| Lobes and
nulls
By Pat Brown
Equalization and other processing are no
substitute for proper loudspeaker placement |


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An acoustic comb filter is a symptom of a more significant problem.
When two loudspeakers are placed in close proximity, the resultant
distance offset will cause "lobing" in the speaker’s
radiation pattern. Lobes can be described as "fingers"
of sound pressure "maximums" in the three-dimensional
space surrounding the array. The fingers are separated by nulls
or axis of minimal sound pressure level. The fingers typically cause
problems with microphones, since a mic is likely to feedback when
it is placed within a lobe.
The nulls cause problems for the audience, since parts of the audio
spectrum that are critical for speech intelligibility (understanding
the words) are cancelled at some listener’s seats. When a
series of these lobes and nulls exist, the visual representation
of the frequency response at one listener position will resemble
the teeth of a comb, with a sequence of peaks and valleys. This
is a far cry from the "perfect" system response that would
look more like a flat line. As such, a comb filter is the symptom
of a spatial problem that has resulted from a loudspeaker selection
and placement choice.
To illustrate, look at these (below, Figures 6) "simulations"
of such a condition performed with the EASE sound system design
software package. Two loudspeakers with low directivity control
have been separated by two feet. The resultant does not represent
accurate sound reproduction and can cause the afore-mentioned problems
with acoustic gain and speech intelligibility.
Please note that it is certainly possible to build quality "arrayable"
loudspeakers, and there are a number of good examples in the marketplace.
However, all of them have several parameters in common:
1. Large physical size
2. Horn-loaded components
3. Aggressive pattern control to minimize interaction with adjacent
loudspeakers
If these loudspeaker requirements present problems for a particular
venue due to the required large physical size, then smaller loudspeakers
can be used (usually in greater number) if they are placed sufficiently
close to the listeners (i.e. exploded arrays or distributed systems).
Figure 2 (on page 38) outlines the options, and there aren’t
many.
Radio broadcast engineers have understood for years the importance
of proper antenna array design to control lobing in RF radiation
to steer their signal to certain areas within the listening range
and away from others. For instance, if a station is licensed to
radiate 50 killowatts of power, they can use an antenna array to
steer the radiated signal up and down an interstate highway rather
than out across a sparsely inhabited area. In fact, if they do it
wrong, they can be in violation of federal law and therefore subject
to prosecution. Loudspeaker array designers must work with the same
physical laws and principles as antenna designers. The only difference
is that they can’t be prosecuted for bad sound.
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Specifically about Figure 6:
Balloon plots are useful because they show the three-dimensional
radiation pattern from a loudspeaker or group of loudspeakers located
at the center of the balloon. The plot describes what is happening
at a single frequency. The plots can be generated for multiple frequencies
to more fully describe the performance of an array. The balloon
plot of a "perfect" loudspeaker would be the same, regardless
of frequency.
Comb filtering in the magnitude response (a measurement at a single
point in space) is evidence of lobing in the spatial radiation of
the array. 1
Top of Figure 6 - The balloon plot displays the 3-dimensional
sound radiation from the two-device array described in the text.
Bottom of Figure 6 - The traditional horizontal polar plot
views the equator of the balloon as viewed from above for one frequency.
Pat Brown teaches the Syn-Aud-Con seminars and workshops. Synergetic
Audio Concepts (Syn-Aud-Con) has been a leader in audio education
since 1973. With nearly 15,000 "graduates" worldwide,
Syn-Aud-Can is dedicated to teaching the basics of audio and acoustics.
For more information, visit their website at http://www.synaudcon.com
or call 1-800-796-2831.
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