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Friday, April 27, 2012

Size Matters: Observations On Loudspeaker Directivity

Physics hasn’t changed.... When it comes to pattern control, size still matters!

Trap boxes and line arrays get all the attention. And that’s no surprise - they’re big and loud, and dare I say it, glamorous.

But the truck rarely rolls without a complement of two-way loudspeakers sporting a 12-inch or 15-inch woofer and a horn.

Whether its monitor wedges, drum fill, front fill or just “speakers on sticks,” small 2-way boxes do many of the everyday jobs that make up a typical sound reinforcement day.

We take the performance of these boxes for granted, but they can be used to better effect if we really understand their directivity characteristics and what makes them perform the way they do. They’re often described as a 90 by 60 box or some other dubious reference.

But 90 degrees by 60 degrees at what frequency? Certainly not from DC to light.

There are four principle ingredients that govern the dispersion pattern of these loudspeakers, including the cone driver, horn, crossover and cabinet.

Let’s look at these one at a time and assess their contributions. Before we go through our list, though, let’s review some basics.

The amount of directivity any device can exert on a sound wave is directly related to the proportional sizes of the device and the sound wave.

To understand this relationship it is important to have a good grasp of how big or small a sine wave is at a given frequency.

Sound at sea level at 72 degrees Fahrenheit travels at approximately 1,130 feet per second. We express frequency or cycles (sine waves) per second as Hertz.

So if the frequency of a wave is 1 Hz, the wave is 1,130 feet long. Logically, a 10 Hz wave is 113 feet long, a 100 Hz wave is 11.3 feet long, and a 1,000 Hz wave is 1.13 feet long, etc.

While it’s not overly difficult to do the math to determine the wavelength of any given frequency, there is an old “cheat” called the rule of 5-2-1:

20 Hz = 50 feet
50 Hz = 20 feet
100 Hz = 10 feet
200 Hz = 5 feet
500 Hz = 2 feet
1,000 Hz = 1 foot
2,000 Hz = .5 foot
5,000 Hz = .2 foot
10,000 Hz = .1 foot

While not perfectly accurate, it fills the bill for “quick and dirty” calculations. Physics dictates that a source be physically large in comparison to a wavelength to exert directional control over it.

So let’s look at the low frequency directivity of a 12-inch driver in a 2-way loudspeaker with a 90-degree by 60-degree horn.

Matter Of Control
Remember that the low frequency driver’s only means of controlling the dispersion of the sound wave in a front-loaded loudspeaker are its cone diameter, and to a lesser extent, some boundary effects (we’ll discuss that later).

At 100 Hz, the driver is physically small in comparison to the 10-foot wavelength and provides almost no directivity (Figure 1).

If we increase the frequency gradually, the 12-inch driver does not suddenly exert pattern control over the sound wave when it reaches 1,000 Hz (1 foot), and is the same size as the driver itself.

Rather, it has more and more effect as the frequency gets higher and the wavelengths get shorter. (Figures 2 & 3)

In this frequency range (800 Hz as shown in Figure 3), the cone driver is actually providing approximately 90-degree horizontal dispersion.

But also realize that since this pattern is conical (the driver is round), it is not producing the specified 60-degree vertical pattern.

As the frequency increases the driver exerts more and more control until it begins to “beam” at higher frequencies.

But by the time it narrows that much, it’s above the crossover frequency.

This particular loudspeaker crosses over about a half-octave above the balloon in Figure 3.

This has an overriding effect on the polar behavior of the box, especially in the vertical domain, so we will discuss the range from 1,000 Hz to 1,500 Hz when we discuss the crossover. Now, on to the horn.

Dominate The Wavelength
There are multiple elements in a horn’s design that contribute to its ability to achieve pattern control at a given frequency.

Some of them are throat geometry, length and flare rate.

But the most obvious factor is the size of the horn mouth. The same rules apply here as to the cone driver. Size matters.

The horn mouth must be large enough to dominate the wavelength in question in order to provide complete directivity at that frequency.

So if a horn mouth is 6 inches wide by 3 inches tall it will be somewhat omnidirectional at 1,000 Hz.

It will not dominate the sound wave until the frequency reaches about 2,000 Hz in the horizontal plane and 3,000 Hz in the vertical plane.

It may provide a 90-degree by 60-degree pattern above 3,000 Hz, but almost certainly not at lower frequencies.

Cone drivers and horns by themselves are fairly predictable devices. But combining the two in close physical proximity can be quite challenging.

The first problem is physical offset. In a typical 2-way box, the devices are located one above the other ,and may also be at different depths.

Even if we use delay to correct the time alignment between the drivers on axis, any other vertical angle will skew the time arrivals from the horn and the cone driver.

Because the bandpasses and vertical dispersion patterns of the drivers necessarily overlap in the crossover region it is probable that at any vertical angle that is off axis we will be hearing contributions from both drivers out of phase.

This means there will be lobes and nulls. (Figures 4 & 5)

This particular box was crossed over at 1,350,Hz with a symmetrical Linkwitz-Riley 24 dB slope.

These lobes will vary in direction and intensity based on driver offset and pattern control, crossover slope, and overlap and alignment delay settings, but they will always occur in multiple driver boxes with physically separated sources.

If a cabinet is laid on its side we get the same phenomena in the horizontal plane. Floor wedges, anyone?

This is one reason there has been a resurgence in coaxial boxes.

Because there is no vertical offset between the sources, we only have to correct for the variation in depth between the acoustic origin of the cone and the horn driver, and that distance stays more constant with off-axis listening positions.

The trade-off is that many coaxial designs use the driver cone as the horn flare to guide the high frequencies, and while this may be fine for monitors or other near-field applications, more precise pattern control is often required for sound reinforcement duties.

Baffles, Boundaries
The final piece of the directivity puzzle is the cabinet itself and the boundary effect created by setting it on something. Fractional space loading is created when we decrease the space that a device is radiating into.

As we saw in Figure 1, low frequencies are omnidirectional, so when we set a loudspeaker on the floor, we effectively halve its radiating space at low frequencies. This produces an additional 3 dB of output (double the power) in the hemisphere that it is still exciting.

If the baffle on the cabinet is physically large enough versus a given frequency, it can act as a boundary to create half space loading. This is what is sometimes called “baffle step.”

In modern cabinets, the baffle is rarely much larger than the driver that is mounted in it, because generally, priority is given to things like weight, truck pack, handle location, flying hardware, arrayability and profile.

Technology has gone a long way towards providing a ton of output and fidelity from small packages. But physics hasn’t changed. When it comes to pattern control, size still matters!

Bruce Main has been a systems engineer and front of house mixer for more than 30 years, and has also built, owned and operated recording studios and designed and installed sound systems.

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Thursday, April 26, 2012

Meyer Sound MINA Injects New Energy Into Denmark’s Second Oldest Theatre

With roots that date back to 1796, the historic Odense Theater in Denmark has recently upgraded to a Meyer Sound surround system based on the MINA line array and miniature MM-4XP loudspeakers. With its new sonic capabilities, Odense looks forward to broadening its programming and clientele.

The theatre principals had long awaited the opportunity to present plays and other programs with the added dimension of an enveloping audio experience.

“For a long time, the sound department at Odense Teater wanted to upgrade with a surround installation,” says Bent Lohmann, Odense Teater producer. “In autumn 2011, every ounce of energy was put into establishing the new sound facilities in time for the Christmas show last year.”

Kastrup, Denmark-based integrator Stouenborg was contracted to install the Meyer Sound system with the goal of creating a flexible system that would deliver a coherent and sonorous sonic landscape.

Usingthe MAPP Online Pro acoustical prediction program for predicting coverage pattern, frequency and impulse response, and maximum SPL output, Stouenborg Project Manager Anders Jørgensen created six zones on each of the theatre’s three levels: the parquet, the first balcony, and the second balcony. Thirty-eight miniature MM-4XP self-powered loudspeakers add to a center cluster with five MINA line array loudspeakers and three USW-1P subwoofers. Two 48 V, DC-powered UP-4XP loudspeakers provide delay at the sound gallery, retracted under the balcony.

The system also includes the theatre’s existing Meyer Sound products, including two USW-1P subwoofers, four UPJ-1P VariO loudspeakers, and nine legacy MPS-355 reinforcement loudspeakers: five as front fills and four for balcony fills.

With the technology upgrade, Rudi Senf, who serves as sound designer at Odense, is keen to attract younger audiences by breaking down the traditional “fourth wall” and transcending the gap between performer and spectator. He is pleased with the outcome. “The expectations were very much honored,” he says. “It is a good-sounding system that is almost invisible.”

With an extremely tight schedule to complete the project in time for the first Christmas performance, Stouenborg had to work around both evening performances and daytime rehearsals. This goal was accomplished according to plan, and the Christmas shows drew positive reviews. “Sound designer Thomas Bolvig must be praised for his surround sound that races ’round the audience,” wrote regional newspaper Fyens Stiftstidende. “It is a blast!”

Meyer Sound

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Eristoff Invasion 2012 Pulsates With D.A.S. Audio

In early March at Amanora Park Town, the second installment of this year’s Eristoff Invasion Festival took place with one the world’s foremost music makers, DJ David Guetta, as the show’s headlining act.

Guetta’s pulsating sounds projected over the audience from an impressive sound reinforcement system comprised of D.A.S. Audio Aero and Aero Series 2 line arrays.

Sound & Light Professionals (SNL Pro) of Mumbai, a major provider of sound reinforcement systems, was contracted to provide the sound system for the event. After consulting with festival organizers Only Much Louder, in partnership with UKNY Music (a leading UK-based music and events company), the decision was made to deploy D.A.S. Audio Aero 50 large format, 3-way line array loudspeakers, Aero 218 Sub enclosures, along with Aero 12A powered, 2-way, mid-high line array elements.

D.A.S. Audio Systems Engineer, Ron Koh, served as a consultant on the project and helped coordinate the logistics of the sound system along with the core crew of SNL Pro. Ultimately, the setup for the house mains consisted of 24 Aero 50 enclosures—flown 12 elements per cluster for the left/right sides. Twelve Lab Gruppen PLM-10000Q power amps— operating at 4 ohms per channel, with two Aero 50 enclosures per amplifier—drove the loudspeakers.

An additional three D.A.S. Audio Aero 12A powered line array elements were ground stacked up front. These loudspeakers served in a front fill capacity to ensure audience members up close to the stage received proper coverage.

Low frequency support was provided by a whopping 28 Aero 218 Sub enclosures. These high performance subwoofers employ a front-loaded, bass-reflex configuration that houses two 18-inch low frequency transducers. These sub bass enclosures were ground stacked—14 cabinets per side. The subwoofers were driven by seven Lab Gruppen PLM-10000Q power amps.

In addition to the primary sound system setup, an additional 12 Aero 50 line array elements were configured as a delay system. Six Aero 50 loudspeakers were placed for both the left and right delay clusters. As with the Aero 50’s used for the house mains, Lab Gruppen PLM-10000Q power amps—operating at 4 ohms per channel, 2 Aero-50 enclosures per amplifier—provided plenty of drive.

Hassane Es Siahi, an audio engineer with Adlib Sound, Light, and Visual Solutions of Liverpool, England, served as the FOH system operator for David Guetta. Manning a Digidesign Venue SC48 mixing console, Siahi reports that the system performed wonderfully and provided excellent coverage throughout the 80 meter length of the audience area. The sound pressure level at FOH (35 meters from the stage) was reported at 108 dB(A) Peak. “This is the best D.A.S. System I have heard and you can quote me on that,” Siahi said.

Reflecting on the performance of the sound system, Kamesh Patel, system engineer at SNL Pro, offered these parting thoughts, “We received countless compliments on the sound system’s performance. In addition to many positive comments from audience members, the show’s organizers were equally pleased. The D.A.S. Audio loudspeaker setup performed flawlessly and provided clear, consistent coverage throughout the entire audience area.” Manish Mavani, Director of SNL Pro, expressed the success of this event for his company, “We couldn’t be happier with the results, as we have already been booked for a few more upcoming electronics dance music festivals such as the 3-day Sunburn Summer Festival in Mumbai.”

D.A.S. Audio

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Wednesday, April 25, 2012

Stanco Productions Covers Motivation Summit With Martin Audio

The recent National Achiever’s Congress meeting brought together entrepreneur/billionaire Donald Trump, peak performance coach Tony Robbins, best-selling authors Robert Kiyosaki (“Rich Dad, Poor Dad”), Harv Eker (“Secrets of the Millionaire Mind”) and a number of other motivational speakers to San Jose’s McEnery Convention Center.

Audio production and staging for the unique event was handled by Stanco Productions of St. Louis, with technical director Sam Wehrmeyer heading up a crew that included A1 and system designer Justin Slazas, system tech and A2 Brad Galvin, and A2 Matt Nichols.

Stanco chose to utilize 32 Martin Audio  W8LCs, 12 W8LM and four W8LMD downfill cabinets based on a design using Martin Audio Display modeling software. In addition to XTA226 processing, Stanco opted for Yamaha M7CL consoles and Crown Audio amplification.

“For this kind of event, Martin’s smooth, even coverage allows us to get the gain we need out of lavs and podium mics,” explains Wehrmeyer. “That, plus the enclosures’ high output and light weight is key when we’re rigging in convention centers.

“We had 8,000 people to cover with spoken word and not a lot of time to get it in,” he continues. “Not to mention that with Tony Robbins we need to get high SPL out of the rig too. Martin gave us the confidence to build it in Display, play with different options in the software, and know that it would be spot on when it was installed, period. That is why we call on Martin when we need perfection.”

Success Resources was responsible for organizing the event and hiring Stanco for the production. According to Wehrmeyer, “Owner Michael Burnett and events manager Rachel Bourke said ‘they turn to Stanco when they want it done right. It always sounds and looks so good and everything flows seamlessly.’ Based on the success of the San Jose event, the next NAC slated for the East coast in the second half of the year is already in the works.”

Martin Audio

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Tuesday, April 24, 2012

C.Vilar Puts Adamson’s Project Energia To The Test

Adamson Systems Engineering is proud to announce the addition of the first Energia Beta partner in Latin America. 

Bogota, Colombia based C.Vilar Amplificacion LTDA, has been a long time Adamson user, with one of the largest Adamson inventories in South America. 

C.Vilar provides production for high profile shows, tours, festivals and installations.  Recent Colombian productions with C.Vilar at the helm include FIFA, Coldplay, US President Barack Obama’s recent visit, The Cartagena Classic Music Festival, Rock al Parque and The Bicentennial Celebrations of Colombia in Bogota.

With a series of ‘new generation’ line arrays to choose from C.Vilar had do their homework. 

Sound Designer Leonardo Vilar comments: “Energia’s global network is growing rapidly and it’s exciting to be a part of the vision from the beginning.  Energia is without question the world’s leading concept as far as innovation and interactivity is concerned. 

“Many of Adamson’s competitors have launched products with small incremental improvements in their driver technology, but no one has a package quite as revolutionary as the short and long term vision of Project Energia.”

C.Vilar also stocks Adamson Y18, Y10, T21, SpekTrix, Metrix, SX18 and M series.

Adamson

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Monday, April 23, 2012

AED Rent Consolidates L-Acoustics Inventory With Further Investment

AED Rent in Belgium has boosted its L-Acoustics inventory with the purchase of a substantial amount of new components. The company has added 96 KARA modular WST line source cabinets, 66 of the new ARCSII constant curvature WST line source cabinets, 50 SB28 subwoofers and 36 LA-RAK touring racks to their professional AV rental stock.

AED Rent account manager Koen Conaerts cites a number of different reasons for the investment, including this year’s large-scale sporting events such as the 2012 Olympics and UEFA Euro 2012 football championship and, in general, to support their AV clients through a busy summer.

“This year is a special one, and there are a lot of L-Acoustics users that need more equipment,” says Conaerts. “We can now provide them with that extra equipment. We specifically bought the LA-RAKs as we’re updating our stock to the K-Standard; with a huge stock like ours it takes some years to arrive at that point, and now we are almost there.”

Adds L-Acoustics sales manager Tim McCall, “Such substantial and ongoing investment in L-Acoustics systems underlines the very close and successful relationship that AED andL-Acoustics enjoy. AED was very quick to pick up on the benefits of the standard LA-RAK infrastructure for its business model, as well as to see the excellent technical and business reasons for investing in our newer systems such as KARA and ARCSII. We know that AED will be very busy this summer supporting their customers across Europe and we wish them all possible success in this unique year and many more to come.”

L-Acoustics

 

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Wednesday, April 18, 2012

EAW KF740 Line Arrays Deliver The ACM Experience At The Mandalay Bay Resort

For several days leading up to the 47th annual Academy of Country Music (ACM) Awards on April 1 at the MGM Grand in Las Vegas, the city was host to dozens of other events held in conjunction with the awards.

Outside the Mandalay Bay resort, thousands of eager country fans (up to 10,000 at any given time) gathered on Friday, March 30, up through the start of the awards on Sunday, to witness “The ACM Experience,” a stage of performances and other special events.

Outfitting this stage was Vegas-based H.A.S. Productions, an independently-owned and -operated full-service production company. For the gig, H.A.S. provided a system including EAW KF740 line arrays and SB2001 large-format subwoofers.

Over the event’s three days, talent gracing the stage included J.T. Hodges, Craig Morgan, Eli Young Band, ACM Duo of the Year winners Thompson Square, John Rich and Steel Magnolia.

The system for the event consisted of 24 KF740s and 12 SB2001s, powered by Powersoft K20, K10 and K6 power amplifiers. Front fill was augmented by two EAW KF200NT small-format array loudspeakers, with processing handled by an EAW UX8800 digital processor connected to the proprietary U-Net network, allowing for very simple system configuration with other U-Net enabled products.

The KF740/SB2001 rig is a relatively new acquisition for H.A.S. Productions, and it has already been put to great use elsewhere besides the ACM Experiences; recent jobs include concerts for Dwight Yoakam and Big & Rich, as well as the National Finals Rodeo at Las Vegas’ Cox Pavilion.

Company principal Larry Hall states, “Once we heard the KF740 system, we realized that it was the perfect rig to go along with our business model. We took initial delivery in November 2011 of 24 KF740 and 12 SB2001s, and we’re planning to augment that with an additional 16 KF740’s and eight SB2001 subs in the near future. As soon as we made the move to EAW, we began liquidating our other inventory to become primarily an EAW house.”

“It (KF740) provides the sound of a full-size P.A. with the physical dimensions of a mid-sized system,” he continues. “The fact that we can put an arena system on a 24-foot truck and still meet weight at a weigh station was a pretty big deal for us. 

“At 105 pounds per module, the KF740 offers audio quality that surpasses anything else in its class. It’s convenient to rig, convenient to transport, and the bottom line is, it sounds incredibly stellar, with an amazing full-range punch. This is the system for us, and as we expand our inventory, we are excited about the prospect of using these modules for years to come.”

EAW

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Monday, April 16, 2012

Soundfield New L-Acoustics Network Rental Agent

Belgian rental company Soundfield has become the latest L-Acoustics Rental Network Agent, having placed a substantial initial order from ASC Audio, the local distributor in Belgium.

Soundfield now boasts an inventory of 24 KARA, 24 x KIVA and 24 x KUDO WSTline source cabinets; 14 x SB18 and 24 x SB28 subwoofers; 12 x 115XT HiQ active monitors; 12 x 12XT coaxials; 6 x LA4 amplified controllers and 36 x LA8A controllers in LA-RAKs.

The company runs an installation arm, Sotesa, alongside its rental business, specializing in theatres and concert halls. Sotesa was increasingly working with L-Acoustics products for its fixed installation work, so the move to become a Rental Network Agent was a logical one.

To introduce their new equipment to the Belgium market, Soundfield organised a two-day open house event at the Brussels Event Brewery, with separate rooms to showcase the different KIVA, KARA and KUDO WST systems they now have in stock.

“We are very happy to welcome such a professional and high quality rental company to the L-ACOUSTICS family,” says L-Acoustics sales manager Tim McCall. “Soundfield’s decision to invest so heavily in L-Acoustics systems indicates the strength of our product range and what we offer to the rental market. I am sure that the combination of Soundfield’s skills and enthusiasm with L-Acoustics technology will prove a great success.”

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Thursday, April 12, 2012

QSC KLA Active Line Arrays Deployed At German Technical College

The Fachhochschule (technical college or University of Applied Sciences in English) in Münster, Germany has installed KLA Series fixed arcuate active line arrays loudspeaker system to deliver sound reinforcement at Audimax Hall, one of the school’s largest largest lecture theatres.

Located in the nearby town of Steinfurt, Audimax Hall, with a capacity of 200, has pitched rows of seating, rising towards the back of the chamber in classic lecture theatre fashion. It presents an acoustic challenge to any PA system, as does the vast size of the room.

The new system serving the room consists of six KLA12 full-range elements, arranged as two columns of three on either side of the presentation area, facing the students and at a height of about five meters (approx 15 feet) off the ground.

The arrays, with 90-degree horizontal dispersion, deliver uniformly comprehensible audio quality to all seating sections. Intrinsic Correction, a proprietary DSP audio correction process, further bolsters intelligibility.

With a frequency range of 44 Hz to 20 kHz, the KLA12 is designed to be used for musical events as well as those featuring only the spoken word. Patented QSC DEEP (Digital Extension and Excursion Processing) can also be engaged, enhancing the lowest frequencies and making for a more powerful bass signature without a subwoofer.

Heinz Schlattmann, head of the IT department, notes: “The acoustics in the Audimax have improved by a considerable margin; the former electro-acoustic speakers here were already over 20 years old and no longer really fit for purpose. The Professors here — and their listening public, the students — are all very excited about the new QSC PA system.”

QSC Audio

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Wednesday, April 11, 2012

Predicting Array Performance: Hanging The PA Right The First Time

Taking the guesswork out of seeing where your sound is going

Back in the good old days predicting the performance of a group of loudspeakers was a hit and miss proposition. We tried to hit all the people and miss the walls. We were happy if we had enough devices to point a transducer everywhere that needed coverage and enough power to make it good and loud.

Complex interactions between devices operating in the same bandwidth, fine level adjustments for individual devices and precise flying angles were the least of our worries. And even if we were worried about such things, we didn’t have the tools to deal with them.

Then came the digital revolution. With the advent of abundant computer horsepower, remote amplifier control and DSP, our capacity to exercise control over sound system parameters took quantum leaps. At the same time, improvements in test equipment allowed manufacturers to give us meaningful data on the performance of the loudspeakers we were driving.

This data combined with the processing power of the modern personal computer made it possible to actually (GASP!) predict the performance of an array before it was hung. Mark IV Audio (read: Electro-Voice, Klark Teknik, Midas and Altec Lansing) was one of the first companies to bring some of these tools to the masses—the AcoustaCADD program was an early example of sound system modeling software.

They also developed a program called Hang Ten to help Electro-Voice MT-4 owners figure out where to attach flying straps to get the boxes to array properly. And anyone who has herked MT-4s around knows that experimenting with different configurations in the real world just wasn’t that much fun.

Later EV produced a program called ArrayShow, which was extremely useful for demonstrating the summing and cancellation between adjacent cabinets hung or stacked in close proximity.

Bose also had its Modeler software. But these products were manufacturer specific, which limited their usefulness.

The next breakthrough came with the introduction of EASE. Although EASE has a distribution agreement with Renkus-Heinz, its loudspeaker database is an unrestricted club. Anyone can join by testing their loudspeakers in a specific manner and submitting the data in the proper form.

Almost all of the reputable manufacturers have basic cabinet data available on their web sites and product CDs. This allows the system designer to pick and choose different cabinets for different applications, mix manufacturers or even, in the case of some of the big dogs, generate EASE data for their proprietary boxes.

We can use this data to predict coverage and SPL levels in a room, set delay times and volume levels of specific cabinets and even to model complex interactions between devices. EASE also does acoustical predictions including reverb time and intelligibility estimates.

For the audio consultant who has time to painstakingly draw a room and insert all of the appropriate wall and ceiling treatments, this is a great tool. But does this really apply to the touring community?

The line array craze has managed to drag some of us kicking and screaming into the world of predictive software. Line arrays only behave like line arrays are supposed to behave when the cabinets interact properly. The “hang and bang” approach leads to extremely uneven results in the real world. So, almost all of the manufacturers fielding these products have created some software to assist their users.

These are not true modeling packages because, with a few exceptions, they only help you determine vertical splay angles needed to cover angled floors, balconies and the like. The horizontal coverage of most line arrays is a fixed quantity. And level prediction with a line array is frequency dependent in the far field.

The point at which we go from the vaunted 3 dB loss per doubling of distance to typical inverse square law behavior (6 dB loss per doubling of distance) changes with frequency, making broadband SPL predictions difficult. But for most of us using traditional cabinets in traditional clusters, there are some very useful tools out there for making sure we hang what we need to hang and point it where it needs to point.

A program I have employed with success is LARA from Integral Acoustics. It uses EASE data, so most commercially made boxes can be imported. It has a convenient library of pre-constructed rooms that correspond to most of the typical venues we encounter.

They are easily modified to reflect the exact dimensions of a particular space. Defining acoustical treatments is not necessary because LARA treats all surfaces as a perfect absorber. In other words, we are only modeling direct field coverage and not trying to predict how the sound system and the room will interact, so the time required to build a room is reduced to a minimum for the well-prepared house engineer many of the venues have floor plans available on the web.

For those that don’t, getting room dimensions can become part of advancing the show. But even if none of the information is available in advance, this program is so quick that a room can be modeled on site while the truck is being unloaded.

Once the room is built, there are a couple of ways to drop the sound system into the model. There is a library function where you can store all of the cabinet models you are carrying. The speaker locations are chosen by using simple X-Y-Z coordinates. You can build a cluster one cabinet at a time or use pre-designed blocks of speakers that you have defined as clusters.

If you build the array with individual boxes you can change the pitch, roll and azimuth of each box independently. If you build with clusters you must change parameters for the whole unit. Each box or cluster can also be adjusted for output volume and delay.

A chart is generated showing the exact location, height, tilt, volume and delay parameters for each box or cluster. This makes it a snap to put everything where and how it was modeled.

The program generates a color SPL map of the room at chosen frequencies. Audience surfaces can be chosen so that the model only shows coverage where the people are. Or we can look at all surfaces so that sound can be steered away from non-audience areas to minimize the system’s interaction with the room. Individual cabinets or clusters can be turned on or off to see what contribution to the overall coverage is being provided by them.

In addition to SPL maps, the program will provide complex summation maps. These show the constructive and destructive interference patterns that are produced by overlapping coverage patterns. This enables you to see comb filters and the lobing they produce.

These types of tools keep coming along to make our jobs more complicated in some ways but simpler in others. And if we can hang the PA right the first time, we can spend our day tuning, tweaking and sound checking. But the bottom line is better sounding shows with more even coverage through the whole venue.

And that’s what it’s all about, isn’t it? Besides, all this computer modeling will keep us out of the back room on the bus!

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VUE Audiotechnik Announces Multi-Year Development Partnership With Materion Electrofusion

Following its launch at the recent Prolight + Sound 2012 in Frankfurt, VUE Audiotechnik has announced a development partnership with Materion Electrofusion, the world-leading supplier of beryllium and other advanced materials for high-end acoustic applications.

VUE Audiotechnik and Materion are currently developing a family of compression drivers based around Materion’s Truextent acoustic beryllium.

Extremely stiff and lightweight, beryllium offers a unique combination of properties that dramatically reduce mechanical deformation (breakup), shifting the resonant frequencies inherent in more conventional materials outside the audible range.

VUE Audiotechnik’s unique application of beryllium will first appear in a family of 4-inch down to 1-inch HF transducers—- all specified to deliver significantly lower HF distortion at higher outputs than titanium or aluminum solutions available today. 

“Materion shares our commitment to expanding the boundaries of loudspeaker performance through the application of advanced technologies at all levels,” explains Ken Berger, CEO of VUE Audiotechnik. “Their Truextent beryllium is the result of significant research and development efforts to move beyond the limitations of more traditional materials. We’re extremely excited to deliver this technology and its unique performance advantages to VUE customers.”

VUE Audiotechnik’s proprietary beryllium-based compression drivers will be the “crown jewels” in a range of premier loudspeakers debuting as early as this spring. At the same time, Materion and VUE are also exploring future applications of beryllium, including its benefits beyond HF reproduction alone.

“We’ve been looking for a development partner to bring our technology to the sound reinforcement market worldwide with the right combination of fresh thinking, nimble manufacturing, and a global distribution network,” notes Steve Willenborg, Truextent product manager at Materion Electrofusion. “VUE Audiotechnik is the perfect partner to showcase Truextent acoustic beryllium through the development and deployment of a wide range of professional loudspeaker systems that greatly exceed current performance benchmarks.”

Go here for more about beryllium for high performance acoustic design and upcoming beryllium-based products from VUE Audiotechnik.

VUE Audiotechnik
Materion Electrofusion

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Tuesday, April 10, 2012

EAW Launches Red Certification Training

EAW has announced the launch of the Red Certification training program in support of the company’s new Powercube power and processing modules.

EAW will award the Red Certification status after completion of a two-day seminar conducted at the customer’s location.

“Powercubes deliver tremendous capabilities to owners of EAW mobile production line array systems,” states EAW president Jeff Rocha. “Red Certification ensures that Powercube owners get the most out of these exciting, new products.”

The Red Certification training seminar was designed by EAW technical training manager Bernie Broderick, a long-time mobile production and concert touring veteran as well as an experienced instructor.

Broderick will deliver the training seminars in North America and will work with the company’s world-wide Application Support Group (ASG) members to deliver the seminars globally.

“EAW’s line array technology is far too advanced for users to just hang a bunch of modules and hope they sound good,” Broderick says. “After completing the Red Certification training, EAW line array owners will fully understand the suite of tools that EAW provides, and they’ll know how these tools work together to deliver consistent results from venue to venue.”

The Red Certification training seminar consists of several sections, including:
•        Point source physics
•        Array design fundamentals
•        Line array physics
•        EAW Resolution array design and modeling software
•        EAW Greybox settings
•        Hands-on array rigging

According to Broderick, the training seminars build toward a complete understanding of EAW’s approach to line array design, control and execution. By carefully integrating modeling software, rigging hardware and digital signal processing, users can build arrays for a range of venues and enjoy consistent results from various designs.

“Once users understand that the ‘basics’ of line array physics are incredibly complicated,” Broderick notes, “they’ll appreciate the crucial role that EAW Resolution plays in designing arrays for a given venue. As soon as they start to rely on Resolution, they’ll understand why Greybox settings are the best way to get the performance they need. If they can build the array with the correct angles between the modules and apply the correct Greybox settings, they should get the results that Resolution predicts. It’s just that simple.”

EAW

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Monday, April 09, 2012

Inside D.A.S. Audio: A Dynamic Vision Comes To Life

From a fledgling enterprise to global pro audio company

The D.A.S. Audio journey began more than 40 years ago, when a new enterprise named “Dynamic and Sound” was created by Juan Alberola in Valencia, Spain in 1971.

Alberola, with a serious passion for audio, began designing and manufacturing his own loudspeakers and components, initially for studio monitoring and home listening, and all built in-house.

Just a few years later, that focus also included producing larger loudspeakers for Spain’s thriving dance club, fueled by the country’s reputation as a European tourist hotspot. By 1979, D.A.S. Audio had earned a reputation for quality and was an audio manufacturer to be reckoned with, employing a workforce of more than 60 and presenting its loudspeakers for the first time at Prolight + Sound / Musikmesse in Frankfurt.

The 1980s saw the company gain a solid network of national and international distributors, as Spain’s music revolution – “La Movida” (The Movement) – led to a live music explosion, with pop, rock and punk gaining popularity across the country. The company developed products to meet the demands of the live sector, further growth which prompted the building of a new manufacturing facility in 1986 in Spain’s largest industrial park, Fuente del Jarro.

Through the 1990s, D.A.S secured its position as the leading Spanish manufacturer of sound reinforcement equipment with the launch of the Biflex 8, which incorporated an enclosure made from high-density structural polymers. This in turn led to the development of a complete line of small- to-medium-sized loudspeakers for an array of live and installed applications, with the DS-15 becoming the first injection-molded 15-inch loudspeaker system to be manufactured in Europe.

Moving On Up

In 1996, the company established a subsidiary in the U.S. known as D.A.S. Audio of America, and to this day. is one of the only European sound reinforcement manufacturers with a presence of such duration in North America.

The operation also expanded its manufacturing capacity, purchasing an adjacent warehouse that was duly converted into a three-story building and connected to the existing factory. This facility remains productive today, serving as the site where they company’s electronic and MI product lines are manufactured.

About 10 years ago, the company grew again, adding another adjacent building to its factory complex. Today, it houses the woodworking and painting departments, cinema systems manufacturing, and the theater/demo room that is cordially referred to as Apollo. It is also used for storing the plethora of wood cabinets created in woodworking.

A deep-rooted D.A.S philosophy has two primary tenants: export and growth. It’s something the company is particularly proud of, and stems back to the founder’s initial vision.

“From the beginning, it was clear that Spain was a small market, so export was always going to be of paramount importance; and the second part of Juan (Alberola’s) vision was to have solid growth over a long period of time as opposed to a rapid uncontrolled expansion,” explains Robert Giner, D.A.S. director of marketing. “A lot of importance is placed on manufacturing products here in Spain rather than outsourcing. This keeps our people employed, and learning how to build better systems.

“If this is sustainable in the future depends on numerous factors, some of them controllable, others that are not. I am sure the company will be smart enough to continue offering value and quality.”

Team & Technology

Strict Spanish laws require that factories keep operations as “green” as possible, and D.A.S. is no exception. All electronics, cardboard, wood and metal have to be disposed of properly, and the company has numerous contracts with a variety of firms that help take care of its recycling responsibilities.

“Wood suppliers that provide plywood operate under sustainable forestry principles, which manage their forest resources to meet the needs we have today without interfering with the needs of future generations,” Giner notes. “In the same way, all of our plastic is recycled via the companies which provide us with the plastic parts.”

All product design is handled in-house by several engineering departments. Once the initial product concept is complete, projects are handed over to director of engineering Javier Navarro, whose team manages the process of bringing each product to life.

Power amplifiers, horns, cone and compression drivers – you name it – are all developed onsite, with liberal doses of rapid prototyping, rapid prototype machining, finite element simulations, acoustic modeling, and engineering programs aiding the process.

Complete units assembled in prototype form are rigorously tested, analyzed and tweaked. After that, they’re subject to intense beta testing and pre-production runs within their respective fields, until D.A.S is finally in a position to order definitive parts from its key suppliers.

“The majority of suppliers are our own departments: electronics, which builds the amps; woodworking, which makes the cabinets; the metal shop, which provides CNC produced parts; and the loudspeaker section, which has to build the specific components and drivers,” Giner says.

“Others, like wiring harnesses, aluminum and plastic injection, laser cutting, stamping and other precision metalwork, are ordered from outside suppliers,” he continues. “Parts are slated to arrive at specific dates in order to plan a production schedule, and from there, we start a slow production run, which is gradually ramped up to full-on production.”

New Opportunities

Currently, the live market is shrinking in Spain, which is presenting some challenges. However, that’s countered by a demand for installation products that’s sufficient enough to keep the business ticking
nicely. On a more positive note, the manufacturer’s Aero Series of line array systems has proven to be particularly popular both for events and major concerts. At last count, Giner says, there are more than 20,000 Aero boxes in use worldwide.

“The Aero 12A and Aero 50, which is the ‘big guy,’ have both been used extensively at numerous big events around the world,” Giner says. “In areas like North and South America as well as Asia, these systems are in use regularly in large live events. Recent examples include concerts with David Guetta in Pune India, Joe Cocker in Argentina and Spain´s own Alejandro Sanz in New Orleans.

“But we’ve also seen growth in Europe: 40 units of our Aero 12As were very recently installed into the Buesa Arena in Vitoria (in Spain), and were also used at the Dortmund Supercross, a very cool event in Germany.”

Also in demand is the new Road Series of monitors and subwoofers, with Giner adding that the Action Series of compact systems, introduced in January at the 2012 Winter NAMM Show, are helping to pave the way to new opportunities. Especially considering that Spain is a small and notoriously difficult territory, the company’s continued growth is impressive.

The workforce has literally doubled since 1979, with the 120-strong team now operating within a high-tech 270,000-square-foot factory space that is incomparable to anything else “pro audio” within the country. The company also has sales offices in Miami and Singapore.

Although the economic forecast may be unpredictable, Giner remains positive about the future. “We have an amazing facility here; we build our own boxes, we set high standards, and we’ll continue to do so,” he concludes. “I’m hopeful that our philosophy will stand us in good stead for years to come.”

Paul Watson is the editor for Europe for ProSoundWeb and Live Sound International.

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Yes Events Expands RCF Inventory

When Yes Events Ltd purchased a major RCF Theatre & Touring (TT+) system nine months ago they were determined to standardize on RCF components from that point forward. Their recent purchase of eight-enclosure TTL33-A compact, 3-way active line array system and two additional TTS28-A subwoofers was a good start on that commitment.

In addition, they have invested in six TT25-SMA touring 15in stage monitors and RCF’s proprietary RDNet system software, to integrate with the TTL33-A.

According to Yes Events director, Tom Chennells, the underlying reason for the latest round of spending was to service Rock Choir’s infamous Flash Mob on Sunday, March 25th scheduled for more than 30 shopping malls simultaneously.

Rock Choir is the biggest contemporary choir in Britain. With a burgeoning repertoire of rock, pop and gospel music, a soloist turned up at each of the selected destinations, armed with a radio mic and backing tracks, to kick start the ‘choir’ of shoppers in each location.

As a preferred supplier Yes Events was contracted to handle sound reinforcement at many of the sites — all with RCF components. Their new TTL33-A line array was immediately shipped down to Bristol’s new Cabot Circus, operating two elements per side and showing all the benefits of their wide dispersion. Elsewhere, they fielded other RCF components, including their existing TT25-A active two-way monitors, compact ART 722-A active full range enclosure with ART 905-AS active 15in bass bins and the 4PRO series, with 4PRO 8003-AS active 18in sub.

“We are big fans of the Touring & Theatre range,” explains Chennells, who runs Yes Events with Nick Ratcliffe. “Although we did need more gear for the Rock Choir event coming up, we really purchased the new SMA stage monitors because we have won the contract to look after 25 outdoor community festivals this summer, generally featuring smaller acts and tribute bands.”

“Because the TTL33-A is compatible with the RDNet control and DSP input cards we can tailor how the system throws the sound — which is vital at sites where containment is an issue. This is a unique feature and one of the reasons why we chose the TTL33-A.”

As if that wasn’t enough Yes Events have also purchased their own stage roof, which allows them to provide one-stop shopping for regional sound productions. And as for the foreseeable future, Tom predicts, “We will continue to expand with RCF.”

RCF

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Graceful Performance: Developing A New System For The Boston Ballet

Seeking natural sounding amplification of acoustic ensembles as well as higher volume playback of pre-recorded material

Since its founding in 1963, the Boston Ballet has become one of the leading dance companies in the world, and in 2009, moved to its new performance home, the historic Boston Opera House, located in the heart of the city’s theatre district.

Now, the ballet is also benefitting from a new sound reinforcement system tailored to support its specific performance requirements.

Initially constructed as a tribute to vaudeville impresario Benjamin Franklin Keith and named the B.F Keith Theater, the 2,766-seat jewel first opened its doors in October of 1928, but like many venues of its type, went through various iterations before standing dormant for a long period.

Prior to re-opening in mid-2004 as the Boston Opera House, it underwent an extensive renovation and restoration, with great care was taken to retain the historic character and incredible natural acoustics of the venue when it first opened.

Although the room, with three primary levels (orchestra, mezzanine and balcony), is designed and constructed to provide optimal sound for the spoken word, ballet performances require subtle, “natural sounding” amplification of acoustic ensembles as well as higher volume playback of pre-recorded material.

Additionally, it was necessary for the system to be completely hidden from view so that it not detract in any way from the venue’s elegant décor or the audience experience.

GROUP EFFORT
Based upon a long-standing relationship with the ballet, Talamas Broadcast Equipment was approached about formulating the new system. Previously, the Newton, MA-based systems firm had provided support such as a Telex wireless intercom system and Sennheiser wireless system for use with the venue’s piano.

“The directive was that the system be completely non-intrusive. There are many things you can do to accomplish that, but we also wanted the best sounding result,” states Boston Ballet production manager Ben Phillips.

A previous experience with traditional line arrays hadn’t worked out well, prompting complaints about negative impact on the venue’s aesthetics. While it was feasible to conceal the line arrays, Phillips adds, it would have compromised sound quality substantially.

An intriguing potential solution was K-array loudspeaker arrays, which upon further investigation, could provide the desired sonic performance while also meeting the need of a low enough profile as to be almost invisible.

As the system design effort progressed, product specialists from Sennheiser USA, distributor of Italian-made K-array, teamed up to with Talamas, the ballet production staff, and front of house engineer Benjamin Young to fine-tune numerous details.

The final result of that effort includes three K-array KK100 vertical line arrays placed on each side of the proscenium arch to cover the orchestra level and first few rows of the balcony, and two KL18 subs below the left and right main arrays – all custom painted to blend into the décor. Two of the arrays are driven from each channel of a KA10 Class D power amplifier.

“KA10 and a KA40 amplifier drive the KK100s and the KL18s, but it’s an unusual power setup,” notes Talamas product specialist Nick Jabour. “Both are being powered at 120 volts; however, so that we could use a more standard style cable for the power run to the truss, we drive the self-powered loudspeakers at 230 volts.”

Additionally, there are four KH15 active loudspeakers in the air in two arrays of two, as well as two KS4 subs hung next to each other. Another flown KH15 is aimed straight down at the orchestra level to complete the stereo image. These components are hidden from view using acoustically transparent black scrim.

DIFFERENT TASKS

The other primary component in the system project is a Soundcraft Vi1 digital console for mixing the chorus and orchestra, with the live feed split so that each performance can be recorded for archival purposes.

In addition to the initial attractions of an intuitive layout and compact footprint, Jabour adds that the Vi1 was chosen due to “specific sets of features that are ideal for different mixing and archiving tasks. The way the EQ is set up and the ability to isolate pretty much anything is really useful. The board is highly customizable, and it can be customized very quickly.”

The Vi1 works in tandem with a Soundcraft Compact Stagebox (32 mic/16 out, Cat-5) and MADI link card. All DSP is handled using the console’s onboard capabilities.

“One of the major advantages of the console is the fact that the processor and control surface exist ‘live’ in the Vi1 and the ‘brain’ isn’t 150 feet away in a pit somewhere,” Jabour says. “This eliminated what could have otherwise been a huge concern – if the signal path was cut, there’d be no way of continuing without basically stopping the show. That is not an issue with the Vi1.”

Currently, the Ballet depends largely on six DPA 4006 microphones to fill a variety of roles, renting additional mics when necessary. Mic choice and placement depends on the instrumentation and the nature of the piece performed, as well as on how best to record the work for reference.

“We could be performing Swan Lake with a full orchestra in the pit, or, as we did for a recent performance, with only a string trio. Each ensemble needs to be miced in a different way. We also do pieces using original electronic compositions that require substantially more reinforcement,” Phillips says.

Overall, the reaction to the system has been exactly what everyone involved in the project hoped for, and, in fact, Talamas has also supplied road cases for the entire system for touring purposes. 

“It sounds amazingly good and people are thrilled with it,” Phillips says, adding that with the placement of the loudspeakers, as well as their custom finish and sonic transparency, many audience members aren’t even aware that they exist within the space.

Based in Toronto, Kevin Young is a freelance music and tech writer, professional musician and composer.

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