Ever since, we‚??ve researched the science and technology of sound. Several of our innovations have been awarded US patents. Each discovery opens new avenues for investigation, fresh opportunities for improvement. After 20 years of development, the real excitement is just over the horizon. That‚??s why our founder Harro Heinz can still be found in our facility every day. That‚??s why our team of dedicated professionals can‚??t stop taking work home at night. That‚??s why discriminating audio professionals worldwide rely on us to help them set new standards of reference in sound reinforcement.
The packaged loudspeaker system with transducers, waveguides, filter network, enclosure and hardware is today‚??s standard. Back in ‚??79 the concept was unorthodox, but we‚??ve always believed that better ideas will find their way into the hands of demanding professionals. Our first innovations (like US patent #4,336,425) came out of new thinking about compression drivers, but we realized that components yield only incremental improvements. The real performance breakthroughs come from using all the available tools ‚?? acoustic, mechanical, electrical and electronic ‚?? to bring reproduction closer to reality.
Over a decade ago we introduced the first integrated systems, exploding boundaries that separated packaged loudspeakers from signal processing, power amplification, cabling and hardware. Today our engineers are equally at home with acoustics and electronics. Integrated systems design requires understanding a broad range of parameters, from matching amplifier output to transducer power handling, to precise setting of critical signal processing functions, to optimizing gain staging. Precision adjustment of limiter behavior, crossover frequencies and slopes, equalization and delay is a time-consuming, data-intensive process, but the results are worth it.
Our integrated systems approach eliminates the frustration of verifying proper system setup and tracking down faults. The system designer and operator are free to focus on enhancing the listening experience, rather than trying to make the system work by adjusting critical parameters like driver protection, crossovers and EQ "on the fly."
We build integrated systems as small as a single enclosure and as large as a high-output, wide coverage multi-element array. It‚??s all part of our search for new reference points in sound system performance.
- Modern stage lighting is a flexible tool in the production of theatre, dance, opera and other performance arts. Several different types of lighting instruments are used in the pursuit of the various p. Used . rinciples or goals of lighting. . Used . ...Platforms
- Some stages are made up of many smaller table like platforms so they can be easily transported or stored. These platforms are generally used in the forming of large stages, are fastened together, com. Used . e in different hights and widths and have different materials for their surface, like woods and canvases. . Used . ...Protocol
- In computing, a protocol is a convention or standard that controls or enables the connection, communication, and data transfer between two computing endpoints. In its simplest form, a protocol can be . Used . defined as the rules governing the syntax, semantics, and synchronization of communication. Protocols may be implemented by hardware, software, or a combination of the two. At the lowest leve. Used . l, a protocol defines the behavior of a hardware connection.
Protocols should be distinguished from technical standards, which variously specify how to build a computer or related hardware device,...Smoke Machine
- A Smoke Machine or Fogger is an electrical device that creates clouds of artificual and hopefully non-toxic fog. The fog may come in different colors or smells and may be water or mineral based. It i. Used . s used for effects in theatre, staging, concerts and clubs.
Hazers by contrast create a more diffusive, expansive haze that is usually not a thick and is used to enhance other ef. Used . fects, such as lighting and light beams. 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 . ...