Sound System Design Project Report Evaluation

Transcription

1 Sound System Design Project Report Evaluation Matt Boris Jose Esquitin Rishi Kaushika Ben Vondersaar Group Members Time Spent* Initials Score** *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. Design constraint satisfaction Technical content Originality/creativity Writing style/professionalism TOTAL Instructor comments:

2 TABLE OF CONTENTS Abstract ii 1.0 Introduction System Design Constraints Loudspeaker Selection, Placement, and Rigging Signal Processing Requirements and Selection Mixing Console Requirements and Selection Microphone Requirements and Selection Rack Requirements and Cabling Summary and Recommendations References 16 Appendix A: Activity Logs 17 Appendix B: Venue Illustrations 22 Appendix C: Loudspeaker Placement and EASE Simulation Results 25 Appendix D: Signal Path Wiring Diagram 27 Appendix E: Rack Design and Power Sequencing/Distribution 29 Appendix F: System Component List and Street Price Cost Estimate 31 -i-

3 Abstract This report documents the design of a complete sound reinforcement system tailored for a generic, 2000-seat fan-shaped multi-purpose auditorium, with (approximately) 1600 seats on the main floor and 400 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 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 20 compatible wireless microphone channels (include transmitters/receivers for a minimum of 12 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 $100,000 -ii-

4 ECE 495M Sound Reinforcement System Design Fall Introduction For our venue design, we chose to go with the traditional fan shaped auditorium with a balcony. We felt it would be easier to create even coverage area with this shape as it is similar to the general shape of beamwidth plots of speakers. Our venue is 64m from the stage to the back of house, 45m wide at the back and 17m stage. The audience seating has a rake angle of 6 degrees. The height of the balcony is at 11m and the ceiling is at 24m. This gives our venue a volume of 27,334 meters cubed. We have 427 seats in the balcony and 1,633 seats on the floor, totaling 2,060 seats. When we initially designed our venue, we did not change the wall treatments as we thought we would try to design a venue that would reverberate with a more open character, to enhance live performances. Due to our initial inexperience with EASE, we did not realize that the default wall treatment was an absorber. After our in class presentation we changed the wall treatment to gypsum, and found better coverage from our sound system. The major issues we addressed were to loudspeaker and microphone selection. For loudspeaker selection, we considered whether or not to use powered loudspeakers, the impact of that decision on how we would build the rest of the signal path, as well as their ability to form arrays with the coverage pattern we needed. Finally, we had to consider costs and see how realistically close we could get to having the coverage we wanted with the money we have, and seeing which loudspeakers were the most value for the money. Considerations for microphone selection were focused primarily on finding good wireless microphone sets as well as a receiver that could manage the required number of wireless channels. Only after that did we look at our budget and then see how we could allocate the appropriate resources to get different wired mics for live as well as sound reinforced events in our venue. Towards these ends we tried to split the work up to allow each one of us to do what we were strongest at. During the beginning of the project, venue design was our top priority because any other component selection would be almost impossible to make without it. After initially all attempting to learn the software at the same time, it became clear that this was going to be more difficult than we -3-

5 anticipated as there was too much work, not enough time, and the fact that we had different schedules that didn t necessarily allow us to meet at the same time to try this approach. As a result, we planned to keep the computer moving between the four of us, so that each one could learn on his own time. Knowing the deadlines for checkpoints broke down the project into parts, and each team member worked towards the project by working on these parts. After our initial difficulties with learning and operating EASE, Rishi was able to produce a venue design that was very similar to our final one, except for the erroneous wall treatment. Ben was instrumental in our loudspeaker selection and creating the loudspeaker arrays, as he was the only one of us in the group to figure out the software as well as find a different approach to managing our loudspeakers. Matt found the mix console and the requirements for cabling the system. Jose selected all our microphones and microphone management system. -4-

6 2.0 System Design Constraints The primary system design constraints that guided our system design were: 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 1 KHz, 2 KHz, 4 KHz, and 8 KHz frequency bands %ALCONS no greater than 10% over entire seating space support for 20 compatible wireless microphone channels (include transmitters/receivers for a minimum of 12 channels) good assortment of general-purpose wired and wireless microphone systems for speaking, individual vocalists, a variety of musical instruments, choral performances budget of $100,000 We felt that the first three constraints could best be approached by finding the right combination of loudspeakers and arrayed loudspeakers to come as close to these requirements as possible before looking at the rest of the components, such as DSP, to help realize our coverage goals. As stated previously, microphone selected hinged on finding a good wireless system first, then looking to see what other mics we could get with the budget we had left. These two topics will be covered in later sections in more detail. We were initially worried about ALCONS being too high as we had erroneously thought that we had no damping material on the wall as we wanted the venue s character to be more open for live performances. After running our first set of simulations, we saw very low ALCONS and as we had still not realized that our walls were made of absorber, we continued building our system until our presentation. Due to the limited time we had after the presentation, we changed the wall treatments and were able to still have acceptable results within the constraint parameters. The other issue that we addressed was the architectural and aesthetic point of view. After working with EASE, we eschewed these considerations as our lack of previous experience with the software was making our job much harder for us. At the end, we simply tried to find a configuration and rigging that worked to satisfy our goals with regard to the level at the back, the variance in level -5-

7 amongst seats, and having the system be acceptably intelligible. As a result, we do have a central cluster hanging from the ceiling that would be visible from the floor and balcony, but our ceiling was sufficiently high and our balcony far enough back that the rigging did not interfere with line of sight to the stage from any audience seat. -6-

8 3.0 Loudspeaker Selection, Design, and Rigging Due to the shape of our venue, we decided that our best approach would be to have a primary J- shaped array, and then add components around it as minimally as required to meet the system design constraints. We initially considered JBL VERTEC speakers for our primary array as JBL had tools to make arraying these units much easier than if we had to do it in EASE, however, as we considered this alternative and consequently tried others, we found that our copy of EASE was not using any of the.dll files from other manufacturers, making any modeling we were trying to do with EASE essentially useless. In order to get some usable data, we turned to Renkus-Heinz, as those.dll files were already in EASE and worked correctly to produce an accurate model. Having to limit ourselves to Renkus-Heinz, we primarily considered the alternatives between powered and non-powered loudspeakers. Powered loudspeakers were immediately attractive as we did not have to worry about a separate amplifier unit that would speak to all of our speakers. As we were only considering Renkus-Heinz, in addition to every speaker being powered we also discovered that they came with their own DSP management system, which we will go over in the next section. For our primary J-shaped array, we chose the 9 STLA/9R RHAON Empowered units as they were arrayable and powerful enough to light up most of the coverage are. On either side we had couple point source arrays made with 4 PN102LAR RHAON Empowered units each acting as side fills while still in the area of the primary cluster. We did this to minimize the visual profile of the central cluster as well as to provide the necessary coverage for either side of the main floor. With this setup we had only two areas that still required work in order for them to be within the design constraints in terms of level and level variation. Due to our choice for having our central cluster suspended from the ceiling, we had to find speakers to fill the gaps for the under balcony seats as well as for the seats right in front of the stage, as they would be left out of the primary array s coverage pattern. We picked 3 CF-151-5R RHAON Empowered units and placed them in an uncouple line array on the stage, but we found that due to the splay of our audience area, this alone was not enough to even coverage in the front, and consequently -7-

9 we had to add side fills on either side of the stage, consisting of 2 CF81-2R RHAON Empowered units each. Finally, for the under balcony seats, we had 3 CF121-5R RHAON Empowered units hanging below the balcony to give us our 105dB at the back. All our loudspeakers contain only two different classes of built-in amplifiers with different power ratings, depending on the speaker. Our PN and CF speakers have PN class A/B amplifiers, while or main J-array with the STLA loudspeakers contains the more powerful PM-3R Class D amplifiers. Our choice of going with one ecosystem for our speakers, power amplifiers, and DSP obviated the need to calculate individual power requirements for each unit, as we knew we had enough power from the system if our coverage maps were meeting the design constraints. Finally, this had the added benefits of simplifying our sound system by having less overall components, and of making our system more economical. -8-

10 4.0 Signal Processing Requirements and Selection Our signal processing was done through the built-in system we had from our loudspeaker selection: Renkus-Heinz Audio Operations Network (RHAON). Our rationale for going with this method of signal processing was primarily driven by our being forced to go with Renkus-Heinz speakers as well as the fact that the rest of our components were from the same source. Being invested in the ecosystem, we realized that we could further streamline our system by going with RHAON. Going with RHAON eliminated the need to have speaker cables or an extra box that would have to be rack mounted as everything was managed via a computer, Ethernet hubs and RJ-45 ethernet cable. The signals are distributed through a specialized RJ-45 network that utilizes proprietary protocols optimized for high quality audio transmission. The signal processing for each loudspeaker is contained within the respective amplifier unit. The whole system is controlled by a computer using RHAON software, with control over eight bands of parametric EQ, high and low shelving filters, as well as delay and input level control. -9-

11 5.0 Mixing Console Requirements and Selection The requirements for the mixing console that we primarily considered were the required 48 channels, as well as the ability to output 4 separate monitor mixes. We chose the Allen and Heath GL Channel Mixer as our console as it was reasonably priced for our needs, full digital capabilities including scene setting, several busses, as well as full 12x4 matrix capabilities. This allowed us to save money on other equipment that we needed. The console also has amenities such as two flexible pen lights and bright color coding to make the mix engineers job a little easier. -10-

12 7.0 Microphone Requirements and Selection At least 12 wireless microphones were required for the project. Nevertheless, the possibility of different kind of shows has to be foreseen and this will require different kinds of microphones in consequence. Since we are also required to have the capability of reception of at least 20 wireless microphones and we decided to use Audio Technica. As with the Reinkus Heinz speakers we decided to get all our microphones from the same company so we can negotiate bulk prices. Audio Technica is recognized because of their outstanding quality and one of the team members has good experience with them. The most common performances nowadays use drum sets and electric string instruments. We researched which type of microphone would be better suited for these tasks and we found that actually different types of microphones are needed for the same source at the same time. For the electric string instruments two microphones are needed. A dynamic microphone close to the speaker cabinet and a condenser microphone some distance away. This is shown in figure X.1. This will result in a fuller sound of the guitar. Figure X.1 Figure X.2 shows the microphones needed for a drum set. It uses the same microphones as the electric string instrument set up with the -11-

13 addition of a supercardioid dynamic microphone for the kick drum. Figure X.2 The microphones picked for these tasks are the Audio Technica ATM450 condenser cardioid, the PRO63 dynamic cardioid and the ATM250 hypercardioid. None of these microphones are wireless since instruments are fixed. In this way we avoid using extra channels from our receptor. These three models have special clamps to provide secure mounting. It is important to mention that the ATM450 has a switch to roll off the low frequencies at 80Hz in order to use it for vocals instead of instrument amplification. For acoustical picked the ATM350 instruments. This is a enough on any kind of intended for dynamic stage. performances with violins or brass instruments we which is specially designed to be mounted in the condenser cardioid microphone so it can respond fast music. Microphone is not wireless so it is not performances where the performer moves around the -12-

14 For speakers of singers that like to move along the stage we picked the AT831cT4 which is a wireless lavaliere microphone that can be discreetly accommodated in the performer when its required. The wireless microphones we selected where the AEW-T5400a, AEW-T4100a and AEW-T6100a. Which types are condenser cardioid, dynamic cardioid and dynamic hypercardioid respectively. These have the same functions as the non-wireless microphones described before. The AEW-T5400a is the best suited for vocals in general. The dynamic microphones perform well on vocals but low frequency voices are preferred such a Tenor. The last microphone we picked was the one special for vocal performances where outstanding sound reproduction is required. The work will be done by the Telefunken AR-51 which is a condenser microphone and can change patterns between cardioid and omnidirectional. -13-

15 6.0 Rack Requirements and Cabling When we came to rack selection, due to our low number of components, we found we didn t need a particularly big rack. We went with the Middle Atlantic BGR-3827 as it was an open design that would allow passive cooling of the components we did have. It also came with a built-in cable management system, LeverLock, that had grooves and pins built in the rack to keep the cables tidy. The final component we selected for our sound system was the power sequencer. We chose the Middle Atlantic PDR-620R as it would sequence up to 6 individual outlets. Due to our sound system requiring less components overall because the amplifiers and signal processing was spread mostly through our speakers, we felt this one unit would be enough to sequence all of our components safely. We would power the loudspeakers up first, then the computer and the CobraNet hub (RHAON network DSP) and finally the mix console and the mics. The special signal cabling for this sound system would be RJ-45 cables, as our loudspeakers are completely connected only through this Ethernet cable and the RHAON network. For our wired mics, we would have balanced XLR lines. We chose to use an in-ear monitoring system so that there would be less feedback on stage. -14-

16 7.0 Summary The system configuration we finally went with reflects a traditionally shaped venue and an ecosystem of Renkus-Heinz loudspeakers supported by an Allen & Heath console. We have Audio Technica microphones and wireless microphone management, and the whole system is sequenced by a Middle Atlantic power sequencer. We chose the traditional shape in order to allow us to focus on the rest of the simulation, as none of us had very much experience with sound system design and even less experience with EASE. Either as a result of our difficulties with EASE or some other unseen issue, we were not able to accurately model any other speakers other than Renkus-Heinz models. We took that imposed constraint and optimized the system with regards to our primary considerations for the system design: namely level, variation, and intelligibility over the audience area. Finally, we had to change a large part of our assumptions for designing our loudspeakers as the materials for our venue were incorrectly selected up until the last week. Luckily, our initial ideas regarding the coverage pattern were actually improved just by selecting gypsum walls and carpeted flooring, or else we would have had to redesign and reposition the loudspeakers to compensate. The Audio Technica microphones were selected due to quality, as we wanted to have a good experience for the live performers as well as lecturers. We selected a variety of cardiod condenser, cardiod dynamic and hypercardiod condenser mics to allow for a variety of different setups with the best possible microphone setup we could give. The Allen & Heath console was selected due to its cost-effectiveness and simplicity while still having powerful features such as scene setting in addition to the requirement of 48 channels and 4 monitor mixes. This sound system is extremely streamlined, easy to manage due to its unique loudspeaker network, and also cost effective due to that same network as we have less overall components. -15-

17 References (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). (n.d.). -16-

18 Appendix A: Activity Logs -17-

19 Activity Log for: Matt Boris Role: Presentation Designer Activity Date Start Time End Time Time Spent Worked on preliminary building drawings 10/25 4:00pm 5:30pm 1.5 hours Helped speaker selection, and basic SPL maps 11/15 9:30pm 11:00pm 1.5 hours More work on SPL maps 11/16 8:00pm 10:00pm 2.0 hours Looked up other components for our system 12/ pm 6:00pm 3.0 hours More research into system components 12/05 2:00pm 4:00pm 2.0 hours Started gathering information and began PowerPoint 12/06 6:00pm 8:30 pm 2.5 hours More work on presentation 12/07 7:00pm 11:00pm 4.0 hours Last touches on PowerPoint, rehearsed presentation 12/08 12:00pm 2: hours -18-

20 Activity Log for: Rishi Kaushika Role: Venue Designer/Report Compiler Activity Date Start Time End Time Time Spent Worked on venue drawing 10/ pm 6.00pm 2 hours Finished venue drawing Loudspeaker research Array work Rack Selection and Power Sequencing Report Compilation Report Compilation 10/ pm 10.00pm 3 hours 11/1 2.00pm 3.00pm 1 hour 11/ pm 7.00pm 1 hour 12/4 4.00pm 5.30pm 1.5 hours 11/ pm 3.00am 6 hours 11/ pm 4.00pm 4 hours -19-

21 Activity Log for: Ben Vondersaar Role: primary EASE worker Activity Date Start Time End Time Time Spent Loudspeaker research 2 hours Loudspeaker selection Array building EASE modeling Changing wall treatments Re rendering EASE models 2 hours 2 hours 4 hours 2 hours 4 hours -20-

22 Activity Log for: Jose Esquitin calculations Role: Microphone selector, front fills, venue Activity Date Start Time End Time Time Spent Venue calculations for dimensions 3 hours Building front fills Selecting microphones Writing section on microphones 4 hours 3 hours 4 hours -21-

23 Appendix B: Venue Illustrations -22-

24 Front view Rear view Side view -23-

25 Top view -24-

26 Appendix C: Loudspeaker Placement and EASE Simulation Results -25-

27 Please see our files as we were not able to edit EASE to change the wall treatments and get those screen captures in the report by the time we submitted the EASE tablet back to you. -26-

28 Appendix D: Signal Path Wiring Diagram -27-

29 Signal Path Wiring Diagram DSP & Amplifiers Arrays Control Laptop Ethernet Backbone Front Fills Wireless Reciever Under Balcony Wired Mics (11) Wireless Mics (14) -28-

30 Appendix E: Rack Design and Power Sequencing/Distribution -29-

31 -30-

32 Appendix F: System Component List and Street Price Estimate -31-

33 Sign Contro Wired Ethern Wireless Under Front DSP Arrays & Fills Mics Balcony Amplifiers l et (11) s Laptop al (14) Reciev ECE 495M Sound Reinforcement System Design Fall 2011 Quantity Model Brand Price Total Condenser cardioid 4 ATM450 Audiotechnica Dynamic cardioid 2 PRO63 Audiotechnica Dynamic supercardioid 2 ATM250 Audiotechnica Violin, brass or piano 2 ATM350 Audiotechnica Lavalier mic 2 AT831cT4 Audiotechnica Wireless AEW- Cardioid condenser 6 T5400a Audiotechnica Wireless Hypercardioid dynamic AEW- 3 T6100a Audiotechnica Wireless Cardioid dynamic AEW- 3 T4100a Audiotechnica Wireless Omnidirectional and cardioid condenser mic 1 AR-51 Telefunken STLA9 arrayable 12 STLA/9R Renkus-Heinz PN arrayable 8 PN102LAR Renkus-Heinz CF151 3 CF151-5R Renkus-Heinz CF151 Rig 3 UBRKTCF151 Renkus-Heinz CF81 4 CF81-2R Renkus-Heinz CF81 Rig 4 UBRKTCF81 Renkus-Heinz CF121 3 CF121-5R Renkus-Heinz CF121 Rig 3 UBRKTCF121 Renkus-Heinz Cobra Breakout Box RH 419 Renkus-Heinz Audio Audio Technica 2 M2 In ear Technica Reciever/Transmitter 1 AEW-5110a Audio Technica Middle Power Sequencer 1 PDS-620R Atlantic Rack 1 BGR Middle Atlantic Mixing Console 1 GL Allen&Heath Laptop 1 XPS17 Dell Price