Proposal

Proposal of a Sound
System
AUD407

Prepared by Jake Taylor
202901

[ASSESSMENT 1] as requested by Jason Buchanan, for AUD407
Assessment 1 [AUD407]

TABLE OF CONTENTS
1 Introduction ......................................................................................... 1
1.1 Location ........................................................................................................ 1
1.2 Desired intentions (scope) ............................................................................. 1
2 System design ...................................................................................... 3
2.1 Front of house ............................................................................................... 3
2.1.1 Console ................................................................................................... 3
2.1.2 Line array design .................................................................................... 4
2.1.3 Amplification .......................................................................................... 5
2.1.4 Centre-fill cluster .................................................................................... 5
2.1.5 Subs ........................................................................................................ 6
2.1.6 Safety of the system ................................................................................ 6
2.1.7 FOH dispersion ....................................................................................... 7
2.1.8 Signal distribution (managing HF and LF after amplification) ............... 8
2.1.9 Delay ...................................................................................................... 8
2.2 System processor ........................................................................................... 8
2.3 Monitor system .............................................................................................. 9
2.3.1 Console ................................................................................................... 9
2.3.2 Monitor loudspeakers .............................................................................. 9
2.3.3 In ear monitoring (IEM) ......................................................................... 9
2.4 Microphones ................................................................................................. 10
Assessment 1 [AUD407]

May 2012 Jake Taylor 202901
2.5 DIs ................................................................................................................ 10
3 SIGNAL FLOW AND POWER DISTRIBUTION ............................................ 11
3.1 System schematic ......................................................................................... 11
3.2 EtherSound system ....................................................................................... 12
3.3 Network management ................................................................................... 12
3.4 Power management ...................................................................................... 12
3.5 Wiring considerations ................................................................................... 13
3.5.1 Cable attenuation factor ........................................................................ 13
4 FINANCIAL .......................................................................................... 14
4.1 Sources of equipment .................................................................................... 14
5 LOGISTICAL MANAGEMENT ................................................................. 15
5.1 Conduct ........................................................................................................ 15
5.2 Stage plot ..................................................................................................... 15
5.3 Communications ........................................................................................... 15
5.4 Occupational health and safety (OH&S) ...................................................... 16
6 REFERENCES ....................................................................................... 17
7 APPENDICES ................................................................................... 18

Assessment 1 [AUD 407] Page 1 of 18

1 INTRODUCTION
Any event, be it from the smallest childrens party to a large scale festival requires
detailed and accurate planning. Factors such as safety, logistical management,
communications, in conjunction with the physical design of the system itself must be
considered to ensure its effectiveness and compatibility with intentions.
The following report offers a detailed proposal for the design of an audio
reinforcement system relating to a corporate gala dinner, to be held at the Crown
Palladium in Melbourne. The report justifies and argues for all aspects relating to
the design and function of the intended system and where possible offers visual
insight into how the system will function in both micro and macro levels.
1.1 Location
The Palladium Room at Crown is a large space, approximating 41m x 50m, with
a ceiling height of 6.8m (Crown Melbourne Ltd 2006). This relatively low strung
ceiling will factor into how the system is designed. There are many available
rigging points.
1.2 Desired intentions (scope)
The event is corporate in nature, and therefore will require a system tailored
which adheres to budgetary restrictions, whilst maintaining an excellent
exploitation of room acoustics, available power sources and rigging locations. It
is therefore intended that the system must accommodate in such a matter that it:
a. Ensures well balanced sound reinforcement factor with respect to particular
locations within the space
b. Does not visually deter from the presentations or the event itself
c. Does not hamper the movements of patronage
d. Is safe for all persons in its vicinity
e. Facilitates enjoyment for listening purposes from all areas of the room
f. Is able to be constructed/disassembled in a reasonable amount of time
g. Is easily troubleshot
h. Does not interfere with lighting crew, their equipment and operations
i. Contains built in contingency measures in the event of potential system
failures
j. Does not exceed the clients capped budget submitted by the client

The above intentions are key factors for the design that follows in this document,
and in many cases, similar points are reaffirmed in each section. It is paramount
that the reader understands this point.


2 SYSTEM DESIGN
Appendices offer insight into the system design; these are referred to throughout. In
summary, the system that has been designed is fitting to the overall application
required by the client. Specifically, it has addressed all concerns relating to both
requirements of the performers and the client.
2.1 Front of house
The front of house (FOH) system has been designed such as to provide even
frequency dispersion across the space.
2.1.1 Console
To accommodate the control of all channels from stage and other sources,
the system designer has chosen the Yamaha M7CL digital console as it:
a. Is comparatively cheap to hire (Deluxe Audio 2012)
b. Contains ample routing control
c. Can be networked
d. Provides 8 DCA
1
groups (Yamaha Pro Audio 2005, pp.113-15) as
requested by the band rider
e. Provides a dedicated talkback (TTS) function (Yamaha Pro Audio 2005,
pp.149-50)
f. Is capable of commanding the 12 channels of compression requested by
the band rider (Yamaha Pro Audio 2005, pp.9, 226)
2.1.1.1 Location
The location of the FOH engineer is pinnacle to ensuring the he or she
is fully equipped to accurately balance the FOH system, aurally. For
this reason, the system designer suggests that the console be placed
no greater than 25 m from stage. This is in line with
recommendations suggested by Davis & Jones (1990, p.190) who
assert as a general rule of thumb:
[Paraphrased] If D = the distance between the left
and right arrays, the console should be placed no
greater than 2D from the arrays, and preferably

1
DCA is synonymous with VCA as the desk is digitally controlled

placed off centre to reduce phase cancellations (comb
filtering) emanating from the sum of both arrays.
2.1.2 Line array design
A line array FOH system has been chosen as it shall:
a. Cover the desired area with efficiency and effectiveness
b. Be able to be flown at a height that does not visually deter proceedings
c. Be relatively simple to construct/configure off site prior to event
proceedings
d. Adhere to the request made by the band rider
2.1.2.1 Loudspeakers
Two clusters of 3 Nexo GEO 1210 + 1 GEO 1230 (4x 16 boxes in
total equalling a net impedance of 4 )
2
, shall be rigged either side of
stage supplanting the existing system. The boxes have been chosen
3

as they offer excellent angle customisation and control, and are easily
flown from available rigging locations at front of stage.
In summary, the arrays aim to ensure even dispersion across the
majority of the space, with greater SPL exhibited in the dance floor
region. Like any small scale array, attenuation with an increase of
distance is unavoidable, and in this instance not considered
detrimental to the design. The lowest driver in each array (also
applies to the centre-fill cluster) is a GEO 1230, configured to disperse
at 120 in the horizontal plane all remaining drivers above this are
configured to disperse at 80, and are GEO 1210 as recommended by
Nexo (Nexo 2010, p.31).
Each group shall be connected in parallel in a bi-amp (active)
configuration.

2
See APPENDIX H1 for specifications for the GEO S12 series
3
It should be noted that Norwest or Deluxe Audio do not, supply the GEO series in their inventory.
The reason for this discrepancy is due to the fact that the system designer has devised the system
using Nexos NS-1 modelling software, as it is more indicative of the intentions of the event.

2.1.3 Amplification
Specifically, the amplification required for these arrays calls for two power
amplifiers (Crown T-I6000), which are wired individually according to the
crossover point
4
of the boxes (active setup).
Each amplifier will therefore be operating more effectively and in turn more
reliably as it is dealing only with a specific frequency band.
The Crown T-I series
5
has been chosen as they are:
a. Highly efficient Class I operational amplifiers
b. Can be networked (Crown International 2007, p.30)
c. Contain built in failsafe and overload countermeasures
Below is matching information for the FOH main array system.

2.1.4 Centre-fill cluster
A truncated version of the main FOH system shall be utilised for centre-fill
purposes. This is to again, ensure even dispersion, filling the central zone of
avoidance across the dance floor in the horizontal plane.
The cluster shall be configured actively, but will use a single T-I6000
amplifier to drive both LF and HF on each channel. The advantage of using

4
Crossover point for the GEO S12 series is 1.1kHz (Nexo 2010, p.88)
5
See APPENDIX H2 for specifications for Crown I-Tech amplifiers
Matching information (LF)
Type Brand Model Power Impedance
Speaker Nexo GEO 1210/30 2000-3600 W 16/4 = 4
Amplifier Crown T-I6000 3000 W 4 p/c

Matching information (HF)
Speaker Nexo GEO 1210/30 1000-1800 W 16/4 = 4


a separate amplifier to control the centre cluster is designed to be a
contingency should the main array system fail.

2.1.5 Subs
Flown behind each main array will be a single Nexo CD12 boxes
6
(2 in
total). These are a hyper-cardioid subwoofer, which is beneficial in that LF
energy is projected towards the audience and not towards onstage
microphones reducing spill and potential for feedback to occur.
Matching information (SUB)
Speaker Nexo CD12 1500-3000 W 6/2 = 3
2.1.5.1 Hypercardioid delay
The CD12 sub cabinets do not have internal DSP processing for delay
purposes (Nexo 2010, p.32); this means that two channels of the
system processor must be dedicated for subwoofer purposes.
2.1.6 Safety of the system
The NS-1 software has deemed the geometrical aspects of each line array
design to be safe. The total weight per side approximates to 180 kgs,
meaning it is below the allocated point load (200 kgs) for the designated
lighting beams; with added rigging winches the system is still under the
point load. The centre-cluster is well below the load limit.

6
See APPENDIX H3 for specifications for the CD12
Matching information (Centre)
Speaker Nexo GEO 1210/30 1750-3100 W 16/3 = 5.3


2.1.7 FOH dispersion
In light of the above design, the following image shows that equal coverage
has been achieved for the majority of the space. As preferred, the frontal
dance floor is exposed to a higher SPL environment. This means the
selection of loudspeakers will (according to prediction) function properly.

Figure 1. Dispersion: dBA plot

Figure 2. Dispersion: dBSPL plot

2.1.8 Signal distribution (managing HF and LF after
amplification)
To appropriately distribute the NL4 connections between loudspeakers and
amplifiers, two options may be considered:
a. Manual wiring; whereby the production team pre-wire the system
according to the specifications and I/O from the system processor
b. Use a rack mount signal distribution unit; which uses NL2 sockets fed
from the amplifiers, to combine them internally using groups, so that
an NL4 output connection may be sent to boxes that utilise standard
1+/1 (LF) and 2+/2 (HF) wiring in active mode.
The second option has been chosen as it will allow for less cabling, and
simpler maintenance and setup.
2.1.9 Delay
Due to the positioning of the main arrays with respect to the subwoofer
boxes that are situated behind them, a simple delay system must be used.
The approximate distance between the faces is 1m, which means that a 3ms
7

delay will be required to minimise phase cancellations. This shall be
achieved using the system processor.
2.2 System processor
A simple crossover system has been employed in conjunction with the
aforementioned amplification methodology. It calls for a single Nexo NX242
8
rack
unit, which exhibits 2 inputs and 4 outputs (Nexo 2004, p.34). The following
table depicts the basic output setup which may be called up as a preset:
NX242 Output
CH 1 Ch 2 CH3 CH 4
Sub rear Sub front LF HF
The processor itself has been chosen for use due to its compatibility with Nexo
loudspeakers.

7
Delay time calculation: =

where t is the delay time in ms, d is the distance between each face in
metres, and C is the speed of sound in m.s
-1
8
See APPENDIX H4 for specifications for the NX242

2.3 Monitor system
2.3.1 Console
To accommodate for the stage monitor mix, a Midas Verona 480 has been
chosen as it:
a. Is comparatively cheap to hire (Norwest Productions 2009, p.6)
b. Has 8 auxiliary sends for monitor mixes (Midas 2004, pp.21-24)
c. Has extra outputs, which also shall be used to fill the extra monitor
mixes that are required
d. Is a desk that facilitates ease of use relating for monitoring purposes
2.3.2 Monitor loudspeakers
A total of 10 wedges have been allocated for monitor purposes; they shall be
EAW SM200ih
9
in a passive
10
configuration.
2.3.2.1 Amplification
A total of 6 QSC PLX1602
11
2 channel amplifiers (12 channels total)
have been allocated for monitor purposes; each channel of
amplification shall be dedicated to a particular wedge. Logistically
each amplifier shall drive wedges which are common to one another
physically to reduce cable run length.
Matching information (monitors)
Speaker EAW SM200ih 500 W 4
Amplifier QSC PLX1602 500 W 4 p/c

2.3.3 In ear monitoring (IEM)
A single IEM monitor unit will provide a stereo mix for the drummer as per
request. Its signal shall be fed from the monitor console.

S
See APPENDIX H5 for specifications for the SM200ih
10
Due to budgetary constraint, these boxes will be wired in a passive configuration; a bi-amp
configuration would require twice as many amps in addition to extra system processors.
11
See APPENDIX H6 for specifications for the QSC amplifiers

2.4 Microphones
A full listing of microphones is given in APPENDIX A. Each microphone has
been chosen specifically for the purpose of the instrument it is intended to
capture. For example, Audix D6 (large diaphragm dynamic) on kick drum, floor
tom and bass cabinet. As requested, only quality brands have been selected.
2.5 DIs
As there are 11 line inputs required by the performers, the system designer has
allocated 2 6 channel rack mount DIs to simplify signal flow.


3 SIGNAL FLOW AND POWER DISTRIBUTION
This section aims to provide and illustrative concept of the intended system design.
Where possible, the system designer shall provide insight into areas of relevance
pertaining to each sub-section via text. Below is a complete map of the system,
showing both network and audio systems.

Figure 3. Complete system map
3.1 System schematic
APPENDIX B provides the indented audio signal flow to and from all devices.
It clearly designates the signal paths, and further shows the function of each sub-
system.

3.2 EtherSound system
Communication returns between FOH and stage will be sent via an EtherSound
system. This has been chosen to negate multicore runs (only CAT5 cable will be
required). The M7CL is fully compatible with this function.
The main stage splitter will provide signal to both the monitor console and 3
Yamaha SB168 ES (16/8) stage boxes this means there will be 48 inputs and 16
returns (only 8 the returns will be required for FOH, TTS and effects). The
system will function in a ring mode configuration which ensures continuous
operation regardless if one device in the network fails (Yamaha Pro Audio 2008,
p.9).
3.3 Network management
For control and analysis purposes, the FOH amplifiers and main console shall be
connected to a control surface (laptop) to adequate monitoring and control
measures can be visualised with ease. One primary purpose for this is monitoring
the FOH amplifiers to ensure their function is unimpeded and are operating
within normal operational levels.
3.4 Power management
APPENDIX C offers insight into the proposed power management plan. It is
important to ensure that power is correctly allocated to devices and that this
power is not exceeding the limitations of the equipment channelling it. For this
reason all equipment specifications have been assessed to ensure that 12 x 10A
sockets are adequate to power the event not one unit shall draw more than 10A
according to all specifications which have been assessed.
Three phase power sources shall be required for the majority of powered devices,
including but not limited to power amplifiers and power distribution centres. The
Crown Palladium Room offers ample three phase power sources, notably, 40A
outlets in the ceiling, perimeter walls and stage (Crown Melbourne 2011, p.3).
The majority of equipment shall be powered from stage using a single 40A 3
outlet.
Note: The coms system and FOH desk are intended to receive power from one of
the adjacent GPO units at the sides of the room. This is to reduce long cable
runs of power cable back to stage the only cable that should connect the FOH

console to stage is 3 Ethernet cables: 2 for signal flow, one for network linkage
with amplifiers.
3.5 Wiring considerations
All equipment must be electrically grounded to reduce signal hum.
This shall be achieved by using appropriate chassis and signal
earthing methods the minimise ground loops between equipment
connected to the same source circuitry.
All wiring carrying different signal paths shall be placed perpendicular
to one another to minimise crosstalk.
Power and speaker cable excess shall be neatly coiled in a figure 8
loop to reduce electromagnetic induction heating (fire hazard).
Crew who are unclear as to correct wiring methods should refer to
APPENDIX D
3.5.1 Cable attenuation factor
Cable length and spec will factor into the decision making process with
regards to attenuation over distance due to resistive load emplaced by the
cable itself. The maximum acceptable length of a speaker cable is directly
proportional to the product of its area and the load impedance.
Subsequently, in order to run from the intended amplifier position to the
farthest line array (approximately 30 m) a wire gauge of 3.5mm is
required
12
. This will be assured before collection of goods from the
distributor(s).

12
Self made derivation for wire gauge diameter: = 2

(Nexo 2010, p. 13), where d is the diameter in mm
2
and A is the circular area in mm
2
. Z
source
is the
impedance at the speaker.

4 FINANCIAL
The following section provides a cost analysis for the client, including a tabulated
financial assessment and source distributor information.
4.1 Sources of equipment
To lower the overall cost of equipment hire, the engineer has sought pricing from
a two providers. This has been does so as to capitalise on the likely throw-ins
and reduced rates when hiring in bulk from a distributors. The companies being
used are Norwest Productions and Deluxe Audio who are both considered to be
reputable companies. During the financial assessment, cables and minor sundries
have been omitted from calculations. Both of these distributors are located in
close proximity to Crown, thereby minimising travel times. There is also the
benefit of being close should any piece of equipment fail.
In addition, some products which have been specified by the system designer are
not available from either distributor and in this instance either a market value
price/10 = hire rate; or a price from another non-local distributor has been
derived.
APPENDIX E is a complete breakdown of the budget, however below is a
snapshot summarisation of the event costings in major categories.
FINANCIAL SNAPSHOT
Unit Sub total
Crew $4,810
Equipment $5,509
Transport $250
Grand Total $10,569


5 LOGISTICAL MANAGEMENT
The logistics of the event relate to fluid movement and communications between
staff, performers and crew. The following section details how this notion will be
employed and the measures used to maintain it.
5.1 Conduct
To ensure that the schedule is strictly adhered to, all event staff must work
proficiently; this is not in precedence to safety however. All staff and crew must
report to the production manager in light of failures (equipment) and safety
concerns. All matters relating to relations with Crown staff should be directed
towards the production manager.
5.2 Stage plot
A stage plot has been devised as a guide for instrument and monitor placement.
All requests made within the band rider have been met in relation to performer
preferred locations. This plot should be adhered to avoid confusion and improve
efficiency during bump-in and stage setup.
APPENDIX F stage plot
5.3 Communications
Communications between departments is crucial to eveny efficiency. The system
designer has designated a dual channel coms system to facilitate communication
between departments. Below is the intended communications map.


Figure 4. Coms map
5.4 Occupational health and safety (OH&S)
OH&S procedures shall be executed with the highest priority. To permit this, job
safety assessments (JSA) and safe work method statements (SWMS) will be
provided to Crown operations, the client, and staff working on the event two
weeks prior to event proceedings (Crown Melbourne 2011, p.3). APPENDIX G
shows the JSA for the event. SWMS are expected to be compiled by the rigger
and submitted for approval prior to submission to Crown for assessment.
It is paramount that all crew and staff garner a well-equipped understanding for
safety at the event for two primary reasons:
1. It will facilitate a higher level of efficiency between departments
2. It will ensure the absolute safety for staff and public
The simplest way this may be achieved is if staff and crew have read and understood
the JSA and SWMS.


6 REFERENCES
1. Crown International (2007), Crown T-I Series Operational Manual, Crown
International, Elkhart, IN
2. Crown Melbourne Ltd (2006), Crown Events Student Kit, viewed 5th May
2012.
<http://www.crowneventsandconferences.com.au/Assets/Files/Student%20kit
%20FY09.pdf>
3. Crown Melbourne (2011), Crown Facilities Guide - Palladium Overview, (1.0)
viewed 5th May 2012.
<http://www.crownmelbourne.com.au/Assets/Files/Crown%20Facilities%20G
uide%20Front%20V1.pdf>
4. Davis, G.&.J.R. (1990), Yamaha Sound Reinforcement Handbook, 2nd edn.
Hal Leonard Corp., Milwaukee
5. Deluxe Audio (2012), Deluxe Hire Pricelist, viewed 13th May 2012.
<http://www.deluxeaudio.com.au/downloads/Deluxe%20Hire%20Pricelist%20
2012.pdf>
6. Midas (2004), Verona Owner's Manual, Klark Teknik, N/A
7. Nexo (2004), NX242 TD Controller User Manual, Nexo, N/A
8. Nexo (2010), GEO S Series Owner's Manual, Nexo, N/A
9. Nexo (2010), GEO S12 Series user manual, Nexo, N/A
10. Norwest Productions (2009), Hire Pricelist, viewed 13th May 2012.
<http://www.norwestproductions.com/images/norwest_productions_hire_pr
icelist.pdf>
11. Yamaha Pro Audio (2005), Digital mixing console; M7CL owner's manual,
Yamaha Pro Audio,
12. Yamaha Pro Audio (2008), SB168-ES Owner's Manual, Yamaha Pro Audio,
N/A


7 APPENDICES
Below is a list of appendices which are ordered to reflect their mention in the text.
Equipment specifications are placed last.
A. Channel List/Mic List
B. System Schematic
C. Power Management
D. Wiring Methods (Crown)
E. Finance/Equipment List
F. Stage Plot
G. JSA
H. Specifications (important information relating to the system is highlighted)
1. Nexo GEO S12
2. Crown I-Tech Amplifiers
3. Nexo CD12 subwoofer
4. Nexo NX242 system processor
5. EAW SM200ih monitor loudspeaker
6. QSC 1602 amplifier

CH. Instrument Mic/DI CH. Instrument Mic/DI
1 Kick D112 1 Kick D112
2 Snare SM57 2 Snare SM57
3 Tom 1 Beyer M88 3 Tom 1 Beyer M88
4 Tom 2 Beyer M88 4 Tom 2 Beyer M88
5 Floor Beyer M88 5 Floor Beyer M88
6 OH L AKG C 414 6 OH L AKG C 414
7 OH R AKG C 414 7 OH R AKG C 414
8 Click DI 8 Click DI
9 Conga SM57 9 Conga SM57
10 Bass AKG D112 10 Bass AKG D112
11 Bass DI DI 11 Bass DI DI
12 Guitar 1 SM57 12 Guitar 1 SM57
13 Guitar 2 SM57 13 Guitar 2 SM57
14 Acoustic SM57 14 Acoustic SM57
15 Keys Hammond L DI 15 Keys Hammond L DI
16 Keys Hammond R DI 16 Keys Hammond R DI
17 Keys Moog L DI 17 Keys Moog L DI
18 Keys Moog R DI 18 Keys Moog R DI
19 Trumpet Beta 98 19 Trumpet Beta 98
20 Trombone Beta 98 20 Trombone Beta 98
21 Sax Beta 98 21 Sax Beta 98
22 Lead vox (male) SM58w 22 Lead vox (male) SM58w
23 Lead vox (female) SM58w 23 Lead vox (female) SM58w
24 Bass vox SM58 24 Bass vox SM58
25 Guitar vox SM58 25 Guitar vox SM58
26 Keys vox SM58 26 Keys vox SM58
27 Congas vox SM58 27 Congas vox SM58
28 Trombone vox SM58 28 Trombone vox SM58
29 Trumper vox SM58 29 Trumper vox SM58
30 Sax vox SM58 30 Sax vox SM58
31 Backing vox 1 SM58w 31 Backing vox 1 SM58w
32 Backing vox 2 SM58w 32 Backing vox 2 SM58w
33 Drums program L DI 33 Drums program L DI
34 Drums program R DI 34 Drums program R DI
35 Bass synth L DI 35 Bass synth L DI
36 Bass synth R DI 36 Bass synth R DI
37 BV L DI 37 BV L DI
38 BV R DI 38 BV R DI
39 Lectern 39 Lectern
40 Lepel 40 Lepel
41 Delay return Insert 41 Delay send FOH
42 Delay return Insert 42 Delay send FOH
43 DVD/CD L 43 Reverb send FOH
44 DVD/CD R 44 Reverb send FOH
45 Free 45 Free
46 Free 46 Free
47 Free 47 Free
48 Free 48 TTS FOH
APPENDIX A - Channel/MIC List
Channel list Monitor Channel list FOH
G
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1
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Chapter 1: Crown Ampliers In-Depth 7
Amplier Application Guide
1.2 System Wiring
The information in this section covers making input and output wiring connec-
tions, as well as troubleshooting problems relating to system wiring.
1.2.1 Input Wiring
Input Connector Wiring
Refer to the following diagrams for input cable wiring for commonly-used con-
nector types.
Note: These diagrams follow the AES wiring convention of Pin 2 = hot for XLR
connectors.
Note: If two or more channels with the same
input ground reference are driven from the
same oating source, connect only one shield
to the source chassis
Balanced, Grounded Source
For use with components equipped with three-wire
grounded AC line cord or other ground connection.
Balanced, Floating Source
For use with components equipped with two-wire
AC line cord or battery power.
8 Chapter 1: Crown Ampliers In-Depth
Unbalanced, Grounded Source,
Twin-Lead Shielded Cable
Unbalanced, Floating Source,
Twin-Lead Shielded Cable
Unbalanced, Grounded Source, Single-
Conductor Coax or Twisted-Pair Cable
Unbalanced, Floating Source, Single-
Conductor Coax or Twisted-Pair Cable
Chapter 1: Crown Ampliers In-Depth 9
1.2.2 Solving Input
Problems
Infrasonic (Subaudible)
Frequencies
Sometimes large infrasonic (sub-
audible) frequencies are present in
the input signal. These can damage
loudspeakers by overloading or
overheating them. To attenuate such
frequencies, place a capacitor in
series with the input signal line. The
graph in Figure 1.3 shows some
capacitor values and how they affect
the frequency response. Use only
low-leakage paper, mylar or tantalum
capacitors.
Radio Frequencies (RF)
Another problem to avoid is the
presence of large levels of radio
frequencies or RF in the input signal.
Although high RF levels may not
pose a threat to the amplier, they
can burn out tweeters or other loads
that are sensitive to high frequen-
cies. Extremely high RF levels can
also cause your amplier to prema-
turely activate its protection circuitry,
resulting in inefcient operation. RF
can be introduced into the signal
chain from many sources such as
local radio stations, tape recorder bias and digital signal processors (DSP). To prevent high
levels of input RF, install an appropriate low-pass lter in series with the input signal.
Some examples of unbalanced wiring for low-pass lters are shown in Figure 1.4.
For balanced input wiring use one of the examples in Figure 1.5. Filters A, B and C correspond
to the unbalanced lters above. Filter D also incorporates the infrasonic lter described previ-
ously.
Hum and Buzz
If you have noticeable hum or buzz
in your system, you may want to
check your cable connections to
see if the unwanted noise is being
introduced via a ground loop. To
determine the proper wiring, rst
check whether the output from
your source is unbalanced or bal-
anced (if you dont know, refer to
the units back panel or Operation
Manual). Next, determine if the
sources power cable is oating
(ungrounded, 2-prong) or grounded (3-prong). Finally, if the source in unbalanced, check the
type of wiring: twin-lead or single coax. Once you have determined the wiring scheme and
cable type, refer to the applicable wiring diagram in Section 1.2.1.
1. For all input connectivity, use
shielded wire only. Cables with a foil
wrap shield or a high-density braid
are superior. Cables with a stranded
spiral shield, although very exible,
will break down over time and cause
noise problems.
2. Try to avoid using unbalanced
lines with professional equipment. If
you have no choice, keep the cables
as short as possible (see Balanced
vs. Unbalanced on the next page).
3. To minimize hum and crosstalk,
avoid running low-level input cables,
high-level output wires and AC power
feeds in the same path. Try to run
differing signal-cable paths at 90
to one another. If you must use a
common path for all cables, use
a star-quad cable for the low-level
signals.
4. Before changing input connec-
tors or wiring, turn the amplier level
controls all the way down (counter-
clockwise).
5. Before changing output connec-
tions, turn the amplier level down
and the AC power off to minimize the
chance of short-circuiting the output.
Input Wiring Tips
Figure 1.3
Subsonic Filter Capaci-
tor Values
Figure 1.4
Unbalanced RFI Filters
Position Number required Rate Total
Production manager 2 $120 $2,040
Rigger 2 $75 $450
TOD 1 $80 $480
Scissor lifter 1 $250 $250
General crew 4 2 per bump-in/out $30 $360
Stage hands 2 $40 $480
Operator (skilled) 1 $75 $750
Manufacturer Model Supplier Code Notes Quantity Price Total
NEXO GEO 1210 NW* Line array FOH 10 boxes 7 $130 $910
NEXO GEO 1230 NW* Line array FOH 30 boxes 4 $130 $520
NEXO CD18 NW* Cardioid subs, 1 per side 2 $130 $260
EAW SM200ih NW 2way monitor wedge 12 $44 $528
Crown T-I6000 NW 3000W @ 4 dual (FOH low/sub) 2 $60 $120
Crown T-I4000 NW 3600W @ 4 bridged (Centre cluster) 1 $50 $50
Crown T-I6000 NW 3000W @ 4 dual (FOH high) 1 $60 $60
QSC PLX1602 NW 500W @ 4 dual (monitors) 6 $40 $240
Yamaha M7CL 48 DA FOH desk w/"MY" I/O cards 1 $450 $450
Midas Verona 480 NW Monitors 1 $350 $350
Shure SM58 DA Vox 8 $11 $88
Shure SM58+PGX NW Wireless transmitter + microphone 4 $45 $180
Shure SM57 DA Snare, & guitars 3 $11 $33
Shure Beta 98 DA Brass clip-on 3 $11 $33
Audix D6 DA Kick & floor, bass 3 $11 $33
Beyer Dynamic M88 NW Toms 2 $15 $30
AKG C 414 NW Over heads 2 $25 $50
ARX Systems DI6 NW 6 channel DI rack mount 2 $30 $60
K&M - NW Microphone stand 18 $5 $90
K&M - NW Drum claw 4 $5 $20
Shure PGX NW Single channel wireless receiver 4 $35 $140
NEXO NX242 Derived 2 in 4 out system processor 1 $80 $80
Adamson A.I.D. RRP/10 Speaker level distribution 1 $50 $50
Yamaha SB168-ES Derived EtherSound Distribution/stage box 3 $150 $450
Jands PDSR12 RRP/10 12 x 10A outlet; 40A 3 1 $150 $150
TC Electronic D-Two Multitap DA Delay rack unit 1 $22 $22
L&K - NW* 48 channel 3 way stage box 1 $100 $100
Shure P6T-PSM600 NW IEM system (receiver+transmitter) 1 $110 $110
D-Link DES3226 NW 16 port network switch 1 $50 $50
ClearCom MS232+earsets NW Communications between departments 1 $160 $160
Cable ties - 50 pack 1 $5 $5
Gaffer tape - 50m roll x 50mm 3 $29 $87
Thrifty 1.6 tonne Van Transport for equipment (2 day hire) 1 $250 $250
GRAND TOTAL $10,569
FINANCIAL SNAPSHOT
Unit Sub total
Crew $4,810
Equipment $5,509
Transport $250
Grand Total $10,569
AMPLIFIERS
LOUDSPEAKERS
3
TRANSPORT
OTHER
MICROPHONE ACCESSORIES
MICROPHONES
MIXING CONSOLES
6
10
OPERATIONAL COST
6
Day rate
APPENDIX E - Financial/Equipment List
CREW RATES
8.5
Hours per person
3

Workplace Crown Casino
JSA Prepared by: Production manager
Date 13th May, 2012
ACTIVITY BUMP-IN
TASK HAZARD CONTROL MEASURES Responsible officer
Van arrives at loading zone Vehicle accident
Driver to be instructed by gatekeeper the designated
parking zone (should not exit vehicle, until in the
correct parking zone)
Production manager
Back injury
All crew shall be expected to perform standard manual
handling procedures, such as two person lifts
Production manager
Pinch points
All crew shall ensure correct useage of pallet jacks and
other moving equipment
Production manager
Trips/slips/falls
Ensure all equipment is placed so as to not block
walkways and direct access to van
Wear appropriate footwear
Production manager
Vehicle accident from other traffic
All crew are expeted to stay within the designate
loading area and not venture outside of this area
All crew must wear high vis safety vests
Production manager
Back injury
All roll-stock must be moved in pairs of 2.
Non-roll stock must be moved using correct manual
handling procedures
Production manager
Trips/slips/falls
walkways and stage entry points
Production manager
ACTIVITY STAGE SETUP
Power distribution Electric shock
Only staff who are trained in power distribution shall be
permitted to allocate power sources.
Do not use metal ladders for electrical work
The TOD is expected to provide information relating to
sources and correct methods pertaining to the venue.
TOD/Production manager
Crushing
Qualified rigger to remove existing line array system
and install event system.

All non-essential staff are not permitted in the
immediate area during rigging setup.
Hard hats to be worn.
Rigger/production manager
Fall from height
The rigger and crew members must obtain a permit to
work at height prior to commencement of rigging and
use of ceiling walkways
Wear suitable footwear
Use scissor lift where available
Rigger/production manager
Lighting fixture falling on person
Audio crew and staff must be well clear of the
movements of lighting and vision
Staff who are in the vicinity of overhead work must
wear hard hats and high vis apparel
Production manager
Collapse Rigger to not exeed load limits on lighting beams Rigger/production manager
Physical injury
Bump-in crew to position equipment prior to stage
setup, in turn lowering the handling level for stage
hands.
As before movement of equipment is expected to
follow manual handling procedures
Production manager
Trips/slips/falls
Cable runs are expected to be neat.
All excess cable must be wrapped/coiled/gaffed to
stage.
Cable runs across main floor are to be housed within
cable ramps
Equipment must be stored in correct locations
Production manager
Fire
All excess power cable must be coiled in a figure-8 loop
to prevent electromagnetic induction coils
Production manager
Soundcheck High SPL
Crew a re expected to wear hearing protection
throughout soundckeck
FOH operator to use correct feedback control methods
Production manager/console
operator
ACTIVITY DURING SHOW
APPENDIX G - JSA
Unload van
Situate equipment
Stage setup
Rigging of line arrays and other overhead
work
Trips/slips/falls
Ensure any equipment is no obstructing walkways and
fir exits
Production manager
Public access to hazardous areas
Cordon off areas which the general public should not
have access to.
Ensure all cabling is concealed.
Production manager
High SPL
Do not engage with Crown staff, and or members of the
public
Production manager
ACTIVITY BUMP-OUT
Van arrives at loading zone Vehicle accident
Driver to be instructed by gatekeeper the designated
parking zone (should not exit vehicle, until in the
correct parking zone)
Production manager
Back injury
All crew shall be expected to perform standard manual
handling procedures, such as two person lifts
Production manager
Pinch points
All crew shall ensure correct useage of pallet jacks and
other moving equipment
Production manager
Trips/slips/falls
walkways and direct access to van
Wear appropriate footwear
Production manager
Vehicle accident from other traffic
All crew are expeted to stay within the designate
loading area and not venture outside of this area
All crew must wear high vis safety vests
Production manager
Reload van
During show
Page 88/113 TECHNICAL SPECIFICATIONS
13.2 GEO S1210 Module
13.2.1 System specifications

PRODUCT FEATURES GEO S1210
Components HF: 1 x 3voice coil, 1.4throat 16 Ohms driver on a 5 hyperboloid reflective wavesource.
LF: 1 x 12(30cm) high excursion neodymium 16 Ohmdriver.
Height x Width x Depth 344 x 675 x 378 mm(13
1/2
x 26
1/2
x 14
7/8
) excluding accessories
Rigging axis to axis height: 345mm(13
1/2
)
Shape 10 Trapezoid.
Weight: net 28.05 kg (61.8 lbs) including array assembly system.
Connectors 2 x NL4MP SPEAKON 4 pole (In & Through)
Construction Baltic birch ply with structured black coating.
Front finish Molded Dark Grey Metal Grill.
Flying points Two plates connecting with external accessories.
Intercabinet angle adjustments =0.2, 0.315, 0.5, 0.8; 1.25, 2.0, 3.15, 5, 6.3, 8.0, 10.0 (logarithmic steps)
SYSTEM SPECIFICATIONS GEO S1210 with NX242 TDcontroller & NX-tension Card
Frequency response [a] 53 Hz 19 kHz 3 dB
Usable range @-6dB [a] 50 Hz 20 kHz
Sensitivity 1W @ 1m[b] 103 dB SPL nominal
Peak SPL @ 1m[b] Configuration Dependent [d]
Dispersion [c] Coupling Plane: Configuration dependent [d]
Non-Coupling Plane: Configurable 80 / 120.
Crossover frequencies LF-HF: 1.1 kHz Passive or Active (internally configurable)
Nominal impedance HF: 16 Ohms; LF : 16 Ohms;
Recommended amplifiers
3 GEO S1210 in Parallel
HF: 875 to 1550 Watts into 4 Ohms
LF: 1750 to 3100 Watts into 4 Ohms

4 GEO S1210 in parallel

6 GEO S1210 in parallel
SYSTEM OPERATION
Electronic controller The NEXO TDcontrollers presets are precisely matched to the GEO S12 Series cabinets and include sophisticated
protection. Using GEO S12 Series cabinets without a properly connected NEXO TDcontrollers will result in poor sound
quality and can damage components.
Array design Arrays of less than 4 x GEO S1210 will provide poor dispersion control and are neither recommended nor supported.
Sub-bass CD18 / GEO SUB / S2 extend systemlow frequency response down to 32 Hz / 38 Hz / 32 Hz
Speaker cables Active:; 1
-
/1
+
:LF; 2
-
/2
+
: HF
Passive: 1
-
/1
+
: Not Connected; 2
-
/2
+
:LF +HF.
Accessories Please refer to the GEO S12 user manual before any operation.
As part of a policy of continual improvement, NEXO reserves the right to change specifications without notice.
[a] Response curves and data: anechoic far field above 200 Hz, half-space anechoic below 200 Hz.
[b] Sensitivity & peak SPL: will depend on spectral distribution. Measured with band limited pink noise.
Refers to the specified +/- 3 dB range. Data are for speaker +processor +recommended amplifier combinations.
[c] Directivity curves and data: 1/3 octave smoothed frequency response, normalized to on-axis response. Data obtained by computer processing of off-axis
response curves.
[d] Please refer to the GEO S12 user Manual.
Usable range data: frequency response capability with TD crossover slopes removed.
4 GEO S1210 in parallel LF: 2000 to 3600 Watts into 4 Ohms
Crossover frequencies LF-HF: 1.1 kHz Passive or Active (internally configurable)
Dispersion [c] Coupling Plane: Configuration dependent [d] p g g p [ ]
Non-Coupling Plane: Configurable 80 / 120.
Shape 10 Trapezoid.
I-Tech Series Power Amplifiers
Operation Manual page 33
7 AC Power Draw and Thermal Dissipation
I-Tech 4000 AC Current Draw and Thermal Dissipation:
Pink noise 12dB crest factor, bandwidth limited 22Hz to 22kHz.
Typical line impedance used.
Data based on both channels driven.
Line Current
120VAC
Watts Out
Per 1A
Amp Line
Current
Line Current
208VAC
Watts Out
Per 1A
Amp Line
Current
Line Current
230VAC
Watts Out
Per 1A
Amp Line
Current Btu/hr kcal/hr
Idle (sleep mode) 0.8 0.95 0.9 53 182 157
Idle (awake) 1.6 1.4 1.3 172 587 505
1/8th Power Pink Noise 8 Ohms/Ch.
Typical of program material 16 Ohms Bridge
just at clip. 4 Ohms/Ch.
8 Ohms Bridge
2 Ohms/Ch.
4 Ohms Bridge
1/3rd Power Pink Noise 8 Ohms/Ch.
with severe clipping. 4 Ohms/Ch.
8 Ohms Bridge
2 Ohms/Ch.
4 Ohms Bridge
Load
Thermal Dissipation
305
1413 356
5.3 94.6 59.6
64.9 116.3
2426 612
410 8.0 476
17.8 711
17.7 115.3 128.7 824
142.1
709
4.8
6.6
10.5
10.7
1491
2814
437
3.4
4.7 414
3.1
4.4
I-T4000
10.9
1625
376
1040 262
7.8
4.4
6.0
9.5
9.4
58.1
77.1
77.0
70.3
106.9
96.1
126.2
129.1
106.0
139.9
Watts
Dissipated
120VAC 208VAC 230VAC
102.6
I-Tech 4000 AC Current Draw
4.4
Line Current
230VAC
230VAC
Operation Manual
I-Tech Series Power Amplifiers
page 34
7 AC Power Draw and Thermal Dissipation
I-Tech 6000 AC Current Draw and Thermal Dissipation:
Pink noise 12dB crest factor, bandwidth limited 22Hz to 22kHz.
Typical line impedance used.
Line Current
120VAC
Watts Out
Per 1A
Amp Line
Current
Line Current
208VAC
Watts Out
Per 1A
Amp Line
Current
Line Current
230VAC
Watts Out
Per 1A
Amp Line
Current Btu/hr kcal/hr
Idle (sleep mode) 1.0 1.0 0.95 60 205 177
Idle (awake) 2.1 1.7 1.6 225 767 660
1/8th Power Pink Noise 8 Ohms/Ch.
just at clip. 4 Ohms/Ch.
8 Ohms Bridge
2 Ohms/Ch.
4 Ohms Bridge
1/3rd Power Pink Noise 8 Ohms/Ch.
with severe clipping. 4 Ohms/Ch.
8 Ohms Bridge
2 Ohms/Ch.
4 Ohms Bridge
6.6 4.2 3.8 57.6 91.2 99.8 392 1338 337
593 2024 510
13.6 8.1 7.4 74.4 125.3 137.2
27.6 16.0 14.3 73.9 127.2 141.0
11.6 7.0 6.3 65.7 108.8 120.4
11.5 6.8 6.2 55.9 96.5 105.3 2373 598
1149 3921 988
579 1977 498
695
14.9 13.6 67.0 113.5 4173 1052 25.0 1223 124.3
I-T6000
Load
120VAC 208VAC 230VAC
Watts
Dissipated
Thermal Dissipation
I-Tech 6000 AC Current Draw
6.3
Line Current
230VAC
230VAC
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P.32 TECHNICAL SPECIFICATIONS
GEO CD12
SYSTEM SPECIFICATIONS CD12 with NX242 TDcontroller
Frequency Response [a] 42 Hz 200 Hz 3 dB
Usable Range @-6dB [a] 39 Hz 250 Hz
Sensitivity 1W @ 1m[b] 102 dB SPL Nominal
Peak SPL @ 1m[b] 131 to 134 dB Peak (500 to 1200W RMS Amp)
Dispersion [c] Hypercardiod pattern 120 x 120 over the entire useable bandwidth. Directivity Control is achieved through
DSP algorithms in the NX242 Digital TDcontroller (two channels of the NX242 are used for the process).
Directivity Index [c] Q =3.773 DI =5.7 dB over the entire useable bandwidth.
Crossover Frequency 150 Hz Active through NX242 Digital TDcontroller
Nominal Impedance 2x 6 Ohms
Recommended Amplifiers 2 amplifier channels are required for Hypercardiod operation, each rated at 1500 to 3000 Watts into 4 ohms
per channel. Up to 2 complete CD12s per channel may be connected to a two channel amplifier.
FEATURES GEO CD12
Components 2 x 12(30cm) Long Excursion Neodymium6 OhmDriver
Height x Width x Depth 400 x 600 x 754 mm(15 3/4x 23 5/8x 29 11/16)
Shape Rectangular
Weight: Net 35 kg (77 lbs)
Connectors 2 x NL4MP SPEAKON 4 pole (In & Through)
Construction Baltic Birch Ply finish with structured black coating. Dark grey carpet finish also available.
Flying points Integral flying system.
SYSTEM OPERATION
Electronic Controller The NX242 Digital TDcontroller presets are precisely matched to the GEO S8-Series cabinets and include
sophisticated protection systems. Using GEO S8-Series cabinets without a properly connected NX242 Digital
TDcontroller will result in poor sound quality and can damage components.
Sub-bass The GEO S805 & S830 can be used without the optional CD12 Hypercardiod Sub. In this case the NX242
can be used in stereo. With the CD12 Hypercardiod Sub each Sub channel requires two NX242 outputs and
the NX242 will operate in mono.
Speaker Cables The front loudspeaker of the CD12 is wired 2+& 2- while the rear loudspeaker is wired 1- & 1+. The CD12
must use separate cables to the GEO S805/S830.
Rigging System See corresponding chapter of this manual.
As part of a policy of continual improvement, NEXO reserves the right to change specifications without notice.
[a] Response Curves and Data: Anechoic Far Field above 200 Hz, Half-space Anechoic below 200 Hz.
Usable Range Data: Frequency Response Capability with TD crossover slopes removed.
[b] Sensitivity & Peak SPL: will depend on spectral distribution. Measured with band limited Pink Noise.
Refers to the specified +/- 3 dB range. Data are for Speaker +Processor +recommended amplifier combinations.
[c] Directivity Curves and Data: 1/3 octave smoothed frequency response, normalized to On-Axis response. Data obtained by computer processing of
off-axis response curves.
4
0
0

m
m
7
5
4

m
m
600 mm
Weight : 35 kg/77 lbs
Nominal Impedance 2x 6 Ohms
Crossover Frequency 150 Hz Active through NX242 Digital TDcontroller
Hypercardiod pattern 120 x 120 over the entire useable bandwidth. Directivity Control is achieved through yp p y
DSP algorithms in the NX242 Digital TDcontroller (two channels of the NX242 are used for the process).
2 amplifier channels are required for Hypercardiod operation, each rated at 1500 to 3000 Watts into 4 ohms p q yp p ,
per channel. Up to 2 complete CD12s per channel may be connected to a two channel amplifier.
E
N
G
L
I
S
H
PAGE 34
TECHNICAL SPECIFICATIONS

TECHNICAL SPECIFICATIONS
SPECIFICATIONS NX242 Digital TDcontroller
Output Level +28 dBu Max. into 600 Ohms load
Dynamic Range All Channels =110dB unweighted
THD +Noise Typical 0.005% flat setup (Max 0.01%@1000Hz@ 28dBu)
Latency time 2.2ms on a flat setup
Power Supply 115-230 Volts 50-60Hz continuous operation (operating range 90-264V)
FEATURES
Audio Inputs Two L&R Heavy Duty Audio inputs, 24bit convertors; Electronically balanced and floating,
20kOhm. CMMR=80dB. Two XLR 3 connectors.
Sense Inputs 4 Amplifier Sense Inputs (LF mono, MF/HF L&R),Floating 150 k . 18 bit converters. 8 Pole
Removable Strip Terminal.
Audio Outputs 4 Audio Outputs. 24 bit converters,Electronically balanced, 50 Ohms, 4 XLR-3M
connectors
Processing 24 bit data with 48-bit accumulator. 100MIPS,Optional NXtension Expander Board
100MIPS
Front Panel

Menu A and Menu B buttons.16 characters by 2 lines display. Select Wheel & Enter
button (). IN Clip DSP Clip red LEDs Speaker Protection yellow LED for each
channel. Individual Mute/Solo buttons and red LED for each channel. Amp. Sense & Peak
(green & red) LEDs for each channel
Rear Panel On/Off Mains switch; mains IEC socket; RS232 serial communications connector;
Expansion slot for processor extension card.
FLASH EPROM Upgrade for software improvement, new cabinet set-ups available on NEXO web site
www.nexo.fr
Dimensions & Weight 1U 19" Rack - 230 mm (9") Depth.
3.8kg (8.8lbs) net
User Controls
System Selection Allows control from all NEXO ranges.
System Set-up

Within the selected range, allows the cabinet to be set for passive or active mode,
aux,mono or stereo subs, wedge or FOH operations depending on system selected. Up to
80 factory pre-sets.
Protection

Peak Limiter, Displacement and Temperature protection on every channel; Physio control
of the Protection limiter & compressors Soft Clip Automatic tracking of amplifier clip point.
Delay Up to 150m (465 ft.) of delay in 10cm (.4in ) steps; on Sub channel, Main channels or Sub
+Main linked
Headroom Allows to adjustment the input sensitivity while keeping an overall unity gain
Output Gain Global and inter-channel gain 6dB in 0.5dB steps.
Amplifier Gain Reading Allows amplifier gain checking with program material.
Mute/Solo Changes front panel buttons from Channel Mute to Solo
Save/Recall Set-up Stores up to 10 user set-ups; On- the-fly recall, without mute or glitches for instant
comparison.
Array EQ LF or HF shelving filter to compensate ground or stacking effects, +/-6dB, frequency
factory tuned.
Security Mode Password protected in Read-Only Mode.
Certification CE mark (EN 60065-1998, EN55103-1996), cULus approved (UL60065), FCC part15 compliant, CB
scheme
NX242 USER MANUAL LOAD2_22
DATE : 12/3/2004
p
Two XLR 3 connectors.
4 Audio Outputs.
Up to 150m (465 ft.) of delay in 10cm (. y 4in ) steps; on Sub channel, Main channels or Sub p (
+Main linked
Delay
Page 84/113 GEO S12 RS15 / CD18/S2/GEOSUB SYSTEM CHECK LIST
12 GEO S12 RS15 / CD18/S2/GEOSUB SYSTEM CHECK LI ST
It is essential to execute all these check steps prior to perform a sound check on the front end to the
system. Following this checklist step by step will prevent many troubles and will save time in the end.
12.1 Are the NX242 Digital TDcontrollers properly configured?
IMPORTANT
If you must change any of the parameters listed above, make sure that you use the same
values on all NX242s.

12.1.1 NX242 settings
Output Assignment
NX Setup / NXChannel 1 2 3 4
GEOS12 Passive 4 Channels GEO S12 Ch1 GEO S12 Ch2 GEO S12 Ch3 GEO S12 Ch4
RS15 Omni Stereo - GEOS12 Passive Stereo RS15 Left RS15 Right GEO S12 Left Geo S12 Right
RS15 Cardio Mono - GEOS12 Passive Stereo RS15 Rear RS15 Front GEO S12 Left Geo S12 Right
S2 Stereo GEOS12 Passive Stereo S2 Left S2 Right GEO S12 Left Geo S12 Right
CD18 Mono GEOS12 Passive Stereo (1) CD18 Rear CD18 Front GEO S12 Left Geo S12 Right
GEO SUB Mono - GEOS12 Passive Stereo (1) GEO SUB Rear GEO SUB Front GEO S12 Left Geo S12 Right
GEOS12 Active 2 Channels GEO S12 LF Left GEOS12 HF Left GEO S12 LF Right GEO S12 HF Right
RS15 Cardio GEOS12 Active Mono RS15 Rear RS15 Front GEO S12 LF GEOS12 HF
CD18 GEOS12 Active Mono CD18 Rear CD18 Front GEO S12 LF GEOS12 HF
GEO SUB GEOS12 Active Mono GEO SUB Rear GEO SUB Front GEO S12 LF GEOS12 HF

Output parameters
Output
Label
Amp
Gain (2)
Amp
Power (2)
Global
Gain
Global
Delay
Sense
Gain
Array EQ
(3)
Headrom
(4)
All channels 26 dB refer to amp 0 dB 0 ms 0 dB 0 5 bars

(1) Local gain and delay values are inter-locked channel 1&2
(2) values for recommended amplifier gain and power : should be set in agreement with selected
amplifiers specifications
(3) Should be in agreement with implemented cluster; acts on a shelving filter designed to compensate
for LF coupling.
(4) Disabled when using digital inputs.
12.2 Are the amplifiers properly configured?
Freq. Band Mode Gain Switch Limiter High Pass
All channels Stereo 26 dB None None

12.3 Are the amps and the NX properly connected?
Check that the sense lines on the NX242s are properly connected by applying a signal to the
corresponding output and verify that the correct Sense LED illuminates.
CD18 GEOS12 Active Mono CD18 Rear CD18 Front GEO S12 LF GEOS12 HF
SPECIFICATIONS SM200iH
DESCRIPTION
APPLICATION
PERFORMANCE
PHYSICAL
One Mai n Street, Whi ti nsvi l l e, MA 01588 508 234 6158 Tol l Free 800 992 5013 FAX 508 234 8251 i nfo@eaw. com www. eaw. com
EAW products are continually improved. All specifcations are therefore subject to change without notice. SM200iH Rev (2) April 2007 Printed in USA
A 2-way switchable (passive/bi-amp) full range system in a
vented low profle stage monitor enclosure. Includes a 12-in
woofer and a 2-in exit compression driver on a Wave Guide
Plate. Powering mode is switchable: passive (LF/HF
crossover) or bi-amplifed. Available in mirror-imaged right
and left versions.
The Wave Guide Plate eliminates horn throat distortion for
natural vocal reproduction. Switch allows pasive or biamp
operation. Dual NL4 connectors facilitate daisy chaining
multiple monitors. Six year warranty.
Applications include:
Band PA Concert Tours
Corporate Events Large Theaters
Large Houses of Worship Live Music Clubs
Frequency Response (Hz)
3 db 75 Hz to 18 kHz
-10 dB 63 Hz
Axial Sensitivity (dB SPL, 1 Watt @1m)
Full Range 94
Bi-amped LF 94
Bi-amped HF 101
Impedance (Ohms)
Full Range 4
Bi-amped LF 4
Bi-amped HF 4
Power Handling (Watts, Continuous)
Full Range Passive 500
Bi-amped LF 500
Bi-amped HF 200
Recommended High-Pass Frequency
24 dB/Octave 58 Hz
Calculated Maximum Output (dB SPL @ 1m)
Full Range Peak 127.0
Bi-amped LF Peak 127.0
Bi-amped HF Peak 130.0
Full Range Long Term 121.0
Bi-amped LF Long Term 121.0
Bi-amped HF Long Term 124.0
Nominal Coverage Angle, -6 dB Points (degrees)
Conical 90
LF Subsystem 1x 12-in. vented
HF Subsystem 1x 2-in exit compression driver
on Wave Guide Plate
Confguration 2-way, full range foor monitor
Powering Switchable: full range (passive
LF/HF crossover) or bi-amplifed
Controls (switches, knobs) Powering mode switch
Cabinet Type (shape) Dual angle stage monitor/40 or
15
Enclosure Materials Baltic birch plywood
Finish Black catalyzed polyurethane
Connectors 2x Neutrik NL4 Speakon
Grille Vinyl coated perforated steel,
foam backed
Dimensions Inches Millimeters
Height (face) 14.7 373.1
Width 22.4 568.3
Depth 9.8 247.7
Minimum Stage Height 10.9 277.6
Floor Angle(s) 40 or 15
s m a r g o l i K s d n u o P s t h g i e W
Net Weight 58.0 26.4
Shipping Weight 72.0 32.8
1675 MacArthur Boulevard Costa Mesa, CA 92626 Ph: 800/854-4079 or 714/957-7100 Fax: 714/754-6174 www.qscaudio.com
PLX Spec Sheet 10/10/03
PLX1602 P L X S P E C I F I C AT I O N S
200W 8 ohms 20 Hz20 kHz 0.03% THD
4 ohms 20 Hz20 kHz 0.05% THD
2 ohms 1 kHz 1% THD
Noise (20 Hz20 kHz)
Input Sensitivity @ 8 ohms
Input Sensitivity @ 4 ohms
325W
600W 800W 1200W 1500W 1700W
500W 700W 900W 1100W
300W 425W 550W 700W
PLX2402 PLX3002
Stereo Mode (both channels driven)
Bridge Mono Mode
4 ohms 1 kHz 1% THD
400W
700W 1100W 1500W 2000W 2200W
1200W 1600W 2400W 3000W 3400W
600W 850W 1100W 1400W
PLX3402
< -106 dB < -107 dB < -108 dB < -107 dB < -107 dB
1.0 Vrms 1.2 Vrms 1.5 Vrms 1.7 Vrms 1.9 Vrms
0.9 Vrms 1.1 Vrms 1.3 Vrms 1.5 Vrms 1.7 Vrms
Output Circuitry AB AB 2-Step Class H 2-Step Class H 2-Step Class H
Power Requirements (1/8 power pink noise @ 4) 6 A 10 A 8 A 10 A 12 A
PLX1202
Distortion (SMPTE-IM)
Distortion (typical)
Frequency Response
Damping Factor
Input Impedance
Input Clipping
Cooling
Connectors (each channel)
Amplifier Protection
Load Protection
Dimensions
Gain
20 Hz-20 kHz: 10 dB below rated power
1.0 kHz and below: full rated power
Less than 0.01%
Less than 0.01% THD
Less than 0.01% THD
20 Hz20 kHz, 0.2 dB / 8 Hz50 kHz, +0, -3 dB
Greater than 500
6 K unbalanced, 12 K balanced
10 Vrms (+22dB)
Variable-speed fan, rear-to-front air flow
Full short circuit, open circuit, thermal, ultrasonic, and RF protection
Stable into reactive or mismatched loads
On/off muting, DC-fault power supply shutdown
19" (48.3 cm) rack mounting, 3.5" (8.9 cm) tall (2 rack spaces),
13.25" (33.7 cm) deep (from front mounting rails)
40x (32 dB)
Weight 21 lb (9.5 kg) net
Input: 3-pin XLR & 1/4 TRS balanced
Output: Neutrik Speakon and touch-proof binding posts
Al l model s Al l model s
Cont i nuous Average Out put Power Per Channel
Bri dge- Mono Mode Operat i on
Specifications subject to change without notice.
500W 4 ohms 20 Hz20 kHz 0.05% THD
10 A
Output: Neutrik Speakon

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