HK Audio CDR 210 F - Manual (Page 34)

Manual
COHEDRA
® & COHEDRA ® Compact
1 2
3 4
12. Flying CDR 210 F Subs
12.1 As an Independent
Bass Array Using A Second
Rigging Frame
Up to 20 CDR 210 F enclosures may be flown in a
stacked array using the standard rigging frame.
Please also read and heed the safety rules discussed
in chapter D of the manual.
The procedure for setting up and mounting subwoofer
arrays is the same as the procedure for CDR 208 T
and CDR 208 S mid/high cabinets described in
the chapter on rigging and curving COHEDRA
®
systems. Your choices of curving angles (or splay)
between two flown CDR 210 F Sub cabinets are 0°,
1.5°, 3° and 4.5°.
The array's overall curving will be oriented on the
mid/high array's curving. However, the bass array
may not project beyond the front edge of the mid/
high array to ensure the former does not negatively
influence the latter's response.
Important note:
If you first mount a CDR 210 F Sub enclosure to the
top rigging frame, you must insert the back pin into
both the eyelet labeled 0° and through the connector
component's slot (see Figure 26)! Otherwise, the
angle will be set incorrectly and you will not be able
to curve the array as desired! If you are configuring
two CDR 210 F Sub enclosures in a stacked array
and want the angle to be 0°, do not insert the
connector component through the eyelet (see
figure 26)!
12.2 In Combination with a
Mid/High Array on One
Rigging Frame
Flying the subwoofers and mid/high units together
on one rigging frame can be a workable option,
depending on the application. In these cases,
the subwoofers should be mounted on top.
Mind the rigging frame's maximum permissible
load. Be sure to check the system's overall weight;
you'll find weights listed in the tables 1 and 2 in
chapter D on rigging and curving the system.
The first cabinet to be mounted under the
CDR 210 F Sub should be a CDR 208 S. Use the 0°
option for this cabinet.
13. The SL 218 as a
Bass Supplement
The SL 218 is well-suited for enhancing sub bass
response of both flown and stacked subwoofers.
It is arrayed in a center block or in line between
CDR 210 blocks, depending on the given requirements
and application scenario.
14. Operating the System
We recommend the following procedure to help
prevent errors and troubleshoot problems quickly.
The adverse affect of a mid/high cabinet dropping
out or an incorrect connection can seriously degrade
a line array's performance!
14.1 Connecting Speaker Cords
or Multi-core Cables
Always ensure cables are laid clearly and orderly!
You should be able to attribute enclosures to their
connected power amp channel and/or amp rack at
any time. This ensures flaws such as defective cords
can be pinpointed and repaired swiftly.
Also ensure LSM multi core speaker cables (mid/
high and sub adapters) are labeled appropriately,
that is, from channel 1 to 4 (see the chapter on the
PB 5 in the manual and figure 27).
For example, channel 1 drives the array's two top
mid/high units, channel 2 the two units below to
top pair, and so forth. An LSM mid/high adapter
can serve to drive a total of eight mid/high units.
If more than 8 cabinets are connected, they are
addressed by an additional PB 5, and the channel
1-to-4 numbering system is repeated. See the chapter
on the PB 5 in the manual to learn more about how
to assign power amp channels to the PB 5's chan-
nels 1 to 4.
Follow the same systematic approach when
connecting CDR 210 (F) Sub enclosures.
14.2 Activating the PR 8 and
PR 16 Amp Racks
Ensure the VX 2400s' power switches are off and
the gain knobs are turned all the way down. Check
the PB 5's phase switches. They must all be set to
+2 (or +3)! Once you have done this, switch on the
PS 32's circuit breakers on the back of the amp racks.
The DFCs and the PB 5 patch bays are now supplied
with power. First select the appropriate filter for
your set-up on all DFCs (making sure you select
the same set on each!). If you are unsure of how
the amp rack or DFC was used in the previous appli-
cation (delays, EQ, etc.), as a precaution execute a
hot reset on all DFCs and then select the filter set
on the DFCs! Read the chapter on the DFC in the
Figure 25: Flown CDR 210 F bass array next to a
mid/high array
Figure 26: The CDR 210 F Sub’s curving angle
Figure 27: Pin assignment of channels 1-4