Sound System Design 8780 Rufing Rd Greenville, IN 47124 812-923-0174 Ph 812-923-3610 Fax www.synaudcon.com Web [email protected]__ technical [email protected] administrative copyright 2003 - Synergetic Audio Concepts, Inc. ‘Al Rights ReservedSection 1: Introduction fe) Siem eae 1. Establish the terms used by system designers. 2. Provide an overview of the major goals of system design. 3. Review the theory necessary to discuss sound radiation.System Design Terms O. D, D, 1 EAD FSM Ma Me NAG NC Nom PAG absorption coefficient propagation speed critical distance limiting distance directivity index equivalent acoustic distance critical frequency feedback stability margin ambient noise level direct sound level early-reflected level reverberant level total sound level ‘sound pressure level ‘sound intensity level ‘sound power level architectural modifier electroacoustic modifier N factor needed acoustic gain noise criteria number-of-open mics potential acoustic gain ‘The percentage of sound energy removed from a wave when it stikes a room surface, ‘The speed of propagation through a medium. For sound in air cis 344 mis or 1130 fs, In a reverberant space, the distance from at sound source at which the direct and reverberant levels are the same. Ina reverberant space, the distance from a sound source at which the direct level is -10 dB rel, reverberant level. The talkero-lstener distance The loudspeaker-to-microphone distance The loudspeaker-to-istener distance The talker-to-miorophone distance ‘The gain of a loudspeaker due to directivity a any slated angle The maximum distance from a talker where sound reinforcement is not required. In an enclosed space, the frequency below which room modes dominate the acoustic response. The number of dB that a sound system is operated below regeneration, ‘The background noise level, usually in dBA. The level of the first sound arrival ata listener position. ‘The level ofthe early-reflected sound field ata listener position. ‘The level ofthe reverberant field at a listener position. ‘The total sound level at a listener position. ‘Sound pressure expressed in dB ref. 0.00002 pascals, ‘Sound intensity expressed in dB ref. 10 wattm? ‘Sound power expressed in dB ref. 10°” watts. Modifier of room absorption based on strategic placement. Modifier of L, due to additional loudspeakers, listener Q, etc. ‘Total number of loudspeakers in a reverberant space The amount of acoustic gain needed from the sound system for a given talker to listener distance, A single number rating method that describes the broadband noise in a space. ‘The number of mics that are on at any one time, ‘The potential gain of a sound system established by component placement, source distance and listener distance.System Design Terms (cont.) RASTI RTw SIN 88 stl 1 v w Zz %Alcons a directivity factor reverberation time surface area absorption time volume power impedance wavelength For a loudspeaker, the ratio of sound pressure at one axis to the mean sound pressure at all axis around the device. Rapid Speech Transmission Index. The time required for 60 dB of decay for a sound source in a reverberant space The area of a surface in ff or m’. Signal-to-noise ratio ‘The surface area times the absorption coefficient, expressed in sabins, ‘Speech Transmission Index ‘The rate of doing work, expressed in watts ‘The total opposition to the flow of current in an AC circuit ‘The Percent Articulation Loss of Consonants ‘The distance in feet or meters between two lke points on a sine wave.the Audio Practione, Physics Mathematics Electronics Computer Radio Architectural Acoustics Mechanics Acoustic Environment directed, molded and shaped by Real-World Experience Art vs. Science Music Preference Loudspeaker selection and Speech Intelligibility Mixing placement Acoustic Gain Effects Processing Microphone selection and Gain Structure Program Equalization placement Electrical Power Required Desired Listening Level Room acoustics Grounding Technical EqualizationMeasured or Calculated Room Parameters Achieve Desired Coverage Identify Problem Reflections Determine Direct/Reverberant Ratio Evaluate PAG-NAG Calculate Electrical Power Required (EPR) Determine Signal Processing Requirements Peak Outdoors? Dead Space? Live Space? Reverberant Space? Noisy Space? Single Loudspeaker? Distributed Loudspeakers? Array? Interfering Reflections? Supporting Reflections? Echoes? Positive? Negative? Adequate for all seating positions? How many mics? D, adequate? Achieve EAD? Required average L,? Desired headroom? Loudspeaker power handling adequate? Crossover? Equalizer? Peak Limiter? Delay?Measured or Calculated Room Parameters Achieve a Desired Coverage Identify Problem a Reflections Determine Direct/Reverberant = Ratio Evaluate PAG-NAG Calculate Electrical Power Required| (EPR) Determine Signal Processing Requirements Pretubae kak Timed Decay Impulse Response On-site evaluation L, map with PC On-site evaluation. Ray tracing with PC On-site evaluation Classical Rt,, calculations PAG-NAG calculations EPR Calculations Understanding of system operations, functions and requirements Is it loud enough? Is it intelligible? Does it have adequate fidelity? Is it stable?F2 WwW W=IE Wis electrical or acoustical power lis the flow of current Ris opposition (resistance (R)) E is pressure (voltage) either electrical or acoustical SEER einen ad Voltage, Distance, or % Subjective Change || pressure ratio _ change Power Ratio dB Change Barely Perceptable || 1.1201 112 89 126101 108 126 79 Noticeable to most 1.41101 ral 2to1 3dB 158 63 178 56 Goal for system changes 2101 200 50 4tot 608 224 46 251 40 280 36 Twice loudness 3.16 to1 316 32 10 tot 10dB Half loudness ° 10 3 1 3 4 20log 10log' Decibel Review decibel: ten-times the base 10 log ratio of two "power-like" quantities Relative Level Changes dB= 10log(W,/W,) | where W is power (electric or acoustic) dB= 20log(P./P,) where P is pressure (or electrical voltage) dB= 20log(D./D,) where D is distance in feet or meters Electrical Levels dBV= 20log(E/1) where E is electromotive force in Volts dBu= 20log(E/0.775) where E is electromotive force in Volts dBW= 10log(W/1) where W is electrical power in Watts dBmz= 10log(W/.001) where W is electrical power in Watts Acoustic Levels L, or SPL= 20log(P/0.00002) where P is sound pressure L,= 10log(W/10"’) where W is acoustic power dB = A/B Multiplier Base 10 A Power Logarithm RatioLight Twice the light... Twice the light... Twice the light... Regarding changes in level: What you need depends on what you start with!!! or The proportional change is what matters!!! or Agiven ratio always produces the same result!!!Frequency (cont) Linear Scale 01k 10k 20k 30k 40k 50k HLA | || ||| HTL itt 1 10 100K Mid Voice Range cabelaye Band BandLimits gg AMETNE,.,—BandLimis Decade: 10/4 frequency ratio Octave: 2/1 frequency ratio 27} = 2 Octave Fractions: 1/3, 1/6, 1/12, 1/24 a 2 S @ Noise: all frequencies at once “ $ # White noise: equal energy per Hz S T+] Pink noise: equal energy per octave o x = ie 7 co Ea a = 0 0 oo Ter ss range ‘99 150 artiulaton cr cena ed 7 ‘20 a = co = ot 9 Ta a a0 4Rarefaction Amplitude - Phase Angle 1 Wavelength Increasing (deg) - Time nr T=1/f f=1/T - Tf=1 X=Te where: T is time in seconds fis frequency in Hz c is propagation speed in feet or meters 12Coen ee ete —- , sical Sound in Air | opper Frequency US English sl US English SI in Hertz (Feet) (Meters) (Miles) (KM) 31.5 36 " 5609 9047 63 18 5.5 | 2952 4523 - | | : 125 9 27 | 1476 2261 250 45 1.4 738 = 1130 500 23 07 369 565 1K 1.13 0.344 184 | (282 2K 0.56 0.172 92141 4K 0.28 0.086 46 70 8K 0.14 0.043 23 35 16K 0.07 0.021 1 17.6Phase Shift Phase shift is caused by delay between two or more signals. Causes: 1. Filters 2. Physical position 3. Electronic delay Phase shift is frequency-dependent. There exist an infinite number of states. Phase shift is always relative to a time reference. This can be absolute (time zero) or relative (as between two signals). Polarity Polarity reversals result from a change in direction (sign) of a waveform. Causes: 1. Reversed-wires 2. Circuit topologies 3. "Invert" switches Polarity is not frequency-dependent. There exist two states - in or out. Polarity is independent of time, and can characterize a single signal (absolute). Relative polarity can describe the relationship between two signals. For narrow band signals, a phase shift of 180 degrees can be indistinguishable from a polarity reversal. This is not true for broadband signals. 14Superposition [\ Lf s 3 3 2 £ o 90° 180° 270° = 360° < ni2 ny 32 2n Time 90° nl Hypotenuse Opposite 180° * 360°\ 0° 8 i. an Adjacent sin 0 = oppihyp cos @ = adi/hyp tan 0 = oppladi 270° ppises 3/2 Shift | Summation o +6.0 dB 30° +5.7 0B 60° +4.8 6B go" +3.0 dB 120° 0.0 4B 150° -5.7 dB 180° | -codB For two signals of equal level: 15Ate 120 degrees (0dB) 60 degrees (+4.8dB) 180 degrees (-infinity) 90 degrees (+3dB)Coherent Broadband Sound Field Summation (+6 dB) K Boundary Microphone Pressure Zone Loudspeakers in Close Proximity <1/4 7. od Loudspeaker on a Boundary Mirror Acoustic Image K K a Mic equidistant from two equal-level sources 7Pressure Amplitude This is how we characterize sound. Ambient Anechoic Time (5) "arpmae This is the impulse response of a room/sound system. Impulse ee 500° Jobe Amplitude This ip a combination of the two. Convolution Time (s) 18Alternate Perspectives Time Domain Frequency Domain shit Nati, lia Joint DomainTime/Frequency resolution and the "Uncertainty Principle" TF=1 The more you know about time, the less you know about frequency! Time lWindow Data point spacing (frequency resolution) 20Section 2: Sound Radiation 1. Present the mechanisms for controlling sound radiation. 2. Establish the terms used to describe sound fields and directivity. 3. Discuss the major categories of sound radiation devices.Toit VAC C Ly Sound Power - total radiated acoustic power (watts) from a source - Sound Intensity - sound power per unit area Sound Pressure - pressure fluctuation at a point in space Sound Power Level L,, - sound power in dB ref. 10° W Sound Intensity Level L,- sound power per m’ in dB ref. 10° Wim* - Sound Pressure Level L, or SPL - sound pressure in dB ref. 0.00002 Pa Note: At 0. - Pays = 2m Ape = I, _ 4n’pc A= 1 4n*406 A=7.9mm Pays = 2(7.9)(10)(406) Pays = 20.15 Pa 82 m, the sound power level. ound intensity level, and sound pressure level are all the same NUMBER for Q = 1(useful for conversions, where: fis frequency in Hz A is particle displacement in meters pc is the characteristic acoustic resistance (406 Rayls) |, is the sound intensity in watts/m’ 22Sound Radiation The Waveguide AdB, = 10log 1/1 -All energy confined to tube - No spreading occurs AGB, = 20log 1/1 - Delay relative to propagation speed - The original signal delay AdB =0 ela y —_Y [eit idle KU 2 foe found Source oh Sound Source 17 up? OO \awtia The Point Source ~ Spherical expansion of wavefront - -6 dB per doubling of distance (Inverse-square Law) - Source is small relative to radiated wavelength. Sound Source Directional Source 6dB AdB, = 20 log 2/1 = 6 dB 10 log 4/1 Omnidirectional Source 23Directivity - Gain due to Confinement Directivity Factor (Q) - The ratio of the sound pressure at a point to the average ‘sound pressure radiated from the device at the same distance. Directivity Index (Dl) - The difference between L, at a point (usually axial) and the average L. from the device. It is the loudness increase due to Q. DI = 10log Q Ly = L,.,.- DI + 11 Z I tf Sound Power tw/tm —_Directivity _201og 1/(0.282) Level sensitivity Index . e "Whole" (4) Space “One Hall (2x) Space Q DI=3 4B DI= 0B 4/1 sphere 1/2 sphere *One-Quarter” (x) Space “One-eighth" (7/2) Space Q Q=8 DI=6 0B DI=9dB 41/4 sphere 1/8 sphere 24Loudspeaker Directivity The Polar Plot Manufacturer Ulysses Speaker Datasheet | Frazier Dodec Single Md Hom Large Horn Type i FZCAT40H Half sphere,10° resolution | 125] 250] 500) 1000) [100,100 85,85) 90.0 90.0 99.0 99.0 25Loudspeaker Directivity The Balloon Plot Axial Position 008 “= } Axial Position 26Loudspeaker Directivity. .- The Attenuation Balloon 1000 Hz AttenuationBalloon: we m~«CHDS*«OODS«*«C«OODSSCMOOD.S«O Directivity Index DI Attenuation 4 a7The Wave Number - ka _ D Dis diameter kA = 2n = 2. is wavelength Directivity Factor (Q) Log Frequency 28Acoustic Origin - the time origin of the wave front Acoustic Center - the center of curvature of the wave front To minimize interference, the acoustic centers should be coincident The acoustic origin can be moved electronically. The acoustic center must be moved physically. Acoustic. ‘Center l ‘Tube Radiator J Je THIN) Tn N\ DNDN TMD) | SY Acoustic ‘Org Conical Horn Multicell Horn ‘Acoustic Acoustic \ Acoust. ‘Onin Center \ ‘rain | | Constant-Directivity Horn Horizontal Vertical same as conical Z Front 29Rett | 4 kHz -.25 ft 2 kHz - .5ft 1 kHz - 1ft 500 Hz - 2ft 250 Hz - 4ft 30Horn Aiming Reference _/ Distange~ 25 ft (7.5 m) (+12 dB) 100 f (30 m) 31Multi-way Loudspeaker Systems Two-Way System Vertical Component Orientation Different HF Kz] Acoustic Centers, Signal LF Alignes Origins AT ‘Two-Way System Coaxial Component Orientation Common Acoustic Center Signal Aligned Origins Plane of Signal Alignment ‘Smooth horizontal polar Lobed vertical polar Smooth horizontal polar Smooth vertical polar 32Rigid Boundary Random Phase Concert Line Speech Line 33Line Arrays Top View of Vertical Array -| Device Spacing and Max Working Distance &~ Radiation Pattern as a Function of Spacing 35Loudspeaker Terminology: Directivity Factor (Q) - The ratio of the on-axis sound pressure to the mean sound pressure emitted from a sound source. Directivity Index (Dl) - Q converted into dB. It represents the "gain" of the loudspeaker due to directivity. Efficiency - The ratio of the applied electrical power in watts to the radiated acoustic power in watts. Sensitivity - The on-axis L, normalized to 1 meter that results from the application of 2.83 VRMS to the loudspeaker terminals. 2.83 VRMS across 8 ohms is one electrical watt. Power Response - The sound power generated by a loudspeaker. It can be measured by summing the L,s over the radiation sphere of the loudspeaker, or by measuring the L, in a reverberation chamber. Impedance - The opposition to current flow presented to the amplifier by a loudspeaker. Impedance is frequency- dependent. Phase Response - Shows the deviation from the phase shift at a reference frequency over the bandwidth of a loudspeaker. Group Delay - The first derivative (slope) of the phase shift as a function of frequency. Group delay can show the relative time arrival of frequency regions at a reference position. 100) DI (dB) = Bo Eff. (%) ao 3 8 Ly (GB ref. 10°? w) Lin. (4B ref. 20uPa) x 3 s é Z (ohms) 180 Phase (deg) ° -180 Group Delay(ms) Log Frequency \ Log Frequency Log Frequency ——— Log Frequency [\ / _ Log Frequency NS Log Frequency Log Frequency 36Section 3: Sound Fields Objectives for Eerie 1. Discuss the sound fields that develop from sound radiators. 2. Establish the terms used to describe sound fields in enclosed spaces. 3. Explore the impact that reflected sound has on the system design 4, Present some methods for providing coverage to an audience. 37Level (4B) Bemis Impulse Response of an Enclosed Space Direct Sound —_Reflections Reverberation bo Lee ba Ambient Noise Time (sec) lL, = Contains the most information - Independent of the room at short wavelengths (relative to room dimensions) - The “engineered” sound field - Calculated using Inverse-Square Law (point source) Le - Can contain useful information: - Provides “room” signature - Can be useful or harmful depending on time of arrival ~ Calculated using Ray Tracing or Image Source methods (PC) L, i ~ Contains NO information - Uniform throughout the room - Reverberation rime determines reverberant level ~ Masks speech if level is too high ~ Calculated using classical equations (Sabi L, @ - Major source is HVAC, lighting, equipment and room occupants, 38The Direct Field Level Direct Level L,: - Inversely proportional to the distance from the source squared. -Independent of room reflections at high frequencies. | | | I \ -Includes boundary effects at low | | frequencies. -The "engineered" sound field. Ly = Ly + 10logW + 10logQ + 10logMe + 20l0g(0.282/D,) ‘Sound power level | Directivity ] Inverse-Square Law Additional Direct field level Amplifier power enone where: L, is the sound power level Wis the ampitier power in watts Qiis the directivity factor Me is the number of like devices providing additional L, D, is the loudspeaker to listener distance + 10logW + 10logQ + 10iogMe + 20l0g(0.282/D,) a — + 10logW + 20log(1/D,) } ens / 39.. Ceiling Minimize Radiation Here Maximize Radiation Here . ’ Audience RRR RRRRB OO00000 Achieving Audience Coverage Overhead Methods: Single-Source Low-Q Pros: Low Cost Cons: Close Miking Uneven Coverage Single-Source Directional Pros: Even Coverage Greater Mic D, Imaging Cons: Large, Visible Ldspk 40ingle-Location Vari-Q Pros: Even Coverage Greater Mic D, Imaging Cons: Large, Visible Ldspks Interference in overlap In-Line Overhead Pros: Even Coverage Greater Mic D,, Imaging Cons: Large, Visible Ldspks More Expensive High-Density tributed Pros: Even Coverage (if dense) Gain-before-feedback Less Visible Cons: Imaging More Expensive Zoning may be required 4Ear-Height Methods: Stereo Imaging Cons: “Sweet Spot" Uneven coverage Flutter Echoes Mono and stereo Imaging Larger "sweet spot" Cons: Uneven coverage Flutter Echoes Surround Pros: Mono, stereo and effects Imaging Larger "sweet spot" Cons: Uneven coverage Flutter Echoes 42Single Channel System Design Hierarchy Single-Source Side of Listener Top of > iistener IncLine Overhead | Hertha tay gles System inadequate? ystem Vertical okay but horizontal inadequate? Side-by-side array Exploded Array Vertical coverage inadequate? (Room too deep) Distributed System 43Multi-channel System Design Hierarchy Single-Source System Prefer multi-channel? i Stereo “Sweet spot” too small? > wa Left-Center-Right eee > Side of Listener 44Discrete Reflections - behave like "light" - contain information - require specific treatment Precedence / Haas Effect } | Lawiw ok \ \atequeation 0-10ms_Levehinorease, image shift, tonal coloration 10 - 40ms Level increase, support for music and speech ONMeilirn das. sy tyvet Wlpebie Seen keene +40ms Echo yer 45 Bel hate uicive cteleyTh a us betvi Tepulce ce ot oF rota cwep sine og Stakka tT qbagens ba WA arn Vid lower vioise fleovi, Sclivotew COTian cegiv tl ta “Awan waeThe Early-Reflected Field (cont.) 100 Measured reflectogram of a reverberant church Discrete Reflections * — L Ih 50 25 PAT ML WAN IAN ne ms. 100 | I 90 The audibilty ofthe early- reflected field is dependent Calculated Reflectbgram on: of a Large Exposition Hall 1. arrival time — 2. direction 3 level 4. density Most subject impressions of room/system characteristics are based on the early- reflected field, L Methods of calculation: 1. Ray Tracing - statistical calculation based on # of rays emitted into the room, 2. Image-source - based on mirror image reflections from a spectic room surfaces at a | \ Ul listener position. o 7 2 3 4 50 6 7 8 ms.Staweh bilgi mys Ope pega tou? fossa ine 6 Vand, BC Ge Toe ae cf S340 The voows emedlecr Ai rweneien L ) t wey uedanr S8ktHa gete Stamdbyylgine — ver!D Vaan ~ wea lS. Fuyir) dan BHOtl haga wpe SB sév ae og Ges. Be. led hrebeg, 42 veda Standbylaju Vvardewe . ob. P\ dor belabladan. Fun Admrcndal Baca vor UP Pe RE vere ee ae | | ssa ad lata bran gun hh Te | ee era yh Lew gaReverberation Characteristics: - Accumulated sound energy - Random incidence - No information - Requires statistical treatment - Uniform throughout space RT, - The time required for the L, to decay by 60 dB upon cessation of a steady sound source driving the room (>1.6 sec). RU is octuve Aepend \ Trae tae 200 Tie ate Log-squared Impulse Response - Dry Pink Noise Bursts Wet Pink Noise Bursts 47Sabivs LAA ini absouptions . @ Live Yoorr - ecles , VAlecHor. @ Key voorr = ctctiusmialativg Corewgyou D = Move ateabtien. Absorption t O>~ Less ct bsoybtion The Absorption Coefficient - 4 Calculating Absorption AdB___%Change 3 “1cB 20% __2 S=Dim1xDim2 | -3dB 50% 5 Sabins = Sa } | 60B 75% 75 Dim 4 | 1048 90% 9 | -206B 99% —~99 Dim 2 where The Sabin: i Sis the surface area in ft’ or m? abine Equation is the absorption coefficient = 0.049V SA, = SA, + Sa, + Sa, +...+Sa, Soa = RT. 60 where iS esoom volume in Statistical reverberation equations are most isin accurate in rooms with 0.161V 1. low absorption (<0.1 average) sa -2: 2. absorption present is uniformly distributed ‘total RT. about the space. 60 Violation of either condition reduces accuracy! where ee Vis the room volume in m* Sabie Eyvetion Fy Sisinm tay vevevkewout voor Once Sa is known, the reverberant level is: L, =Ly + 10logN + 10log 4/Sa + 10log 1/Ma t | 1 t i difier for the sound power absorption in mo level from the loudspeaker sabins absorption placement providing L, Le = tow loud {he Bee well Lecoune te foe # of additional identical loudspeakers driving room 48Material ‘Acoustical Plaster Zonas) “72 thok trowel application 1 thick tro! applestion ‘Acoust, surface glazed and perforated structural clay tie wit” glaze fber blanket of ‘thea density ‘it abine per 1000 cubic feet) Brck, Unglazed Bek, unglazes,esnted Carpet 1/4 pie on wood platform Carpet, 1/4" pie, glue down Carpet, Indoor/Outdoor Carpet, Heavy ‘on concrete ‘on dl haifot or foam rubber ‘ath impermeable latex backing on 40-02 baste er foam rubber CConerate block ‘parted Fioerbosrds, 12° normal sot, mounted aginst sold backing unpainted some painted Fioeroards, 12° normal sof, mounted over 1° airspace unpainted some painted Fiberglass insulation blankets AFOOT mounting $ ‘ABI00 E mounting & (AEE 9 mounting ‘A500 2 mounting & ‘AFE00 4 mounting & Flexboar, 3/16" ur board mounted oer” ar apace Floors concrete or tenazz0 linoleum, agphet, rubber, or cork ile en concrete wood ‘wood parquet in agphal an concrete Foam ‘Sone 2" thick 9 Hor ‘Sonex 3" thick on fot ‘Sone 4" thick on for Gaoacaustc 13°x13" 2 thick collar glass te Installed 32" ac. per unt (Sabins 22) Glase large pares of heavy plat glass ordinary window lass Gypsum boar, 12 nals 0 2x4” 16" 0. Hardboard panel, 18° 1/3 f wth bituminous rooting fet stuck to Back, mounted over 2" ae space Matle ox gazed tile Sugst oth vm Yeti nce 252 oat om a0 oor ars 095 aot om om. on 010 005. on oo 019 9.09 020 ox are oot om 015 oo8 oo oe 013 018 0% on 090 oat 2502, 002 ox 082 ous 078 os? 063 009 009 Dot 002 015 020 00 015 om 906 om 01 om 057 oz 039 044 031 095 0.96 010 035 010 010 015 018 02 042 ost 079 025 060 05 089 os 099 a1 009 ost aot 093 093 on 010 aos o07 025 a8t 043 098 070 108, on 235 005, 004 035 018 210 005 04s 025 oor oot s a7 092 ost 093 038 oar. om. 03 oor 006. 02 tot 258 003 01 oo4 ons oat Wvert SPL- inca 040 010 ona oe 075 oe 083 03 om 003 006 095 4.00 101 203 902 ‘oor 007 Dio om oes ose 72 oor 003 055 055 ous 6s 073 088 0m 008 on 01s ons om nz os oo am ATH thea ATH! ote.Pies oe Ca CU mace a xe x The Hopkins-Stryker Relationships . ° Ow Ae fo QMe Neu ee L, =L, +10log}] —— |+K 4 se Dee oe — 2 Ny L, = 10log | ——— |+K ap bw + 10log| ita Reve. K=0.2 (SI) K=10.5(US English) where: L,, is the sound power level from the loudspeaker providing L, L,is the direct field level L, is the reverberant field level Qis the directivity factor of the loudspeaker providing L, D, is the loudspeaker/listener distance (feet or meters) N is the total number of loudspeakers in the space (identical) Sa is the total absorption in Sabins Ma is the architectural modifier (accounts for strategic ABS) Me is the electroacoustic modifier (accounts for additional L, Idspks) Note: L, and L, must be considered for EACH listener seat!!! L, is LOCAL L, is GLOBAL 50ev lovel ce alltak — ted” Cust 1 Scar for certs det CeHe | Fina tiv bad OverSyn-Aud-Con Spreadsheet wna: ‘1 4 Intetigiility 100 tng T7654 | Critical Distance Enter Volume —> V(enter) * 3000000.00 13 oo as oa * WA EnterRT60 —> RT6O * 5s | MFP 7 NAR Enter Q >a 4 1000 00 © SiN 46.0 08 EneN > Nf 10 a” [RT6o Ifunknown: | _JSabine 7 5.005 | RT60 fromoter 7 Veale) * 3000000.00'ns 80 [Fitzroy NAS Worksheets —> Safcale)* 29400.00°n2 Eyiing __* _NAS Neale). > 10 TDL 15 “0 eee 50% lfPeurzth Listener Ox 15.008 SifTer Position h 5» SIEAsE D2 15.00] ag Acoustic Levels 0 4 PowerLevel LW. 90.0 eM 9 ij” ktzRT60— 1.55 DirectLevel JLD 76.0 ese. LN lakHz SIN 10.0 Reverberant Level] LR 61.8 ose. lo Is00Hz RT6O 1.5 | aur We2es. CLR Is00Hz S/N 10.0 Noise Level NDS 30 dBA, %alcons RAST 12 Enter the room volume, RT60, and N Factor. if these values are unknown, 11 enter zero and the values from the Voland ABS. worksheets will be used to estimate them. 2 Enter the listener position and loudspeaker height 3 Note the direct-to-reverberant ratio based on the listener distance. 4 Note the predicted speech inteligibity This sheet is for evaluating the speech intelligibility based on the direct-to-reverberant ratio and the signal-to-noise ratio in a statistically reverberant space. it does not consider the early-reflected sound field. The algorithms are invalid for rooms with high absorption oF non-uniformly distrisuted absorption. Use it fo get familiar with how the Hopkins-Stryker variables interact. 51AvSdt oo former De med du ad vwolu wee dd AL awl? ey fava gt}oB ioe bow sot Spl Erbe \\ odvt - bE OA 5 tev e+ pad Vea cinbm 19 eget ha er tebav yaAlectianr er Kev _ —_—_ Lact Arctarcd leuekeT Ute Reel co) /Neewdt “pur bate a Near-Field Far-Free Far-Reverberant Field Field dB Lace = Urea 0. pecs 0 5 v Sl ce etl alleat yutr D. . Cosceat Distance elictance re Long RT» All energy in this beam 5260 50 40 30 Octave band sound pressure level - dB 20 10 63 125 250 500 Frequency - Hz Acceptable Noise Criteria* g 2 = S g S 2 ke te Suen oo Unoccupied with all systems operating Type ofArea —|Nc'Hange | Type ofArea | FNC Range Private Residences 25-30 Hospitals and Clinies Apartments 25-20 Privale Rooms 25-30 Hotels/Motels Wards 30-35 Individual Rooms or Suites 30 - 35 Operating Rooms 35-40 Meeting Banquet Rooms 25-30 Corridors 35-40 Halls, corridors, lobbies 35-40 Public Areas 35-40 Service/Suppor areas 40-45 Churches 25-30 Offices Schools Executive 25-30 Lecture and Classrooms | 25-30 Conference Rooms 25-30 Open-plan Classrooms 30-38 Private 30-35 Libraries 35-40 Open-plan areas 35-40 Movie Theaters 30-36 Computer Equipment Rooms] 40-45 Public Circulation 40-45 “From the Society of Heating, Refrigerating, Air Conditioner Engineers 53Section 4: Speech Sound Systems Cee ee 1. Discuss the characteristics of the human speech and hearing mechanisms. 2. Establish the criteria for intelligible speech reproduction. 3. Present the methods for predicting and measuring speech intelligibility 54xX A rer Lin. |{oteses) 55) SPEECH . Haralave Helpful for speech: Single source (face-to-face communication Low Lig, © Omg LOW Lye (beyond 50 ms) High absorption besa vuel Helpful for traditional music: Muliple sources (envelopment) HighL, 2 Low absorption Preferred C50 Values Cla. ©, volee Dindins toe us (oes Organ Music Speech ge Choral Music ‘Symphonic Music Contemporary Music 12 2 6 3 0 +3 +6 +9 +12 4B Early | Late apa ia 260 ‘ie ee. 55The Human Auditory System Positron Emission Tomography (PET) scans of the human brain reveal that speech and music are processed differently Auditory System Physiology Pinna directivity ae Eardrum pressure sensitive Cochlea Jrequency dependent hearing damage Ear Canal Middle Ear amplification transformer tna - aN WS VA k - | i q 56Loudness 130 Toandss 120 120 10 3 8 90 80 70 60 50 40 30 20 10 Sound Pressure Level - dB ref. 20 uPa A “10 20 60 100 200 500 Ik 2k 5k 10k Frequency - Hz MAF - Minimum Audible Field Relative Response - dB -50 20 50 100 200 500 Ik 2 5k 10k Frequency - Hertz Lomicve Paseel 57Appropriate Sound Reinforcement Levels (dB A Slow) 70 60 50 40 30 20 10 ——— Hearing Damage Likely Hearing Damage Possible Maximum Level for Audience Maximum Linear Listening Level Foreground Music Level Maximum Speech Level Face-to-Face Communication Maximum Ambient Level u orl ptr 80h e a yew by ¥ Typical Ambient Level Minimum Ambient Level Midband Threshold of Hearing 58- ; L,-Ly> 25 dB Design Signalto-Noise Ratio Goals: L,-L,>0dB - Direct-to-Reverberant Ratio Characteristics of Human Speech Octave-band Percentage Contribution to Articulation Modulation Frequencies for Human Speech 35 g12 30 3 2 Be 1.0] ~ B20 ) 5 808 215 L 3206 - 10 | Bs =e | 304 5 | 2 ~ 0 a 1 “02 63 125 250 500 1k 2k 0205 1 2 4 8 16 Frequency ‘Octave Center Frequency Percent Articulation Loss of Consonants - %Alcons "Joe took father's shoebench out "0e 00__a_e' on a canoe ride down the o_a_aoce | Tippacanoe River On a twin-screw stainless steel cruiser" No loss "Joe too_father's shoebe_ch out "J t_kfth’ssh_b_nch_t ona canoe ri_e down _he cn_rd_d_wnth_ Sn River /_n-scr_w st__ni_ss t_lcr_s or" Tippaca_oe River - On a twin-sc_ew stain_ess steel c_uiser" 59Speech Intelligibility Algorithims The Ingredients: L, - the direct field level L, - the reverberant field level L,- the ambient noise level (dBA) RT60 - the reverberation time for 60 dB decay yer EASE 09 1 =~tog| vo Paagy? ) RT; b+{ 2 Peutz Long Form vate =f Zac) Teo Ven? 1 Pan To [Parr = USN +11) USN IP) thy anna | Yedlcons = 100x107" 1, 50 (Gerald Marshall) a 0.0122D, +0.691 ey, ( RLOO QV exp) C=-0.5log| — Cy =10lo3 ex 0.691 \ 0 = 10108 1024RT,,D:N PRT, Yaleons =100(10%'"""""1 40.015) Relationship between %Alcons and Critical Distance 5 4 160 vay it J For 10% Articulation Loss 3 D. Mu iS LACA 60The Speech Transmission Index (st) Uprdicorion Long-Term Speech Spectrum Heap o® ver boa be g teeule © yesporst 3 z 5 3 @ g $ 5 ees 125 500 2000 +: 8000 4 Frequency 4 Modulation frequencies for RAST! k—T—I 3 m(F)= T(1 + cos 2xft) 10log[m, /(1-m,)] where Xs the apparent SIN Channel Troduloson rel factor ifX,> 15 dB, then let X = 15 6B ? if X <16 dB, then let X = -15 oB rast} = 2215 T(1 + meos(2nft + +)} The STIU/RASTI Scale 0 01 02 #03 04 #05 06 O07 08 09 1.0 BAD POOR FAIR GooD EXCELLENT 61100 oo |__|} Existing Intelligi + ro) N 3S | +t | 0 O01 02 03 04 05 06 07 08 09 1 Common Intelligibility Scale a %Alcons gz Phonetically Balanced Word Scores |_| Articulation Index Speech Transmission Index Si _ 62Section 5: Acoustic Gain and EPR 1. Establish a design goal for the sound system regarding acoustic gain 2. Define the system parameters that affect acoustic gain. 3. Present the mathematical relationships between these parameters for the free-field case. 4. Calculated the required amplifier power for the direct field. 63Acoustic Gain The Equivalent Acoustic Distance - EAD Terms: D, - the talker-to-listener distance D, - the loudspeaker-to-mic distance D, - the loudspeaker-to-listener distance EAD = Drgsp10-*° Dy - the source-to-mic distance FSM - Feedback Stability Margin where NOM - Number-of-open-microphones Lim iS the L, produced by the talker Lyis the ambient noise level (SBA) Djesr is the distance at which Ly. Was Measured taverg aD alli. ag oF Lae yet vel og Uvardod 1 Pew Cotenae G dalle Talker Unaide Listener t ft a — System Listener Needed Acoustic Gain (NAG) = 20logD, - 20logEAD + 10logNOM + FSM k av Potential Acoustic Gain (PAG) = 20logD, + 20logD, - 20logD, - 20logD, Goal for design!!! PAG-NAG=0 #4) Free-Field Acoustic Gain Equation AD, + AEAD - AD, - AD, - 10logNOM - 6 = 0 widest Wid Our 64 SON be Aen Cerse bE COEDAmplifier Power Requirements 1. Start with the 1W/1m sensitivity of the loudspeaker. This can be found on the mfg's spec sheet. 2. Scale it to the desired listener using the Inverse-square law. This produces the level at the listener distance that results from 1 watt. 3. Subtract this from the desired average L, at the listener. This produces the amount of additional power required (beyond 1 watt) to achieve the target level. 4. Add the desired headroom in dB. This provides room in the amplifier for short-term peaks to pass, and results in the required amplifier rating in dBW. 5. Convert back to watts if necessary. This converts dBW to watts. Example: Lees = 100 dB 1W/4m How much headroom? Pas = 100 et Minimum = 6 dB (4x) rceues)= 90 4 Typical = 10 dB (10x) 1 Lene = 100 48 Hi-Fi = 20 dB (100x) 2. 100 + 20log(3.28/100) = 70 dB 3. 90 dB - 70 dB = 20 dBW 4, 20 dB + 10 dB = 30 dBW 5. 30 dBW = 1000 watts 65PES res — [Hand-held Instruments Design Software Test Instruments Audio Toolbox EASE Software — | Terrosonde, Inc. Renkus-Heinz, Inc. 11800 549-4990" 888-433-ATB1 949-588-9997 www.memelectronics.com ‘wow audiotoolbox.com www.renkus-heinz.com | : -|- LARA TS-1 Test Set Minstuments. Integral Acoustics JW Davis Company Neutrik USA www.integralacoustics.com || 214-651-7341 — | 732-901-9488 www jwd.com www.neutrikusa.com Ulysses i FB Piezo Tweeter — | Mise Meters | wwwifbsoft.de Radio Shack 205-998-2588 Room Optimizer Rane Gain —_ | wwwgold-line.com Room Sizer Rane Corporation RPG Diffusor Systems 425-355-6000 Measurement Software wwrpaine. com \www.rane.com SIA-Smaart Adapters and Plugs SIA Software Har-Ken Specialties _ www.siasoft.com 201-886-8020 WinMLS Morset Laboratories Nolume Meters - ‘ Dorrough Electronics, Inc. www.winmls.com 318.998.2824 ‘SpectraRTA www.dorrough.com ~ | Sound Technology Impedance Meter ZM-104 www.soundtechnology.com JW Davis Company — | TEF20 Soundlab aia ot Tad Gold-Line www jwd.com - gold-line.com Polarity Test Set Galaxy Audio Auxilliary Hardware 316-203-2852 _ | USBPre www.galaxyaudio.com Sound Devices, LLC www.sounddevices.com Interface Devices — | wwwusbpre.com Radio Design Labs 805-684-5415 Measurement Microphones www.rdinet.com Gold Line, Inc. ~ | 203-938-2588 Interface Devices www.gold-line.com Jensen Transformers 213 876-0059 ~ | Measurement Microphones www jensen-transformers.com| Earthworks, Inc. www.earthworks.comSo Design Example 1 11.5° 70 Traditional House-of-Worship 23 Floor: Tile us Ceiling: Wood Deck 20" Walls: Glazed Brick Pews: Wood or Use of Sound System: Speech reinforcement to floor and balcony Loralors EQuaeien ES A cag tteter o Bs sen VE ‘ beet YG OOF OIA 1. Isa statistical reverberant field likely to exist in this space? fons 2. How'would one estimate the reverberation time and reverberation level? 3. How would one estimate the speech intelligibility for this space? ce 4. How would one estimate the music clarity fortis space? 4 leet 5. What are some possible loudspeaker configurations for providing direct field coverage to the audience? 6. How much amplifier power would be needed for each configuration? 7. Where is the best place to add absorption as far as the sound system is concerned? Secse~ 8. How much acoustic gain will be needed? Which loudspeaker configuration will provide the most acoustic gain? 9. Where is the best place to put the mixer? 10. What type of music would this venue be optimum for? How might this be changed for a different type of music? Kev aw/ 0 vayelew wed Wear neurDesign Example 2 my 46 115" ” 14 | High School Gym _— Floor: Wood ~ 26 \ Ceiling: Tectum 4 80 Upper Walls: Tectum + Lower Walls: Unpainted Block Use of Sound System: Speech and full-range music reinforcement to bleachers and floor. 1. Is a statistical reverberant field likely to exist in this, spacer Mo 2. How would one estimate the reverberation time and reverberation level? 3. How would one estimate the speech intelligibility for this space? Brees 39 vatlece 4, How would one estimate the music clarity for this space? 5. What direct-field level should this system be designed for? A beeexe 7 Jeet 6. What are some possible Téidspeaker configurations for providing direct field coverage to the audience? oo 7. How much amplifier power would be needed for each configuration? 8. What are some special features that this system might need? 9. Will distant-miking techniques be possible in this space? 410. Where is the best place to put the mixer? ot Cunt FeetoeTeds ore \ _- Protec tool | Design Example 3 80" Cafeteria/Meeting Space Floor: Carpet with Pad Ceiling: Acoustic Tile ) a pi Guek Walls: Painted Block ~ woe Use of Sound System: va tev Speech and background music to slau gee seated audience on floor. we Hig absertnn 1, Isa statistical reverberant field likely to exist in this space? Aja 2. What Ses of acoustic events might affect the design and use of this system. Cy Flutter celoee, i’ speech ffeigbity predlevons be necessary? bod aA bi vevevten 4, What loudspeaker'system objective wif anve this design? Covtvane 5, What direct-field level should this system be designed for? ORE = fine 6. How many loudspeakers will be required? Minimum? Optimum? 7. How much amplifier power would be needed for each configuration? 8. Will high voltage distribution benefit this design? 9. What are some drawbacks to using high voltage distribution? - EVEE(T of aapet. olee ¥ otleggn 10. Are there some special features that would benefit the users of this systern?