D.A.S. R-112, R-115, R-214, R-215, ST-015, ST-110, ST-15, ST-18 User Manual

R+ St

www.audiovias.com

MANUAL DEL USUARIO / USER’S GUIDE

Precauciones de Seguridad

El signo de exclamación dentro de un triángulo indica la existencia de importantes instrucciones de operación y mantenimiento en la documentación que acompaña al producto.

El doble cuadrado indica equipo de Clase 2.

No exponga este equipo a lluvia o humedad.

No emplace altavoces en proximidad a equipos sensibles a campos magnéticos, tales como monitores de televisión o material magnético de almacenamiento de datos.

No existen partes ajustables por el usuario en el interior de este equipo.

Altura máxima de seguridad desde el suelo a la base de la caja montada sobre trípode modelo TRD-2, pies a su máxima extensión: cm

R-115 99 cm cm

ST-32 107

El resto de los modelos no se pueden montar en trípode.

Safety Precautions

The exclamation point inside an equilateral triangle is intended to alert the users to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

The double square indicates

Class 2 device.

Do not expose this device to rain or moisture.

Do not place loudspeakers in proximity to devices sensitive to magnetic fields such as television monitors or data storage magnetic material.

No user serviceable parts inside.

Maximum safety height from floor to bottom of enclosure when mounting on a TRD-2 tripod with legs fully open: cm

R-115 99 cm cm

ST-32 107

The rest of the models are not tripod mountable.

Sicherheitshinweise

Das Ausrufezeichen im Dreieck weist auf inhaltlich besonders wichtige Erklärungen des nebenstehenden Textes hin.

Das doppelte Viereck bedeutet daß es sich um ein Gerät der

Klasse 2 handelt.

Dieses Gerät nicht dem Regen oder extremer Feuchtigkeit aussetzen.

Plazieren Sie Lautsprecher nicht in der Nähe von Geräten die empfindlich auf magnetische

Felder sind (z.B.:

Fernsehmonitore, magnetische

Datenmedien).

Es sind keine vom Anwender einstellbaren Teile im Gerät enthalten.

Maximale Höhe des Unterteils der Box bis zum Boden, wenn auf dem Ständer TRD-2, mit voll aufgeklappten Gestell montiert: cm

R-115 99 cm cm

ST-32 107

Restliche Typen können nicht auf

Lautsprecherstative montiert werden.

Règles de Sécurité

Le point d'exclamation dans un triangle équilatéral alerte signale la présence d'informations importantes de fonctionnement et de maintenance dans le manuel qui accompagne le produit.

Le double carré circonscrit indique un appareil de Classe 2.

Ne pas exposer l'appareil à la pluie ou à l'humidité.

Ne pas disposer ces enceintes à proximité d'appareils ou supports sensibles aux champs magnétiques tels que moniteurs vidéo, télévision ou diskettes et cassettes vidéo/audio.

Aucune pièce est réparable par l'utilisateur à l´interieur.

Distance maximum du sol à la base des enceintes montées sur le tripode TRD-2 à ouverture maxi des pieds: cm

R-115 99 cm cm

ST-32 107

Les autres modeles ne sont pas montables sur tripode . www.audiovias.com

ÍNDICE

Precauciones de seguridad

1. Introducción

1.1 Características de las series

1.2 Características de los modelos

2. Conexiones

2.1 Cableado

2.2 Conexiones básicas

3. Montaje y colocación

Colocación

3.2 Utilización sobre trípode

3.3 Utilización sobre SUB-18R / ST-18 con TRD-4

3.4 Utilización como monitor de escenario

3.5 Resistencia a la intemperie

4. Colgado

Introducción

4.2 Colgado con cáncamos

4.3 Colgado con AncraTrack

Formaciones

5. Configuraciones de sistemas

6. Ejemplos de aplicaciones

7. Uso

8. Especificaciones

9. Dibujos de línea

10. Apéndices

10.1 Conexiones de línea : no-balanceadas y balanceadas

10.2 Datos de contacto de fabricantes de herrajes para colgado

CONTENTS

Safety Precautions

1. Introduction

1.1 Series' Features

1.2 Models' Features

2. Connections

2.1 Wiring

2.2 Basic connection

3. Mounting and placement

Placement

3.2 Tripod use

3.3 Use on SUB-18R / ST-18 with TRD-4

3.4 Stage monitor use

3.5 Weather resistance

4. Flying

Introduction

4.2 Flying with eyebolts

4.3 Flying with AncraTrack

Arraying

5. System configurations

6. Application examples

7. Use

8. Specifications

9. Line drawings

10 Appendices

10.1 Balanced and unbalanced line connections

10.2 Contact details for flying hardware manufacturers www.audiovias.com

Series R y ST. Manual de Usuario / R and ST Series. User's Manual 3

1. INTRODUCTION

Thank you for purchasing a D.A.S. product. The ST and R series represent more than 30 years of expertise in transducer and enclosure design, achieving a series of systems that utilise the most advanced sound reinforcement technology to deliver outstanding audio performance and maximum reliability.

Engineered from "real world" experience in system design, with exceptional efficiency, pattern control and intelligibility, these series provide designers with the primary tools to solve the problems of sound reinforcement.

For those systems that require enclosures featuring different configurations or smaller size, ST and R series may be combined with other series from D.A.S. For instance, a main theatre system based around R or ST could use a compact 8” model from our Dynamics Series for distributed fills.

This manual contains the required information to make the best use of the system you have purchased. Please take the time to read it.

Our Web site at www.dasaudio.com contains further support information such as enclosure and system drawings, data for modelling software, architectural specifications and specification sheets.

1.1 Series' features

• High frequency compression drivers with pure titanium diaphragms and Neodymium magnet structures (except models with small format HF drivers, which use ferrite magnets)

• Rugged enclosures manufactured from Finnish Wisa® plywood for rigidity and durability (except SUB-18R, MDF wood)

• Bar handles or hand locations for easy transport

• Finished in catalysed polyurethane black paint that provides protection against the elements and abrasion.

The finish may be painted on to complement the decor

• Polyamide powder coated front grilles prevent corrosion and maintain good looks. On the ST series, the grilles are covered with acoustically transparent cloth for protection against rain, dust and dirt

• Dual NL4 or NL8 (model dependent) Speakon input/output connectors

• Tripod mountable (models for which size allows)

• Flying points (eyebolt based or AncraTrack/eyebolt according to model). Except ST-32, ST-015 and SUB-18R.

• Optional flying accessories www.audiovias.com


1.2 Models' features

PRODUCT

R-112

F E A T U R E S

• Two-way full-range system

• Trapezoidal enclosure

• Tripod socket

• Passive (full-range) use

• 1 x 12" woofer

• Small format compression driver with ASC protection

• Medium power

• Medium sensitivity

• Short / medium throw

R-115



• Tripod socket


• 1 x 15" woofer


• Medium power



R-214




• 2 x 15" woofer


• Medium / high power



R-212

• Two-way mid-high / full-range system


• Bi-amplified and passive (full-range) modes

• 2 x 12" mid-high speakers

• Neodymium magnet large format compression driver

• High power

• Medium / high sensitivity

• Medium throw

• Rotatable horn

R-215




• 2 x 15" woofers


• High power

• Medium / high sensitivity

• Medium / long throw

• Transport wheels

APPLICATIONS

• Sound reinforcement for fixed installations. Pubs, restaurants, discos, indoor sport arenas. Standalone or subwoofer reinforced

• Secondary area fills

• Sound reinforcement for fixed installations. Pubs, restaurants, discos, indoor sport arenas

• Secondary area fills.

• Sound reinforcement for fixed installations.

Pubs, live music bars

• Medium power side-fill

• Sound reinforcement for fixed installations. Live sound, theatres, discos. Always use sub-woofer complement

• Sound reinforcement for fixed installations and mobile use. Live sound, theatres, discos. Standalone or sub-woofer reinforced

• Side-fill www.audiovias.com


PRODUCT FEATURES

SUB-18R

• Sub-woofer system

• Rectangular enclosure

• Tripod socket for mid-high enclosures

• 1 x 18" woofer

• Medium power


SUB-218

• Sub-woofer system


• 2 x 18" woofers

• High power


APPLICATIONS

• Low frequency reinforcement for fixed installations. Pubs, bands, theatres

• Low frequency reinforcement for fixed installations and mobile applications. Live sound, theatres, discos

ST-015

ST-15

ST-32


• Tripod socket


• 1 x 15" mid-high speaker

• Neodymium magnet medium format compression driver

• Medium power



• Left and right (shown) versions

• Low-profile stage monitor wedge


• Low profile multi-angle enclosure

• Tripod socket


• 1 x 15" mid-high speaker




• Medium throw

• Rotatable horn

• Sound reinforcement for fixed installations and mobile applications. Theatres, discos. Always use sub-woofer complement

• High power low profile system for low ceiling applications

• High power stage monitor wedge


• Tripod socket


• 1 x 15" coaxial speaker


• Medium power



• Uniform directivity helps fight feedback

• Stage monitor wedge

• Multi-purpose system www.audiovias.com


PRODUCT

ST-110

ST-112

ST-215

ST-18

ST-218

FEATURES APPLICATIONS

• Two-way mid-high system


• Passive use

• 1 x 10" mid-range speaker



• High sensitivity


• Sound reinforcement for fixed installations and mobile applications. Touring, large scale discos.

Always use sub-woofer complement

• Vocal system for speech applications and background music in large spaces



• Bi-amplified use

• 1 x 12" mid-range speaker





• Sound reinforcement for fixed installations and mobile applications. Touring, large scale discos.

Use sub-woofer complement

• Vocal system for speech applications and background music in large spaces



• Bi-amplified use

• 2 x 15" mid-range speakers


• High power


• Long throw


• Sound reinforcement for fixed installations and mobile applications. Touring. Use sub-woofer complement

• Sound reinforcement in large spaces

• Folded-horn sub-woofer system


• Tripod socket for mid-high enclosures

• 1 x 18" woofer

• High power


• Low frequency reinforcement for fixed installations and medium-sized mobile applications. Pubs, bands

• Folded-horn sub-woofer system


• 2 x 18" woofers

• High power



• Low frequency reinforcement for fixed installations and mobile applications. Live sound, touring, discos www.audiovias.com


2. CONNECTIONS

2.1 Wiring

R and ST series enclosures utilise two NL4 (four pin) or NL8

(eight pin) Neutrik Speakon connectors. These connectors are specific for speaker use and allow a safe and professional connection. Models ST-112, ST-215, ST-18 and ST-218 use

NL8, the rest use NL4. For plugging into an enclosure, insert the male connector into any of the inputs and rotate it clockwise. It will then lock into place and be ready for use.

The drawing illustrates the terminal arrangement detail: units in parallel. Also for one four ohm speaker per channel, such as for one ST-218 per channel.

When connecting more than one speaker to an amplifier channel there are two wiring options. The first is to run cable from the amplifier's output terminals to each speaker. The second is to connect the closest speaker to the amplifier and then connect the two speakers together with a loop through cable that has a Speakon (NL8 or NL4 according to the model) connector on both ends. We'll be paralleling speakers in both cases. The latter is the most common and practical option, the former providing a higher damping factor.

Never use a total impedance load that is lower than the lowest impedance that an amplifier will take. Virtually all professional amplifiers will accept loads down to four ohms safely in stereo mode. Many are rated for two ohm loads but often will run into overheating protection when used this way, particularly in high ambient temperature and high output power applications.

Never connect more speakers to an amplifier's channel than it will take, i.e. do not load a channel with a total impedance that is lower than the minimum load specified by the manufacturer.

The enclosures provide two paralleled connectors. This allows for easy loop through from one speaker to the next.

Unused connector pins are also paralleled. Both connectors can be used as either inputs or outputs.

To ensure quality sound and minimum power loss, the speaker cable needs to have a large enough cross section depending on the cable length, number of speakers per channel and speaker impedance. The total impedance for a number of speakers in parallel is equal to the impedance of one divided by the number of speakers. For instance, two

R-112 in parallel total 4 ohms

(8 ohms divided by 2 boxes equal 4). It is particularly important to use a large enough gauge with those speakers that carry deep bass, such as ST-18/218,

SUB-18R/218 o R-215. metres

Cable length feet

8 ohm per amplifier channel

Minimum cable thickness mm²

2,5 8 0,3

5 16 0,5

7,5 25 0,8

10 33 1,31

15 50 2,1

20 66 3,3

50 164 5,3

75 250 8,35

100 328 13,3

200 656 20,8

400 1312 33,3 metres

Cable length feet

4 ohm per amplifier channel

Gauge no. (AWG)

22

22

18

16

14

12

10

Minimum cable thickness mm²

2,5 8 0,8

5 16 1,31

7,5 25 2,1

10 33 3,3

15 50 5,3

20 66 5,3

50 164 13,3

75 250 20,8

100 328 33,3

200 656 52,9

400 1312 80,2

8

6

4

2

Gauge no. (AWG)

18

16

14

12

10

10

6

4

2

0

000

The tables show the minimum size for different runs of cable and four or eight ohms connected per channel:

- Use the eight ohm table when connecting a single eight ohm speaker per channel. For instance, one R-115 in each channel of a stereo amplifier or the mid frequency band of an

ST-112,

- Use the four ohm table when connecting two eight ohm speakers to an amplifier channel. For instance, two R-115

Avoid series or series-parallel wiring schemes for ST and R series products, since they degrade sound quality and thus we do not recommend them for applications other than background music, paging, or surround sound. www.audiovias.com


Type

Modes

2.2 Basic connection

This section provides information on the pin assignments and basic set-up for the different enclosures. The "System

Configurations" section adds stereo system configurations with or without sub-woofer reinforcement. The “Application

Examples” section adds complete application specific system examples.

Some models, due to the complexities of their electronic processing, require the indicated D.A.S. controller for the system to run correctly. Others may use generic crossover units with recommended settings, although the use of the

D.A.S. processors is recommended. In general, we stress the importance of the use of the DAS processors, since they are shipped with set energy balances and crossover frequencies, and adjustments cannot be made that could endanger system components. By using the DAS processors, we can ensure the correctness of the sound and the reliability of the systems.

The following table shows the basic features of the DAS CT controllers:

Limiters

Gain Controls

Xover freqs

R-214

R-212

When using the system in active (bi-amplified)

Full range/2-way

---

100 Hz

2-way / 3-way

1200 /

125, 1200 Hz

2-way 3-way

Variable per way

160 Hz

Low-Mid-High

125, 1200 Hz

2-way / 3-way

1200 / mode, use the D.A.S. CT-

2000 monophonic electronic processor or a

24/dB octave electronic

The following table shows the controller for each system with or without subwoofer reinforcement.

Model reinforcement

Figures show the block diagram and basic set-up for model R-

214.

Figures show the block diagram and basic set-up. A switch, located at the input connector plate, allows to change between passive (full-range) and bi-amplified use. In passive use, the acoustical high frequency rolloff of the low frequency section is used to crossover to the mid/high frequency section, which utilises an equalised highpass filter network.

125, 1200 Hz crossover unit with the crossover frequency set to 1200 Hz. We thoroughly recommend the use of the D.A.S. CT-2000 (CT-1000 can also be used for applications outside disco/club), since it is factory shipped with appropriate crossover frequencies, which cannot be accidentally modified.

R-112 / R-115 / R-214

(SUB-18R/218,

ST-18/218)

None CT-1

R-212 / R-215 in passive mode

R-212 / R-215 in active mode

ST-15 in passive mode

ST-15 in active mode

ST-015 / ST-32

ST-110

ST-112

None CT-1

CT-2000,

CT-1000

CT-2000,

CT-1000

None CT-1

CT-1000 CT-1000

Not available

Not available

CT-1500

CT-1800

ST-215 CT-2000 CT-2000

If you wish to use a programmable digital processor, contact your DAS distributor to get a list of set-up parameters for your system.

R-112/115

Figures show the block diagram and basic set-up for models

R-112 and R-115. 300 to 400 watts of amplifier power are recommended for the R-112, and 350 to 450 W for the R-115.

R-215

Figures show the block diagram and basic set-up. A switch located at the input connector plate, allows to change between passive (full-range) and bi-amplified use. In passive use, the acoustical high frequency rolloff of the low frequency section is used to crossover to the mid/high frequency section, which utilises an equalised highpass filter network.

When using the system in active (bi-amplified) mode, use the

D.A.S. CT-2000 monophonic electronic processor or a 24/dB octave electronic crossover unit with the crossover frequency set to 1200 Hz. We thoroughly recommend the use of the

D.A.S. CT-2000 (CT-1000 can also be used for applications outside disco/club), since it is factory shipped with appropriate crossover frequencies, which cannot be accidentally modified. www.audiovias.com


SUB-18R

Figures show the block diagram and basic set-up. The SUB-

18R is a bass unit for active systems, so an electronic crossover will be required with a crossover frequency set in the range from 80 to 160 Hz. One of such units, capable of driving two way-active systems, is the D.A.S. CT-1, which features a mid/high stereo output and a monophonic subwoofer output with a crossover frequency of 100 Hz.

ST-15

Figures show the block diagram and basic set-up. A switch located at the input connector plate, allows to change between passive (full-range) and bi-amplified use. In passive use, the acoustical high frequency rolloff of the low frequency section is used to crossover to the mid/high frequency section, which utilises an equalised highpass filter network.

When using the system in active (bi-amplified) mode, use the

D.A.S. CT-1000 monophonic electronic processor or a 24/dB octave electronic crossover unit with the crossover frequency set to 1200 Hz. We thoroughly recommend the use of the

D.A.S. CT-1000, since it is factory shipped with appropriate crossover frequencies, which cannot be accidentally modified.

SUB-218

Figures show the block diagram and basic set-up. The SUB-

218 is a bass unit for active systems, so an electronic crossover will be required with a crossover frequency set in the range from 80 to 160 Hz. One of such units, capable of driving two way-active systems, is the D.A.S. CT-1, which features a mid/high stereo output and a monophonic subwoofer output with a crossover frequency of 100 Hz.

ST-18

Figures show the block diagram and basic set-up. The ST-18 is a bass unit for active systems, so an electronic crossover will be required with a crossover frequency set in the range from 80 to 160 Hz. One of such units, capable of driving two way-active systems, is the D.A.S. CT-1, which features a mid/high stereo output and a monophonic subwoofer output with a crossover frequency of 100 Hz. If used in conjunction with a mid/high D.A.S. unit for which a specific processor is required, use the processor specified for the mid/high unit.

ST-015

Figures show the block diagram and basic set-up for model

ST-015.

ST-32

Figures show the block diagram and basic set-up for model

ST-32. Hi and low frequency units are mounted coaxially, but are shown separately for clarity.

ST-110

Figures show the block diagram and basic set-up. The use of the D.A.S. CT-1500, a two-way active monophonic system processor for driving the ST-110 in conjunction with bass units, is required for this system. www.audiovias.com


ST-112

Figures show the block diagram and basic set-up. Due to the complexities of its electronic processing, it requires the use of the D.A.S. CT-1800, a three way active monophonic system processor for driving the ST-112 in conjunction with bass units.

ST-215

Figures show the block diagram and basic set-up. Due to the complexities of its electronic processing, it requires the use of the D.A.S. CT-2000, a two/three way active monophonic system processor for driving the ST-215 in conjunction with bass units or standalone.

ST-218

Figures show the block diagram and basic set-up. The ST-218 is a bass unit for active systems, so an electronic crossover will be required with a crossover frequency set in the range from 80 to 160 Hz. One of such units, capable of driving two way-active systems, is the D.A.S. CT-1, which features a mid/high stereo output and a monophonic subwoofer output with a crossover of 100 Hz. If used in conjunction with a mid/high D.A.S. unit for which a specific processor is required, use the processor specified for the mid/high unit. www.audiovias.com


3. PLACEMENT AND MOUNTING

3.1 Placement

Place the speakers ahead of the microphones. Feedback

(howling) occurs when the microphones pick up the sound that comes out of the speakers and feed it back to the system.

Feedback can cause damage to the speaker system. If space is limited, direct the speakers towards areas where there are no microphones to minimise feedback.

When using a turntable, place the speakers far from the turntables. If the speaker signal is picked up by the stylus and re-amplified, low frequency howling will occur. The use of a very heavy base for the turntable is recommended.

Bass output for bass cabinets in general will increase when placed against floors and/or walls. In this case, you may need to attenuate the gain of the low frequency section or use attenuation on the low frequency equalisation.

3.2 Tripod use

The more portable models feature a tripod socket for use with standard 35-mm tripods such as the D.A.S. TRD-2. Be careful not to raise the units too high on the tripod, as they may become unstable. Do not use a tripod on sloped surfaces.

3.3 Use on SUB-18R / ST-18 with TRD-4

The top panel of models SUB-18R and ST-18 features a tripod socket for use with standard 35-mm poles. This allows pole mounting for systems that have tripod capability. The TRD-4 is a 35-mm pole that raises the top box 51 cm (21").

Do not mount systems this way on sloped surfaces.

3.4 Stage monitor use

Operation angles for boxes capable of monitor use are illustrated below.

3.5 Rotating the horns

Models ST-15 and R-212 have rotatable horns. This allows maintaining the original horn characteristics (wider horizontal coverage than vertical) when mounted in horizontal position.

This feature is particularly useful in low ceiling rooms.

To rotate the horns you will need to remove the front grille first, then the horn. Then carefully rotate the horn 90 degrees, being careful not to disconnect the wires. Then screw the horn back into place and replace the grille.

3.6 Weather resistance

R and ST series cabinets are manufactured from phenolic plywood finished with a special polyurethane paint that protects the wood from water and humidity. Additionally, ST series units have an acoustically transparent cloth that will further protect the components from the rain.

Speaker cones are protected against humidity at the factory with a fine coat of varnish. If the speakers will be exposed to the elements, you may additionally treat the paper cones with a water repelling spray or by applying a coat of varnish.

Always bear in mind that any coating should be very light so as not to change the weight of the cone significantly.

In fixed installations, do not expose the components to direct rain. For open-air applications, place the speakers under some form of canopy or cover.

www.audiovias.com


4. FLYING

Warnings

Only experienced installers should fly speaker boxes. Consult a certified professional if needed. Local regulations may apply with regards to overhead suspension.

The working load limits in this manual are the results of tests by independent laboratories. It is the user’s responsibility to stay within safe limits.

Working load data for auxiliary hardware mentioned in this manual have been obtained from their manufacturers, who are responsible for the compliance to their specifications.

To this date, there is no international standard regarding the flying of acoustic systems. However, it is common practice to apply 5:1 safety factors for enclosures and static elements, and 7:1 for slings and elements exposed to material fatigue due to friction and load variation. Thus, an element with a breaking load limit of 1000 kg may be statically loaded with

200 kg and dynamically loaded with 142 Kg.

When flying a system, the working load must be lower than the resistance of each individual flying point in the enclosure.

Hanging hardware should be regularly inspected and suspect units replaced if in doubt. This is important to avoid injury and absolutely no risks should be taken on this respect. It is highly recommended that you implement an inspection and maintenance programme on flying elements, including reports to be filled out by the personnel that will carry out the inspections. Local regulations may exist that, in case of accident, may require you to present evidence of inspection reports and corrective actions after defects were found.

Absolutely no risks should be taken with regards to public safety.

When flying enclosures from ceiling support structures, extreme care should be taken to assure the load bearing capabilities of the structures so that the installation is absolutely safe. Do not fly enclosures from unsafe structures.

Consult a certified professional if needed.

4.1 Introduction

Flyable ST and R series models feature 4 internal steel angles, with 4 mounting threads each, so that 16 flying points are available (4 on each side, 4 on the top panel and 4 on the bottom panel). Eyebolt flying points are factory sealed with

M10 screws, which are replaced with eyebolts on the flying points as required. Flying with eyebolts is very economical and safe, and is specially recommended for fixed installations where the boxes are permanently fixed.

The illustration shows the internal metal hardware of an enclosure with eyebolt flying.

In addition to the eyebolt flying points, some models provide two aeronautic-type AncraTracks on the top panel and two on the bottom panel. This system allows fast system flying using two or four rigging points.

The illustration shows the internal metal hardware and hanging of an enclosure with eyebolt and track-based flying.

Truss modules and accessories are available for flying DAS boxes. Consult your distributor for information.

www.audiovias.com


4.2 Flying with eyebolts

The Allen-head screws must be removed and replaced by M10 eyebolts on one side of the enclosure. Each rigging point has

200 Kg (440 lb) working load limit. Then choose the slings or chains of required load resistance and length, bearing in mind that the length difference between the front and back slings or chains will determine the vertical orientation. Alternatively, the back bottom eyebolt points can be used to provide vertical orientation.

The ANL-2 set is an optional set of four eyebolts and four carabiners. (Dimensions are in millimetres)

When using eyebolts it is important to bear in mind that the rated working load is only true for a load applied in the plane of the eye, and is significantly reduced for other angles. The drawing illustrates the concept. The table shows the variation of the working load as a function of the load angle. In the case of the ANL-2 eyebolt, this means that the 200 kg working load becomes 60 kg at 45 degrees. Do not use eyebolt flying if the load angle is higher than 45 degrees.

0 degrees 30 degrees 45 degrees More than

45 degrees

% Working

Load

100% 65% 30% 25%

Each ANL-2 eyebolt has a rated working load of 200 kg. (440 lbs.). Each ANL-2 carabiner has a working load of 330 kg (726 lbs.). If using other hardware, make sure it is rated to handle the required load.

The following illustrations show different views on eyebolt flying for a single box. The length of the back cables or chains determines the vertical angle of the box.

www.audiovias.com


The following illustrations show different views on eyebolt flying for a two-box column.

www.audiovias.com


4.3 Flying with AncraTrack

The optional ANL-3 set comprises one double-stud track connector with lifting ring and one carabiner that is available separately.

When using AncraTrack, the following vertical angles for the cabinet are obtained when connecting to the different track positions. The position relates to the hole number above which the ring is found. Position 1 is the closest to the front of the enclosure. Note that positions 1 and 9 mean that only one connector stud attaches to the track, as opposed to two for all angles in between. Use positions 1 and 9 for single enclosure flying only, or for flying the bottom speaker out of a column

(typically for downfill applications). Negative angles denote downward pitch. Positive angles denote upward pitch.

Track hole number ST-110 ST-112 ST-215

Each ANL-3 track connector has a rated working load of 225 kg. (495 lbs.). Each ANL-3 carabiner has a working load of 330 kg (726 lbs.). If using other hardware, make sure it is rated to handle the required load. Always ensure that the double-stud connector is well connected to the track by shaking the piece firmly.

When using track based rigging it is important to bear in mind that the rated working load is only true for a load applied in the plane of the eye, and changes for other angles. The drawing illustrates the concept. The table shows the variation of the working load as a function of the load angle.

0 degrees 45 degrees 90 degrees

% work load 100% 80% 80%

The following illustrations show different views on AncraTrack flying for a single box. The track position where the speaker is picked determines the vertical angle of the box. www.audiovias.com


The following illustrations show different views on Ancra

Track flying for a two-box column.

When flying a single box, its vertical angle is determined by the track position from which the speaker is picked.

However, when other speakers fly from it, the angle varies. We can correct for this by moving the upper pick-up track position of the box. In the example shown on the illustration, the column on the left shows the upper box adopting a certain upward angle due to the box underneath, flying from it. The right-hand column shows how the box has been straightened by moving the upper pick-up track position on the top box backwards. www.audiovias.com


Occasionally a larger vertical splay may be looked for, particularly for the bottom box of a column. If this is the case, we can increase the vertical splay angle by pulling from the bottom box as seen on the illustration. In this case we have joined the two lower pick-up points of the bottom box with a nylon strap for a single pull-up point.

The illustration shows flying of an arc of boxes, using the lower flying points of the bottom box as our pull-up point to obtain the arc. The pull-up point needs to be behind the column's centre of gravity www.audiovias.com


4.4 Arraying

Ideally, only a super-high powered variable coverage speaker would be used per channel for covering any room. This not achievable in real life, so one must resort to arrays or clusters.

Speakers are arrayed for two reasons:

- To extend the coverage of a system that has too narrow directivity.

- To increase the sound pressure level.

The tables that follow offer directivity information for different tight-packed array combinations, separately for horizontal and vertical. - 6 dB coverage angle, directivity index (an expression of the directivity of an array, the more directive the higher) and on-axis SPL (relative to a single box) results are provided.

For every model, results are provided for a number of array boxes from 1 to 5, with splay angles from 0 to 50 degrees in

10-degree intervals. Results are for the 500 to 8kHz band, except for subs, where a one octave 100 Hz band is used.

NA The results are calculated from polars with two degree angular and 1/24th octave frequency resolution. Coverage angles from a single box may differ from those in the specifications section. Active mode was used in active/passive boxes. AUTOPOL, a platform consisting of custom and customised hardware and software, was used for automated high-resolution array predictions. Predictions for the 500-8k Hz band may overestimate the coverage angle which can reach lower values at specific frequencies.

R-112

Horizontal

Nr. of elements /

Splay angle

Example.

A 3x2 ST-112 array (3 columns and 2 rows) with 40degree horizontal and 30 degree vertical splay (shown on the illustration).

To find out the coverage of such array, we go to the horizontal section of the ST-112 table and look for the 40º/3x cells, and the 30º/x2 cells on the vertical section. The results (cells have a grey background) show coverage angles of 165 degrees horizontal and 85 degrees vertical, and an on-axis SPL of +0 dB (horizontal) and +3 dB (vertical) for a total on-axis level of

+3 dB (0 dB horizontal + 3 dB vertical) above the level for a single box.

1x 2x 3x 4x 5x variable Angle Di SPL Angle Di SPL Angle Di SPL

0º

100º 9dB 0dB 90º 13dB

10º

95º 13dB +5dB 100º 13dB +6dB 100º 13dB +8dB 120º 11dB +7dB

20º


30º


40º


50º


Vertical

Nr. of elements /

Splay angle x1 x2 x3 x4 x5 variable Angle Di SPL Angle Di SPL Angle Di SPL

0º

75º 10dB

10º


20º


30º


40º


50º


R-115

Horizontal

Nr. of elements /

Splay angle


0º

95º 9dB 0dB 90º 14dB

10º


20º


30º


40º


50º


Vertical

Nr. of elements /

Splay angle variable www.audiovias.com


R-115

0º

75º 11dB 0dB 60º 15dB 5dB 30º 18dB 8dB 20º 20dB 10dB 10º 22dB 11dB

10º

70º 15dB 5dB 85º 14dB 6dB 95º 13dB 7dB 105º 12dB 6dB

20º


30º


40º


50º


Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

R-212

Horizontal

1x 2x 3x 4x 5x variable Angle Di SPL

0º

100º 8dB 0dB 90º 13dB +5dB 45º 15dB +8dB 25º 17dB +10dB 20º 19dB +12dB

10º


20º


30º


40º


50º


Vertical x1 x2 x3 x4 x5 variable Angle Di SPL

0º


10º


20º


30º


40º

175º 8dB +0dB

50º

190º 7dB -1dB 230º 4dB +0dB

Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

R-214

Horizontal


0º


10º


20º


30º


40º


50º



0º


10º


20º


30º


40º

120º 9dB +0dB

50º

145º 7dB -2dB 185º 6dB +0dB 255º 3dB -1dB 280º 3dB +1dB

Nr. of elements /

Splay angle

R-215

Horizontal


0º


10º


20º


30º


40º


50º


Vertical www.audiovias.com


Nr. of elements /

Splay angle

R-215 x1 x2 x3 x4 x5 variable Angle Di SPL Angle Di SPL Angle Di SPL

0º

50º 12dB

10º

55º 16dB

20º


30º


40º


50º

135º 8dB -1dB 195º 5dB +0dB 225º 4dB +0dB 285º 2dB +0dB

Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

SUB-18R

Horizontal


0º

360º 1dB +0dB 360º 3dB +6dB 360º 5dB +10dB

10º


20º

360º 4dB +6dB

30º

360º 4dB +6dB

40º


50º


Vertical x1 x2 x3 x4 x5 variable Angle Di SPL Angle Di SPL Angle Di SPL

0º


10º


20º

360º 4dB +6dB

30º

360º 4dB +6dB

40º


50º


Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

SUB-218

Horizontal


0º


10º


20º


30º

360º 5dB +6dB

40º


50º



0º


10º


20º


30º

360º 5dB +6dB

40º


50º


ST-015

Horizontal

1x 2x 3x variable Angle Di SPL Angle Di SPL Angle Di SPL

0º


10º

40º 14dB +5dB 45º 13dB +6dB

20º

45º 13dB +5dB 90º 10dB +4dB

30º

40º www.audiovias.com


Nr. of elements /

Splay angle

50º

ST-015

105º 10dB +3dB 175º 5dB +1dB

Vertical x1 x2 x3 variable Angle Di SPL

0º


10º

20º

35º 14dB +4dB 45º 13dB +5dB

55º 12dB +3dB 80º 10dB +4dB

65º 11dB +3dB 120º 7dB +2dB

30º

40º

50º

75º 11dB +3dB 150º 6dB +1dB

55º 9dB +2dB 165º 5dB +1dB

Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

ST-15

Horizontal


0º

95º 13dB +5dB 105º 13dB +6dB 100º 13dB +8dB 120º 11dB +7dB 10º

20º 105º 13dB +5dB 125º 11dB +6dB 145º 9dB +5dB 160º 8dB +5dB


40º

50º




0º


20º 100º 13dB +5dB 130º 11dB +5dB 145º 9dB +5dB 175º 7dB +4dB


40º

50º


Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

ST-18

Horizontal


0º

360º 1dB +0dB

10º

360º 5dB +6dB

20º

360º

30º

280º 6dB +6dB

40º

270º 6dB +6dB

50º

265º 6dB +6dB


0º

360º 1dB +0dB

10º

360º 5dB +6dB

20º

285º

30º

275º 6dB +6dB

40º

265º 6dB +6dB

50º

260º 7dB +6dB

Nr. of elements /

Splay angle

ST-32

Horizontal


0º


10º



Nr. of elements /

Splay angle

ST-32

30º


40º


50º



0º

85º 10dB

10º


20º


30º


40º


50º


Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

ST-110

Horizontal


0º

80º 10dB

10º


20º


30º


40º


50º



0º

75º 10dB

10º


20º


30º


40º


50º


Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

ST-112

Horizontal


0º

60º 13dB

10º

55º 17dB

20º


30º


40º


50º

125º 9dB +0dB 190º 4dB -1dB 220º 4dB +0dB 275º 2dB +0dB


0º

55º 13dB

10º

50º 17dB

20º


30º


40º


50º

135º 8dB +0dB 195º 4dB -1dB 235º 4dB +0dB 280º 1dB +0dB

ST-215

Horizontal

1x 2x 3x 4x 5x variable

0º

60º 13dB www.audiovias.com


Nr. of elements /

Splay angle

ST-215

10º


20º


30º


40º


50º



0º


10º


20º


30º


40º

115º 10dB -1dB 160º 7dB +0dB 190º 6dB +0dB 245º 3dB +0dB

50º


Nr. of elements /

Splay angle

Nr. of elements /

Splay angle

ST-218

Horizontal


0º

360º 1dB +0dB

10º

260º

20º

165º 7dB +6dB

30º

135º

40º

125º 8dB +6dB

50º

115º


0º

360º 2dB +0dB

10º


20º

155º 7dB +6dB

30º

135º

40º

120º 8dB +6dB

50º



5. SYSTEM CONFIGURATIONS

5.1 Stereo full-range

R-112/R-115/R-214

R-215 in active or passive mode.

Controller CT-2000 can also be exchanged for CT-1000 for the active mode.

ST-15.

As a monitor wedge, the ST-15 can be used as a stand-alone enclosure in active or passive modes.

ST-015, ST-32 www.audiovias.com


ST-215.

The ST-215 will normally be used in combination with subwoofers. However, for speech-only applications it can be used as a stand-alone enclosure.

5.2 Stereo with subwoofers

R-112/R-115/R-214 con SUB-18R

(the CT-1's subwoofer output corresponds to the sum of the two input channels)

R-2000. Bi or tri-amplified.

The R-2000 system is the combination of R-215 and ST-218. The same configurations are possible with R-212. Controller CT-2000 can also be exchanged for CT-1000 for the tri-amplified system. www.audiovias.com



R-212/215 with SUB-218 (bi or tri-amplified three-way systems)

Use ST-218 bins when a turbulent bass sound with lots of punch is desired, and the SUB-18R when a cleaner deeper bass is preferred. ST-218 (R-2000) is recommended for outdoor use. Controller CT-2000 can also be exchanged for CT-

1000 for the tri-amplified system.


ST-1000 in bi or tri-amplified modes. The ST-1000 system is the combination of ST-15 and ST-18. For bigger systems, the

ST-18 can be replaced with smaller numbers of ST-218. ST-

18/218 can be replaced with SUB-18R/218.

(the CT-1's subwoofer output corresponds to the sum of the two input channels) www.audiovias.com


ST-1500.

The ST-1500 system is the combination of ST-110 and ST-218.

ST-1800.

The ST-1800 system is the combination of ST-112 and ST-218.

ST-2000.

The ST-2000 system is the combination of ST-215 and ST-218. www.audiovias.com


6. APPLICATION EXAMPLES

These examples are only design ideas for typical systems and diverse applications. They are in no case the only possible configurations. You can also scale them up or down for larger or smaller uses.

You can combine products from other D.A.S. series to cover needs such as background music and secondary fill systems.

6.1 Pub system

6.2 Medium-sized theatre system www.audiovias.com


6.3 Large theatre system www.audiovias.com


6.4 Medium-sized disco system www.audiovias.com


6.5 Large disco system www.audiovias.com


6.6 Live sound system www.audiovias.com


7. USE

SWITCH ON/OFF

Switch your sound system on from back to front. Thus, switch on the amplifiers last. Switch sound sources (CDs, turntables) first, then your mixer, then your processors and crossovers and finally the amplifiers. If you have more than one amplifier, switch them on sequentially, one at a time.

Follow the reverse order when powering down, and switch off the amplifiers before any other element on your sound system.

AMPLIFIER POWER

In general, it is recommended that you use an amplifier with an output that is 100% to 150% of the speaker's average

(RMS) power rating. That way we have headroom for the dynamics of real music and vocal signals, and at the same time deliver a cleaner signal to the speakers that will result in a more reliable system. Avoid using too small an amplifier.

AMPLIFIER CLIP

The clip light of your amplifiers should never be on continuously. This will distort the signal and may damage the speakers. In fact, severe clipping is an easy way to burn a speaker’s voice coil. At most, the clip light could blink occasionally. When clipped, signals sound distorted and produce listening fatigue quickly. If you cannot get the desired level without overloading the amplifier, use a larger amplifier or consider expanding your system.

AMPLIFIER LEVEL CONTROLS

Although related to output power, an amplifier channel's level control it is not a direct representation of it. Thus, we can have maximum output power with the level at mid position.

Similarly, we may have the level controls at maximum and not have maximum output if our source signal is not hot enough.

One way to use an amplifier's volume controls, particularly for fixed installations, is to set them such that when the mixer’s faders are at their maximum level, we are just below clipping level on the amplifier or clipping very occasionally.

EQUALISATION

D.A.S. enclosures do not need extreme EQ settings to produce quality sound. Avoid high levels of gain on the equalisers. We do not recommend the use of EQ gain values above +6 dB.

On graphic type equalisers, avoid gain to bands that are below the systems working frequency range (for instance, do not bring up the 30 Hz band when using an RF-115).

HIGH-PASS (SUBSONIC) FILTER

It is good recommended practice to use a high-pass filter for the lowest frequency component in your system (i.e. the fullrange enclosure; or the subwoofer if using subwoofer reinforcement). This way we avoid problems derived from excess excursion (“bottoming out”) when trying the reproduce frequencies that go beyond a system’s band-pass, and we are able to put that power to use, instead of it going to waste.

Thus, appropriate high-pass filtering maximises acoustic power and makes systems more reliable.

We recommend enabling a high-pass filter frequency that is equal or higher than the system's lower usable frequency, as found in the "Specifications" sections of this manual.

For instance, for an R-215 used as a full-range box, set the high pass frequency to 40 Hz or higher, 35 Hz or higher if reinforced with SUB-218.

D.A.S. processors provide high-pass filtering.

HEARING DAMAGE

ST and R series systems can produce high sound pressure levels. Exposure to these may cause permanent hearing damage. The amount of loss varies from person to person, but any person can get hearing loss if exposed to enough noise level for a long enough periods of time. Check the local safety at work regulations in your country or state for specific exposure levels and durations. To prevent exposure to dangerous levels, the use of hearing protectors is encouraged.

If you are frequently exposed to high sound pressure levels, it is recommended that you visit your doctor and have you hearing tested periodically. www.audiovias.com


8. SPECIFICATIONS

R Series

R-112 R-115 R-214 R-212 R-215 SUB 18R SUB 218

RMS (Average)

Power Handling:

P Programme

Power Handling:

300 W

600 W

350 W

700 W

700 W

1400 W

800 W LF/FULL

200 W HI

1200 W LF/FULL

200 W HI

1600 W LF/FULL

400 W HI

2400 W LF/FULL

400 W HI

700 W

1400 W

K Peak

Power Handling:

1200 W 1400 W 2800 W 3200 W LF/FULL

800 W HI

4800 W LF/FULL

800 W HI

2800 W

F On-axis Frequency Range: 40 Hz - 15 kHz 50 Hz - 16 kHz 45 Hz - 15 kHz 45 Hz - 20 kHz 40 Hz - 20 kHz 32 Hz - 300 Hz

(usable)

Nominal Impedance: 8 ohm 8 ohm 4 ohm 4 ohm LF/FULL

8 ohm HI

4 ohm LF/FULL

8 ohm HI

8 ohm

I Minimum Impedance:

S On-axis Sensitivity:

(1W / 1 m)

Rated Peak SPL at Full Power:

6.8 ohm

(9.6 kHz)

98 dB

129 dB

6.5 ohm

(15 kHz)

99 dB

130 dB

3.3 ohm

(54 Hz)

102 dB

136 dB

LF: 3.8 ohm

HF: 7.6 ohm

LF: 102 dB

HF: 99 dB

LF: 4.1 ohm

HF: 7.5 ohm

LF: 102 dB

HF: 101 dB

137 dB LF/FULL

128 dB HI

138 dB LF/FULL

130 dB HI

6.2 ohm

(37 Hz)

99 dB

133 dB

B Nominal -6 dB Beamwidths

(coverage angles):

C Speech Coverage Angles:

1200 W

2400 W

4800 W

35 Hz - 1 kHz

(usable)

4 ohm

3.8 ohm

(44 Hz)

101 dB

137 dB

95° Horizontal

80° Vertical

(500 Hz - 8 kHz)

90° Horizontal

75° Vertical

(500 Hz - 8 kHz)

80° Horizontal

45° Vertical

(500 Hz - 8 kHz)

90°x40° FULL

100°x60° BIAMP

(500 Hz - 8 kHz)

100° Horizontal

80° Vertical

90° Horizontal

80° Vertical

90° Horizontal

45° Vertical

90°x50° FULL

105°x65° BIAMP

80°x55° FULL

85°x50° BIAMP

(500 Hz - 8 kHz)

85°x60° FULL

95°x60° BIAMP

360° Horizontal

360° Vertical

(100 Hz)

360° Horizontal

360° Vertical

(100 Hz)

---- ----

Transducers/

Replacement Parts:

LF: 12P/

GM 12P

HF: M-3/

GM M-5

LF: 15P/

GM 15P

HF: M-5/

GM M-5

Bar handles Handles:

Enclosure Material:

Finish:

Enclosure shape:

Connector:

1 Dimensions (H x W x D):

Speakon NL4

(+1, -1)

69 x 44 x 36 cm

(27.5x17.5x14.5 in)

Speakon NL4

(+1, -1)

71 x 51 x 38 cm

(28x20x15 in)

LF: 2 x 15P/

GM 15P

HF: M-5/

GM M-5

LF: 2 x 12B/

GM 12B

HF: ND-10/

GM K-8

Hand locations

LF: 2 x 15G/

GM 15G

HF: ND-10/

GM K-8

18G/

GM 18G

Bar handles

2 x 18G/

GM 18G

Hand locations

Composite Wisa® birch plywood

Black catalysed polyurethane paint

Trapezoidal Rectangular

Speakon NL4

(+1, -1)

105 x 48 x 39 cm

(42x19.5x15.5 in)

Speakon NL4

LF/FULL: (+1, -1)

HF: (+2, -2)

Speakon NL4

LF/FULL: (+1, -1)

HF: (+2, -2)

99 x 51 x 41 cm

(39x20x16.5 in)

112 x 55 x 50 cm

(44.5x22x20 in)

Speakon NL4

(+1, -1)

64 x 55 x 53 cm

(25.5x22x21 in)

Speakon NL4

(+1, -1)

112 x 55 x 48 cm

(44.5x22x19 in)

Rigging:

Weight: 24.8 kg (54.6 lbs.) 29.2 kg (64.3 lbs.) 38 kg (83.6 lbs.) 52 kg (114.5 lbs.) 60 kg (132 lbs.) 40.3 kg (89 lbs.) 59 kg (130 lbs.)

Shipping Weight: 28 kg (61.6 lbs.) 33 kg (72.6 lbs.) 41.2 kg (90.6 lbs.) 55 kg (122 lbs.) 66 kg (144 lbs.) 43.3 kg (95 lbs.) 64 kg (140.5 lbs.)

1 Height includes 1cm corresponding to the rubber feet on the bottom of the enclosures.

P Conventionally 3 dB higher than the RMS measure, although this already utilises a programme signal.

K Corresponds to the standard 6 dB crest factor.

F As per IEC 268-5 (1989, -10 dB). Half space anechoic.

I In practice cable and connector impedance has to be added to all impedance values.

S IEC average.

B Average of one-third octave band measures. Computed from polar information measured at two degree angular and 1/24th octave frequency resolution. AUTOPOL, a platform consisting of custom and customised hardware and software, was used for the automated high-resolution acquisition and post-processing of directivity data. The digital storage of the data allows further processing and conversion to other software formats. c There is currently no standard method of averaging the beamwidth with frequency characteristics into a single meaningful figure, which impedes comparisons across manufacturers and very often even product lines. This, our own, criterion weighs the -6 dB coverage angles from one-octave bands according to their contribution to speech intelligibility.

Product improvement through research and technology is a continuous process at D.A.S. Audio. All specifications subject to change without notice.

Architectural Specifications, detailed specification sheets, as well as data for EASE and other electro-acoustic prediction tools are available from http://www.dasaudio.com/. www.audiovias.com


ST Series

RMS (Average)

Power Handling:

ST-015

500 W

ST-15

400 W

LF/FULL

200W HF

ST-18

600 W

ST-32

300 W

ST-110

400 W

ST-112

400 W MF

200W HF

ST-215

800 W MF

200W HF

ST-218

1200 W

I

P

Power Handling:

K

Programme

Peak

Power Handling:

F On-axis Frequency Range:

Nominal Impedance:

Minimum Impedance:

S On-axis Sensitivity:

(1W / 1 m)

HF protection capacitance:

Handles:

Enclosure Material:

1000 W

2000 W

800 W

LF/FULL

400W HF

1600 W

LF/FULL

400W HF

1200 W

2400 W

600 W

1200 W

800 W

1600 W

800 W MF

400W HF

1600 W MF

800W HF

1600 W MF

400W HF

3200 W MF

800W HF

2400 W

4800 W

56 Hz - 17 kHz 40 Hz - 20 kHz 40 Hz - 300 Hz

(usable)

60 Hz – 18 kHz 175 Hz - 19 kHz 90 Hz - 19 kHz 70 Hz - 18 kHz 35 Hz - 300 Hz

(usable)

8 ohm 8 ohm 8 ohm 8 ohm 8 ohm 4 ohm

6.8 ohm

(295 Hz)

101 dB

LF: 6.3 ohm

HF: 7.6 ohm

LF: 100 dB

HF: 99 dB

7.6 ohm

(73 Hz)

99 dB

6.0 ohm

(195 Hz)

98 dB

7.0 ohm

(8 kHz)

105 dB

MF: 8 ohm

HF: 8 ohm

MF: 8 ohm

HF: 8 ohm

MF: 7.3 ohm

HF: 10.5 ohm

MF: 3.2 ohm

HF: 10.4 ohm

MF: 107 dB

HF: 107 dB

MF: 108 dB

HF: 108 dB

3.8 ohm

(73 Hz)

102 dB

Rated Peak SPL at Full Power:

B Nominal -6 dB Beamwidths

(coverage angles):

134 dB LF: 132 dB

HF: 128 dB

90°x65°

(500 - 8k Hz)

85°x70° FULL

85°x80°

BIAMP

(500 - 8k Hz)

C Speech Coverage Angles:

Transducers/

Replacement Parts:

FULL

90°x85°

BIAMP

LF: 15BN/

GM 15B

HF: M-10N/

GM M-10

LF: 15B/

GM 15B

HF: ND-10/

GM K-8

133 dB 123 dB 137 dB MF: 139 dB

HF: 136 dB

MF: 143 dB

HF: 137 dB

360°

Horizontal

360° Vertical

(100 Hz)

80° Horizontal

80° Vertical

(500 - 8k Hz)

80° Horizontal

70° Vertical

(500 - 8k Hz)

55° Horizontal

50° Vertical

(500 - 8k Hz)

45° Horizontal

40° Vertical

(nominal)

Horizontal

80° Vertical

85° Horizontal

85° Vertical

60° Horizontal

60° Vertical

65° Horizontal

60° Vertical

18G/

GM 18G

LF: 15BCX/

GM 15B

HF: 15BCX/

GM M-5

LF: 10B/

GM 10B

HF: ND-10/

GM K-8

LF: 12B/

GM 12B

HF: ND-10/

GM K-8

LF: 2 x 15B/

GM 15B

HF: ND-8/

GM K-8

----

Bar handles

Composite Wisa® birch plywood

44 µ f

139 dB

360°

Horizontal

360° Vertical

(100 Hz)

----

2 x 18G/

GM 18G

----

Hand locations

Finish:

Enclosure shape:

Connector:

1 Dimensions (H x W x D):

Wedge, multiangle

Speakon NL4

(+1, -1)

Speakon NL4

LF/FL.:(+1, -1)

HF: (+2, -2)

47 x 64 x 60 cm

(18.5x25x23.5 in)

71 x 51 x 38 cm

(28x20x15 in)

----

Speakon NL8

(+1, -1)

71 x 51 x 73 cm

(28x20x29 in) eyebolts

Black catalysed polyurethane paint multiangle

Speakon NL4

(+1, -1)

Trapezoidal Trapezoidal Trapezoidal Rectangular

46 x 54 x 62 cm

(18x21x24.5 in)

----

Speakon NL4

(+2, -2)

71 x 55 x 45 cm

(28x22x17.5 in)

Speakon NL8

MF: (+2, -2)

HF: (+3, -3)

Speakon NL8

MF: (+2, -2)

HF: (+3, -3)

Speakon NL8

(+1, -1)

84 x 55 x 59 cm

(33x22x23.5 in)

103 x 70 x 84 cm

(40.5x27.5x33 in)

101 x 70 x 85 cm

(40x27.5x33.5 in)

Ancra Track / eyebolts eyebolts Rigging:

Weight: 28 kg (62 lbs.) 33 kg (73 lbs.) 50 kg (110 lbs.) 28.6 kg (63 lbs.) 49 kg (107.8 lbs.) 62 kg (136.4 lbs.) 75 kg (165.5 lbs.) 82 kg (181 lbs.)

Shipping Weight: 31.5 kg (82 lbs.) 37.5 kg (82 lbs.) 54 kg (118 lbs.) 31.8 kg (70 lbs.) 52 kg (114.4 lbs.) 70 kg (154lbs.) 83 kg (183 lbs.) 90 kg (199 lbs.)

1 Height includes 1cm corresponding to the rubber feet on the bottom of the enclosures. Depth includes wheels if applicable.

P Conventionally 3 dB higher than the RMS measure, although this already utilises a programme signal.

K Corresponds to the standard 6 dB crest factor.

F As per IEC 268-5 (1989, -10 dB). Half space anechoic.

I In practice cable and connector impedance has to be added to all impedance values. For the HF sections of models ST-112 and ST-215, an impedance value that complied with IEC 268-5 would be 12 ohms.

S

B

IEC average.

Average of one-third octave band measures. Computed from polar information measured at two degree angular and 1/24th octave frequency resolution. AUTOPOL, a platform consisting of custom and customised hardware and software, was used for the automated high-resolution acquisition and post-processing of directivity data. The digital storage of the data allows further processing and conversion to other software formats. c There is currently no standard method of averaging the beamwidth with frequency characteristics into a single meaningful figure, which impedes comparisons across manufacturers and very often even product lines. This, our own, criterion weighs the -6 dB coverage angles from one-octave bands according to their contribution to speech intelligibility.

Product improvement through research and technology is a continuous process at D.A.S. Audio. All specifications subject to change without notice.

Architectural Specifications, detailed specification sheets, as well as data for EASE and other electro-acoustic prediction tools are available from http://www.dasaudio.com/.

www.audiovias.com


9. LINE DRAWINGS www.audiovias.com


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10. APPENDICES

Appendix A. Line connections : un-balanced and balanced

There are two basic ways to transport an audio signal with microphone or line level:

Un-balanced line: Utilising a two-conductor cable, it transports the signal as the voltage between them. Electromagnetic interference can get added to the signal as undesired noise. Connectors that carry un-balanced signals have two pins, such as RCA ( Phono) and ¼” (6.35 mm, often referred to as jack) mono. 3-pin connector such as XLR

( Cannon) may also carry un-balanced signals if one of the pins is unused.

Balanced line: Utilising a three-conductor cable, one of them acts as a shield against electro-magnetic noise and is the ground conductor. The other two have the same voltage with respect to the ground conductor but with opposite signs.

The noise that cannot be rejected by the shield affects both signal conductors in the same way. At the device’s input the two signals get summed with opposite sign, so that noise is cancelled out while the programme signal doubles in level.

Most professional audio devices use balanced inputs and outputs. Connectors that can carry balanced signal have three pins, such as XLR ( Cannon) and ¼” (6.35 mm) stereo.

The graphs that follow show the recommended connection with different types of connectors to balanced processor or amplifier inputs. The connectors on the left-hand side come from a signal source, and the ones on the right hand side go to the inputs of the processor or amplifier. Note that on the unbalanced connectors on the left-hand side, two terminals are joined inside the connector. If hum occurs with balanced to balanced connections, try disconnecting the sleeve (ground) on the input connector. www.audiovias.com


Appendix B.

Contact details for flying hardware manufacturers

ATM Fly-Ware

ATM provides a wide range of flying hardware and accessories.

ATM Fly-Ware

21000 South Wilmington Ave.

Carson, CA 90810-1247

UNITED STATES OF AMERICA

Tel: 888-RIG-MORE (toll-free, from USA only)

Tel: (+1) 310-834-5914

Fax: (+1) 310-834-3042

E-mail: [email protected]

Web: http://www.atmflyware.com

In Europe:

Autograph Sales

102 Grafton Road

London NW5 4BA, UK

Tel:(+44) 0171.482.3300

Fax: (+44) 0171.482.4484.

E-mail:[email protected]

Web: http://www.autograph.co.uk

ATM has selected from their catalogue the appropriate truss modules for the following enclosures:

Model

ST-110

Truss module / connecting bar

MEGS-356-T / MEGS-356-TB

ST-112

ST-215



ST-218 MEGS-575-T / MEGS-575-TB

A connecting bar interconnects every two trusses. Thus, for each array, we will need one bar less than trusses. For example, a three-wide array will need three truss modules and two connecting bars.

Depending on the array requirements, pull strap bars (AMFS-

3X4-30"BAR) may be needed to achieve proper down angles.

Polar Focus

Manufacturers of universal systems and truss modules for flying speaker enclosures.

Web: http://www.polarfocus.com

Worldwide distribution by :

Allen Products Company

1635 E. Burnett Street

Signal Hill, CA 90806


Tel: 800-4APC-INC (toll-free, from USA only)

Tel: (+1) 562-424-1100

Fax: 888-FAX-2-APC (toll-free, from USA only)

Fax: (+1) 562-424-3520

Web: http://www.allenproducts.com

Sound Manufacturing Inc.

Manufacturers of accessories for speaker flying.

869 Knickerbocker Rd

P.O. Box 1907

Big Bear Lake, CA 92315-1907


Tel: (909) 878-9104

Fax: (909) 878-4248

E-mail: [email protected]

Web: www.smirigging.com www.audiovias.com


NOTAS/ NOTES www.audiovias.com


D.A.S. AUDIO S.A.

C/. Islas Baleares, 24

46988 Fuente del Jarro - Valencia, SPAIN

Tel. 96 134 0525 - Tel. Intl. +34 96 134 0860

Fax. 96 134 0607 - Fax. Intl. +34 96 134 0607

D.A.S. Audio of America, Inc.

Sunset Palmetto Park 6816 NW 77th Court. Miami, FL.

33166 - U.S.A. Tel. 305 436 0521 - Fax. 305 436 0528

D.A.S. R-112, R-115, R-214, R-215, ST-015, ST-110, ST-15, ST-18 User Manual

R+ St

MANUAL DEL USUARIO / USER’S GUIDE

ÍNDICE

CONTENTS

8 ohm per amplifier channel

4 ohm per amplifier channel

5.1 Stereo full-range

5.2 Stereo with subwoofers

R Series

ST Series

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