We take a closer look. With “Steinigke ZOOM” we offer a new video magazine. We explain context, compare products, technologies or techniques – often this will be answers to explicit customer questions. “Steinigke ZOOM” provides a deeper insight, apart from normal product presentations.
In our first video we show the difference between a LED Compact light set and a conventional halogen light set.
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How digital controlling protocol works!
Every retailer is familiar with it, the standardized process to digitally send controlling information to dimmers, „intelligent“ spots or effect devices – DMX: But how exactly does it work and whose idea was it?
Digital data transmission has been around since the 80s. But controlling consolemanufacturers used differing systems, incompatible with each other, so the customer was forced to buy spots and controllers from the same producer. This changed in 1986 when the DMX standard was introduced, based on an initiative of the USITT (United States Institute for Theatre Technology). After some improvements were made and problems were solved, it was realized four years later. The common and still valid name of the standard is DMX-512 (1990). Even though some work has been done on it since then, there’s currently no newer version.
Barbecue and Genesis
For a good meal, the right ingredients are indispensable. For a good light show, the equipment is. And for more than 25 years now, Moving Head spots are part of this equipment. They’re not only a part of it, but have become essential and integral for lighting technology. No concert, no TV show would do without the use of these multi–functional spots. But who invented them?
It wasn’t the Swiss this time. The spots took their first steps in the USA. In 1970, Showco was founded and emerged as one of the leading providers of PA and lighting installations at live events. After a few years, Showco could boast some really illustrious customers like Led Zeppelin, The Who, David Bowie and Genesis. But the Americans had competitors from England, who used aluminum instead of steel for their PAR cans and experimented with new dimmer technologies, breaking new ground with devices working more efficiently. The financial losses grew so big, that Showco really thought about giving up and retiring from the lighting business. But it shouldn’t come to that.
When it comes to selecting amplifiers for an actively separated sound-system, there are two different philosophies we would like to present here. Both versions have their own advantages and disadvantages so that it is necessary to take a closer look at the requirements for every use and how to find a good economic and technically sound solution.
We call these two philosophies „Stereo-Setup“ and „Mono-Setup“, because in the stereo-setup, the individual signal paths (hi, mid, bass) of the left and right loudspeaker are amplified by one amplifier each. For the mono-setup, each loudspeaker side has its own amplifier, sometimes even its own system controller. The mono-setup is especially suitable for sound-systems not always being operated in the same configuration, e. g. Line-Arrays with more or less loudspeakers depending on the depth and general size of the audience area. Furthermore, mono-setups can also be operated individually as smaller systems in stereo-setup. The stereo-setup is suitable for permanent installations and for systems with always almost the same configuration. Read more »
More and more young people suffer from hearing loss of 25 decibel or more, mainly caused by loud music from portable MP3 and CD players or discotheques.
Everybody operating amplification systems should know to what sound pressure levels he exposes his or the audience’s hearing. As an average levels between 75 and 105 dB(A) in the discotheque or 95 and 115 dB(A) at a rock concert are reached. Individual peaks can exceed the pain level at 130 dB(A). Such levels are typical for motor chainsaws or jack hammers.