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Built Your Own Dream Guitar: With the DIMAVERY DIY Guitar Construction Kit

July 22nd, 2016 Posted in DIMAVERY, Product news, Videos, worth knowing Tags: , ,

There have been many different guitar shapes created in guitar history: The range goes from the classic T, ST and LP styles to V and Explorer shapes and even really unusual shapes like a cross between V and SG types. And it gets even more adventurous: Remember ZZ Top’s fur guitars or Prince’s “Love Symbol” guitar?

It is very intriguing for a lot of guitar players to play a guitar with its own, individual and outstanding design. If you’re not exactly a luthier or able to pay five-digit sums, it usually remains a dream.

Build your own guitar with a DIMAVERY construction kit

But there actually is a very easy way for you to get your own, self-designed guitar: You can build and design your own ST or T-style guitar with the DIMAVERY DIY guitar construction kit. You don’t even need much technical knowledge: Everything you need for assembly is a screwdriver, a soldering iron, and some solder. And there are many really easy and creative possibilities for you to design your guitar.

Blogeintrag Dimavery Gitarren 1

The construction kits are geared towards beginners and creative tinkerers who always wanted to develop their own guitar. Thanks to their ST- and T-style, they offer the best compromise between playability, diversity of sound and simple assembly.
The kits are completely pre-prepared, no more grinding or priming necessary. But even before painting the guitar, there is room for creativity by shaping the body and headstock to your own taste, providing there is enough wood left for pickups and electronics (and some wood for tone). The
n finally there are a couple possible ways to design the guitar in color:

Blogeintrag Dimavery Gitarren 2Design your guitar 

Limits are only set by your own imagination. You can lacquer the guitar traditionally and finish it with clear lacquer, but also just stain it and preserve the nice wood grain. Or how about swirling? That way, you can create really nice colorful or even psychedelic color patterns. With a little bit of time and preparation, you will create a unique guitar on your own.

Technical equipment

The guitars are equipped in traditional ST and T-style: Three single coil pickups with a five-way blade, two tone and one volume potis on the ST models; two single coils, three-way-blade, one tone and one volume poti on the TL model. The electronics are completely pre-installed, you don’t have to install anything. Simply place the pickguards on to the pre-drilled holes. Only the open cables have to be soldered, no problem with a little practice.

Good guitars, as individual as you

Ultimately, the DIMAVERY DIY ST-10, ST-20, and TL-10 guitars are very good instruments. The wutong body, maple neck, and rosewood fretboard make the ST-10 very lightweight and give it a clear sound. The basswood body of the ST-20 and TL-10 gives them a smooth and versatile sound with nice mids. The DIY guitar construction kits are perfectly suited for beginners and ambitious tinkerers who always had wanted to build and design their very own guitar.


See here, how easy building your own guitar is. 



Line arrays: Everything about the bananas of sound technology

June 28th, 2016 Posted in PSSO, worth knowing Tags:

Line arrays have dominated the sound transmission in modern entertainment technology of music festivals and international sports events for more than ten years now. These sound reinforcement systems can easily be identified by their slightly bent shape which is a reason why they are sometimes called „bananas“ in colloquial speech. More and more, line arrays can be found at smaller venues like medium-sized concerts and political events. This opens the market for more compact systems with easy handling and modest costs in order to operate in a profitable way. 
Bild Line Array

In retrospect:
More than 50 years ago, the American engineer Harry F. Olson developed the theoretical basis for line arrays in his standard work „Acoustical Engineering“. Unfortunately, his insights were only realized in column speakers which can be seen in churches and other venues fighting with reverberation. In these column speakers, several loudspeakers ranging from 3 to 5 inches are vertically aligned for transmitting speech between 200 Hz and 4 kHz. These speakers are not perfectly suited for transmitting music. Another example is a hi-fi system designed by Rudy Bozak in the fifties and sixties with up to 12 vertically aligned tweeters.

In parallel, a radical change in requirements for voice and instrument amplification could be noted from the fifties and the upcoming of rock music. While jazz was performed mostly without any electric equipment way into the sixties, the success of rock and beat music was from the very beginning based on the volume presented at concerts. With amplifiers
and voice amplification in the medium two-digit watt range, this volume could only be realized in dark and small basements in Hamburg or Liverpool where popular bands like the Beatles performed. A very important aspect why the
Beatles did not play any major concert after 1966 was the simple reason that the reinforcement systems available at that time, were not at all suitable for large sports arenas and for reinforcing the more and more complex music of the Fab Four.

In the United States, especially the band Grateful Dead tried to solve this problem via a gigantic piling up of loudspeakers. The „Wall of Sound“ was developed and optimized by the band‘s sound engineers for years and it included up to 641 individual loudspeakers with a total RMS power of 26.4 kW. In miniature, a similar concept was adopted by Udo Klempt-Gießing for the cult band Grobschnitt from Hagen, Germany.

It was not before 1983 that Joseph D‘Appolito suggested simultaneously using hi and mid speakers in several vertically aligned, but horizontally guided cabinets. It would take another decade until Christian Heil presented the first line array in its current definition to the market. Ever since, the triumphant success of line arrays could not have been stopped anymore.

The PSSO CLA(Compact Line Array system):Bild 2 Line Array
The Compact Line Array system by PSSO is the answer to the industry‘s tendency towards line arrays and against conventional amplification systems.

While most available line array systems on the market are not profitable for small to medium-sized venues, the PSSO CLA system was especially designed for this purpose. The innovative reinforcement system unites several core characteristics which make it very attractive for installation and hire:
The weight of the mid/high column is amazingly low, due to special plastic components for the cabinet and modern neodymium technology for the speakers. Its modern design makes this system also adequate for mere voice amplification and gala performances.

By combining the tops with the matching 15“ subwoofer and 18“ subwoofer, the system can be upgraded to a full power line array system. And as the efficiency is more than convincing it provides enough sound for large halls and open-air events. The compact size is no obstacle.

For virtually simulating setups for big events, there’s also a special software: The PSSO Line Array Simulator. You can download it for free.

What makes the compact line array unrivaled is its sophisticated and safe flying hardware. Only two technicians are needed to comfortably set up the entire system. All security-relevant parts are regularly tested by an accredited testing institute. A fact which sets the PSSO CLA apart from other manufactures in this price segment.

With the CLA system, PSSO offers a flexible tool for all kinds of different tasks in the sound reinforcement business. The
system is an economical line array fulfilling all safety requirements, which can be easily installed and convinces by its sound, according to the slogan „I love Sound!“.

Physical background of the technology

The basic problem of every sound reinforcement system for large venues is the fact that an individual speaker cabinet cannot supply the complete audience with the required sound pressure level. Even if the audible transmission range between 20 Hz and 20 kHz is separated into five or more different speaker sizes, the necessary characteristics required for audiences with thousands or even a hundred thousands of people cannot be produced – even with the latest technology.

Furthermore, destructive interference occurs even when using only two speakers at once. Interference occurs when sound waves from two different sources overlap and lead to undesired amplification or elimination of parts of the frequency range. The aim of every sound reinforcement system is to minimize destructive interference and to provide the desired signal level at every position in the audience are.

For reaching this aim, speaker clusters were used for a long period of time where several technically identical speaker systems are horizontally and vertically grouped together. Due to sophisticated cabinet constructions and the use of horns in front of the individual drivers, the efficiency, i.e. the realistic electric power converted into sound pressure level, could be increased while reducing the interference areas within the crossover areas between the individual speaker systems to an acceptable level and thus getting closer to a physically ideal point source.

The sound pressure level is reduced by 6 dB for every doubling of the distance from the speaker system, although this only applies to ball waves, i.e. undirected sound sources. Especially in closed rooms, a point is very fast reached where the diffuse sound, i.e. the sound reflecting from the walls and ceiling, reaches the same level as the direct sound from the speaker system. From this point on, the destructive interference is so strong that the acoustic performance can only be recognized in a strongly falsified manner. This distance is referred to as critical distance. One solution is applying delay lines where the transmitted signal is “refreshed” before the critical distance, thus enabling a large or longer audience area at large venues. Nevertheless, the delay speakers must reproduce the signal with a delay as the speed difference between acoustic and electric signal transmission is already audible from only 20 meters away. This is where the name “delay line” comes from.

Another disadvantage of this procedure is the significant sound level loss even among the first meters of the audience area. According to the already cited formula, the sound pressure level at eight meters distance is only one-eighth of the level in one meter distance from the speaker system clusters. Often, this problem was solved by more volume which is not only a health hazard in the stage area, but may also have a negative effect on the sound quality and sound level on the stage and which can no longer be recommended by today’s emission guidelines.

Line arrays are the next logical step in this chain of cause and consequence. With line arrays, it is possible to minimize the basic problems of conventional cluster systems. With line arrays, it is possible to minimize interference between the vertically aligned speaker systems by a vertical dispersion of less than 15°, to increase the coverage and to keep the sound pressure level constant for the maximum number of people in the audience by curving the system, i.e. setting the individual components at a specified inclination angle. Furthermore, line arrays can realize a larger horizontal dispersion angle than horn systems.

In order to realize this, some physical problems need to be solved. While the vertical alignment of several low speakers or mid speakers is easy and already applied in the column speakers as described above, more problems occur with higher frequencies. Thus it is not possible to realize the necessary, very low distance between high speakers via standard horn speakers or cone speakers. This distance between the speakers and the number of signal sources in vertical alignment and the curving angle is very important for the acoustic aim of the line array technology: the production of a coherent wave front.

In order to reach this aim nevertheless, so-called wave guides are used. They enlarge the output of the individual sound source which makes a very low distance between several vertically aligned sound sources possible. Additionally, these wave guides modify the delays of the sound waves in the transmission area of the hi speaker in a way that building a coherent wave front is possible.

With an ideal line array, a sound pressure level loss of only 3 dB for doubling the distance could be realized, in reality and depending on the system and the number of elements used, this value lies somewhere between the ideal 3 dB and the 6 dB of a cluster system. Thus using delay lines is still necessary especially for larger venues, but within a higher distance to the main PA. The reason is the improved directivity of the systems in comparison to conventional horn speakers.

Introducing line arrays led to a reduction of individual speakers up to one-quarter which provided additional resources for lighting and video technology. With the introduction of the DMX protocol in 1990, it was especially the concurrent digitization of the lighting technology that considerably benefited from the smaller and lighter sound reinforcement systems.


Lots of sound without frets: Dimavery MM-501 fretless

January 28th, 2016 Posted in DIMAVERY, worth knowing Tags: , ,

For decades, it defined the sound of some of the most famous and influential bands and songs in pop, jazz, funk or metal. But still, not many bass players try it: The fretless bass still is a special feature, but also a challenge.

What makes it hard to play for many, is also its main characteristic feature: The fretless fingerboard can be a challenge. Good knowledge of the fingerboard and a well-trained ear are necessary to hit the notes accurately. While there are frets on a regular electric bass to mark and ensure the accuracy of the note, on a fretless bass there is – nothing. Every move of the fingertip affects the sound of the note. This can be critical, but also makes unique sounds and playing techniques possible.

Some of the most well-known bass players in pop and rock music have immortalized themselves in many legendary songs with their use of the fretless bass: In Paul Youngs 80s hit “Wherever I Lay My Hat”, it’s Pino Palladino’s fretless bass line that makes this song unforgettable. Sting’s “Englishman In New York” features the characteristic fretless sound – not unlike an upright bass. And then there is of course Jaco Pastorius, legendary bass player of the equally legendary band Weather Report. Dubbed by many world-famous bass players as the best bass player of all time, he revolutionized bass playing with his unique technique. But the fretless bass is also present in modern heavy rock music, for example in the progressive rock music of Porcupine Tree and their bass player Colin Edwin.

Within the DIMAVERY range, we have the MM-501 Fretless, which can create that characteristic singing sound. It excels through its high quality, good playability and flexibility in all musical styles. The flat and comfortable maple neck makes for well-defined low frequencies, but also fine and clear highs. The basswood body takes care of the mid-oriented, smooth balance. The single big-block humbucker pickup produces the perfectly clear sound with the characteristic growling yet singing fretless tone. The passive controls regulate volume, bass and treble.

The bass journal BassQuarterly writes about our DIMAVERY MM-501 Fretless:

With the MM-501, Dimavery presents a tonally authentic instrument for beginners. Playing a few notes on the naturally harmonic sounding and well-worked MM-501 demonstrates a stable vibration behavior, solid tonality in all pitches, while the sound of the MM-501 starts singing, if you’re determined to let it do so. An insider tip for all beginners, players on a budget and bass modders!” (BassQuarterly 4/2014)

Anyone who has ever wanted to try out a fretless bass will find the perfect beginners’ model in our DIMAVERY MM-501 Fretless Bass. At first, it might not be that easy and probably will take some getting used to, but in the end, the reward is great variety in sound and stylistic flexibility which only a fretless bass can provide.

Germany: Which frequencies will be safe to use?

December 29th, 2015 Posted in General, worth knowing Tags: , , ,

Regarding wireless (radio) microphones, a lot has changed during the last years in Germany. The frequencies that had been used for event technology before were sold to cell phone networks. Those now operate LTE on it.

So new frequency ranges had to be found, new systems were developed and bought. For everybody who wants to know the details or needs a little help in the djungle of frequencies, here’s an overview of future safe frequencies*:


Private users – no license required

At the moment, the following frequencies can be used without license:

  • 1492 – 1518 MHz (LTE mid gap)
  • 1785 – 1805 MHz (LTE mid gap)
  • 2400 – 2485,5 MHz (world wide license free WIFI range)
  • 5150 – 5350 MHz (world wide license free WIFI range)
  • 5470 – 5750 MHz (world wide license free WIFI range)

These frequency ranges are safe until 2026.

License free ranges, which end on December 31st, 2015:

  • 790 – 814 MHz
  • 833 – 862 MHz

These frequency ranges are massively reduced by the ongoing roll-out of LTE. As of now, the operation of microphones is not longer legal in this range in Germany. Interferences will occur. We recommend to replace these systems soon.

Professional users – license required

For professional use like broadcasting, touring, fixed installations and ambitious hobby bands, the following frequencies can be used. A license is always required here:

  • 470 – 608 MHz (future safe)
  • 614 – 703 MHz (future safe)
  • 703 – 733 MHz (only usable until 2017, illegal as of 2020)
  • 733 – 758 MHz (probably usable with license)
    In this range, we offer the following systems:
    Omnitronic: 13061092 and 13055092Relacart HRRelacart T-31
  • 758 – 823 MHz (only usable until 2017, illegal as of 2020)

In general, the license is valid for all these ranges. As phone network operators will use the frequencies above 694 MHz step by step, we recommend to buy systems, which work under 694 MHz.

Licenses are granted by the Bundesnetzagentur in Germany. Licensing is 130 € for each unit (that means all systems that are combined in one flight case. As there is only one certificate for each license, the system can not be divided for several events afterwards).

There are additional fees of 10 € each year for each license.

Public institutions like schools and churches are partly exempt from fees.

*The facts mentioned above are all valid for Germany only. For the regulations in your country, please check with local authorities.

For more information, also see .

Omnitronic ARM monitors put to the test

November 25th, 2015 Posted in OMNITRONIC, Product news, worth knowing Tags: ,

Our Omnitronic ARM-6.5 monitor has been put to the test by the German online magazine

The tester were surprised by the balanced frequency response, the high differentiation of the stereo panorama and the various possibilities of adjusting and correcting sound: “I wasn’t expecting that. The manufacturer (…) published a really good, for this price range even excellent studio monitor.”

The final result of the test is more than just good: The Omnitronic monitor was rated “an insider’s tip” for home recording.


Read the full test in German here.

For more information about our ARM monitors, see here.