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Author
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Topic: Amp rack positions: top or bottom?
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David E. Nedrow
Master Film Handler
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Posts: 368
From: Columbus, OH, USA
Registered: Oct 2008
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posted 10-17-2010 08:55 PM
We just moved a new sound rack into the booth and I'm going to start mounting equipment. We'll have a new USL sound processor, DTS XD10, SDDS unit, 5 amps, and a huge honking UPS I have leftover from my computer days.
Assuming the amps will put out the most heat -- haven't checked the specs yet -- should they be mounted up top? This rack does have a fan in the top pulling air through the unit. Having them in the top makes accessing the processors a little less convenient, but assuming they've been set up properly I shouldn't have to touch them very often.
My other option is to put all of the processors in the new, enclosed rack, along with LD, DVD, and Blu-Ray players, satellite box, etc. The I would mount the new amps in the old rack.
Or, just put the amps on the bottom with the processors on top in the new one.
Any guidance?
-David
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Scott Norwood
Film God
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Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 10-19-2010 11:51 AM
One thing that I would like to see in more cinema racks is a power sequencer or other method to ensure that the amps are powered on last and powered down first. Older processors (at least CP50 and CP200) make nasty pops at powerup, which can easily blow speakers if the amps are powered up first.
As an operator, I generally prefer racks that are in this order (top to bottom):
- power distro/sequencer(s) (alternatively, this can live in the bottom space) - CD player (for non-sync) - DA20/DTS/SDDS unit - cinema processor (at more-or-less eye/shoulder level) - booth monitor - mixer for guest inputs/microphones/etc. - guest inputs - other stuff that doesn't normally require operator attention (e.g. crossovers, microphone preamps, etc.) - amps - power distro/sequencer(s) (if not at top)
Having the processor at eye/shouler level is less necessary if remote boxes for format and fader setting are installed on the front wall of the booth (which almost no one does, for some reason). Conceptually, I prefer to have video stuff go in a separate rack from cinema sound equipment, but lots of installations seem to commingle the two systems. This will result in some messy-looking racks in a few years when the video equipment gets upgraded.
The only sound rack that I have wired from scratch is for my home system, and it consists mostly of scavenged equipment. It is semi-portable (it's a 20-space Anvil rack case with wheels), and the amps pretty much had to be at the bottom for stability. The exercise gave me an appreciation for the art involved in putting together a well-designed sound rack, with consideration given to electrical, mechanical, servicing, and human-factors issues.
Here's a shot from the picture gallery (we used this for a video setup at a festival):
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from top to bottom:
CD player custom rack panel to toggle between decoded non-sync and L/R non-sync (for video) processor monitor guest inputs/outputs microphone preamp amps
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