COSMO C 6 ARRAY
With its wide 100-degree horizontal directivity and low overall height, this array is a great choice when you need to fl y the system at lower heights. Delivering remarkably low-ranging frequency response for a system of this size and class, it can be deployed for public address applications even without added subwoofers.
COSMO C 8 ARRAY
With its medium-wide 80-degree directivity and high maximum sound pressure level, this system is suitable for a wide range of applications.
COSMO C 10 ARRAY
With its tightly focused 60-degree horizontal directivity and very high maximum sound pressure level, this array can be fl own at signifi cant heights and cover long throw distances.
ADAPTED RANGE CHARACTERISTICS FOR EVEN SOUND PRESSURE DISPERSION
The COSMO family features three different top units, each designed to purpose with a different combination of key audio characteristics, such as frequency response, horizontal directivity and maximum sound pressure level. Combining these helps to spread the sonic energy evenly from the first to the last row.
VERTICAL ASYMMETRICAL SOUND DISPERSION
It really would make sense for line arrays’ throw patterns to be asymmetrical. The components at the top of the array should have a narrower pattern because they have to throw sound over greater distances. The pattern ought to fan out, growing wider towards the bottom in order to provide plenty of horizontal coverage even in front of the stage. Conventional line array systems’ horizontal directivity is constant at around 90 or 100 degrees to ensure the throw pattern is wide enough over the first few meters. The problem here is that the pattern gets very wide at medium distances, so a lot of the sonic energy bounces off walls. At outdoor gigs, much of it goes to waste when it is directed beyond the flanks of the audience area.
By combining the three COSMO mid-high units you can simply build an asymmetrical.
MULTICELL WAVEFRONT TRANSFORMING
All COSMO top units feature the HK Audio Multicell Transformer (MCT), a technology designed to put two principles into action. Firstly, it divides the wavefront along vertical lines into many separate horn channels of diff erently lengths, calculated precisely to generate diff erent delay times. This goes to straighten the wavefront’s vertical curvature and directs the sound so as to create a tight vertical pattern. Secondly, the narrow individual channels allow only high-frequency resonances to emerge, most of which are beyond the audible range. The diff erence between this technology and conventional horns, or waveguides, is that it generates far less hearable distortion and in consequence of that increases eff ective sound pressure headroom by a few decibels.
COSMO C 8 HORIZONTAL COVERAGE
COSMO C 8 VERTICAL COVERAGE
THIS GRAPH SHOWS A COMPARISON BETWEEN A CONVENTIONAL HORN (RED) AND AN MCT (BLUE). NOTICE THAT THE MCT CAUSES MARKEDLY LESS DISTORTION THE HIGHER THE FREQUENCIES ARE.
COSMO’S ADVANCED RIGGING FEATURES
Rigging up COSMO enclosures is easy with three-point compressed mode. This rigging technique offers many practical benefits
COSMO arrays can be rigged in very confined spaces. All the top units hang straight down during assembly; the line is not curved until you compress the entire array.
Fewer people, less elbow grease
With nothing to heave when assembling the array, you can save on strength and peoplepower.
COSMO’s angle adjustment hardware carries no weight, so you can adjust a flown system’s curvature easily and quickly on the fly. Simply loosen the tensioning strap, reposition the ball locking pin(s) to set the desired angle, and recompress the array.
Fast, effortless disassembly
Setting up is an exercise in convenience; tearing down is just as easy. Simply relax the tension, lower package after package on to one dolly board after another, and roll the rig away.
COMPRESSED VS. FIXED MODE
Most line arrays on the market are rigged in fixed mode. That means the angle adjustment hardware has to carry the weight of the array. The crew has to work a lot harder to rig up and adjust the angle between a flown array’s components. COSMO also can use this mode, which can make sense particularly in smaller (three or four-piece) setups. Compressed-mode rigging debuted way back in 2002 with the HK Audio COHEDRA system. The hardware that serves to set the angle is equipped with a stop that limits travel and does not carry any weight. This way, fewer people can assemble arrays much quicker, with a lot less effort and in very confined spaces.
COSMO’S SMART LOGISTICS
How do I make the most effective use of available space? How do I minimize handling time? To be economically efficient, a PA has to be both space-saving and easy to handle considering that it spends most of its life on the road and in storage.
That thought was very much on our minds when we worked out the logistics for COSMO. To keep things as straightforward as possible, our way was led by the inspirational and ingenious simplicity of children’s building blocks. This is why COSMO is a family of extraordinarily few components that are always a perfect fit for the Euro pallet’s grid dimensions. This simplifies handling and storage, speeds up loading, and makes the most of truck space.
The two CRF-60 and CRF-80 Rigging Frames are the backbones for all COSMO family rigging applications.
They will also serve you equally well for various types of ground stacks.
The PR 16 Power Rack is the one-for-all engine room that drives the entire COSMO and CONTOUR X lines.
The CPF-45 Pullback Frame lets you rig up and fl y all COSMO arrays in compressed mode.
It also serves as the mounting platform when you wish to set up COSMO as a satellite system.
The COSMO M Dolly Board is a professional-grade transport and storage medium for COSMO speakers. And its added value as a professional-grade mounting platform for larger ground stacks adds up to more than just a fringe benefit.