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Push Pull Neodymium 8" ribbon driver
Capacitive Resonance Chamber Line Source
Ribbon
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- A
key element to our technology is that individual dipole Aluminum/Polyimide planar ribbons work together with a shared single
rear chamber to achieve more bandwidth with less distortion. All other line array companies that we know of use each of the
multiple tweeters as a stand alone device and do not get all the possible benefits. Our unique approach serves to isolate
the ribbons from the woofers and increases low frequency output. It also allows us to crossover the ribbons at a much lower
frequency extending their inherent benefits into the critical midrange region. This "flatting out" of the frequency
response curve is achieved because we essentially have individual elements working as a one meter high ribbon that has deeper
volume to go lower in frequency in each module. In addition the natural properties of the ribbons allow us to conform to size
constraints of true line source theory and produce high output audiophile sound.
- The 6.5" woofers are "MADE
in the USA" and have a Patented design. They feature ultra-lightweight (5.6 g Mms including Air load) composite paper
cones (water resistant) with specially treated cloth accordion style surrounds for fast transient response and controlled
excursion. The ceramic woofers also feature high temperature dual Cu voice coils on split aluminum formers for greater heat
dissipation and double stacked magnets to increase flux in the thick top plate. The Neo6.5" woofer has a Kapton former
and Neo slug on a pedestal creating an undercut pole for lower distortion and more linear excursion. The high temperature
Neo motor is also triple vented to lower power compression (2 on side, 1 rear vent). The Neo version of the 6685 is part of
the constant evolution of the CGN6685-LAMM its improvements do however entail an increase of about 33% in cost, over the standard
ceramic version of the compact line array. With either version , the combination of multiple woofers with powerful motors
and lightweight cones means that these systems are efficient. The woofers are also conductively cooled through an aluminum
channel in the flyware skeleton reducing power compression and increasing reliability. The Neo6.5" version of the 6685
also has an additional thermal-yoke-heatsink around the six Neo6.5" woofer motors which increases structural integrity
and wicks away even more heat from the drivers. *Please note that Multiple woofers (6/module) quickly add up in total size.
The six combined woofers have more cone area (Sd) than a standard 15" woofer with the added advantage of being driven
more evenly by multiple motors.(response averaging) All of this means that the efficiency, power handling, size and speed
of this line of woofers all add to create a seamless transition to the array of ribbons. Optional Neo 6.5" woofers are
now available for the CGN6685 lowering the Total weight of the system to an amazing 26 LBs! (Saving 12 LBs/Cabinet)
- The
6685 Line Array Meter Module is compact, stackable ,easily transportable and quickly rig-able. Road ready heavy duty1000 denier
Cordura-padded "Gig Bags" that help make the speaker modules easier to carry and keep them secure are now available.
Find out more carry Bag info at www.undercovernyc.com
FYI the CGN6685 system can be checked as luggage on an airplane.
It conforms to the international size and weight requirements. The standard version counts as one bag but two Neo versions
can be strapped together and still be under the one bag weight limit.
The CGN6685 is an audio swiss army knife. It's
a main or can be used as monitor rotated on it's round back. Tilt back legs swing down ( ala Guitar combo amp style)from the
flypoints to hold the tilt of the cabinet to your choice of face angle. The coverage as a monitor is 100 degrees vertical
coverage and about a meter wide (box length). Flip a cabinet over and a pair mirror image for critical monitoring applications.
They can be bracketed mounted from the top or bottom. On their side with optional video shielded Neo6.5 woofers they make
excellent center channels for 5.1 applications. You can also safely use them next to media that's sensitive to magnetic fields,
computers, monitors (no EMI). Screw drivers won't even stick to the ribbon tweeter, "pretty cool huh". The CGN6685
is right tool for many portable and fixed installation applications especially when high reverb times make speech intelligibility
problematic. The right(light)size line array for a cost effective sound system.
Applications:
Churches,
Schools, Corporate AV, Arenas, Sports Stadiums , Theme Parks, Live Theater, Pro Touring, Musical Instrument, Paging, Noise
Control, Military, Early Warning Alarm, Fire Alert , Industrial
Cabinets are water resistant in standard configuration
15 % additional for complete waterproofing guaranteed to hold up to the elements.
An install version (In wall) is also
available that fits in a standard 3.5" stud depth (89mm).
- Many companies now make line arrays so what's
so special about the CGN6685 is that we use ribbons and we don't use any of the following often problematic audio plumbing
devices: diffraction slots, long tubes,foam, reflectors, lens, and waveguides with discontinuities etc. Note that Sound is
not like Water when you split it , you introduce variability problems. We are different from conventional designs that start
with spherical wavefront devices like dome tweeters or compression drivers at the beginning only to try to artificially morph
them somehow into a planar wavefront. Instead we start with a simpler, much more elegant solution,multiple planar ribbon devices
mounted edge to edge the entire length of the cabinet. Now that the ribbons are less than one wavelength apart. Only when
drivers are closer together then the wavelengths of frequencies they are trying to control we can develop an isophasic pattern.
It's this Form factor in the geometry of the ribbons that gives us this inherent advantage over other transducers. So Basically,
Our story is grounded in straight forward physics(interferometer) and is only now possible because of recent breakthroughs
in material science. Our Philosophy, Better by design,& form follows function. We are here to help with aiming software
to properly engineer a system to your needs. KEEP IT SIMPLE with LESS: weight, depth , rigging hardware, cabling, amplifiers
and processing. Less distortion, Less Restricted sight lines,less labor, less transportation expense, lower cost.
Often with conventional line arrays you need to start with at least four to eight boxes a side and many times 75% or more
of these cabinets are rigged in a straight line. Of course, the proprietary DSP is obligatory. And in the end you are paying
a premium for a lot of things you do not use or need like extra flexiblity in rigging, multiple cabling run options and additional
amplifier channels. We think this is wastefull. To make matters worse, many companies now claim they can splay their cabinets
more than 5 degrees to finish with the big "J hook". We don't think this is a good idea in most situations and is
in our humble opinion misleading.
There are also a few other companies out there in the pro audio world with small compact
line arrays often with smaller cone drivers , say for example, 12 x 2.5". The good news is these drivers can perform
well in the midrange and are very, very, very inexpensive to manufacture (less than $1 each!). The bad news is that they are
also very inefficient(-10 to 15dB below pro standards),so they need more power, but they handle less power (min.4Xless), need
more processing, should/must really use subwoofer(s) positioned right next to line array (high x-over) and cost more. To make
matters worse the cones in these mid.tweeters are really too heavy to be real good tweeters resulting in poor transient response
and too big resulting in beamy upper HF dispersion. A ribbon on the other hand has extremely wide horizontal dispersion and
narrow verticals , perfect for a line array application. Ribbon diaphragms are extremely light in fact over 50 times lighter
than even an esoteric dome tweeter and 100 times lighter than a compression driver diaphragm. With multiple 2.5" cone
drivers real problems begin above 12 KHz when the acoustic centers between the tweeters become larger than the wavelengths
they are trying to reproduce producing massive comb filtering issues. Resulting in radically changing polars that dramatically
reduce gain before feedback (critical distance). Last but not least because they are not efficient systems distortion goes
up. Distortion is inversely proportion to efficiency. Well no highs, no lows must be... you know the marketing story :-)
If you have 4" or 6" cones the HF problems will happen at even lower frequencies. So typically they use only a
few tweeters and now you don't have a line array above the x-over frequency to the HF section so it will drop - 6 dB , while
the mids drop -3 dB. So you say ,control every one of the drivers and steer with DSP? Again you still can't over come the
efficiency problem of the small drivers(many amps) and the separation of the drivers at high frequencies can't really be fixed
by DSP. It's going to be complicated, less reliable and expensive. In most installs you only aim once so all the feature bloat
you have to learn to use the steering software is pointless. In most cases you can only tilt about 16 degrees ( But not at
low end!) and these systems because of the poor dynamic capabilities and bass limitations are recommended for speech only.
Why not save the money, physically tilt a smaller, more powerful rig, that's capable of playing both speech & music too.
Often It's can be more easily hidden, and it's definitely simpler to use, louder and has less distortion. Spend your audio
budget money on acoustical treatment of room problems. Next lets look at some basic rules that are true for all line arrays.
Formula: Near field Intensity of a Line Array -3 dB drop in level for the doubling of distance
d=1.5fh^2
d distance from line array in meters
h height of line array in meters
f frequency in Hertz
VERY
IMPORTANT:Rules of"Throw"(Thumb)for ALL LINE ARRAYS
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The higher the line array the better. This is critical because distance
of control follows to the square power, so doubling the height of the Line array gives you four times the "throw"
So in effect using the typical 12" high 1 to 3 cabinet(s) rig does not a line array make. Your just getting started.
You really need to use more cabinets to get the height needed to get the performance. Its better to have a long array of less
expensive cabs then a few high priced premium ones if you need the control !
Once you move up into higher frequencies
(1 KHz) the line array is very big relative to wavelengths so it "throws"
At the low frequencies the
f in the equation is a small number and the frequencies are very large relative to the array the result = you have "no
throw" You can never have enough subs outside to keep up with a good line array top end. Unless maybe your array is 56
ft High(20 Hz wavelength).
The longer the array the better pattern control you have to lower frequencies. As the
array gets physically very large, say 16 plus feet, you approach the relative size of low end wavelengths (below 70 Hz) themselves
and you will really need a lot of subwoofers to keep up outdoors in the extreme LF regions if audio in the nether regions
is required.
* One Suggestion, use high excursion B-Hive Subwoofers in horn loaded enclosures. Compared to direct radiators
if you have room for 4 or more big boxes they have Higher efficiency, increased directivity, faster transient response, lower
distortion, lower excursion limitations(3" p-p) its one way of solving the problem of keeping up with the HF line array
output.
Eventually, all line arrays at some distance start to lose 6 dB in level for every doubling of the distance
just like a conventional speaker. This is call the far field. It happens sooner at lower frequencies and with smaller line
arrays. See the Line Array Guidelines paper for a more detailed explanation. Also please note that when looking at the specifications
for individual boxes things change a lot with tall arrays. You will find that your getting a lot of bass out of a number of
small drivers 6.5", 10 " 12" because all those drivers add up to a lot of cone area with improved directivity
(Q). All those woofers couple or "see each other". Output extends to lower frequencies. Individual drivers that
are in close proximity response average lowering distortion and making the system sound more "punchy". You might
be surprised at how little difference putting a couple of direct radiating 18" woofers subs under a medium sized line
array does at a distance because their level fades at a faster rate -6 dB.
A few comments about using the CGN6685
Line Array Meter Modules out in the field. Essentially the coverage of the system is determined by the height of the array.
It is best to get the system up off the ground so that the center of the array is at the average ear level height. Often times
I use a 24 - 30" high subwoofer on the ground with a two high stack of 6685's on top tied down from the flying hardware
to the sub. This covers people sitting down and standing up. If you have a balcony to cover you basically have two choices,
split the line array vertically or make one longer continuous array as high as required to the top ear height of the people
in the balcony ( Budget permitting). I like to tilt the array down a few degrees so that the reflection off the back wall
is absorbed by the backs of the audience and sound does not bounce directly back to the stage from the hall back wall. Finally
the use of subwoofers with the 6685 modules is optional. The bass output is quite good especially when used in multiples.
But if you want to feel the weight of the music & clean up some inter-modulation in the midrange biamping a system with
a subwoofer(s) will have a dramatic effect and is highly recommended. But because of the CGN6685's excellent LF output you
can X-over the sub lower than most compact systems in the 80 - 125 Hz. That means the subwoofer will be harder to localize
and you will have more placement options. Finally I can not stress enough that If your budget allows you to use modules stacked
two high or better yet three high, just do it, believe me you won't be disappointed.
Contact us for help with audio
designs with our line array alone or in combination with additional, conventional down fill/front fill and / or delays subwoofers
etc. A few words
about DSP processing with the CGN6685 it is recommended but not required. Now days DSP is very powerful and cost effective
so it's an excellent choice. But if you budget is tight you can go analog or even passive with the CGN6685. The reason is
that ribbons require very little processing. Because of thier short depth you don't have to "time delay mids to match
up with compression drivers on horns". Often Compression drivers require several steep notch filters to reduce the audible
effects of ringing and phase plug anomalies. Ribbons weigh over 100 times less than compression driver diaphragms, and do
not have phase plugs so they need no such filters. Often Compression drivers require a midrange cut and a high end boost in
the range of 20 dB called the CD horn curve. Ribbons do not follow this criteria, typically requiring only about 3 dB of eq.
Often when you get inside the settings of the DSP of a compression driver loaded line array you will find that all of the
processing power is used up fixing transducer/placement problems with nothing left over for the on site audio engineer to
use. Ribbon drivers are just the opposite having little need for processing allowing the end user to have more flexibility
& x-over options. So remember when you look at all of the processing Voodoo Freaking Magic that's going on in your rig.
Less is more. There is no knob that eliminates distortion. Variability always adds in a system. Lets keep the noise down,
start with good transducers then work back to the rack. Specs. for the raw 8"Neo Ribbon driver are below. Looking for
a good bass transducer to compliment your ribbon line array check out the new high excursion 18" B-Hive Motor Neo Subwoofer
at www.bhivemotor.com
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Pictured
above is the 5"NEO ribbon driver Specifications 5"NEO - Lorentz
Audio 5" Push Pull Neodymium Ribbon driver (Video Shielded)
120 mm(4.72") W x 174.5 mm(6.87") H x
35 mm(1.38") D
650 grams 1 lb 4 oz
Aluminum Trace on Kapton diaphragm (High Temp.)
8 Ohms, DCr 6.50
Ohms
Frequency Response 1 kHz - 40 kHz
Power Handling 50 Watts cont. 500 Watt peaks for 200ms
Average
SPL 1W/1m 98 dB * depends on wave guide directivity
Cast Aluminum horn
On
the right is a close up picture of the 6685 baffle showing the column of 6.5" woofers and 8" Push Pull Neodymium
ribbons. |
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| Optional treatment to "weatherize" the cabinets |
*
Please Note, Shown without optional metal grille coated in tough-textured polyurethane with self contained rubber granules,available
in Black,Red,Grey and White. Also shown without optional wrap around (Velcro)cloth grille sock, that's acoustically transparent,
fire retardant fabric, available in Black or White. Call for custom cloth.
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