The Aero 38
A is a self-powered, three-way, high efficiency, line array module. The medium format trapezoidal enclosure integrates two 12GNC low frequency units with 4 in. voice coils, two 10LMN16 mid-range devices utilizing 3 in. voice coils and one ND-10 compression driver with 4 in. coil and 1.5 in. exit geometry for high frequency reproduction. The compression driver is coupled to the Serpis high frequency plane wave adaptor insuring coherent high frequency summing and the generation of a flat, isophasic wave front. All components incorporate neodymium magnet assemblies.
The Aero 38
A offers captive Rigging Hardware
that keeps all parts in place and makes joining one box to another, safe and simple. The rear located splay angle adjusters keep the front spacing between adjacent elements the same, providing a seamless front baffle for improved array performance. Moving individual units is easy thanks to the front located dolly panel. Multiple units can be moved with the optional steel stacking dolly.
Low frequency reproduction is handled by two 12GNC loudspeakers in a bass-reflex configuration. The 12GNC speakers incorporate 4 in. (100 mm) edge-wound flat wire (EFW) voice coils and lightweight neodymium magnet assemblies. High frequency reproduction is handled by one ND-10 large format compression drivers using a 4 in. (100 mm) Titan
ium diaphragm, copper clad aluminum EFW voice coil and a 1.5 in. exit throat coupled to SERPIS high frequency plane wave generator.
Power is provided by a three-channel class "D" power amplifier. Protections include short circuit protection on each channel, overload and thermal protection, dynamic clip and power limiting.
Compatible with Aero-48 and Subwoofer
Aero-182/182A, flying hardware is integral to the box and provides for splay angles from 0 to 10 degrees in 2.5 degree increments, hinge points being located on the front for seamless arraying.
Used D.A.S. Audio
Today, we manufacture loudspeaker systems and components, which we supply to other manufacturers throughout the world. Power amplifiers, electronic signal processors, and accessories complete a vast array of products that address the gamut of sound reinforcement applications.
Loudspeaker and system designs are developed by a staff of engineers aided by advanced computer assisted design programs. Performance testing is done with proprietary software such as Autopol, a platform for automated acquisition and processing of directivity data.
A well planned industrial process, careful selection of suppliers, and the in-house production of loudspeaker components optimized for use in D.A.S. Audio sound systems empowers the company with quality levels and cost efficiency matched by only a few.
- Light that comes from the upstage, behind all actors and scenery. It helps to separate them from the back drop.
Light coming from upstage, behind scenery or actors, to sculpt and separat. Used . e them from the background. Used . ...Automated Light
- Automated Lights were originally used in 1972, but the first computer-controlled stage lighting fixtures began to gain widespread acceptance in the concert industry in the early 1980's. As the digital. Used . age progressed, the cost of these fixtures was reduced and they slowly started being used in more 'traditional' theatrical environments. Intelligent fixtures are currently used in almost all. Used . major theatrical productions.
Usually relying on compact arc lamps as a light source, these fixtures generally use stepper motors connected to varying internal devices to manipulate the light bef...Followspot
- Followspot is a generic term used to describe any number of lighting instruments used to highlight performers on stage. A followspot operator moves the followspot to follow the performer or to accent. Used . some action or prop etc. Somtimes called limes, dating back to the days of limelight.
Followspots are generally much brighter than conventional lighting instruments, and often u. Used . se a lamp with a considerably higher color temperature. Lighting Desk
- Lighting control consoles (also called lighting boards or lighting desks) are electronic devices used in theatrical lighting design to control multiple lights at once. They are used throughout the ent. Used . ertainment industry and are normally placed at the FOH position or in a control booth.
All lighting control consoles can control dimmers which, in turn, control the brightness of. Used . the lights. Many modern consoles can also control intelligent lights (lights that can move and change colors), fog machines and hazers, and other special effects devices.
Consoles communicate wit...Cue
- Generally, a lighting board operator has a cue sheet for each scene, which is a diagram of the board with the faders in their positions as determined by the lighting designer. The operator sets the fa. Used . ders into their positions based on the cue sheets. Typically during a cue, the operator sets the next scene. Then, the operator makes the transition between the scenes using the cross-fader.. Used . ...
Used Line Array Speakers
Line array speakers make up a loudspeaker system to create a sound source that produces an evenly distributed sound output. The driver of each line array element is close enough to the driver of the next element to create constructive interference. The resulting sound waves go farther than sound waves from traditional loudspeakers.
Line array systems date back to the early days of research in acoustics. Many old town halls and public venues still have old line source boxes which were found to project voice well though they are much smaller than horn-loaded speakers.
These days, line array speakers use different drivers for high-, mid- and low-frequency passbands that must be in line. Each enclosure must be set up closely to form columns composed of these drivers. To increase the frequency range and maximum sound pressure, the number of drivers per enclosure must be increased.
The orientation of line array speakers may vary. Vertical arrays are excellent for focusing sound at audiences without wasting output energy on ceilings or empty air above the audience because of its very narrow vertical output with a normally-wide horizontal pattern. On the other hand, horizontal line arrays have a very narrow horizontal output with a tall vertical pattern.
For hanging concert speakers which are usually part of a concert reinforcement system, enclosures are set up together using a specialized rigging hardware and they hang from a single point. These line array speakers are curved backward at the lower portion so that the sound will reach more audience.