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SPECIFICATIONS
Using the Versarray 212
general Usage Notes
Note that the Versarray 212 is intended to be used with
a subwoofer, an electronic crossover and four channels
of amplification to provide full-range performance. The
Versarray 212 is not a full-range system by itself, and
after tri-amplification and EQ, only covers the range
from approximately 120 Hz and up. A number of suitable
crossover options are available from Peavey: the Peavey
Digitool
MX, the Peavey VSX
®
and the VSX 46 loudspeaker controller. These have available
pre-configured set-up files that provide an optimized
crossover, and EQ for a flat response and level set as a
starting place for any permanent installation.
The woofers in the Versarray line that are designed to be
used with the Versarray 212 are the Versarray 118 Sub and
the Versarray 218 Sub.
line Array geometry
Classic line arrays used a simple straight line geometry, this
provides the classic "laser beam" vertical coverage pattern that
has become associated with line arrays today. However, many
do not realize that the vertical coverage pattern is extremely
tight and limited, typically not extending vertically past the
ends of the array at a distances.
Measurements of the amount of angular coverage are not that
accurate with line arrays, because the effective coverage angle
keeps getting smaller as you get further and further away, until
it may be just a fraction of a degree at some very far distance.
The upshot of this is that unless you truly need the extremely
tight vertical coverage pattern AND can successfully aim the
entire array at the exact spot you wish to cover, a classic
straight line geometry is not going to be the best choice. A
more useful and general-purpose geometry is a gentle and
continuous curve, with the angle between each cabinet a total
of 2 degrees. This would provide approximately 16 degrees of
seamless vertical coverage with a 6 cabinet array, and maintain
a fairly smooth frequency response. This creates a system with
a coverage pattern of approximately 70 degrees horizontal and
16 degrees vertical.
If the venue is smaller or needs a more open vertical pattern
for coverage, then there are several options that can address
this. You can increase the angle between all the cabinets to
5 degrees total, providing a vertical coverage of approx. 30
degrees.
If that is too much vertical coverage, but there are still some
seats up front that need to be covered, then there are two
other recommended geometries to use. One is a dual radius, as
pioneered by Peavey on the Peavey SSE
cabinets would be set to a total angle between cabinets of 2
degrees, while the bottom three would be set to 5 degrees.
This arrangement provides a smooth, seamless vertical
coverage pattern of approx. 22 degrees.
The other geometry is a modification of the classic "J" line,
using a continuously curved array for the top section instead
of a straight line, and then an abruptly curved section for the
Versarray
26 loudspeaker controller,
™
™
-LA. The upper three
212
™
bottom few cabinets. This might consist of the top four or five
cabinets angled at 2, 3 or 4 degrees, with the bottom one or
two each angled the maximum amount of 10 degrees total.
Up till now, we have been talking about a relatively smooth
vertical coverage, with no gaps or suck-outs in the vertical
pattern. However, the use of the "J" precludes this due to
the sharper angles between the individual bottom cabinets.
Anything over about 5 degrees total angle between cabinets
will tend to cause a "gap' or a "hole" in the response at certain
frequencies, and while it is not too bad, the sharper the angle,
the worse it gets.
Why not use a classic "J" line geometry? This combines the narrow
"laser beam" pattern with a "gaps in the coverage" pattern, sort of
the worst of both worlds. This is why we recommend one form or
another of a gentle and continuous curve, to avoid these common
problems, and provide maximum performance.
Aiming the line Array
If a classic straight line array geometry is used, then aiming
becomes critical; the coverage pattern at high frequencies is
only going to be about 10 feet tall for a set of eight Versarray
212 cabinets. You will have to pick the 10 feet of vertical space
you want covered very carefully, and aim the array precisely.
Here, use of an inexpensive laser pointer temporarily taped to
the top and/or bottom of the array can be an invaluable aiming
aid.
If you have chosen one of the geometries that provide a
smooth curvature and a relatively narrow vertical coverage,
then aiming will be more in line with the kinds of concerns and
methods used for high Q point sources, but you still have to
pay attention to assuring that seating areas of primary concern
are within that pattern.
If you have chosen one of the dual radius curvatures, the top
section will be handling the long throw coverage, and the
bottom section will be providing the short throw coverage.
Once again, use of the familiar tools for aiming point sources
and clusters will be helpful here, as long as you realize that you
have two different coverage zones.
Peavey has teamed with EASE Focus software to bring
you line array aiming software with the Peavey Versarray
system included in the database. Check with your Peavey
representative, or visit the Peavey web site for more
information.
Equalizing the line Array
The sad truth of the matter is that you cannot EQ a line array
using a single microphone position or even several different mic
positions averaged out, unless special techniques are used and
fully understood. Due to the way a line array works, it just isn't
very accurate to try and use point-source techniques for EQ.
It is strongly advised that you do not try to use a single mic
placed out in the listening area, and then try to use an RTA or
other spectrum analyzer to try and "fix" things, as the single
mic location will create an erroneous impression of what
is going on. Line arrays have special properties that make
equalizing via measurement much more difficult to do without
taking a lot more variables into account.
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