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.
- Delay is an audio effect which records a signal or sound and then plays it back after a period of time. The delayed signal may be played back multiple times or looped back into the recording again to . Used . create the sound of a repeating decaying echo. Unlike reverb, which uses reflected sound to produce many echos, delay has greater control over the number of times the sound is echoed. . Used . ...Bump Button
- A lighting console button that performs on action when pressed and another when released. This is a lighting console term.. Used . . Used . ...Wings and Processors
- Wings and processors are used to extend the capabilities of lighting control consoles. Wings usually add faders, bump buttons, displays, and other functions to the console while processors consolidate. Used . , alter, redirect or synchronize the signals coming to and from the console. Consoles often have wings designed specifically for use with that console, but processors are more generalized.. Used . ...Motor
- A hoist is a device used for lifting or lowering a load by means of a drum or barrel around which rope or chain wraps. It may be manually operated, electrically or pneumatically driven and may use ch. Used . ain, fiber or wire rope as its lifting medium.
A hoist normally is used for lifting (near vertical) and a winch is normally used for pulling (near horizontal). . Used . 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 . ...
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.