The [New York Paradise Theater’s] architecture limited the amount of weight we could fly, and this is where the [D.A.S. Audio] Aero 50’s flyware became a tremendous asset in helping us address this issue. The D.A.S. bumper used to fly the Aero 50s is surprisingly small and light compared to many systems from competing manufacturers. This helped tremendously, as we had no issues raising the cluster up to the height we wanted. Many competing systems use much larger grids that are simply too wide and thus compromise the ability to fly the loudspeakers at the height we wanted without hitting walls or the ceiling. The D.A.S. setup is essentially a clamp, so it doesn’t occupy as much space. While we have equalization available, I find that we use it very sparingly. We’re now experiencing even coverage throughout all areas of the theater, and speech intelligibility is first rate. Best of all, we don’t need to blast the system to fill the room. We work with SPLs that are appropriate to the nature of the act and the size of the audience. When we need to raise the levels, we have plenty of headroom to work with.