professional Audio Produksjoner) in Stavanger. End of May these SP2-10s stood the test with flying colours during the Classic Rock Festival 2008 in Sandnes. Hahardrock legends like Def Leppard, Led Zeppelin, Slade and Thin Lizzy rocked the crowd, reinforced by 2 x 9 Sound Projects SP2-10, 2 x 15 Sound Projects Linex and 36 SP18 extra subs.
On March 15th, sound reinforcement company ASL premiered the new Sound Projects SP2-15 sub speakers during a well-attended fashion show to celebrate the 20th anniversary of high fashion store Versa.
The new sub system is the next logical addition to the SP series – the cabinet holds two 15” drivers driven by the Sound Projects DALC speaker management system controlling a 2400 W Cool Class D power amp, offering an output of 134dB SPL.
“The was indeed a kind of vacuum in the Sound Projects inventory,” comments Peter Ellegeest, managing director of ASL. “ With the ‘old’ 215 subs being out of production, there was nothing in between the SP15 and the bigger SP18 sub-low systems. This SP2-15 is catering for medium-sized productions, while compatible with the existing SP2 and SP3, it’s also a perfect successor to the SP4 series speakers.”
Jan Slooter, managing director of Sound Projects, underlines that the slick SP2-15, in its plug-and-play concept, will allow FOH engineers to emphasise system headroom below 60Hz or the octave above, with the SP2-10 bass horns. “The SP2-15 is poised to add a tight kick to any rock concert or dance event,” Slooter adds.
For the Versa fashion show, staged at the city’s Central Station, ASL put in place eightSP2-15 subs, 20 X-Act cabinets, six SP2-HP cabinets and eight X-tender monitors on the catwalk, steered by an LS9-32 Yamaha console. Because no fewer than 25 delays had to be configured, Peter Ellegeest used the LS9 in combination with an AudioRail Cat-snake system.