High Power 2-Way Loudspeaker with 1 x 15" LF & Rotatable Horn
James Bullough Lansing was born James Martini, 14 January 1902, in Macoupin County, Millwood Township, Illinois. His parents were Henry Martini, born in St. Louis, Missouri, and Grace Erbs Martini, born in Central City, Illinois. The elder Martini was a coal mining engineer, and his work required that the family moved about quite a bit during Lansing's early years. Lansing was the ninth of fourteen children, one of whom died in infancy. For a short time, Lansing lived with the Bullough family in Litchfield, Illinois. He later took their name when he changed his from Martini to Lansing.
Not much is known about Lansing's early days, and we are indebted to Bill Martin, one of three surviving brothers, for providing most of the information presented here. Lansing graduated the eighth grade at the Lawrence School in Springfield, Illinois. He also attended the Springfield, Illinois, High School. Later, he took courses in a small business college in Springfield.
As a young lad he was very interested in all things electrical and mechanical. At about the age of 10, he built a Leyden Jar which he used to play pranks on his playmates. He also constructed crystal sets, and at one time, probably about the age of 12 or so, built a small radio transmitter from scratch. The signals from this set were apparently strong enough to reach the Great Lakes Naval Station in Illinois; naval personnel determined the source of these signals and later supervised the timely dismantling of the young Lansing's radio transmitter.
For a while Lansing worked as an automotive mechanic, specializing in fine engine repair work. He attended an automotive school for mechanics in Detroit through the courtesy of the dealer he worked for in Springfield.
Lansing's mother died 1 November 1924 at the age of 56, and at that time Lansing left home. As best we can determine, he went directly to Salt Lake City. Mrs. Lansing, the former Glenna Peterson of Salt Lake City, tells of meeting Lansing in 1925 in that city. At the time he was working for a radio station as an engineer. In addition, he worked for the Baldwin loudspeaker company in Salt Lake City for a time. He also met his future business partner, Ken Decker, in Salt Lake City.
- A mixer is an electronic device for combining or "mixing" audio signals by routing and changing the level, tone, and/or dynamics of the audio signals. A mixer can mix analog or digital signals depend. Used . ing on the type of mixer. The modified signals are then combined to produce a unified signal output. Mixers can vary in size and function ranging from small format having a few inputs for a . Used . DJ to large format having dozens of inputs for studio recording....A1
- A1 is Lighting Industry Forum code for lamps that are origianally recommended for projection.
Here are all the codes:
CP: Film, Television &Photographic studio (3200K)
. Used . A1: Projection
T: Theatre (3000K)
P2: Photoflood (3200K)
K: General Purpose Flood Lighting (2850K) . Used . ...EQ
- Equalization, or EQ, applies to any hardware or outboard effect used for the process of changing, increasing or decreasing the level or volume of a certain frequency in a sound to bring that frequenci. Used . es volume in line with the other sounds. It is used in live events and audio recording in film, music, TV and radio. . Used . ...Pre-Rig
- Pre-rig Trusses have bars with lights and other gear attached so that they can be lowered into a suitable operating position for a show or raised to store or transport without having to remove the gea. Used . r from the truss.. Used . ...Aircraft Landing Light
- A narrow beam PAR lamp (28 volt) that is used on aircraft and often adopted for PAR64 and PAR46 lamps. They are most commonly 4 lamps wired in series to attain the required voltage of the circuit as . Used . close to 120 volts. ACL lamps have a higher intensity, brightness and color temperature than the standard PAR lamp.
ACL lamps are more expensive than standard PARs and have a sho. Used . rter life.
Used Drivers and Horns
Drivers and horns refer to loudspeakers that employ a horn to boost the speaker driver element‚??s efficiency. The ‚??speaker horn‚?? is basically a kind of electromagnetically driven diaphragm. The horn used in drivers and horns doesn‚??t actually do anything to enhance or amplify sound coming from the cabinet driver itself ‚?? it is passive. All it does is to give the coupling efficiency between the air and the speaker driver a boost. Drivers and horns essentially serve to match the impedance between the low density of outside air and the high density of the speaker horn diaphragm.
Drivers and horns are perhaps best put to use in concerts and PA systems, where sound reinforcement is needed. This can be provided by the high sound pressure that drivers and horns produce, although the sound‚??s fidelity may be compromised when they are employed.
Cabinet horn loudspeakers are also popular in concert venues, as they are able to reproduce high volume bass sounds. In concert venues, drivers and horns are commonly called a bass driver, or a tweeter, and are employed so that the bass is not just heard but also ‚??felt‚?? by the audience. Multiple drivers and horns cab be combined into an array to boost the sound pressure even further, and this is more preferable than using a single horn that has a larger ‚??mouth‚?? area, as an array such as this affords greater output power.
Drivers and horns have other, more specialized uses. They can be used to extend a speaker driver‚??s low frequency limit, and they are able to modify a sound wave‚??s directional characteristics at both the horizontal coverage angle and the vertical coverage angle, depending on the width and height of the horn.