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SPECIFICATIONS
Versarray
112
™
Using the Versarray 112
General Usage Notes
Note that the Versarray 112 is intended to be used with a subwoofer, an electronic crossover, and three channels of amplification to
provide full range performance. The Versarray 112 is not a full range system by itself, and after bi-amplification and EQ, only covers
the range from approximately 125 Hz and up. A number of suitable crossover options are available from Peavey: the Peavey VSX™ 26
Loudspeaker Management System, the VSX 48 Loudspeaker Management System, and the Peavey Digitool™ MX. These Peavey products
provide pre-configured set-up files that include an optimized crossover, an EQ tuned for flat response, and proper level settings that
serve as a starting place for any permanent installation.
There are two subwoofers in the Versarray™ product family that are designed to be used with the Versarray 112 module; the Versarray
118 Sub and the Versarray 218 Sub.
Using a single Versarray 112 pole mounted over a Versarray 118
While the Versarray 112 is meant to be used in multiple cabinet arrays, it can be used as a single cabinet as long as it has a subwoofer
to provide the frequencies below 125 Hz.
The Versarray 112 has a very narrow vertical coverage pattern of approximately 15 degrees. Because of this, it should be aimed accurately
at an angle that will cover the desired space. There are two different pole mount cups on the Versarray 112, one that provides an angle of
0 degrees to perpendicular, and a cup on the other side that provides an angle of 5 degrees down from perpendicular.
Using a combination of the height of the enclosure (where the sub is placed, such as up on a stage, or down on the floor) and the two
angles, be sure to aim the coverage pattern of the Versarray 112 at the desired listening space.
Using Multiple Versarray 112's mounted over a Versarray 118/218 Sub
The rigging plate hardware allows up to two coupled cabinets to be arrayed over a Versarray 118 on a pole, and up to three coupled
Versarray 112's mounted over a Versarray 218 with the use of an optional subwoofer mounting bracket set. With the angle between
cabinets adjustable in 2.5 degree increments, the second (or third) cabinet can be aimed as needed at the coverage area.
We do not recommend more than two Versarray 112 cabinets be pole mounted over a Versarray 118 Sub, or more than three cabinets
above a Versarray 218 Sub.
Using the Versarray 112 in a Line Source Array
Set-up and use of line arrays differs considerably from typical point source speaker systems, or arrays of point source speaker systems.
In addition, the Versarray 112 has a versatile rigging system that allows a substantial range of adjustment and abundant options for
aiming the loudspeakers. In this section, we will discuss how to best use the Versarray 112 in line arrays, and how to set the angle
adjustments between cabinets.
There are three major aspects to configuring and using a line array: choosing the geometry (or the curved shape) of the line array,
aligning and aiming the complete line array, and equalizing the line array in its final form.
Line Array Geometry
Classic line arrays used a simple straight line geometry that provided 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 distance.
Accurate measurements of the amount of angular coverage are difficult with line arrays, because the effective coverage angle keeps
getting smaller as you get further and further away, until it approaches 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 2.5 degrees. This would provide approximately
18 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 90 degrees horizontal and 18 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 approximately 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™ LA. The upper 3 cabinets would be set to a total
angle between cabinets of 2.5 degrees, while the bottom three would be set to 5 degrees. This arrangement provides a smooth, seamless
vertical coverage pattern of approximately 28 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 bottom few cabinets. This might consist of the top 4 or 5 cabinets angled at 2.5 or 5 degrees,
with the bottom one or two each angled the maximum amount of 15 degrees total. Up until 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, combining
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.
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