EASE Sound System Design Project Report Evaluation

Transcription

1 ECE Sound Reinforcement System Design TEAM 5 Spring 2015 EASE Sound System Design Project Report Evaluation TEAM 5 Group Members Time Spent* Initials Score** Ian Johnson 31.5 Michelle Ohumukini 32 Andrew Doyle 15 Joe Schoolcraft *documented in Activity Log Sheet for each team member, included as Appendix A **may be different for each team member, based on amount of effort proportionally invested CRITERION SCORE WGT. PTS. Engineering design process System design constraint analysis Design constraint satisfaction Component selection Technical content / creativity Writing style / professionalism TOTAL Instructor comments: 1

2 TABLE OF CONTENTS Abstract Engineering Design Process Design Constraint Analysis Design Constraint Satisfaction Equipment Selection Power Amplifier Requirements and Selection Signal Processing Requirements and Selection Mixing Console Requirements and Selection Microphone Requirements and Selection Rack Requirements and Design Cabling and Wiring Requirements Summary and Recommendations References 26 Appendix A: Activity Logs 27 Appendix B: Venue Illustrations 32 Appendix C: Loudspeaker Placement and EASE Simulation Results 35 Appendix D: Signal Path Wiring Diagram 39 Appendix E: Rack Design and Power Sequencing/Distribution 41 Appendix F: System Component List and Street Price Cost Estimate 43 Appendix G: Manufacturer Data Sheets 45 2

3 Abstract This report documents the design of a complete sound reinforcement system tailored for a generic, 5000-seat fan-shaped multi-purpose auditorium, with (approximately) 3500 seats on the main floor and 1500 seats on the first (and only) balcony. Room dimensions and configuration should be chosen based on the specified seating capacity. The primary system design constraints are as follows: minimum SPL of 105 db at back row of seating no more than 5 db variation in SPL over the entire seating space for the 500 Hz, 1 KHz, 2 KHz, 4 KHz, and 8 KHz frequency bands frequency response of 40 16,000 Hz 5 db %ALCONS no greater than 10% over entire seating space minimum 48-channel mixing console minimum of 4 separate monitor mixes (and corresponding monitor loudspeaker systems may choose an in-ear monitoring system as an alternative) support for a minimum of 20 compatible wireless microphone channels (include transmitters/receivers for at least 20 channels) good assortment of general-purpose wired and wireless microphone systems for speaking, individual vocalists, a variety of musical instruments, choral performances digital media recording/playback capability all equipment mounted in rack cabinet(s) budget of $500,000 3

4 ECE Sound Reinforcement System Design TEAM 5 Spring Engineering Design Process The first step in the design of the project was to establish the basic architectural characteristics of the venue. To begin with, we selected the basic Theatre model in EASE 4.3. This model was far too small for the needs of this project, so we utilized the Rescale feature to arrive at a room of sufficient size. The proscenium of our final room has a width of 67.4 feet and a height of feet. The overall theatre depth is 228 feet from the front to back wall, and the maximum width of the theatre is 297 feet. The maximum height of the venue is feet, resulting in a ceiling slope of The ceiling below the balcony had a height of feet and the balcony seating began at 67 feet. The rake of the seating was 6% and we assumed that each seat would be 2 feet wide by 3 feet deep for a total area of 6 square feet per seat. Using these values, we were able to fit 3,738 seats on the bottom floor and 2,353 seats on the balcony. An important consideration for any acoustic venue is the RT60 time. The two primary factors that contribute to this room is both size and the materials used on the surfaces. Our venue had a total volume of approximately 3 million cubic feet and a surface area of 167,336 square feet. One of the largest areas was our stage, which projects out from beyond the proscenium. It has a total area of 9,222 square feet, which is covered in a grid style flooring made out of hardwood. This was chosen to allow maximum versatility for the stage space and to permit easy repair or access to under-stage equipment and materials. The area under our seating was covered with a carpet layer, on top of padding, to increase absorption. The total area under the seats is 42,612 square feet. The back walls that are fanned are covered in Tectum 2C40 acoustic panels to reduce the likelihood of slap back to the stage. The total area of all the rear fanned walls is 10,880 square feet. The back walls that are 1

5 parallel to the front are covered with a special material that has an increased low frequency absorption to function in a manner similar to a bass trap as well as lowering the possibility of slap back reflections. The total parallel rear wall area is 4,538 square feet. The side walls were strategically covered in Tectum 2D20 panels to allow for beneficial reflections and reduce unwanted reverberation. The total area on the side walls is 40,840 square feet. Finally, the balcony faces were built using panels that are designed to absorb 90% of incoming sound across all frequencies, in an effort to reduce any reflections that might return to the stage. The final result of these treatments is the RT60 data as shown in Table 1 below. Table 1 Frequency RT

6 Once the venue architecture was set, we then moved on to the rest of the project requirements. We decided to utilize two large line arrays near the front wall as our main sources. To augment their performance and reduce variance across the venue, we would eventually add four delay speakers; two above the balcony and two below the balcony. In order to improve the low end response in the theatre, we decided to add subwoofers underneath the front of the stage. Front fill speakers were added to move the sonic image down to stage level. Over the course of the class, Ian and Michelle expressed a greater interest in this project because it is closely related to their future audio career plans. Ian took over primary EASE modeling duties, and was responsible for sizing the room, laying out seating, selecting wall treatments, and doing the later modeling analysis. Michelle used her extensive sound knowledge and previous live sound experience to select the speakers and the other components that went into the venue s final design. Having previously worked with power systems, Joe helped to ensure that all our systems would have the power to run and also used his experience from working at Shure to assist in the 3

7 selection of microphones. Andrew was invaluable to the team, providing insight and feedback in all areas of the project, as well as helping the group combine their work into one cohesive whole. 4

8 2.0 Design Constraint Analysis When tackling such a large project, many factors must be accounted for in the final design. Issues we considered include, but were not limited to, economic, architectural, electrical, mechanical, and long-term system viability. In a perfect world, money would be no object but unfortunately, in the real world budget often dictates action. We had to work with a fairly limited budget on this project but even still we came up with impressive results. As the project progressed, we pushed close to our ceiling, but we didn t have to make any concessions or cut any equipment due to budgetary constraints. The theatre is a complex mechanical and electrical system. To ensure safety, we used only balanced lines for our equipment and greatly reduced the number of lines needed by using digital systems, such as DANTE. By using these systems, we reduce the number of cables on stage which not only creates a safer environment, but increases the system s reliability. The DANTE protocol has a built in redundant backup which will ensure uninterrupted operation and signal flow. DANTE utilizes ethernet cables to connect the stage boxes to the mixing console and to connect the console to the amplifiers, and reduces the likelihood of interference from other signals or from the AC power systems. We worked to ensure all circuits are grounded and have included a three phase power distribution module to provide balanced and controlled power to all systems in the venue. Electrical safety issues are addressed with a ground line being at least eight feet into the ground with each respective area having their own power so as not to integrate systems. Antennas will be placed on the roof for lightning storms. The other main point of failure to consider is the speakers themselves, but given the strong coverage of the line array and the small probability that all of the array boxes fail at once, this is of low concern to us. 5

9 Safety is obviously a concern in any public space. Our line arrays are hung from one point each on a fly bar, which is a standard industry practice. The under and over balcony speakers are mounted by floating mounts attached to the ceiling beams. Each of these systems allow for adjustment without much effort while maintaining top of the line safety standards. The line arrays are far enough up in the air so they don t distract audience members from the performance. Additionally, the under and over balcony speakers were chosen to be small enough as to not impact line of sight to any audience members. Several of our racks will be located onstage to the sides of the proscenium. These will be positioned for easy access and are also wheeled so they can be moved to accommodate whatever may be using the theatre at any given time. Onstage we have an option for either a wireless in-ear system or 5 DB technologies speakers for monitors. The in-ear system allows for less noise generating from the stage and also less cabling. The transmitters will be next to the mixing console onstage so the monitor engineer will have be able to access it easily. If requested there is also an option for 5 stage monitors that are powered so they can easily be maneuvered to where they need to be. Or a combination of both can be used depending on the need or requirements of the show. The mixing console will be located in the house in the center of the room. It will be 100 feet from the stage so that the line array can be heard clearly throughout the space without as much interference with the sound from stage. It allows for a better mix because you are hearing what s coming from the speakers versus a combination of the stage and the speakers. 6

10 3.0 Design Constraint Satisfaction When selecting loudspeakers, we knew that our best choice for main speakers would be a standard J-array. Several manufacturers were investigated, but the group chose to use the JBL VerTec VTX series. These speakers were selected because they deliver performance at an affordable price, they come with an easy to use design and calibration system, and they offered simple integration with Crown model amplifiers. This system comes with a processing program that allows the mix engineer to control the wavefront and extends the long-range output even at high frequencies. We decided to use a left-right setup. The arrays are each 24 feet from the center of the stage (total separation distance of 48 feet) and hang 80 feet above the ground. They are turned 4 degrees outward from center. While this configuration does not place a speaker sending direct sound to the central audience area, the overlap of the two arrays actually causes the highest SPL levels in the central balcony area. The array we created uses 12 elements, with splay angles ranging from 0 to 10 degrees. The entire array is hung from a flybar and tilted downward at a 4 degree angle. The motors they will be hung from hold a one ton of weight and each side only weighs 1,500 lbs including speakers, the fly bar, and all cabling. The motor will be attached to a non weight bearing I beam in the ceiling that is secured to the walls. The only weight on these beams will be the line array with it s own beam for each. Each array having it s own secure I beam reduces the risk of the beam failing and increases safety. To supplement our main arrays, we used JBL PD5212/95A speakers for under and over balcony delayed support. These boxes were chosen due to their ability to provide the necessary SPL levels to satisfy the project constraints. They also have a relatively low profile so they don t interfere with patron line of sight. During mapping analysis, it was discovered that the corners of the balcony and under balcony were the areas of most concern with regards to SPL. To account for this, the delay 7

11 speakers are mounted between 140 and 170 feet back from the stage, and splayed outward 31 degrees and downward 22 degrees to aim at the areas of lowest SPL. Front fills were added at the front of the stage to bring the sonic image down, as the SPL in the front seats met project guidelines. Four subwoofers were placed in the front of the stage as well to improve the low end response of the room. Project constraints dictated that a there was a minimum SPL of 105 at the back row of seats. This was achieved at all frequencies below 8000 Hz, where the level at the back row was 101 db. The total SPL is shown in the following graph. Even standing alone, our line arrays were able to provide almost all this power. The greater problem came when attempting to minimize variance across the entire seating area. The goal was to have no more than 5 db of variance across the entire venue for the 500, 1000, 2000, 4000, and 8000 Hz frequency bands. We came very close to this but were unable to achieve it in all bands. Table 2 shows our variances within the bands of interest. 8

12 Table 2 Frequency Band Variance (db) While these are not ideal, there is no excessive variance across the bands. The final characteristic of interest is the ALCONS of the venue. As can be seen, the average value is just over 6%, which is very good. The maximum value was 10.11, which while being just outside project goals, is still within the recommended range given in the EASE manual (<12%). Below is the ALCONS distribution over our space. It can be clearly seen that some areas may not be quite covered by the delay speakers, but due to the ALCONS only exceeding the requirement by.11, it was decided to leave the speakers set up as is in order to not create more SPL variance. 9

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14 4.0 Equipment Selection 4.1 Power Amplifier Requirements and Selection The power amplifiers were selected to drive the speakers appropriately. In order to understand the reasoning behind the power amp selection one must first look at the specifications of the speakers. The main speaker arrays are comprised of a total of 24 JBL VTX V25s. The VTX V25s each have three drivers per speaker enclosure, so in order to analyze maximum wattage, sensitivity, and output, the lowest rating in each category of all the drivers will be used. The VTX V25s have a RMS power rating of 600W (1200W program), a sensitivity of 99dB 1W/1m, and a peak SPL output of 140.5dB. Each of the drivers have a nominal impedance of 8 ohms. To power the 24 VXT V25s, 6 4-channel Crown 3500HDs will be used. A single Crown 3500HD is capable of outputting 2100W per channel with an 8 ohm load which is more than enough power to handle even the 1200W peak max power rating of the VTX V25s. To achieve the 105dB SPL requirement at the back wall of the theater, fill speakers are not necessary, however to achieve an acceptable level variance fill speakers are needed to support the main line arrays. The front fill speakers are JBL AC25s which have a RMS power rating of 225W (450W program), a sensitivity of 91dB SPL 1W/1m, a peak output SPL of 115dB, and a nominal impedance of 16 ohms. The under balcony and over balcony speakers are JBL PD5212/95s which have a RMS power rating of 300W (150W program), a sensitivity of 109dB SPL 1W/1m, and a peak output SPL of 114dB. The nominal impedance of the speaker is 8 ohms. The subwoofers are JBL ASB6112s which have a RMS power rating of 700W (1400W program), a sensitivity of 96dB SPL 1W/1m, a peak output SPL of 126db, and a nominal impedance of 8 ohms. All of the abovementioned speakers will be powered by 12 Crown 12000s. A single Crown is capable of 11

15 outputting 2100W at a load of 8 ohms so again, the amps will have more than enough power to drive the speakers. Based on the table below, the approximate total power consumption for the stage is W and the approximate total power consumption at the FOH is 300W. A 3 phase distro will be utilized to distribute power to the stage devices. Also, power conditioners will be used to protect the amps, DSP, sound board, etc. Product Quantity Unit Power Requirement Total Power Location Crown 3500HD W 12,600W Stage Crown W 25,200W Stage Yamaha CL W 120W FOH Yamaha Rio3224-D 1 120W 120W Stage Yamaha SP W 30W FOH imac 1 150W 150W FOH Shure ULX-D4Q 24 50W 1200W Stage Furman Power Conditioner 6 12W 72W Stage Atlas ECS-6RM 1.8W.8W Stage LEX Spider Box 1 Stage 12

16 4.2 Signal Processing Requirements and Selection The signal begins with microphones but the heart of the system is the Yamaha CL5 mixing boards. The system that will be installed will have 64 input channels and 32 outputs. It also allows for 8 stereo channels with a variety of matrixes, auxes, and busses. Onstage we will also use a Yamaha CL5 where both will connect to the stage boxes through the Dante system. The cables used for this will be Cat 5 interfaced with a Netgear Switch. This allows the Dante system to integrate with each other while utilizing the ins/outs of each stage box. The 64 ins and 32 outs can be distributed on the stage with a network cable from different patch bays that are found on each side of the stage. Also, available is a variety of snakes and xlr cables to connect the microphones and/or instruments to the stage boxes. This allows for a clean stage and less cable being run for safety measures. The Monitor system will be onstage left for the acts requiring an onstage system. This system will run from the board to the Sennheiser 300 IEM with xlr cables and then from there the system is wireless. Also, an option for monitors are the DB Technologies stage monitors. They are powered speakers so both power and xlr is required for signal to be routed to the DB Technologies. Also, near the monitor system will be the wireless ULX-D system connected with a xlr snake to the stage box. One of the most important cabling systems is from the stage box to the amps and then to the line array. The xlr cables from the stage box run to the amps and then NL4 cables connect the amps to the line arrays. A set of three connect to an amp channel splitting the amps and boxes apart. Each side will also run the front fills where NL4 connections will be ran to the speakers. 2 subs will be on each side also connected with NL4 connections. Patch bays will be installed at each delayed speaker so NL4 cable does not have to be run as far. This makes it more efficient and less chance of something happening to the wiring. 13

17 At FOH the board is connected to the outboard gear through a switch and then to the dsp. Most importantly is the playback option through the imac. Qlab will be used for different cues but also a variety of music options can be utilized. The imac will be connected to the Motu 896 with 16 outputs where functionality of different speakers can be used for theatrical events. The DSP or Galileo 616 allows for different equalization and delay aspects to make sure the system is correct for the room. It also has 16 outs with a 96 khz per channel. Processing has been applied to the under balcony, over heads, and front fills to help with intelligibility and to bring the image of the show down to the stage. 14

18 4.3 Mixing Console Requirements and Selection The Maze Mason Theatre decided to equip a console with the versatility to accommodate a variety of acts. The Yamaha CL5 is a digital mixing console able to sync with 3 other boards allowing 256 channels, with interior processing and effects all connecting through the DANTE system with a Cat 5e-based CobraNet standard cable. The console itself needed to provide 48 input channels and 4 outputs. This board will provide 64 input channels and 32 output options to allow a variety of options for those who use the theatre. In order for the board to speak to the Monitor board as well as the input/output a Cat 5e-based standard cable is used to connect the systems through DANTE. The outputs will be used for the mains, front fills, over/under balcony, subwoofers, and any monitor system needed onstage. When bigger acts come in and need more versatility a second board is an option so the stage can utilize their own mixer for their needs. The monitors needed onstage may vary from in-ear systems to powered speakers. The first console we considered was the Yamaha CL5 but the next alternative was an Avid SC48. This option allows 48 channels in and 16 channels out. All channels would be connected to the board and would require more cabling including W4 connectors and fan-outs for each board. It also has integration with Protools creating an easy recording application through the board. The onboard gear is also widely used and can use high-end plugins from Protools called Wave. They are the number one company with plugins at the moment and once purchased can be used or upgraded on the SC48. This board can also use a 4 band parametric equalizer and add a 31 band eq to a wide range of output channels for any speakers including your mains, and monitors on stage. The estimated cost of 15

19 this board was around $25,000. The test mode is a fun feature most other boards do not have as it turns into Vegas mode where all the channels and faders light up and move. It s a great attraction. Although, this board has a great sound, the availability of using a DANTE system was not as integrated as the Yamaha CL5. The onboard gear and versatility of what is provided is also not as vast with the SC48 console. The other problem with the SC48 is it cannot be expanded with more channels like the Yamaha CL5 is able to. With this information we decided to stay with the Yamaha CL5 for both the mixing console at front of house and monitor world. The SC48 does have a nice sound but it does not offer as much diversity. The Yamaha CL5 like most boards allow for a 4 band parametric equalizer on each channel. Plus, a low pass filter and a high pass filter. The dynamic section allows for compression and limiting allowing users to a wide range of adjustable parameters to fit their needs for each channel. One of the best parts of this board are the pre-amps as they are made with Neve technology which until now, has been restricted to Neve analog boards only. The Neve pre-amp has a higher standard and quality of electronics within it to help pass better sound from the board. Also, along with this board comes numerous effects that allow you to apply reverb, echo, delay, etc. to each channel. The Yamaha CL5 also allows for integration with the CL series from Yamaha while utilizing the stage box with cat 5 cabling making it easy to wire long distances with less cabling from front of house to monitor world. Another benefit of using the Yamaha series is the ipad function. With a router and the proper software, which is free, you are able to connect an ipad and run the board from anywhere onstage or in the house. This is advantageous so you can walk around the room and see how things sound without having to yell back to a board operator. Also, onstage you can walk around 16

20 to each mix and make sure they sound ok without feedback before the band even gets there. Being able to control the board wirelessly is a big factor when choosing a board. To conclude, we chose the Yamaha CL5 because it is able to expand to more channels and integrate with the other Yamaha board of the same series. It is also around the same price for more features as the SC48. The Dante aspect was also another major factor when deciding especially, with having to run less cable to front of house. This Console comparatively to other is only about $5,000 more but could not fulfill the needs of the theatre once we dove more into the board s information. The CL5 is a great solution for the requirements and for the future exceeding the design requirements for the mixing console. 17

21 4.4 Microphone Requirements and Selection The microphone selection we chose allows for a variety of ensembles in the theatre ranging from the spoken word, concerts whether orchestral or rock bands, musicals, or choral performances. Wide ranges of wired and wireless were chosen to give a variety of options to those who use the space. Each microphone chosen has a purpose and removing a microphone from the list would not be beneficial for different renters using the space. Our theatre is a performance space so the focus was versatility. The microphones we chose are high quality and will allow for a number of applications. The first microphone we researched was the wireless system. Without a good wireless system both handhelds and lavalieres the system is not as versatile. Most spoken word now requires movement and PowerPoints as to address the audience from wherever they would like onstage. Granting performers use to the wireless system allows them to connect with their audience more. Of course, the lavalieres are required for musicals. The Shure ULX-D has a digital option so they do not have as many dropouts. It also sits in a frequency range that is not as interrupted, and has an antenna system where even if one channel drops the other channel will switch over so you do not lose the speaker. We chose 24 handhelds as well as 24 lavalieres for choral purposes and musicals. Having 24 handhelds allows for options like acapella groups where having dedicated microphones is crucial. The next set of microphones we looked into belongs to a rock band. This includes drum, bass, guitar, piano, and vocal microphones. There are a number of other microphones as well for other instruments that may come with a band, such as horns, a fiddle/violin, or other stringed instrument. These microphones include: Shure SM58, Shure SM57, SM81, Audix Drum kit, and Sennheiser e609 s. These microphones were chosen based on the reliability of each microphone, as they are stable and predictable. The SM58 is used for vocals because they are well known and most know 18

22 how they will react in a monitoring situation. The SM57 is versatile and can be used on the snare, guitar cabinets, horns, or really anything with a high sound pressure level. The Audix Drum kit is well known and used throughout the industry. The microphones have richness to them and they are able to attach to the drums themselves without having to add extra stands taking up more space. The Sennheiser e609 is well known for miking a guitar cabinet for its sound and ability to receive high sound pressure level. The next set of microphones we looked into were choral microphones both large and small condensers that could add to the richness of the performance. We chose 5 hanging microphones with an omni pattern to help pick up the choir or ensembles that are onstage. These are the Shure M202. They need to be hung about ten feet above the choir but this is usually not an important detail since choirs do not move around much. We also chose 4 large condenser microphones for vocalists or special microphones for orchestra options. We chose the Shure KSM because they can also be used for Overheads for the drums but also because they have a rich sound for horns and woodwind instruments. It depends on what kind of sound you are seeking. Also, we choose AKG C414 because these have a darker tone to them and work well on acoustical instruments such as a guitar, cello, or bass. The polar patters can vary between Omni, figure 8, cardioid, and hyper cardioid, The C414 also works well as overheads or on the high hat for drums. They have a nice crisp sound to them that help the cymbals sound more natural. This microphone selection allows us the most versatility for our space and gave us the best options. 19

23 5.0 Rack Requirements and Design We have a number of racks for our space based on functionality, needs, and requirements. There will be four racks for the amplifiers, two racks for the wireless system, one for the in-ear system, one for the stage boxes, one for front of house, and a small one for the stage manager. The amplifier racks will hold three amplifiers for the speakers on each side of the stage. It allows for each perspective side to have their own amps near them. Each side will also be run to different speakers whether they are the under balcony, subs, or front fills. Each rack will also hold a conditioner to help regulate power. The next rack will hold the receivers for the wireless microphones. Each receiver will sit in the rack along with two drawers at the bottom so it can hold the variety of pieces that go with the lavalieres and handhelds. The rack will also hold the antennas for the receivers and be on wheels so that it can move easily to where it is needed depending on the performance. The in-ear system will be a small rack located backstage near the monitor position. This will hold all of the transmitters for the Sennheiser 300 s as well as the antennas for the system. The cabling will also be held within the drawer with batteries and receivers. This will be small and easy to move since everyone does not require an in-ear system but it is available. Two of the most important will be on each side of the stage so inputs can be connected to it. The next two racks will hold the two boxes while be daisy chained together with a switch. One will be near the monitor position so it can easily connect to the board for monitoring options. It will also hold the processing needed for the board and stage boxes. The other will be on the other side of the stage near the amp racks along with the power sequencer. The front of house rack will hold a Clearcom station, the Motu for playback from the computer to the board, the Yamaha Ri8-D, and Yamaha SP2060. This rack will be the most versatile 20

24 depending on the need of the performance. It will also have a power conditioner with it and lights. The assisted living system will also be in the rack so that it has the clearest perspective to the audience. Also, a drawer will be available for use from this board. Each rack will be the Middle Atlantic brand with the tops allowing for more workspace. The racks in the diagram were drawn with Vectorworks. 21

25 5.1 Cabling and Wiring Requirements The system is connected through a number of cables and wiring requirements. The range of connections and wire gage varies depending on both the outputs and the inputs of each device. The biggest concern is usually integrating digital with analog. We decided to make things easier and use the DANTE system to digitally run the signal. Using the DANTE system allows for multiple systems to be used with one stage box or snake and does not require as much cabling. Signals that are being transmitted between the board and monitor world are digitally transferred to help reduce the noise to floor ratio. XLR will be used for microphones and connecting other gear. It is a balanced cord to help transmit signal from one piece of equipment to the next. A combination of XLR snakes are also being used to help carry the signal with fewer cables. NL4 will be used to connect the speakers to the amplifiers. The NL4 type Speakon connector is capable of passing 2 different speaker signals. Using this cable allows for a twist lock, air tight seal, and the contacts are secure so you do not have as many issues with connections. It is also shielded from human touch and there is no wrong way to plug these connections in unless you don t twist the connection all the way. The wireless Shure ULX-D system is connected with a 24 channel XLR snake into the stage. The cabling required from the Motu is ¼ connection which will connect to the Ri8 at FOH. Clearcom also is connected to the base station panels from FOH to monitor world. If there is a monitor system requested the DB Technology speakers are used as stage monitors for those on stage. All that is required for these speakers is power and XLR cables. The cable and wiring overall is important and we will use the best quality of cables to ensure better transfer of the signal. Other options were not available for speaker cabling because the amplifiers and speakers chosen come with the standard NL4. A wireless system is also available for 22

26 the ipad to run the board. BNC connectors and cabling is used to attach the antennas for the wireless microphones, in-ears, and assisted living system, which is also wireless. 23

27 6.0 Summary and Recommendations The system recommended for the Maze Mason Theatre is designed for powerful performance and maximum versatility. Primary sound reinforcement is handled by two 12-box JBL VerTec VTX arrays mounted 80 feet above the stage to the left and right. These arrays are supported by two JBL PD5212/95A boxes above the balcony and two of the same boxes below the balcony. The system is supported in the low end by four subwoofers underneath the front of the stage and the sonic image is brought down by utilizing three JBL AC25 speakers as front fills in the front of the stage. This system comes very close to the targets of the project. It was able to provide the required SPL levels across all frequencies below 8000 Hz, which is most likely due to the highly absorptive venue. The SPL variances across the venue were above the desired levels, which was caused by the venue depth and the high power output of the main arrays. It was difficult to match the seats with direct exposure to the line array with those that were more off axis and/or further away. Similarly, the ALCONS rating for the venue had a maximum at 10.11%, but with an average value of just over 6%, being only 0.11% over the desired level, and the EASE manual stating that ALCONS of up to 12% are acceptable, we can consider this constraint satisfied. For future projects, these issues could be solved with additional fill and delay speakers, but budgetary constraints did not allow this. A broad variety of equipment was used to populate the theatre to provide the most flexibility for a variety of performances. The mixing console is a Yamaha CL5, which has the ability to use digital DANTE inputs and outputs to reduce noise, interference, and the risk of failure. This console can handle 64 inputs and 32 outputs, easily meeting the criteria for this project. Some additional features this console provided are the ability to connect an ipad to it for mobile monitoring purposes and the ability to be expanded via connection to additional boards to provide up to 256 inputs. Microphones were selected to allow the venue to host speakers, choral performances, orchestral 24

28 performances, or rock concerts. We also provide both in-ear and onstage loudspeaker monitoring options for performers to use. The entire system is supported by mobile racks on stage and a network of cable that is significantly smaller than normal due to the extensive use of digital communication. In the end, we came close to hitting our budget but remained under while still reaching project goals. A complete equipment list and budgetary breakdown can be found in Appendix F, and equipment specifications can be found in Appendix G. While not perfect, this system is a good start and with a little more refinement (and a little more money) would be well able to exceed all the goals set forth in the project. 25

29 7.0 References CL Series Mixers Products Yamaha. (n.d.). Retrieved May 3, 2015, from Crown I-Tech 4x3500HD. (n.d.). Retrieved May 3, 2015, from Full Compass - Pro Audio, Video, A/V & Lighting Equipment - Largest Microphone Dealer in the Nation. (n.d.). Retrieved May 3, 2015, from Jbl Professional. (n.d.). Retrieved May 3, 2015, from Microphone Data - Home. (n.d.). Retrieved May 3, 2015, from 26

30 Appendix A: Activity Logs 27

31 Activity Log for: Ian Johnson Role: Lead EASE Designer Activity Date Start Time End Time Time Spent Sizing of room, creation of audience areas 4/12 8pm 10:30 pm 2.5 hours Application of seating, adjustment of audience space 4/14 12 am 3 am 3 hours Line Array choice and addition 4/20 7 pm 10 pm 3 hours Fill speakers and initial testing 4/27 3 pm 7 pm 4 hours Adjustment of fill speakers/testing 5/2 2 pm 8 pm 6 hours Additional modeling and fine tuning 5/3 1 pm 6 pm 5 hours Troubleshooting 5/5 8 pm 10 pm 2 hours Final Modeling / Report Writing 5/6 8 pm 2 am 6 hours Total 31.5 Hours 28

32 Activity Log for: Michelle Ohumukini Role: Report/Budget Activity Date Start Time End Time Time Spent Ease- Adding in Line Array, speaker choice 4/20/15 7pm 3-am 8 hours 4/29/15 6pm 10pm 4 hours Begin budget 4/30/15 1pm 4pm 3 hours Continued budget 5/3/15 1pm 10pm 9 hours Choosing equipment Report writing 5/6/15 6pm 2am 8 hours 32 Total 29

33 Activity Log for: Andrew Doyle Role: Text Editor/Presentation Designer Activity Date Start Time End Time Time Spent Report Editing 04/29 2:00pm 5:00pm 3 h Report Editing 05/01 5:00pm 8:00pm 3 h Report Editing 05/04 11:00am 2:00pm 3 h Presentation Organizing/Report Editing 05/05 7:00pm 11:00pm 4 h Presentation Organization 05/06 11:00am 1:00pm 2 h 15 30

34 Activity Log for: Joe Schoolcraft Role: Power Manager Activity Date Start Time End Time Time Spent Power Amp Research 04/27 3:00pm 5:00pm 2 h Power Amp Selection 04/29 4:30pm 5:30pm 1 h Microphone Selection 04/29 5:30pm 6:30pm 1 h Report Write Up 05/04 6:00pm 7:00pm 1 h Report Write Up 05/05 5:00pm 7:00pm 2 h Report Write Up 05/06 3:30pm 4:45pm 1.25 h Report Write Up/Video Recording 05/06 8:30pm 1:00am 4.5 h

35 Appendix B: Venue Illustrations 32

36 33

37 34

38 Appendix C: Loudspeaker Placement and EASE Simulation Results 35

39 36

40 37

41 38

42 Appendix D: Signal Path Wiring Diagram 39

43 40

44 Appendix E: Rack Design and Power Sequencing/Distribution 41

45 42

46 Appendix F: System Component List and Street Price Estimate 43

47 44

48 Appendix G: Manufacturer Data Sheets 45

49 Shure JBL Yamaha Meyer Clear-Com 222_Tempest2400_BaseStation_Datasheet.pdf Crown 168_Vrack_Brochure_Pages_PDF_original.pdf Sennheiser 46