Industry Dry Goods: EAW Adaptive Adaptive System

Today I will share with you some of the features of this adaptive system.
Speaking of adaptive systems, in fact, we should go back a little time (about 30 years or so). In the 1980s, the concert began to rise. At that time, there was no real line array, and more was an array of point sources.

There are two main reasons for using arrays of point sources in that distant era:
1. The scale of the concert is getting bigger and bigger. A single sound source or a simple point source group cannot cover a large field and provide a suitable sound pressure level.
2. At that time, there was no mature line array.
Later in the mid-1990s, many large-scale concerts began using larger line array systems. Until now, the development of line array systems has matured. However, line arrays also have their problems.
First, we need to understand the most fundamental reasons for the emergence of line arrays.
1. Solve the problem that the sound source is not far away.
2. Solve the problem of point source array coverage.
The distance attenuation formula for a linear array is different from the point source. For every doubling of the point source distance, the sound pressure level is attenuated by 6 decibels, while the line array is only attenuated by 3 decibels. This is equivalent to the size of my sound reinforcement system can be much smaller, the number of speakers required and the number of amplifiers are greatly reduced, and can increase my coverage.
However, we have neglected a problem. The appearance of the line array actually only solves one of the two major defects of the point source array: the sound pressure level propagation, in other words, solves the point source is not far away. The problem, but the problem of point source coverage is not actually solved.
Some friends will say that the line array can achieve different coverage by adjusting the angle of the speaker hanging and maintain consistency. But in this case we default to the uniform distance of all the units between the line array speakers. This does not exist in the J-line array. Due to the fixed size of the speaker, the low frequency can often maintain a certain cell spacing, which is characterized by the line array propagation characteristics. However, in the medium and high frequency, in fact, the horn is still the most fundamental element to control the angle of sound radiation, not the line array itself. So from a certain point of view, the propagation of high frequencies still follows the characteristics of point source propagation, especially the part where the line array begins to bend.
In addition, there is a big problem in the conventional line array: between the main expansion and the complementary sound array, due to physical problems, there must be a certain interval, which results in blank areas on the filling and main expansion coverage. The audience in this position can be said to be very uncomfortable, in a position that does not hurt, not love.
Until the emergence of adaptive systems:
The emergence of the EAW Adaptive Adaptive System solves the problem that line arrays do not solve well: the consistency of sound coverage.
First look at the suspension mode of the adaptive system:
Vertical: No angle is required.
Level: Seamless stitching.
Unique stitching: vertical hanging and seamless stitching (Anya and Anna can also be seamless side stitching) while maintaining a consistent wave front while also providing a more consistent listening coverage.
At these two points, the first vertical hanging method ensures that the distance between the units is the same, which means that I can get a consistent wave front. Secondly, the horizontal seamless splicing method ensures the highest degree of sound source consistency. The acoustic center is at the center of the array, and there is no difference between main expansion and side compensation. The superimposed 10° angle also ensures a smooth transition from the main expansion to the side compensation coverage.
In addition, adaptive each speaker has more units, which means that the sound coverage can be more detailed, resulting in a more uniform, more ideal coverage.
Let's take a look at the adaptive adjustments:
Here I would like to thank Turing first, thanks to the engineers at EAW, and to the engineers who have opened their brains and are as lazy as me. Officially because of him (I), there will be today's adaptive system.
Of course, if only the above, adaptive can not be called adaptive. In addition to telling you the status of the speaker, he can also remind you that you don't need to recalculate, reach the original coverage, and change your fingertips.
There is also a microphone on the speaker's LOGO, which allows each unit of the speaker to make a sound. By comparing the spectrum with the original appearance, it tells you which unit is likely to have a problem. The complete log records the status of each speaker, allowing you to view historical data and usage at any time.
In addition to the above, the emergence of OTTO has also changed our consistent concept:
The low frequency has no directivity. From the beginning of self-adaptation, this sentence has become history. The unit placed on the back, the sound hole around it, and the complete electronic control, let the low frequency also have directivity, which is simply a model of which to play.
These are just a few of the features of the adaptive system, and there are more fun information, basically integrating the black technology of many speakers. For more details, please feel free to pay attention to our Weibo WeChat official website to learn more. Afterwards, please refer to our series of audition, exhibition activities, and experience the beauty of adaptive system.

Source: Yike International Editor: Hu Nan

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