By Chuck McGregor • May 21, 2019 Image courtesy of Alexander Stein The Results Are Worth It Measure the distance between the system’s clip level line and the bottom of the shortest window using the left-hand scale. This result is 90 dB which is 18 dB better than the raw system gain structure in Figure 1. The “true” dynamic range, considering a 30 dB above the noise floor signal as the minimum, is now 60 dB. Also, the primary noise source is now the signal delay. This is the weak link, which agrees exactly with the published specifications for all the devices. It also should be apparent that more of the usable signal window within each device is being used. What a concept. In some cases, pads or gain will not have any effect on the overall usable signal range. For example, in Figure 3, the 3 dB of gain at the output of the signal delay could be omitted. The 18 dB pad for the amplifier input would become only 15 dB, and the top of the limiter window would end up 3 dB above the system clip level. The key here is that the bottom of its window is still well below the noisiest device (in this case the signal delay). You can use this reasoning to save yourself the hassle of making up small pads or small amounts of gain. If you omit one of these along the chain you MUST move all the devices preceding it up or down in your chart by the dB of gain or loss that you are omitting. Otherwise, you will not see the effects of the omission on the noise floor. Background Noise Now that you have set up proper system gain structure on paper, it is time to hook-up the system and do the same thing for real. Once completed, audibly evaluate the noise floor heard from the speakers. If all is quiet, pack up and go home. If the noise floor is too high, there are two possibilities: A. The maximum sound level is higher than necessary, which means you over-designed the maximum capability for the system. If this is the case, turn down the amplifier input attenuator. You will lower the noise, and the maximum output level for the system will be reduced by the amount you decide is over-kill. B. The maximum sound level you can get out of the system IS necessary, which means your system does not have enough usable signal range. You now have three choices; the first two are compromises. 1) Accept the noise and achieve the maximum sound level you need. 2) Turn the amplifier input down to make the noise acceptable. This will, of course, reduce the maximum output level capability for the system. (Sorry, you can’t have it both ways unless you pick choice 3.) 3) Change the primary noise source in the system to something with lower noise performance. Doing Your Own Analysis A similar chart for setting up proper system gain can be created for any system. Using graph paper, make a vertical absolute dB scale from about +30 dB to -120 dB so you can plot increments for 3 dB or less. The relative dB scale simply uses the same graph increments for plotting and measuring distances in dB. You could also follow this procedure by using some simple math. If you don’t trust your addition and subtraction, or would rather work with pictures (they are more dramatic and will quickly show errors in your thinking) cut out rectangular paper bars (windows) like those shown in the figures. The length of each should equal the distance in dB between the device clip level and its noise floor. Be sure to convert noise figures to noise below maximum output. Write in the clip level for each device on its window. Using these numbers and the absolute dB scale, position the top of each window on the graph paper in signal flow order from left to right. Move these “paper cut-outs” up and down on the chart as outlined above, by measuring the distances using the relative dB scale. You can very quickly determine the necessary pads and gains—probably faster than with a calculator. A way to check your work is take the maximum output for the first device and subtract the dB for the all the pads and the gain to that number, including the pad before the amplifier. The result should equal the maximum input sensitivity for the amplifier. This calculation should give math mavens an interesting insight into the gain structure process. Read the rest of this post 1 2 3 4 5 6 7 8 9 Comments Have something to say about this PSW content? Leave a comment! Cancel reply Scroll past the ”Post Comment” button below to view any existing comments. Your email address will not be published. Required fields are marked *Comment Name * Email * Website This site uses Akismet to reduce spam. Learn how your comment data is processed. Tagged with: Audio Basics Best Practices Chuck Mcgregor Gain gain structure Loudspeakers Sound Reinforcement · all topics Subscribe to Live Sound International Subscribe to Live Sound International magazine. Stay up-to-date, get the latest pro audio news, products and resources each month with Live Sound.