Sound System Design Project Report Evaluation

Transcription

1 Sound System Design Project Report Evaluation Group Members Time Spent* Initials Score** Eric Davis 16 ED Brian Vanneman 14 hr BV Andrew Doerr 21.5 hr AD Dan Varnau hr DV *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 Design Cabling and Wiring Requirements Summary and Recommendations References 11 Appendix A: Activity Logs 12 Appendix B: Venue Illustrations 17 Appendix C: Loudspeaker Placement and EASE Simulation Results 19 Appendix D: Signal Path Wiring Diagram 23 Appendix E: Rack Design and Power Sequencing/Distribution 25 Appendix F: System Component List and Street Price Cost Estimate 27 Appendix G: Manufacturer Data Sheets 29 -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 1.0 Introduction Venue Design: The venue design is an altered version of the fan-shaped auditorium template on EASE. In order to fill the 2000 minimum the design has been enlarged in all areas. Mostly, the depth has been increased to make for a larger main seating plane. The main floor has two aisle running down the middle making it split into three sections with a front flat section. The front section has an aisle behind it and could possibly be used for standing room for a larger audience or a seating area depending on the performance. There is also a half size balcony with an aisle down the middle. There are 2096 seats in the venue. The front of house location would be just in front of the balcony edge and on the main level to ensure an optimal mixing position for the FOH engineer. For surface materials the side walls were applied a 70% absorption coefficient and the back wall was applied a 90% absorption coefficient. Major design concerns included achieving the minimum number of seats without sacrificing sight lines or environment. By making the venue deeper as opposed to wider allowed the sound system to have less directionality to the sound source for the listeners on the sides. The five aisles were placed in a fashion that a person would not have to travel father than 10 seats to excuse themselves from their seat allowing for minimum distraction to the other audience members. The balcony position, size, and angle were chosen for optimal sight lines and for the maximum number seats with only one aisle through the middle. The aisle would complement the sound system by allowing the crossover to fall in column where no audience members are seated. In constructing the venue the various rolls were as follows: Dan Altering EASE template Andrew Seats and listening planes Eric General Altering and constructing raised stage and backstage area Brian Speaker placement Quick Data: Volume(m^3): Effective Surface(m^3): Total surface(m^2): Dimensions: Front to back of house: meters -1-

5 Width at front: 18 meters Width at back: 36 meters Height at front: 9 meters Height at back: 13 meters Backstage: 36 wide X 12 deep X 18 tall (meters) Balcony: 15 meters X 11 meters 2.0 System Design Constraints Considerations for the project from the design constraints can be allocated to the following parts. Reliability A plus to choosing a Meyer System is the added reliability and life of the speakers. Meyer speakers claim to have a life of around 20 years based on the spec sheets and their website. This end of their life cycle is the point at which a component is need of repair or replacement due to normal use of the product. With this in mind the speakers could continue to function must past their life cycle based on the number of performances and care of the products. The non-meyer components should be replaced or run complete tests through on a ten year cycle as with correspondence the manufacture recommendation. Based on our equipment, the first item to fail or not perform at standards would be movable cable as well as the wireless racks from continued exposure. Safety All components should be successfully plugged into house power that has a hot, neutral, and ground to ensure the proper functioning of equipment as well as ensure a safe environment for all who come in contact with the equipment. If possible, all components with audio running through them should have their own isolated ground to ensure no run off AC power from air systems or other house systems can make its way into the signal. Added hum and noise contribute to deterioration as the speaker has to allocate power for every noise is produces. Mechanical All rigging and mounting of the speakers should be performed by certified individuals. The manipulation of speaker placements should not be done without proper authorization or safety precautions. The speaker management system will be password protected to only the firm installing it. The other components of the rack will only be accessible to the FOH engineer. Economic A budget of $100,000 was set for the project. It is in the best interest of the client to approve our over budget spending to ensure a well installed and performing system. With low interest rates it would be smart to pay of the budget on a yearly basis because of devaluing of the dollar with inflation. Social The hearing impaired may choose to have seats saved in advance by the ticket office to ensure an appropriate listening environment. The ticket office should handle this matter. Our -2-

6 recommendation is anyone with impaired hearing should sit in the first twenty rows. Architectural/Aesthetic With a narrow theater and low ceiling it became apparent a distributed system would be the best solution to the space. 3.0 Loudspeaker Selection, Placement, and Rigging After various considerations involving SPL mapping, budgeting, ease of use, and past experiences our team has decided on a four part sound system. The system is split into two 6 box Meyer Mica line arrays, 3 Meyer UPM-1Ps for front fills, 2 Meyer UPQ-1Ps for over balcony and 3 Meyer UPM-1Ps for under balcony fills. Our brand choice with Meyer was based on personal experience with the speakers as well as a world-class sound reputation in the audio industry. We considered JBL Vertec arrays as well as D&B Audio and Reinkus Heinz but in the end choice Meyer for the permanent installation to ensure quality above anything else. Do to the depth our of auditorium as well as the size of the balcony we added in under and over balcony fills to better cover all the frequency ranges and to make as a little variation over the listening area. With these fill systems along with the line arrays we are able to cover every seat evenly even with a line array system sitting almost over the third row. As you will see in the EASE renderings the SPL coverage maps depict an evenly covered audience. Our first thought was to put line arrays at stage level to ensure even coverage but under further investigation it was seen that moving the line arrays out, cutting down on boxes, and putting in the fill system would be the most beneficial solution. Cutting down on the line array boxes would pose much less of a distraction as well as make the rigging points carry less wait. This coupled with moving boxes over the audience allowed us to move the main speaker system away from where any microphone could be placed and thus the direct SPL mapping to seats improved and the critical distance was increased. The rigging for the Micas is the Meyer Quickfly system. This will allow for an easy install of the line array. The UPQ-1Ps as well as the UPM-1Ps have mountable racks that will fasten to either a truss or into the roof depending on the capability of the theatre to fly a truss. Rigging points for the under and over balcony should be specified based on the locations of the speakers in the EASE drawings. 4.0 Signal Processing Requirements and Selection The signal processing is an important part of the signal chain from the mixer to the loudspeakers. Our design parameters include not only the technical specifications needed, but also several consumer considerations. Between our line arrays and various fill speakers, we need a minimum of 24 outputs from the loudspeaker manager. We decided that our choice must include a minimum of the following: Full band pass filtering, equalization on all inputs and outputs, selectable DSP inserts on each output, and control from an Ethernet connection. The consumer aspect of our decision rested on the compatibility, ease of use, and user satisfaction. The two best candidates for signal processing came down to the DBX Drive Rack 4800 Loudspeaker Manager and the Meyer Sound Galileo. -3-

7 The DBX Drive Rack 4800 met most of our initial design parameters easily. The Drive Rack offers up to 31-band graphic EQ and 9-band parametric on every input, and 6- band on every output. Its compatibility is good supporting both 96 and 48 khz, has capability of an Ethernet connection, and even provides the patented ZC series wall mounted zone controllers. These controllers can be installed in strategic places around the house to allow for instant control over aspects of the loudspeakers on the fly. A simple graphical user interface allows for easy manipulation of complicated features, such as the loudspeaker cluster and driver alignment delay feature. The drawback to this model of loudspeaker manager is that we would need to buy 3 Drive Racks just to meet our minimum of 24 outputs. At 6000$ for each drive rack that incurs a cost of 18000$ on loudspeaker management alone. This is not taking into consideration any future expansion of the sound system. To keep options open we would most likely want extra loudspeaker management options. This puts the total cost at 24000$ dollars alone on loudspeaker management. As we are already have some difficulty staying under 100,000$ it would make sense to find a cheaper way to satisfy the number outputs we need while staying within our design considerations. We accomplished this by picking the Meyer Sound Galileo. The Meyer Sound Galileo easily provides our minimum design constraints with the Composite EQ, complete control of all DSP inserts, direct connection to Meyer Sound s SIM 3 audio analyzer, and Ethernet connection to any portable laptop or computer. Before any other considerations, this piece was at the top of our list mainly due to the fact that our entire loudspeaker setup is from Meyer making this the processor of choice. There are no compatibility concerns or issues with presets. All the Meyer array information will be accurate and the gain shading programs and presets will apply to our arrays automatically. Also, there are significant advances in audio technology including the Composite EQ coupled with the TruShaping EQ systems. These two features allow the user to find the exact parametric settings to EQ the incoming signal with the least amount of phase shift. User control is simple allowing for front panel control, control through a laptop and the patented direct connection to Meyer s SIM 3 audio analyzer. The audio analyzer allows the user to view the DSP process and manage the processing in a simple graphical user interface. This makes complex audio analysis, phase correcting, and delay setting much easier and intuitive. If these aren t enough of a selling point for the Galileo than the price most definitely is. Each Galileo has 6 inputs and up to 16 outputs. This means we can satisfy all of our output needs and have room for extra expansion with just two Galileo s. At 7500$ each, our total cost is now 15000$. This price is a whole 1000$ less than the DBX drive rack total price without any extra loudspeaker outputs. It s due to these reasons that we decided to go with the Meyer Galileo system for signal processing. See appendix D for signal path diagram. DBX DRIVE RACK

8 MEYER GALILEO 5.0 Mixing Console Requirements and Selection Since this is a general multi-purpose theater, we need a console that can be used for a lot of different types of performances. Probably the biggest requirement is something that s easy to use. Most people who would be using the console would have the knowledge to run a more complicated mixer, but there s no reason to not use something simple as long as it meets the rest of the requirements. We also want something that is reasonably sized. We don t need something huge, but we do need something that will have enough channels and options to optimize the sound in the theater. As mentioned above in the system design constraints, we need 48 channels on our console. Another thing we ll need in the mixing console is the ability to record and playback. Recording isn t necessary for the live sound, obviously, but it s a great option to have in case the artist wants to be recorded for their own use or to use for theater promotion. Playback could be very helpful for performances that just use a track from a cd instead of anything live. The first option for a mixing console in our theater was DiGiCo s SD9. It s very comparable to the SC48. It s very easy to use. It uses a touch LCD screen that eliminates the need to search the many buttons and knobs of most other consoles, which makes it much easier to use, especially when sifting through menu after menu. It is a little bit smaller width-wise, but a little bigger depth- and height-wise. At about 80 pounds though, it s about 45 pounds lighter. It has 32 inputs and 16 outputs. These inputs aren t contained on the console itself though. The SD9 uses what DiGiCo calls a D-Rack, which is basically an external input/output rack that can be mounted either on a rack or on the floor. This is a great feature because it allows for a lot of flexibility with space. The D-Rack could even be set on the floor directly under the console so it doesn t take up any extra space. Multiple D-Racks can also be connected to double the console s input and output channels. The console uses 24 motorized faders with two layers to control each of these channels. The fact that the faders are motorized is great because it means that different settings can be saved and then recalled without having to reset every single fader by hand. SD9 has the ability to -5-

9 connect to a computer through a MADI connection. While it s running live sound, the console can simultaneously record up to 56 tracks using any number of DAWs including Protools, Logic, and Cubase. This connection can also be used for playback through the computer, which eliminates the need to take up rack space with an extra cd player. Though not required, it is nice that the SD9 has some basic built in signal processing like reverb and compression. While the house system already has two Meyer Galileos to handle the signal processing, the built-in processing of the SD9 can be used to do some on-the-fly mixing while recording live performances. This mixing console fits all of our requirements and has a few nice added features to sweeten the deal. All of this comes from DiGiCo s website. The other console we considered was Avid s Venue SC48. It meets all the requirements pretty well. It s got a pretty common layout of knobs, buttons, switches, and faders, so anyone that has used another console should be able to learn how to use the SC48 fairly easily. It has 48 inputs and 16 outputs, which is expandable to 32. That s a pretty appropriate amount. Avid also prides this console on its portability. It has a lot of built-in signal processing, so you can just grab the console and go. Of course, with a piece of equipment of this scale, it s not quite as easy and just grabbing it, but it s much easier than grabbing the console plus DSP racks and everything that goes with it. Like the SD9, the Venue SC48 has motorized faders, but it has two more per layer. As far as recording goes, the SC48 has a firewire that can go straight into any computer using Protools LE. The only downside of the firewire, recording-wise, is that it s only compatible with Protools LE. This firewire can also be used for playback though, which is definitely a plus. A cool feature that combines the SC48 s recording and capabilities is the Virtual Soundcheck feature. This allows the mixer to play previously recorded tracks from the computer through the console and sound system so they can do a soundcheck without the performer even being there. Overall, it s a pretty good console that fits most of our requirements. This is all from Avid s website. In the end, the DiGiCo SD9 seems like a better choice. There are several features that give it the upper hand over the Avid Venue SC48. One is the D-Racks. Using the D-Racks will be very advantageous because of the fact that they can be moved around. Because this is a general-purpose theater, different performances might benefit from slightly different sound system set-ups. The smaller size is also nice. The less space used for a front-of-house position means more space for seating and more money for the theater. It also just looks nicer. The last reason why we chose the SD9 over the Venue SC48 is its recording capabilities. The fact that the Venue SC48 only records with Protools is a big deterrent. While Protools is the industry standard, it s always good to have more options. The SD9 works well with Protools, but it works with other software as well. To top it off, at $25,514, the SD9 is about $3,000 cheaper than the SC48. The SD9 is a perfect fit for our theater. -6-

10 6.0 Microphone Requirements and Selection Every venue needs an array of microphones to give each performance the reinforcement it needs to be heard by every seat in the house. Our design constraints focused on quality, price, and compatibility. In a standard 2000 seat auditorium we decided we wanted to have an array of microphones able to handle a large range of jobs. We want wireless hand held, wireless over the ear, choir, and a lectern microphone. First, we have the choice of a wireless system. For a wireless system, we want to make sure we have flexibility, dependability, and quality of signal. For an all-purpose auditorium we believe that having flexible use of the microphones is of utmost importance. We want to be swap mics in and out, switch between mic channels, and be able to easily troubleshoot the system on the go. After this we want dependability of the microphone and wireless communication. If the assurance of a working microphone is low, we could care less whether the quality of the audio signal is clear. Last, we want to have good audio quality to ensure that the performance of any kind is reinforced with utmost clarity. In the order presented we constrained the microphone selection. We looked at two different wireless systems, the audio technica 200 series, and the Shure ULX-P wireless system. The audio technica 200 series possessed all of our design constraints. It included the wireless handheld and wireless body backs for over the ear mics. The total cost for one wireless receiver adds up to 800 dollars per unit. The Shure ULX-P also meets our design constraints. It also included a wireless handheld, the durable Shure Beta 58a, and wireless body pack for over the ear mics. This price however came out to be 600 dollars per unit. Not only did the Shure come out cheaper, but also had high reviews for usability, quality and clarity; all design parameters that we wanted to focus on. For these reasons we decided to choose the Shure ULX-P wireless system with the Beta 58a handheld microphones. Second, we have the discussion over the ear microphones. Over the ear microphones are important for many performances of high end clients, small group performances, and theatrical applications. A good multipurpose over the ear microphone should be almost invisible, small, with good clarity and usability. We wanted the design constraints to focus on the visibility, clarity, and usability last. We looked at both the Countyman WCE6 and the Galaxy Audio ESS. We initially considered the Countryman WCE6 since it is the set that normally comes with the Shure wireless systems. This mic does fulfill our design constraints however from user reviews and other sources it seems the clarity is not as good as other competition. For this reasons we looked at a company called Galaxy Audio that specializes in smaller microphone applications including over the ear microphones. The ESS model would save us on price compared to the Countryman not only giving the same technical specifications and better user reviews referring to clarity in speech. With a better design and more options to aid usability and complete compatibility to Shure Audio we decided to pick the Galaxy Audio ESS model over the ear microphones. Third, we have the choice of choir microphones. In a multipurpose auditorium a good set of choir mics are necessary as any performing group with a large chorus or choir might need invisible mics. These kinds of mics can aid the functionality of the space and make more types of performances possible. A choir mic should be small, practically invisible, with good enough audio quality and clarity to pick up the vocals of a group of performers. We looked at the Audio Technica U853RW hanging mic and the Galaxy Audio CH-CC215 hanging choir mic. -7-

11 The Audio Technica U853RW is a solid hanging choir microphone. It features a slim design, decent sensitivity, and good audio quality. One big advantage to the Audio Technica microphone is that it has the ability to reject Radio Frequency Interference with a shielding technology. However, since the budget is a big concern for us we couldn t justify simply adding a radio rejection feature for the added price. We decided to go with the Galaxy Audio CH-CC215 s, which provide a similar design, very slim, good sensitivity, and excellent reviews on audio quality while saving us 100$ per microphone. Lastly, we considered our options for installing a lectern microphone. Almost every auditorium has multiple uses for a simple lectern microphone for presentations of all kinds. Many times auditoriums overlook the lectern microphone. Unfortunately when the lectern mic is used, the speech clarity is something that is needed the most. This would be the last place to completely through speech clarity away. For this reason we looked carefully at two different good quality lectern mics, the Audio Technica ES905CL and the Shure MX 418. The Audio Technica and Shure lectern microphones are fairly similar with almost identical spec sheets and data. For this decision we went with the Shure lectern mic since it looked the most professional with a slightly smaller price. If we can get the same audio quality and sensitivity, same user reviews and satisfaction for a lower price we will certainly go with that option. With these microphones we can outfit a multipurpose auditorium for a wide variety of performances, speeches, theatrical plays and other miscellaneous events. Designed to survive, be easily usable, and to adhere to audio excellence, this system will last the auditorium for as long as it is in reasonable use. 7.0 Rack Requirements and Design When a sound reinforcement system is being put together, much thought must be put into the rack mounted elements so that the user is in mind. It is easy to overlook where the racks will go or what will be put into them. If even one rack mounted element is not specified than power requirements, position, and caballing all become an issue. Fortunately for our system, all of our rack mounted equipment will fit into one 18 space permanent rack. Before anything else can be selected, the physical rack must be selected. We looked at two different rack manufactures, Gator Cases and Middle Atlantic. Middle Atlantic offered a wide selection of rack.enclosures with multiple paneling options. Our needs didn t call for this much selection and customization so we turned our attention to Gator Cases. They had a sturdy, professional, fully constructed 18 space permanent rack for a reasonable cost. This could easily store in a wing of the auditorium next to the Digico SD9 stage rack for easy troubleshooting and maintenance. Keeping all of the sound equipment in one space can cut down on the amount of moving around for the sound engineers on a show. Next, we will define all the equipment needed inside the rack. Whenever a rack is used to store sound equipment, there is a need for power distribution and safety. The number one company when it comes to power management and distribution is Furman. They have a large selection of power conditioners for every rack need. For this rack we went with the Furman M-8DX. This 1U model lets through up -8-

12 to 400 Volts with an operating level of 120 Volts. It has 8 power ports on the back for hooking up equipment (See appendix D for diagram of distribution). With an easy to read digital monitor on the front, any sound engineer or tech can quickly see if there is a problem with the power level. For these reasons we decided to go with the Furman M-8DX power conditioner. The two Meyer Galileo s will be positioned next after the Furman taking up 2 rack units each. We wanted the Galileo s to be higher for easy access if the engineer needs to make quick changes with the front panel interface. Following the two Galileo s will be the 16 Shure wireless microphone receivers. Each receiver takes up half of a single rack space. We can fit 16 receivers into 8 rack spaces. Below these wireless racks we have have specified a 4 space utility drawer to store microphones, batteries, wireless accessories, and other miscellaneous items that might be needed back stage. We decided to go with the Middle Atlantic Products # DVDP drawer. It is a heavier, more durable model for long time use in a permanent auditorium. In all, with the Furman, two Galileo s, 16 receivers and a utility drawer we sue 17 of the 18 rack spaces in the Gator permanent rack mount (see appendix D for a diagram of the rack components). 8.0 Cabling and Wiring Requirements The connection of all components of a medium sized theatre can seem like an overwhelming task, but if one maintains a clear systematic way of wiring then the task becomes feasible. There are a few subtleties to choosing an effective method of wiring. These include whether or not to use balanced or unbalanced cables, possibilities of brands of wiring and gages, and how to achieve the best possible sound without any undesirable noises. Once all of these things are achieved only then can a theater be connected properly. One of the first things to think about is the quality of the cables one wants to implement for a theatre with a budget. Since the budget for this theatre is 100,000 we have some room to go for quality products. Although there is no point in having high quality Meyer speakers if the sound is degraded by a poor connection. The company we decided to be the sole provider of our cable is Neutrik. Neutrix is a solid cable company that has been around for over 35 years (Neutrix). They are also relatively reasonably priced for the quality they present. An alternative company that we were considering was Mogami cables. They are also one of the leading cable companies in the world and pride themselves on exceptional quality. Although many of the richest companies prefer Mogami, we felt with our budget that the price increase didn t yield enough quality to justify paying close to twice as much for a cable. If we had more money left over or a larger budget this could have been an easy upgrade. Now that we have a company we need to specify the types and varieties of cables to choose from. The first issue is to decide whether cables that are balanced are necessary. A balance cable has three conductors as opposed to two. The extra conductor helps to put the two signals 180 degrees out of phase for a complete cancelation of audio. This eliminates any interference that could be picked up from an unbalanced cable. We find balanced cables to be important enough to pay more for them to minimize all types of interference (obiaudio). Another option to choose for to get higher cable quality is the gauge. The basics of the different gauge options are diameter and resistance. The higher the resistance the thicker the cable is and the lower the gage number is. Typically the longer a cable is the more losses will incur. These losses are insertion losses that can shrink the amount of db that the speaker can put -9-

13 out. For this reason we have chosen the two 100 feet to have an AWG of 10. The other smaller length cables will have an AWG of 12 (audioholics). These are the basic requirements for the selection of cabling and wiring. 9.0 Summary and Recommendations The system can be summarized into a distributed loudspeaker system with the capabilities of micing and mixing a band or chorus. With the low coverage zones in the balcony it is recommended to invest another $15,000 to $30,000 in more coverage. These funds could be used to add more speakers as well as contribute to building a larger mic closest to ensure all performances can be properly reinforced to the audience. The design and installation are not to be altered by the house crew. Doing so could change the outcome of the performances negatively. In order to become familiar with the system there should be a two year contract with our firm troubleshoot or tweak the system. -10-

14 10.0 References Audio Technica wireless systems, choir microphones, and lectern microphones Avid. Venue SC48. Retrieved from Balanced Vs. Unbalanced Cables. (2010, July 10). Obiaudio. Retrieved December 10, 2011, from obiaudio.com/2010/07/11/balanced-vs-unbalanced-cables-whats-the-difference/ DBX Drive Rack 4800 loudspeaker management system. From: DellaSala, G. (2008, January 10). Speaker Cable Gauge (AWG) Guidelines & Recommendations. Audioholics. Retrieved December 10, 2011, from Digico. SD9: Live Digital Console with Stealth Digital Processing. Retrieved from Furman M-8DX power conditioner. From: Galaxy Audio ESS over the ear microphone and Ch-CC215 microphone. From: Meyer Galileo Loudspeaker management system. From: Middle Atlantic 4U utility Drawer. From: Shure Lectern Microphone, Wireless ULX-P system, and Countryman WCE6. From:

15 Appendix A: Activity Logs -12-

16 Activity Log for: Dan Varnau Role: venue design/mixing console Activity Date Start Time End Time Time Spent Venue design :30 4:30 1 hr Venue design :30 3:00.5 hr Put in seats :00 4:30.5 hr Redo seats, tweak venue design :45 4:30.75 hr Loudspeakers :30 9: hr Research mixing consoles, write my section of the report Tweak venue design, fix loudspeaker layout, compile presentation :00 10:00 2 hr :30 10: hr Finish presentation :00 3:00 1 hr Revise my section of the report :30 10: hr Finalize report :00 4: hr -13-

17 Activity Log for: <Andrew Doerr> Role: <Mics/Racks/DSP> Activity Date Start Time End Time Time Spent Venue Design 10/25 3:30 p 4:30 p 1 Hr Venue Design 10/27 3:30 p 4:30 p 1 Hr Seating 11/7 4:00 p 4:30 p ½ Hr Design Revisions 11/14 3:30 p 4:30 p 1 Hr Signal Processing Research 11/17 11:30 a 12:30p 1 Hr Microphone and Rack Research 11/20 6:00 p 8:00 p 2 Hr Power Point/Rack Drawings 12/7 8:00 p 10:00 p 2 Hr Signal Line Diagram 12/8 12:00 a 6:00 a 6 Hr Final Report 12/13 8:00 p 12:00 a 4 Hr Power Requiremenmts/Final Report 12/14 12:00 p 3:00 a 3 Hr Activity Log for: Brian Vanneman Role: team member -14-

18 Activity Date Start Time End Time Time Spent Venue design :30 4:30 1 hr Venue design :30 3:00.5 hr Put in seats :00 4:30.5 hr Redo seats, tweak venue design :45 4:30.75 hr Loudspeaker placement :30 10: hr Worked on report :00 7:00 2 hr Tweak venue design, fix loudspeaker layout, compile presentation :30 10: hr Worked on report :30 9:30 1 hr Helped with the Report :00 3:00 3 hr -15-

19 Activity Log for: Eric Davis Role: team member Activity Date Start Time End Time Time Spent Venue design :30 4:30 1 hr Put in seats :00 4:30.5 hr Research Cabling and Wiring, write my section of the report :00 8:00 2 hr Compile presentation, work on report :30 10: hr Put together the power point :30 3: hr Worked on the paper :30 9:30` 2 hr :30 4:30 4 hr Finished paper -16-

20 Appendix B: Venue Illustrations -17-

21 Ease Drawings: -18-

22 Appendix C: Loudspeaker Placement and EASE Simulation Results -19-

23 Ease Simulation Results: 1 khz Frequency Bands 2 khz Frequency Bands -20-

24 4 khz Frequency Bands 8 khz Frequency Bands -21-

25 %ALCONS Simulation Result: -22-

26 Appendix D: Signal Path Wiring Diagram -23-

27 -24-

28 Appendix E: Rack Design and Power Sequencing/Distribution -25-

29 Rack Design Power Distribution -26-

30 Appendix F: System Component List and Street Price Estimate -27-

31 ECE 495M Sound Reinforcement System Design Fall 2010 Manufacturer Model No. Description Unit Cost Qty Total Cost Neutrix XLR cables 10 Gage 100 ft Neutrix XLR cables 12 Gage 50 ft Neutrix XLR cables 12 Gage 10 ft Neutrix XLR cables 12 Gage 20 ft Neutrix XLR cables 12 Gage 2 ft Meyer MICA Line array speakers Meyer UPM-1Qs Speaker Meyer UPM-1Ps Speaker Shure ULXP4-J1 Single Professional Reciever Shure ULX-1 UHF Single Wireless Transmitter Shure ULX-2 Beta 58 Single Wireless Handheld Microphone + Transmitter Galaxy Audio SINGLE EAR OMNI Over the ear Wireless Microphone Galaxy Audio CH-CC21530B Cardioid Condenser Hanging Choir Microphone Shure MX418/S 18 Supercardioid Condenser Gooseneck Microphone Meyer Galileo DSP for Meyer Micahs Furman M-8DX Power Conditioner GR -FS4B1823TDB 18 space Permanent Rack Mount Middle Atlantic DVDP 4 - Space rack mounted utility Drawer DiGiCo SD9 Mixing Console Middle Atlantic WRK-37SA-27 37U steel rack (black) Middle Atlantic WRK-24SA-27 24U steel rack (black) Middle Atlantic CBS-WRK-27 caster base Middle Atlantic HP 100 pack rack screws Middle Atlantic EB1 1U blank panel Middle Atlantic EB2 2U blank panel Middle Atlantic PSDR16 16U plexiglass security door ETA PD11SSP power sequencer TOTAL COST

32 ECE 495M Sound Reinforcement System Design Fall 2010 Appendix G: Manufacturer Data Sheets -29-

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37 SD9:TechnicalSpecifications General Faders 24 x 100mm touch-sensitive, motorised Screens 1 x 15 (38cm) LCD high - resolution touch screen Meters 24 x 8-segment LED bargraph Input Channels 40 Flexi Channels Mono or Stereo Busses 16 Flexi Mono or Stereo busses + LR or LCR master Solo busses 2 stereo busses Matrix 8 x 8 matrix (additional to busses above) Control Groups 8, selectable for VCA-style, Moving fader, Mute Group Graphic Eq 16 x 32-band, Gain +/- 12dB Internal FX 4 Stereo FX processors Local I/O 8 x mic/line I/O, 4 x AES/EBU I/O (mono) MADI interface 1 x 75 ohm BNC connectivity D-Rack interface 2 x RJ45 shielded connectivity MIDI interface In / Out / Through VGA port DB-15 mini-female (1024 x 768 resolution) USB ports (3) USB2 Light connection (2) XLR V Ext Sync Word clock, MADI Headphone TRS unbalanced / ohms 1/4 inch Jack GPI 2 x 1/4 inch Jack GPO 2 x 1/4 inch Jack Physical Weights and Dims SD9: 36KGS. 878W 785D 262H Weights and Dims D-RACK: 7.4KGS. 412W 312D 179H Audio Specifications Sample rate 48kHz Processing delay 2ms Typical (40 stereo channels, stageinput through L-R buss to stage output) Internal processing Up to 40-bit, floating point A>D & D>A 24-bit Converter Bit Depth Frequency response +/- 0.6dB (20Hz 20kHz) THD unity gain, 10dB 1kHz Channel Separation Better than 90dB (40Hz 15kHz) Residual output noise <90dBu Typical (20Hz - 20kHz) Microphone Input Better than -126dB Equivalent Noise Maximum Output +22dBu Maximum Input +26dBu -34-

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