Ive had an EV DC One to control my QRX 153/SRX 728 rig and because I have always used Mac computers I have not been able to use the PC editor. Well now I have a windows tablet laptop and I would like to use it however I cannot get the hardware to connect to the software. I have the DC One editor. Electro-Voice PL10 microphone. Dynamic cardioid instrument microphone. Description and Applications The Electro-Voice Model PL10 is a professional quality dynamic cardioid microphone created especially for music recording and live sound reinforcement applications requiring a flat frequency response over a very wide range. View and Download Electro-Voice TX2152 specification sheet online. Dual 15” Two-Way, 60° x 40° Full-Range Loudspeaker System. TX2152 speaker system pdf manual download.
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By Keith Clark
Editor’s note: This article was written in 2005.
In 1927, Al Kahn and Lou Burroughs established the company Radio Engineers in the basement of the Century Tire and Rubber Company in South Bend, Indiana. At this site they first began producing microphones to use in their PA systems, and later to sell to people who couldn’t but them any other way.
Kahn: “Lou Burroughs and I began an association that has been devoted to problem-solving, filled with excitement and a great deal of fun.”
During the early months of 1930, Knute Rockne, the legendary football coach of the University of Notre Dame, was recovering from an illness that made it difficult for him to supervise activities on the four practice fields just south of the university. Kahn and Burroughs were asked to design a public address system to solve the problem.
A tower was built overlooking all four fields and the talented duo designed a four-loudspeaker system with a microphone and switching mechanism by which Rockne could bark training orders to each of the four squads.
By some accounts, Rockne referred to the system as his “electric voice,” and is credited with inspiring the name for the new company.
Incorporated on July 1, 1930, Electro-Voice was involved heavily in installation and rental of public address systems for churches and other public buildings. Politicians especially had become aware of the power of the microphone to increase their reach, and demanded ever more powerful PA systems.
Microphones were originally manufactured only for EV’s own use, but within a few years the balance had shifted and manufacturing microphones for sale to others had become the more important part of the business.
Kahn: “The Great Depression was a wonderful time. You had to fight for everything you got. I can’t think of a better time to have begun a company, because if you established the base during those years, you had a good start when the recovery came.”
In 1934, EV made a technological breakthrough that gave them a tremendous edge. While going through some old technical journals, Kahn had stumbled upon what he calls “an ancient watt meter – patented in 1892 or thereabouts” which had a balanced winding to cancel hum from the stray 60 Hz fields that the watt meter might pick up.
As he described it, “A little light bulb went off above my head, and I rushed back… got some tin snips, cut some laminations out, and I made a transformer and put it in and it worked!”
Thus, the humbucking coil was born, and solved a major problem for microphone users. According to an early EV catalog, the V-1 velocity microphone “can be used within 18 inches of a power supply or within two inches of an AC line. No other velocity mic in its price field has this feature at the present time.” It was a major step forward for the industry, and for EV.
Burroughs and Kahn continued their efforts to improve both the product and the manufacturing techniques and in 1935 they developed a method for stretching dynamic mic diaphragms before assembly.
The manufacturing economies that resulted caused a dramatic drop in mic prices, providing another competitive advantage for EV. The company had shown that it was, indeed, in the business of manufacturing first-quality microphones.
By 1938, Kahn’s company had produced several hand-held dynamic mic designs. The Model 600 was described in EV product literature as offering “Blast-proof high fidelity, close talking… ideal for sports announcing, mobile PA, aircraft, police and general PA and communication work.”
Business grew steadily while Kahn and Burroughs spent much of their time traveling – “converting people to our marvelous microphones throughout the country.” This growing success continued through the years of World War II, a time during which the company made a vast number of advancements in microphone and transducer design.
After WWII and the subsequent the successes the company’s products allowed U.S. military forces, Kahn and Burroughs’ company only continued to grow.
Now, in 2005, the fledgling enterprise that began in the basement of the Century Tire and Rubber Company is a fully realized leader in pro audio equipment design and manufacturing.
Electro-Voice Timeline: 1927 – 2001
1927: Al Kahn and Lou Burroughs found Radio Engineers in the basement of the Century Tire & Rubber Company, South Bend, Indiana. Company focus is radio retail, service and repair. Within a year, it is the largest radio service shop in the city.
Lou Burroughs (second from left) and Al Kahn (center) with the crew of Century Tire & Rubber in 1927.
1929: Suffering greatly from the economic depression that began with the stock market crash in October, 1929, attention turned to the business of providing audio systems.
1930: The company develops a portable public address system for legendary Notre Dame football coach Knute Rockne, allowing him to communicate with four practice fields from a tower. He dubs this system his “Electric Voice” which was adapted as the company’s new name: Electro-Voice. Also around this time, Burroughs leaves the company.
Knute Rockne and his “electric voice” pictured in the South Bend Tribune.
1930: Overcoming the biggest obstacle in the portable PA system business – acquiring quality microphones – Electro-Voice sets up a microphone manufacturing operation, turning out units at the rate of one per week.
1934: Kahn develops the first microphone humbucking coil. This innovation helped nullify stray electromagnetic (AC) interference. Kahn unearthed a watt meter design from the 1890s and adapted the concept to cancel hum in mics created by stray 60 Hz fields. The coil was first included in the EV V-1 velocity microphone.
The EV V-1 Velocity microphone, which employed the first humbucking coil.
1935: Kahn develops a method of stretching dynamic mic diaphragms before assembly, resulting in a manufacturing economy that caused a dramatic drop in price.
1936: EV now employs 20 people, and Burroughs returns as chief engineer.
1938: The company offers several handheld dynamic microphone models. Kahn and Burroughs travel extensively to promote EV microphones as well as to collect market research for future designs. Burroughs continued his extensive travel through the remainder of his career, with his trips dubbed “Dr. Burroughs Medicine Show.”
Lou Burroughs in the midst of one of his memorable (and many) presentations.
1942: At the outset of World War II, radio communications in combat situations had an estimated success rate of 20 percent. Microphones picked up more battle noise than human voice. EV designed a mic using a 180-degree phase shift to cancel background noise and engineered it to be attached to the helmet and rest on the lips. Dubbed the T-45, this mic raised the success rate to at least 90 percent.
The T-45 “lip microphone” developed for the military.
1942-45: Noise-cancelling mic production required by the military increases production at EV. Number of employees soars to 500, daily production peaks at 2,500, with total production close to 1 million.
1945: Burroughs receives a special citation from the U.S. war department for the T-45 microphone. Kahn is told by a Marine Corps officer that the historic landing at Guadalcanal was held up several weeks until troops could be equipped with the mic in order to reduce casualties.
1946: EV transfers operation to facilities in Buchanan, Michigan, later expanded several times. The company remained at the facility for almost 60 years.
1946: Burroughs develops Acoustalloy, a synthetic plastic applied to the aluminum diaphragms used in dynamic mics at the time, resulting in improved sound quality. Rather than disclose the nature of Acoustalloy in a patent, the synthetic formula was retained as a trade secret.
1946: EV establishes one of the first anechoic chambers outside of a research laboratory at the Buchanan facility.
1948: Photograph cartridges are added to the product line.
Late 1940s: Kahn is directly involved with the beginnings of Heathkit in Benton Harbor, Michigan, donating a train car of surplus electronic parts that become the foundation of the O1 oscilloscope, Heathkit’s first electronic project.
1950: EV begins manufacture of home hi-fi loudspeakers, quickly becoming one of the largest suppliers in the U.S.
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Congratulations are in order for the first model of a new hi-fi loudspeaker coming off the EV assembly line, circa 1956.
1953: Introduction of Variable-D microphone technology, which reduces proximity effect.
1959: A 30-inch woofer, the model 30W, is introduced by EV, used in the Patrician Series of home hi-fi speakers.
EV logo and branding from the 1950s through the early 1980s.
Late 1950s – 1970s: EV microphones are a staple of space flight, beginning with early Mercury and Gemini missions through Skylab space station. Both mics and speakers served Skylab during its six-year orbit, performing without failure despite a lost heat shield.
Early 1960s: The EV 643 “monster mic” is introduced. Six feet long, it is highly successful in picking up distant sounds and becomes a standard at presidential press conferences, political conventions and athletic events where conventional mics can’t handle the distance problem.
1963: EV receives an Academy Awards “Oscar” for the development of the model 642 Cardiline, another long-range mic. The award, in part, read “To Electro-Voice for a highly directional dynamic line microphone… capable of picking up sound in situations where a microphone cannot be placed close to the sound source and where unwanted sounds are to be discriminated against.”
1965: Electro-Voice builds and opens two new production plants Tennessee, one in Sevierville and the other in Newport.
1966: A new anechoic chamber, one of the largest in the U.S., is built at the Buchanan facility.
The anechoic chamber at EV in Buchanan built in the mid-1960s.
1967: With gross annual sales approaching $20 million, EV is acquired by Gulton Industries.
1968: The RE20 microphone is introduced, quickly becoming a standard in studio and broadcast applications, and later, it is utilized in sound reinforcement for low-frequency applications such as kick drum, where its Variable D technology rejects excessive bass boost.
The EV RE20, a unique microphone that serves many roles.
1968: After retiring from Electro-Voice, Kahn establishes Ten-Tec, a manufacturer of ham radio equipment, in a new building erected across the street from EV’s Sevierville plant.
Early 1970s: EV pioneers the use of holographic interferometry (laser technology) to study the motion of mic diaphragms. Initial efforts in this regard are done with the University of Michigan, with EV later bringing the laser testing process in-house.
Utilizing laser technology in new product development.
1972: The company is the first to include Thiele-Small parameters on woofer specification sheets, for user determination of enclosure characteristics and frequency response.
1973: EV develops “constant directivity” (CD) horn technology for dramatically improved high-frequency performance and control. Also, EV is the first to publish full sets of third-octave polar responses for horns.
1974: EV introduces the 100S Entertainer, a molded plastic portable loudspeaker system that proves immensely popular.
1974: Lou Burroughs’ textbook, “Microphones: Design and Application” is published, and still serves as a valuable reference source to this day.
Late 1970s: EV/Gulton acquire TAPCO, a company founded by Greg Mackie and specializing in the development of innovative pro audio electronic products, mixers in particular. TAPCO products become a mainstay of the EV line, both individually and within packaged portable PA systems such as the Entertainer.
The EV/TAPCO 100M powered mixer at the heart of every Entertainer system.
1980: The company’s patent count surpasses 160.
1985: EastVAMP, a high-accuracy graphic technique for determining loudspeaker coverage, is made available to customers.
1986: EV introduces a neodymium-based (N/DYM) magnet structure in microphone design, resulting in extended frequency response and increased power output. The concept is quickly duplicated by other manufacturers and later finds its way into compression drivers.
N/DYM mics, the first to utilize neodymium magnet structures.
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1986: Mark IV Industries acquires Gulton Industries, which now includes EV, Altec Lansing, University Sound, Cetec Vega and other leading manufacturers. These companies are formed into the Mark IV Audio Group.
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1987: EV introduces Manifold Technology – the use of multiple drivers on single horns – found in the company’s MT-4 concert loudspeakers. The innovation helps the company enter the concert touring market.
Product design engineer Dave Carlson introducing the MT-4 concert loudspeaker system.
1988: EV opens a new 28,000-square-foot research and development facility located in downtown Buchanan. The facilities accommodates CAD, holography, laser-based analysis, Fast Fourier testing (FFT), time-energy-frequency testing and more.
1990: Electronically controlled DeltaMax loudspeaker systems introduced.
1990: EV and Altec Lansing jointly release AcoustaCADD room modeling software, a popular system design tool until overtaken by competitive versions.
Screenshot of AcoustaCADD, early measurement software produced jointly by EV and Altec Lansing.
1992: MH Series horns are introduced, incorporating both constant directivity and Manifold Technology.
1997: Mark IV Audio, which now includes leading manufacturers such as Klark Teknik, DDA and Midas in addition to EV, is purchased by Greenwich Street Capital Partners, a New York investment fund.
1997: The X-Array concert loudspeaker series is introduced, outfitted with new Ring Mode Decoupling (RMD) technology. The series makes its debut on the Rolling Stones “Bridges To Babylon” stadium tour. RMD becomes a staple of EV high-end loudspeakers for live and installed applications.
1999-2001: EV is merged with Telex Communications, another Greenwich Partners company. R&D, finance, accounting, sales and marketing operations are transferred to Telex headquarters in Burnsville, Minnesota. Manufacturing continues in Buchanan, with a staff of approximately 170 people.
2006: EV and Telex are acquired by Robert Bosch GmbH (Bosch), and remain headquartered at the Burnsville facility. The EV manufacturing facility in Buchanan closes.
Present (2015): EV continues to serve the live sound and fixed installation markets with a product line of loudspeakers, microphones and electronics. A focus on portable loudspeakers has led to a leadership position in that market, while the next generation X-Line Advance family of line array loudspeakers have been unveiled.
Related articles:
The State Of EV In 1953, By Founder Al Kahn
Interview: Jim Long On 40-Plus Years With EV
This cover image of a young woman and a monster loudspeaker from the Audio Engineering May 1951 Issue has haunted me ever since I saw it a few years ago. It etched in my mind in an unusual way. Why? What’s so fascinating about it ?
Well, the old-fashioned, 1,5m meter high loudspeaker – naturally. Its l’art deco style thin grill reveals a 20 inch woofer, a 12-inch mid-woofer and two multi-cell horns for the top four octaves.
But the speaker isn’t in the trick, nor the young charming woman with her long strapless dress showing the jewelry on her open chest. Besides, the woman’s sensuality is of a very distant kind. Her hair is tied. Her face is clean, the smile gentle. If there is an opportunity for an adventure somewhere in the background, it’s skillfully veiled. Ge inspection technologies lp port devices driver download 32-bit.
In contrast to the boring sexist cover images of tech. magazines and their advertisements, the speaker here does not represent mere technical masculinity but impossible one. The speaker and the woman do not belong together at any level of common sense.
The ingenuity of the image lies in the way in which Quasimodo and Esmeralda, KingKong and Fay Wray (for younger generations Naomi Watts), J. Howard Marshall and Anna Nicole Smith and other “monster and a young beautiful woman” stories have been imported into the audio world. Here’s Frankenstein as eligible for the living room.
A bit of history
When I first saw the image (quite long time ago), what did I know about Electro-Voice loudspeakers. Hardly anything.
Electro-Voice is best known for its microphones and other related gear for professional audio. But the company’s 80 years covers more than just award-winning mics for radio stations: cartridges, automatic aerial amplifiers for TVs and high-fidelity loudspeakers for home use. Loudspeakers E-V began to design and manufacture in the late 1940s, and continued well into the 1980s.
In the beginning E-V was well aware what Western Electric, Westinghouse, Bell, RCA, Altec (later acquired E-V and closed it) and the JBL were doing. The multi-cell horns of the cover image look like genuine Altec horns. But E-V was not just looking around. It hired a bunch of qualified theorists and reportedly was the world’s first speaker manufacturer who built a proper anechoic chamber for adequate speaker measurements. E-V speakers are not drawn on a cigarettes pack with emotion. Like them or not, they were designed to work both in practice and in theory.
Within a few years E-V develop elements and technical solutions, which carried far into the future. For example, the 120/90-midhorn, the SP-12 -mid-woofer and the T-35 horn tweeter from the 1950s were still used in E-V speakers in the 1970s. The other speaker manufacturers as Klipsch trusted them too.
Typical examples of early EV speakers included the Baronet, Aristocrat and Regency often consisting of a horn and a woofer. However, E-V’s natural province was in many respects 4-way speakers such as Centurion and Georgia, and the noblest of all: Patrician.
The very first Patrician from the 1950, “The Patrician”, was a five-way speaker with a 18″ woofer and 12″ mid-woofer plus a multicell horn and T10 tweeter, as well as with the parallel-connected 8 inch SP8BT element. In 1953, E-V made the Patrician as a four-way design: T35 replaced the T10 and the T25 was equipped with the 6HD horn. A couple of years later came the Patrician IV and then Patrician 600.
Patrician IV (18″ woofer, 828HF/A8419 horn, T25A/6HD horn and T35 VHF tweeter) is like the Patrician 800 with two differences: for the upper bass/lower midrange Patrician 800/700 has no longer a horn but a dynamic 12 inch unit, and for the mid-bass and lower there’s a 30-inch woofer behind!
From the Patrician 700, the Patrician 800 deviates so that the motors for the mid-range and treble horns are newer models and the horn placement on the front panel is different. The last Patrician was The Patrician II (Baron Sentry Diamant Series) from the 1983. This speaker was made in Switzerland, and with a constant directivity horn etc. was quite unlike the 800.
The man itself
E-V Patrician 800 strategic figures are 143 kilograms and 129 centimeters (W84cm, D70cm). Despite its size, the speaker takes up only about 0.5 m2 of floor space in the corner. Two versions exist: “traditional” and “modern”. The review pair was of modern kind. The cabinet of this speaker pair is made of thick veneered plywood.
The frequencies between 100-800Hz are reproduced with a 12 inch dynamic unit (30-13000Hz). Due to the low resonance frequency (35-45Hz) E-V used the element as a woofer in other applications.
Frequencies 800-3500 Hz are taken care by an exponential 120/90 horn 8HD & T25A motor with a textile membrane and Alnico magnet. As a diffraction horn the width of the 8HD is substantially less than the frequencies which it reporduces. When the horn is set in a upright position its horizontal radiation is maximized, which according to E-V is especially important for stereo operation. Compressed plastic 8HD horns are preferred to metal alloy versions.
High-frequencies are reproduced with the vertically installed EV T35 horn tweeter in a 95/65-aluminium horn and textile membrane. Several different versions of the tweeter exist, as there are different versions of the whole speaker. In some, T25A was replaced with RSV 1824M and the T35 became T350.
The crossover network is pretty impressive with constant resistance pots etc. The crossover panel allows different play back configurations. The Patrician 800 can, for example, be played in combination with the E-V 500 Stereo Speaker, which is like the 800 without the 30″ woofer. In the review pair the X-over caps were massive paper/oil type. Internal wiring had also been upgraded.
A driver is above the others: the EV 30W from 1959. This 76cm woofer features a 6.35 cm voice coil and Strontium Ferrite magnet. It’s one of the largest woofers ever made. Depending on the source, the cone is either dense polystyrene foam or paper laminated polystrene or something like that. Either way, the reported resonant frequency is 16 Hz, Qts is 0.27, Xmax 0.15″ (4mm), and Zmax 8.0 ohms.
In the Patrician 800 the EV 30W is loaded by a 280L sealed enclosure. From there the lowest bass notes are blown out through a straight horn (26,5 cm) with the throat area of 0.18 m2 and the mouth 0.24 m2. The truth is that the 280L enclosure does not load the 30″ driver (Vas = 5945L) sufficiently. Therefore, the Patrician 800 is designed for a corner placement or max. 5cm from a hard wall behind it. Close to the wall the effective mass of the air in front of the driver increases and the resonance goes down. The sensitivity suffers somewhat, but in this case it is not a significant problem.
Where they belong
The corner placement further extends the horn and increases the bass output. The corner placement also helps in adjusting the bass response according to room acoustics. In this respect, the rear horn & corner/wall placement turned out to be a great solution: in spite of its bass extension the Patrician 800 kept room resonances nicely under control.
The speaker does not require corner placement though. The level of the bass and the tonal balance settled nicely when I had the speakers close the wall behind them but well outside the corners and slightly turned towards the listener. The listening angle and the listening distance should be determined also from the perspective how close one wants, or not, the sound to come.
Hifi prudery, where the speakers pulled well away from the wall and turned toward the listening seat, is not suitable for these speakers. There’s so much sound and energy that the speaker may begin to feel intrusive. However, it is easy to imagine how heart-warming the speakers sound when they are far away and wide apart from each other, and the listening takes places from behind the stereo triangle. Monophonic type of presentation makes the performers step into the room correctly sized without a virtual stereo trickery. For my needs the speaker centered he sound commendably. The situation is probably less ideal for those who want their speakers sound meatless and not speaker-like.
Sonic impressions
My first surprise was how correct and modern the Patrician 800 sounded in terms of the tonal balance, in spite of its mighty subwoofer. The upper bass and lower midrange were quite clean. There was music with which the Patrician 800 sounded almost shy on the bass (assuming all the time that the speaker were in perfect condition as I expect they were). Looks as if the second order filter (12dB/oct) between the EV 30W and SP12M at 100Hz is fairly successful.
The healthy and well-balanced sound of the Patrician 800 brought to mind some of Dunlavy’s tonally competent models. Unlike these the Patrician 800 outputs sound over the midrange with speed and effectively as only a horn loudspeaker can. Even to the extent that such a happy and relaxed delivery may strike audiophiles as too bright and loud espcially with vocal music. My position in this regard is, however, clear: it is much better that the speaker is able to raise its voice when necessary, and then suppress the property conveniently, than that the speaker constantly spares the sound as so many of today’s speakers appear to do.
One cannot measure exactly how much sound a speaker can take in. Download mousemaestro mice & touchpads driver. No speaker can do a big symphony orchestra naturally, but when the band begins to play really loud, some speakers will start to squeeze the sound quicker than others. Patrician 800 can take in sound more than an average speaker. One must hear it in order to understand it.
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One of the special sonic features of the Patrician 800 is its sensitivity from low to mid bass, where speakers with 15 to 18 inch woofers will already start to lose it. Electro-Voice claims the frequency response 15Hz – 23000kHz. I no longer heard 15 to 20 hertz, but the 35-40 hertz had great sensitivity, when the music demanded it.
Bass unheard
No amount of technical information on the big woofer and the rear horn would help to predict how does it feel when 40-100Hz come up with the same number of decibels as sounds between 100 and 150Hz. The phenomenon is hard describe with words. E-V itself justifies the size and the high price of the 800 with its sensitivity in the bass. Don’t forget that the 12 inch mid-woofer alone produces quite a bit of bass.
To prove this there’s no need to go to extremes (thunderstorm, large organs etc.). Shostakovich Second Cello Concerto, Björk’s synth. bass, Mussorskgy’s Pictures at an Exhibition, 7 French double bassists, timpani in the last song of Mahler’s Lieder eines fahrenden Gesellen, Mission Impossible soundtrack etc. etc. – all testify to the same thing.
In the same breath it should be noted that, for example, the cello’s open G string (98Hz) and C string (65Hz) are not reproduced equally elastically and fully and richly as I’ve heard they can be reproduced with eg. other bass horns or dynamic dipoles.
It was difficult to find music with which the Patrician 800 would not have functioned with good articulation, and rhythm and presence. The sound isn’t generally speaking as euphoric as with certain horn loudspeakers or the best widebandwidth speakers, but one can expect a varied and reliable and enjoyable sound that is easy to become attached to.
Something to be improved
The Patrician 800 is a mighty loudspeaker but not perfect. E-V devides the band into mid-basso/cello, presence/vocal and brilliance/trumpet. Of these, I would first fine-tune the presence area by increasing its transparency and informative luminosity. This could happen, for example, by replacing the EV 8HD horn with another (multi-cell?) horn, and possibly moving the crossover frequency up or down. I might try another tweeter too in order to have certain delicacy over the highest treble.
One improvement would be to assign the duty to drive the lowest bass to a transistor amplifier, as the speaker allows for bi-wiring. The cabinet walls could be strengthened in order make them vibrate less and thus to avoid power loss in the bass. The grill could be removed, the potentiometres changed, and so on. On the other hand the speaker, as it is, is already quite fantastic and so competitive in many respects that it could be undignified to amend the original design.
There’s no doubt that the Patrician 800 benefits from a quality amplifier. As a 100dB sensitive speaker with a limited power handling capacity it first welcomes small power tube amps. I run the speaker with four to ten watts with splendid results using when applicable the amp’s 16 ohm OPT taps, as E-V wishes.
There was a time when the Patrician 800 cost as much as a big car. Today, the price depends entirely on the condition and demand. Something, however, tells us that the drivers of the Patrician 800 do not change hands free of charge, some of them are quite sought after.
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‘Mighty’ is just one of the attributes that has suffered from inflation in the verbage of highend audio. Because of this it is a delight to come across a product in which ‘mighty’ is not wasted, where it quite perfectly depicts the essence of the product. Electro-Voice Patrician 800 is such a product.