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    Aktive Frequenzweiche, Stereo-3-Wege-Betrieb Features Omnitronic XO-300... mehr

    Produktinformationen "Omnitronic XO-300"

    Aktive Frequenzweiche, Stereo-3-Wege-Betrieb

    Features Omnitronic XO-300

    • 3-Wege-Stereo-Betrieb
    • Variable Linkwitz-Riley-Filter mit einer Flankensteilheit von 24 dB/Oktave
    • Ausgangspegel für jeden Frequenzbereich individuell regelbar
    • Trennfrequenz Low/Mid und Mid/High stufenlos regelbar
    • Mute-Funktion für Eingangssignal und jeden Frequenzbereich einzeln schaltbar
    • CD-Horn-EQ zur Höhenentzerrung zuschaltbar
    • Phasenlage Low und Mid umschaltbar
    • Eingangspegel regelbar
    • Symmetrische Ein- und Ausgänge über XLR-Buchsen
    • Rackeinbau, 1 HE

    Technische Daten

    • Spannungsversorgung: 230 V AC, 50 Hz
    • Betriebsarten: 3-Wege-Stereo
    • Eingänge: XLR, symmetrisch/unsymmetrisch
    • Eingangsimpedanz: symmetrisch >50 kOhm, unsymmetrisch >25 kOhm
    • Maximaler Eingangspegel: +22 dBu typisch, symmetrisch oder unsymmetrisch
    • Ausgänge: XLR, elektronisch symmetrisch/unsymmetrisch
    • Impedanz: symmetrisch 200 Ohm, unsymmetrisch 100 Ohm
    • Maximaler Ausgangspegel: >+21 dBu symmetrisch/unsymmetrisch an 2 kOhm oder mehr
    • Geräuschspannungsabstand: >100 dB
    • THD: 0.05%
    • Crosstalk: >80 dB, -3 dB
    • Trennfrequenz Low/Mid: 80- 920 Hz
    • Trennfrequenz Mid/High: 800-9200 Hz
    • Filtertyp: Linkwitz-Riley, 24 dB/Oktave, variabel
    • Phasenanpassung: Low-/Mid-Ausgang
    • Eingangsverstärkung: - ~ bis +6 dB
    • Ausgangsverstärkung: - ~ bis +0 dB
    • Gesamtanschlusswert: 20 W
    • Höhe: 4,45 cm
    • Tiefe: 18,7 cm
    • Breite: 48,3 cm
    • Gewicht: 2,3 kg
    • Maße (B x T x H): 483 x 187 x 48 mm

    Dokumente / Treiber / Tests / Handbücher für Omnitronic XO-300

    4 / 5
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    4 / 5 Punkte

    Sound good

    Omnitronic on a Vintage JBL Sound Power .
    Over 20 years ago I used this System with two expensive Ashley 1001 Crossovers and sold it 10 years later with a Digital Crossover. It was all returned to me when the owner emigrated to New Zealand.

    Presently used in the Studio for Bands, it offers a decent Size Rig well able to produce Dominant Vocals or simulate a Live Gig for Recording.

    I used the Samson S3, i did not have the Ashly’s anymore and got tired of the Digital Sound in an analog late 1980″ designed System. I knew Samson always as reliable and a little woolly.

    The Sound was good; the dials work evenly at what they are intended to do.

    The limiter works so good there would be not to worry with a DJ.

    Today I tried the Omnitronic to see what i can do.

    It has better Specs, 100db instead of 90 Noise to Signal, the Ashly in 1995 had 95db. THD is not to be found on the Samson Pages. But i know now the Omnitronic Pre amps sound good at 0.05%.

    The Outcome.

    The Samson is just so practical. Dials with grip and a straight range.

    All push Buttons light up. Checking can be done at a glace and from a distance.

    Not so the Omnitronic.

    The Volume Dials work exponential.

    Not a problem really, but a lot of the Gain happens at the last degrees turning.

    The Mute and Phase Buttons are all small Black on Black.

    A very good Eye sight and in German Fingerspitzen Gefuel, sensitive Fingers, to able check the State they in.

    Then feel the other Side again, while Testing the Phases on Tweeter. mid and Sub at each side.

    That took a while not always being able to remember or Visualize.

    I found a wrong wired spare input socket i used, being the problem.

    After getting everything into phase again, it was worth it.

    I would say it may be not have quite the grip of the Ashley’s. but,

    The Clarity, at under 80hrz in the Subs is back and the Treble does not cut.

    The System is hanging straight on the Mixing Fader’s from Quiet to Crazy, it does run out of Room and not of Ears this means there is a lot of clear headroom in the pre-amps .

    It is also fragile again, one wrong push on the Mixer and after red will come smoke. Long time ago Re Coning Speakers was part of the Business for a reason.

    There should be a Machinist on site, trained and able. These Systems were designed to work for professional production only. I put a Compressor after the Master just in case.

    Not saying the Samson was not sounding good, perfect mid’s for Vocal, but the Omnitronic sounds wider, invites You to leave the Volume down and polish the Tracks.

    Reminds me of the olden days, looking over the Shoulder of the old Owner massaging with light movements many Fader’s at the same time.

    Zuletzt angesehen