[제품 스팩]

[제품 특징]

FDS-366T OMNIDRIVE™ 는 3 개의 입력과  6개 출력을 가지고 있으며,  24비트 96Khz 샘플링 레이트를 지원하고 AES/EBU 디지털 입력을 지원하고 있습니다. 4-웨이 크로스 오버와  2 채널 파라메트릭 이퀄라이저, 디지털 딜레이 라인과 리미터 등이 내장되어 있기 때문에 어떠한 종류의 소리나 환경에서도 그에  알맞는 음질 조종이 가능합니다.
주요 기능으로는 기억시킨 내용을 보호하는 기능과  현장의 온도 조건과 습도에 대한 음속 감쇠 비를 보정하는 타임 딜레이기능, 고역 특성의 자동 보정(별도 판매)기능 등이 있으며, 추가적으로 LCD화면에 표시되는 그래픽 화면과  시스템의  내용을 볼 수 있는 LED 미터를  갖춘  아날로그  조절 방식등으로 디지탈에 대한 거부감을 줄였습니다.

One FDS-366 can drive a true stereo 3-way system, or 3 bi-amp outputs for monitors. Add more units and MIDI slave linking to make stereo 4, 5 and even 6-way systems.

Typical applications:

• Stereo 3-way.
  
• Stereo 2-way plus sub from input C.
  
• Triple Bi-amp for stage monitors, with delay and EQ.
  
• Dual tri-amp for stage monitors.
  
• 96kHz Studio monitoring systems.
  
• LCR Monitoring systems (post-production).
  
• 6-way systems.
  
• 4-way plus 2 full range outputs with separate delay and EQ.
  
• 6-way Zoning ( full range outputs, giving delays, EQ and limiters on all zones )
  

WHISEWORKS - *NTM™ and WHISEWORKS - Neville Thiele Method™ are trademarks of Precision Audio Pty.Ltd

"The new filters allow me to put more power to the devices without fear of overload or over-excursion. Once adjusted, sounds better than standard filters. The system seemed louder and clearer. We were setting off alarms in the car park!"
Ferrit, Promix/Electrotec, Las Vegas, Nevada, USA

Other applications are also satisfied, such as zoning to six discrete areas using full range or band-restricted outputs. As a mono sum of all three inputs is available, the FDS-366 will find favour with LCR post-production monitoring systems where a mono sub output is required. A stereo AES/EBU digital input also means that the FDS-366 is an ideal product for studio monitoring applications.

BSS have incorporated the very latest digital technology and DSP algorithms to provide the COMPACT plus with a truly astonishing audio performance. The latest generation of 24-bit converters with carefully engineered support electronics provides a dynamic range in excess of 112dB (unweighted) without employing 'massaging' techniques that could have side effects.

Using a 96kHz sample rate further enhances the sonic performance of the FDS-366. The advantages of this higher rate mean a more natural and open sound thanks to a 40kHz bandwidth and improved filter responses that are possible with the higher Nyquist frequency.

"The biggest step forward in digital crossover technology since Linkwitz-Riley"
Jerry Wing, Britannia Row Productions, UK


BSS Audio pioneered the use of dynamic equalisation on the DPR-901, a tool well known to engineers the world over. Essentially a way of compressing selected frequencies when the signal reaches a pre-set threshold, adding dynamic eq to every input and output on the FDS-366 provides the engineer with a way to control some of the non-linearities in drivers (such as 2" horns) and room resonance's.

Two new facilities, the 'Alignment Assistant' and Dynamic EQ, help to reduce setup time and enhance creativity.

The effects of non-identical delays between loudspeaker drivers in cabinets, and between cabinets are well known. The FDS-366's Alignment Assistant makes the calculation and implementation of driver delay settings quick and automatic. A microphone input directly measures and corrects for driver and cabinet displacement, and also takes into account inherent phase shifts present in these and other system elements.