l-acoustics sound solutions: PERFORMING ARTS CENTERS
PHOTO CREDITS - COVER TOP LEFT: Hollywood Bowl, Ramesh Shihora BOTTOM: Guangzhou Opera House and Copenhagen Opera House
introduction When the founder of L-ACOUSTICS, Dr. Christian Heil, invented the V-DOSC system - the very first line source system featuring the exclusive WST® technology in 1992 - it revolutionized the professional audio industry. Since 1984, a large body of theoretical research and experience is behind every system that L-ACOUSTICS develops. Today, L-ACOUSTICS sound systems are considered the #1 choice for internationally recognized venues ranging from the Hollywood Bowl, the Beijing Opera House, the Olivier Theatre, part of the National Theatre, in London, and countless other facilities worldwide. As the live performance business continues to evolve, performing arts centers are increasingly required to provide excellence in sound reproduction, by artists, productions and audiences alike. This performing arts center brochure presents a select number of performance venue challenges and solutions tackled by owners, consultants, engineers and contractors with L-ACOUSTICS systems. From the early stages of design through to system commissioning, every performing arts sound system project presents its own unique set of constraints, objectives and challenges. With L-ACOUSTICS, we always find the solution. We look forward to delivering The Best Sound to your audiences in opera houses, theatres, live clubs and performing arts centers across the globe.
Cédric Montrezor Director of Application, Install
SOUND PARTNER A FOR PERFORMING ARTS CENTERS
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from the Design phase...
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Outstanding throw - Hollywood Bowl Directivity control - Bamboo Nightclub 360° coverage - Danish Radio Concert Hall
...through to integration
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Mobile system - Olivier Theatre, National Theatre Discrete integration - Chongqing Grand Theatre
...and beyond
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Faithful to vision - Guangzhou Opera House Diversified productions - Salle Pleyel
References
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Performing arts portfolio White papers
Environmental Credentials
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“The team at L-ACOUSTICS and use of SOUNDVISION really made what could have been an exhaustive process a much simpler method leading to the prime solution.” Sam Moergen, LiveSpace Project Designer - Epikos Church
Shanghai Oriental Arts Centre
A PARTNER FOR PERFORMING ARTs CENTERS
Delivering an immersive concert sound experience for every audience member. With a good sound system, everyone enjoys the show. L-ACOUSTICS’ number one goal is to create an unprecedented sonic experience for the audience, with easily reconfigurable and widely accepted sound systems. Combining breathtakingly high-impact sound reinforcement with stunning transparency, our systems “disappear” behind artistic performances, providing a truly immersive experience for the audience. Our high-quality systems allow performing arts centers to become truly multipurpose venues, with the potential to create or enhance revenue streams.
How is this achievement possible? L-ACOUSTICS has been designing reference line array systems for more than 20 years. Our exclusive technologies, providing enhanced directivity control, allow L-ACOUSTICS to: • provide consistent Sound Pressure Level, and sonic experience, to every audience member • enhance the intelligibility of the system, ideal for spoken word messages • offer energy savings and system set-up flexibility L-ACOUSTICS speakers focus all of their sonic energy on a particular segment of the audience. This reinforces an exceptional preservation of the acoustics of your venue.
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“It gives you a great sense of security to know in advance how your investment is going to perform, and even better when it performs exactly as was predicted on SOUNDVISION.” Christian Søvad, Technical Head at the Musikhuset Esbjerg - Esbjerg Performing Arts Centre
Developed for sound designers, SOUNDVISION is dedicated to the acoustical and mechanical simulation of L-ACOUSTICS systems. It is the first 3D sound design program capable of real time calculation of SPL and visualization of system coverage for complex sound system and venue configurations. System time alignment of multiple loudspeakers or arrays can be visualized with delay mode and the mechanical data provides detailed set-up information for installers and riggers.
from the Design phase...
Powerful acoustic simulation tools
Flexible mechanical design
L-ACOUSTICS has developed a powerful design tool dedicated to the needs of consultants and system contractors. SOUNDVISION projects* sound simulations according to the physics of light, creating a visual representation of your “sound vision”. L-ACOUSTICS SOUNDVISION is the first real time 3D sound design program capable of ‘‘showing’’ sound sources as if they were light projections. SOUNDVISION allows sound designers to visually design and optimize the performance of L-ACOUSTICS sound systems (in performing arts centers). This intuitive ‘‘what you see is what you get’’ visual approach provides the greatest speed and accuracy in:
All L-ACOUSTICS sound systems are engineered to be adapted to any environment and come with a rigging system that does not require any additional mechanical development. The rigging, derived from our touring systems, enables system mobility for special productions, fixed installation mechanical calculations, and quick reconfiguration whenever needed. The mechanical behavior of the sound system is integrated into SOUNDVISION. This enables a fast, predictable and secure mechanical simulation that consultants and system integrators can rely on. With L-ACOUSTICS, the design phase of a sound system for performing arts centers brings an unprecedented level of predictability alongside the maximum efficiency.
• predicting and adjusting the sound design according to the exact geometry of the facility • providing equipment options to balance between sound pressure level and budget
* L-ACOUSTICS can provide electro-acoustic modules to offer compatibility with third party software such as EASE, CATT, LARA and ODEON.
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OUTSTANDING THROW Hollywood Bowl “It literally stopped me in my tracks as I stepped out into one of the promenades… there was no discernible drop in dynamic range, volume or quality.” Paul Geller, Production Director - Hollywood Bowl
Location Los Angeles, USA Capacity 18 000 equipment list 32 x K1 8 x K1-SB 8 x KARA 8 x ARCS II 16 x SB28 8 x KARA 12 x 5 XT 30 x LA8 4 x LA4
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from the Design phase... Challenge
solution The LA Philharmonic board oversaw a blind comparative evaluation of leading manufacturers. The L-ACOUSTICS K1 line source system was chosen unanimously, bringing additional SPL and a smoother horizontal coverage. The left and right line sources of 16 x K1 were optimized by a further 4 x K1-SB LF enclosures to control and throw the LF contents. The radiation pattern of low frequencies is squeezed vertically projecting acoustic energy to the back of the audience.
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Height (m)
Hollywood Bowl is a famous outdoor venue, with an audience capacity of 18 000 across a 450 feet (137 meter) incline. This spectacular audience depth presents a major coverage challenge. The system must throw high frequencies far into the distance. It must also control the differential attenuation of low frequencies, which tend to progressively thin out the tonal balance towards the outermost seats. Finally, the noise pollution of the system must be reduced to a minimum in the urban Hollywood location.
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Distance (m) 10
45
90
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System cut view
30 feet / 10 meters
results The K1 line source system provides 105 dB of max SPL (102 dB on the previous system) on 95% of the audience depth with a tolerance of 3 dB. The tonal balance measured from the front seat positions shows an LF contour of 15 dB. In addition, the superior control of HF dispersion contributes to an additional 6 dB of rejection over the previous system, contributing to a significant reduction in noise pollution to the surrounding neighborhood.
150 feet / 45 meters
300 feet / 90 meters
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Directivity control Bamboo Nightclub “Bamboo Club knew they wanted the L-ACOUSTICS brand because all of the world’s top DJs - including Tiesto, Avicii, Swedish House Mafia - request it as their first choice.” Nick Assunto, CEO - Audio Formula
Location Miami Beach, USA Capacity 1 200 equipment list 14 x KUDO 10 x SB28 4 x ARCS WIDE 6 x 12XTi 2 x SB18 6 x 5XT 10 x LA8 2 x 112P 2 x SB15P
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from the Design phase... Challenge Bamboo Nightclub, with a standing capacity of just 1 200, wished to create the live experience of a large concert venue, helping to attract the very best talent amongst the top world class DJs. The sound system had to be capable of handling both concerts and DJ performances, delivering high SPL levels and a LF tonal balance capable of handling both rock and electro program material. The highly reverberant space was a major acoustic challenge.
solution The main L/R concert system consists of 4 x KUDO variable curvature line sources with adjustable K-LOUVER horizontal directivity and 4 x cardioid SB28 subs on each side of the stage frame. Opposite the stage two additional clusters of 3 x KUDO are activated for DJ performances. Additional 6 x 12XTi and 4 x ARCS WIDE delays cover the rear audience area while 2 x SB28 are hidden underneath the central catwalk for infrasonic reinforcement.
results The KUDO/SB28 sound system delivers high SPL, spectacular impact and LF contour. A low reverberation time is maintained by the KUDO K-LOUVERS, avoiding the highly reflective marble tiles and LED walls. In the LF region the cardioid configuration of the SB28 subwoofers minimizes the room excitation. Both DJs and bands have been impressed with the performance of the sound reinforcement. The club has quickly become one of Miami’s most popular ‘‘buzz’’ venues.
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360 degree coverage DANISH RADIO CONCERT HALL “The sound system covers a complex audience geometry with an identical and transparent acoustic signature for every seat.” Erik Falck, Technical Director - Matrix Sales
Location Copenhagen, Denmark Capacity 1 800 equipment list 6 x KUDO 32 x KIVA 12 x KILO 8 x SB118 5 x 115XT HiQ 4 x 12XT 6 x 8XT 3 x LA8 10 x LA4
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from the Design phase... Challenge The Danish Radio Concert Hall is a multi-purpose venue, providing a home for the Danish National Radio Symphony Orchestra. The 1 800 capacity audience wraps 360° around a center stage in a complex patchwork of multiple asymmetric seating arrangements. The acoustician added reflective surfaces to modulate the reverberation time from 1.5s to 1.9s (when the venue is occupied), creating an additional challenge.
solution The system is configured with front, rear and side sound sources located in the ceiling and flown on the canopy at a height of approximately 15 m above ground level. The audience coverage is divided into seven horizontal sectors (one 60° mono KUDO cluster for the front audience and six 50° KIVA clusters) which overlap to recreate stereo imaging. With different cluster sizes determined by the vertical coverage requirements, SPL and tonal balance homogeneity is addressed by adjusting inter-element angles between cabinets and the L-ACOUSTICS DSP array morphing tool. Position # 1
results The listener experiences the same tonal balance and identical SPL level from each of the line sources located around the concert hall. The sound system is also totally transparent, respecting the acoustic signature of Nagata Acoustics. The line sources offer a high vertical SPL rejection outside of the coverage area, preserving the stage and maintaining a high immunity to feedback. The horizontal directivity of KIVA of 90° contributes to a 30° overlap between zones for better sound spatialization.
Position # 2
Position # 3
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Frequency response curves
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“They took photos and measurements of the venue, and then gave us several potential system designs to choose from. It made it extremely easy to show management how an L-ACOUSTICS system would overcome the obstacles and challenges that our previous system had failed to adequately address.’’ Chris Weathers, Production Director - Live Nation Central Region
Julien Laval, Application Engineer, Install - L-ACOUSTICS
...through to integration
A NETWORK OF CERTIFIED SYSTEM INTEGRATORS
system will work at its best. L-ACOUSTICS clients benefit from dedicated L-ACOUSTICS manufacturer support.
L-ACOUSTICS carefully selects certified system integrators. Our System Integrator Charter outlines three key commitments:
Performing arts centers can expect the highest quality of service, whether the project is design built by an integrator or specified by a consultant and awarded through a bidding process.
• tailored services from specification to post-integration stage • adoption of recommended technical standards to ensure the consistency and predictability of performance and operational safety of the sound system • in-house trained personnel on multiple aspects of integration of L-ACOUSTICS L-ACOUSTICS certifies its system integrators with official training seminars. Technical and engineering personnel are trained on theory, sound design, system set-up and rigging procedures for all systems.
STREAMLINED INTEGRATION With 30 years of designing touring systems, L-ACOUSTICS manufactures turnkey sound systems with an integrated rigging approach and an architecturally-friendly RAL color program. No custom rigging is required to install an L-ACOUSTICS sound system, which dramatically reduces design and installation time. L-ACOUSTICS amplified controllers provide an EQ station, control and monitoring, DSP processing, and limiters all in one package, providing a full plug and play system for straightforward integration.
STANDING BEHIND EACH PROJECT L-ACOUSTICS stands behind the integrators and the consultants for every single installation project, from project analysis, system specification, engineering, integration, commissioning and maintenance services ensuring that the
System Integrator CERTIFIED PROVIDER
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Mobile System OLIVIER THEATRE, NATIONAL THEATRE “The Olivier Theatre is an extremely tricky theatre for sound. I was knocked out when I first heard the KARAs in this space. The sound is superbly detailed, and the system is extremely powerful.” Paul Arditti, Theatre Sound Designer
Location London, UK Capacity 1 160 equipment list 6 x ARCS II 18 x KARA 6 x SB18 8 x 8XTi 2 x 12XTi 8 x LA8
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...through to integration Challenge The Olivier Theatre, named after the National Theatre’s first Director, Laurence Olivier, is one of the most prestigious producing theatres worldwide. As a production house, luminaries of sound design take responsibility for each production, imparting their theatrical sound design stamp on the venue. The new sound system had to be mobile enough to be reconfigured production after production and to offer maximum flexibility to support the artistic vision of the guest sound designers.
solution A sound system ‘‘toolbox’’ based upon two technologies is provided. The reproduction of vocals is served by a fixed constant curvature central cluster of 6 x ARCS II (completed by a ring of 8XTi balcony delays) with a horizontal coverage of 135°. A mobile KARA modular line source system is deployed for the reproduction of modern music in a left right arrangement of 9 x KARA enclosures with 3 x SB18 to deliver LF contour, impact and a highly transient response. The sonic space can be divided into different zones according to production demands.
results With the diverse range of theatre the Olivier produces and the need to cater for the requests of the world class sound designers who work there, L-ACOUSTICS have designed a flexible system that can cater for every eventuality and allow the venue to host multiple productions on a weekly basis.
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DiscreTE integration CHONGQING GRAND THEATRE “L-ACOUSTICS have always been a world-famous brand. The unique line source technology fits well into the architectural style and structure of the theatre.” Liu Yongyao, Technical Director - Leafun
Location Chongqing, China Capacity 1 850 equipment list 28 x KIVA 8 x KILO 4 x 115XT HiQ 4 x SB28 28 x 108P 24 x 112P 4 x SB15P 6 x LA8
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...through to integration Challenge The Chongqing Grand Theatre is a landmark in the region for its striking sculptural design. The Grand Theatre is designed as a world-class venue hosting opera, dance, drama, ballet, symphony and other large-scale variety shows. The integration of the sound system had to fulfill exacting architectural constraints.
solution In the Grand Theatre, left and right arrays, encompassing 14 x KIVA ultra-compact line source array cabinets with 4 x KILO low frequency extensions have been flown on either side of the proscenium arch. An additional 2 x 115X HiQ cabinets have also been installed on each side of the stage for infill. 4 x SB28 high-power subwoofers can be moved into different places. A fill system composed of 28 x 108P and 12 x 112P self-powered coaxials has also been installed.
results The KIVA system provided a clean, seamless integration choice, with enhanced mobility for moving and installing the speakers according to the event taking place in the theatre. The senior designer from Muller-BBM, Mr Kuemmel said, “This is the best theatre that I’ve participated in designing in China. Despite the effects of the architectural acoustic environment or the sound reinforcement effect of the theatre, L-ACOUSTICS speakers have provided the best sound for this theatre.”
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“I can so comfortably say that we have the finest sounding system in the world. Nobody can top it. I have toured the world with the Philharmonic for years performing just about everywhere one could imagine and I’ve never heard a system that comes close to this.” Paul Geller, Production Director - Hollywood Bowl
L-ACOUSTICS systems are entirely engineered and manufactured in France. The company has a presence in 60 countries, employs 200 people worldwide with 25 languages spoken by employees. Five principles are at the heart of L-ACOUSTICS culture: innovation, consistent and predictable performance, a turnkey system approach, support and education of users and the longevity and durability of systems.
...and beyond
REVENUE GENERATION A high performance and flexible sound system contributes to revenue generation. Offering a high impact, immersive experience attracts more audiences, artists and productions. Multi-use facilities can appreciate easy-to-reconfigure L-ACOUSTICS systems. Access to L-ACOUSTICS Rental Network inventories means that additional components can be easily sourced for diverse productions needs, reinforcing multi-strand revenue stream potential.
LONG TERM INVESTMENT L-ACOUSTICS systems boast an exceptional durability. For over 30 years L-ACOUSTICS systems have been used as touring and live performance systems on a daily basis in challenging environments. Our earliest clients, including for example, Le Palais des Congrès de Paris or the Lille Grand Palais, have been enjoying their V-DOSC sound systems for more than fifteen years. V-DOSC continues to deliver outstanding performances today. All L-ACOUSTICS systems come with a warranty of five years.
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Faithful to ARCHITECTURAL AND ACOUSTICIANS’ VISIONS Guangzhou Opera House This sound reinforcement system provides a perfect reproduction of natural and electro-acoustic sound that works very well with various types of largescale performances” Wilson Zhao, Supervisor of Sound Guangzhou Opera House
Location Guangzhou, China Capacity 1 804 equipment list 16 x KUDO 6 x SB28 10 x dV-DOSC 2 x dV-SUB 10 x ARCS 28 x 8XT 33 x 12XT 4 x 115XT HiQ 13 x LA4 14 x LA8
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...and beyond Challenge The Guangzhou Opera House is rated as one of the China’s top three theatres and the best-equipped performing arts center in southern China. Acoustic engineers and architects were briefed to design a space to accommodate diverse performances. Sir Harold Marshall designed a unique “encircling” grand auditorium, which continues the asymmetrical streamlined architectural design of Ms. Zaha Hadid. It features a 1.6 seconds of reverberation time when at full capacity, ideal for both symphonic and drama works. The sound system had to fit within the architectural and acoustic design.
solution The sound system consists of 8 x KUDO and 2 x SB28 per side and a central channel of 10 x dV-DOSC line sources. The three arrays are concealed in the ceiling. Each side of the stage apron features 5 x ARCS constant curvature line sources. Fill systems feature a total of 28 x 8XT coaxial enclosures. The sound effects system consists of 33 x 12XT coaxial enclosures and 2 x SB28 subs.
results Since its opening ceremony in June 2010, the GOH has hosted almost 1 000 shows. “Mamma Mia!”, “Cats” and “The Adams Family” have been produced alongside world opera masterpieces such as “Turandot”, “La Tosca”, “Madame Butterfly” and famous ballets such as “Swan Lake” and “The Nutcracker”. The GOH has been the subject of international recognition and praise for its exceptional acoustics, sound system neutrality, and performance.
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Diversified productions Salle Pleyel “Having had extensive experience with L-ACOUSTICS sound systems, I am extremely happy to be responsible for operating the system in such a prestigious place.” Sebastien Moreau, Sound Engineer - Salle Pleyel
Location Paris, France Capacity 1 913 equipment list 12 x KUDO 9 x dV-DOSC 4 x dV-SUB 13 x LA48a 4 x 12XT
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...and beyond Challenge The Salle Pleyel is one of the most prestigious classical music venues in France with impressive art deco interiors. The current resident ensembles are the Orchestre de Paris and the Orchestre Philharmonique de Radio France. A major acoustic renovation program was implemented in the shoe-box venue between 2004 and 2006 by ARTEC. Part of this program addressed updating the sound system to diversify the venues’ income stream.
solution A fixed central cluster of 9 x dV-DOSC modular line source enclosures is deployed to cover the announcements for the philharmonic concerts. For contemporary music from jazz to pop in a black box stage proscenium, a left right system composed of 6 x KUDO enclosures per side is completed by a 12XT stereo in-fill system. For higher SPL and impact, further systems of 3 x KUDO and 2 x SB28 can be added for the main parterre.
results With the new L-ACOUSTICS system installed, a much wider range of applications now takes place in the venue. Salle Pleyel now hosts performances of jazz, world music as well as symphonic orchestras. Recent guest artists include Chick Corea, Herbie Hancock, Keith Jarrett, Youssou N’Dour, Patti Smith, Laurent Garnier, Goran Bregovic and Paco de Lucia.
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Al Raha Theater
Abu Dhabi - U.A.E
Alt Opera
Frankfurt - Germany
Austin Performing Arts Center
Austin, TX - USA
Baku Opera
Baku - Azerbaidjan
Guangzhou Opera House Helsinki Music Hall
Luxembourg Guangzhou - China Helsinki - Finland
Croatian National Theatre
Split - Croatia Hyogo - Japan
Brno Theater
Brno - Czech Republic
Hyogo Arts and Cultural Hall
Carpenter Performing Arts Center
Long Beach, CA - USA
L’Orangerie du Botanique
Istanbul - Turkey
Chunmu and Pohang Arts Hall
Pohang - Korea
Lexington Opera House
Lexington, KC - USA
Paris - France
Opéra Royal de Wallonie
Liège - Belgium
Danish Radio Concert Hall Figueira Casino Theater
Copenhagen - Denmark Figueira Da Foz - Portugal
La Cigale Club
Brussels - Belgium
Cemal Resit Rey Concert Hall
Cité de la Musique Concert Hall
Lille Grand Palais Congress Center
Cologne - Germany
Musical Dome
Goteborg Concert Hall
Goteborg - Sweden
National Concert Hall
Copenhagen Opera House, Copenhagen - Denmark
Lille - France Brisbane - Australia
Pomona, CA - USA
Macao - China
Doha - Qatar
Queensland Performing Arts Center
Fox Theater Pomona
Grand Auditorium Cultural Center
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The Grande-Duchesse Concert Hall
National Doha Theater
Suzhou Science and Cultural Centre, Suzhou - China
Dublin - Ireland Doha - Qatar
references
performing arts center installations portfolio National Grand Theater
Beijing - China
Damascus Opera House
Damascus - Syria
Copenhagen Opera House Oslo Theater Hall Pallas Theater
Copenhagen - Denmark Oslo - Norway Athens - Greece
Shanghai Oriental Arts Center Shibuya-Ax Theater
Cultural Village Theater
Doha - Qatar
The Royal Danish Theater
Royal Carre Theater Royal Concert Hall Salle des Etoiles Concert Hall
Quebec - Canada
Singapore Helsinki - Finland Copenhagen - Denmark
Umi Theater of Shiki Theatrical Company Tokyo - Japan Vantaa Martinus Concert Hall
Vantaa - Finland
Amsterdam - Netherlands Glasgow - Scotland Monte-Carlo - Monaco
Sejong Cultural Center
Seoul - Korea
Seoul-Ax Concert Hall
Seoul - Korea
OpÊra Royal de Wallonie, Liège - Belgium
Suzhou - China
The Esplanade Theater Studio The Old Student House
Salle Raoul-Jobin
Munich - Germany
Suzhou Science and Cultural Centre
Paris - France
New York, NY - USA
Tokyo - Japan
Staatstheater am Gartnerplatz
Salle Pleyel
Radio City Music Hall
Shanghai - China
For more reference information please visit: www.l-acoustics.com/installations www.l-acoustics.com/picture-gallery
Salle Raoul-Jobin, Quebec - Canada
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Sound Field Radiated By Arrayed Multiple Sound Sources AES Convention Paper #3269 - 92nd AES Convention - 1992 How to know whether it is possible or not to predict the behaviour of an array when the behaviour of each element is known? Our purpose is to describe the sound field produced by arrays in such a way that criteria for “arraybility” can be defined.
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Revisiting roughlyHowever, each enclosureinterference. dB and source H are in meters, to the frequency, This paper mathematical F is in kHz. in 1992 where approach angles of not couplethe varies with sounddoradiated on detailed more qualitative cause destructive of the AES Convention boththe 2. No thatdominant loudspeakers were based loudspeakers with by present a understanding There are three we now article, which zoneby the arrayed things sources. a better that changes of the individual tosound note about radiated appears this methods, that in theFigure of formula:wavesto radiated discreteindicates 1) enables numerical The root factor pattern1: observer in interference an array illustratesnearthe that in arraying resulting Fresnel analysis position.Radiated and almost field define how for position. linethere is no the case involved based on that frequencies from SPL no coherently, of a line lower Referring source sound than for apart is AD of height H. In the near field, the listener continuous Hence a 4 m high array willand an off-axis phenomena establish criteria to create a1/(3H). to 3 speakers), the physical we immediately in the far SPL decreases observer. frequency radiate to be the (column asfigure dB per 4, isdoubling fieldout analysis, mode of distance, whereas in for problem this be assembled criteria turn frequencies less than 80 Hz. also From this array systems field, the another sources can 2) For these decreases as 6whoseper doubling of distance. the far early line abovein [1]. Wethe near field extension array,frequencies directivity, SPL a flat discrete sound main beamwidth dB criteria developed 1/(3H) is almost with Considering linear with frequency. of the vertical outside the can be improved define other were originally source. Considering narrowing of secondary lobesIt should Bessel source and free of destructive level. This be noted those which 3) Theline that different as authors have come up with various ison the dimension for example, same as curvature dependence the on-axis appearance is notbelinear the case the array, H of the array field that fordistance: expressions schemes, forSPL a variable as high as shading but quadratic. the and, border a wave region for of the consider SPL can or number of coverage to produce is a reduced tapering as the inverse d = 3H are optimum required various Smith [3] open-air that Bthe main drawback over a predefined that decreasescollective criteria All of this enough for dbeing intensity indicates that the near field can extend weighting. The interference it was shown B = H/π Rathe [4] quite far away. area. These wave field For Criteria. 1 weighting, This is far from example, well as a audience a 5.4(WST) dB = maximum of (H , λ/6) of Bessel five [2]. over the Beranek [5] Technology m high flat line source array will have a near a field extending distance Most of these expressionstoomit Sculpture sources was as far as 88 meters at 2 kHz. . the frequency dependency and are - A REVIEW array produce termed Wavefront areas in incorrect performances first a RADIATION line source the size dependence. of a concerning Figure 2 illustrates the SOURCE cover large audienceand more Considering we the solution variationasofpossible. SOUND to source, border distance of more and far field divergence angle with advocated many 1 MULTIPLE more sound power implies the use phase) line In [1] we that is as continuous distinct frequency for for a flat (constant linespatially source array of Figure= 5.4 m. is to configure applications The need required wave front and isophasicfield exhibits two near field, wave height 5: practice achieve the sound reinforcement The effect In the A common flat, continuousthat the sound in order to far field. of changing or clusters sound sources. demonstrated near field and the frequency in arrays the and listener loudspeakers regions: As the frequency of Lposition. are trademarks is decreased, so that a and WST larger portion the Technology dominant of the line size of the Fresnel Sculpture zone. Conversely, 1 source is zone Wavefront portion of located within grows as the frequency the line source ACOUSTICS If the frequency is located increases, the first inside the a reduced is held constant Figure 3: to the array, first dominant and the less of the Observer dominant zone. line source listener position facing the zone due is closer circles are is located to away, the line source. entire line the increased curvature. within On the right increasing drawn centered source falls As we movethe first part on the within the (side view), observer 3 EFFECTS source AB by steps of λ/2. first dominant further The pattern O, with is shown OF DISCONTIN zone. Fresnel zones. radii ARRAYS on the left of intersections part (front UITIES on the In the real view). These ON LINE SOURCE define the assembly world, a line source of separate array results transducers loudspeaker from the vertical enclosures. thicknesses. do not touch each Figure 2: other because The radiating Assuming flat wave Representation of the variation of border that each of the enclosure front, the distance and far field divergence angle thisforsection, line source transducer originally with frequency array of height 5.4 metres. wall a flat line array is oursource radiates goal is to analyze no longer continuous. a AES 111 TH the In differences CONVENTI versus a ON, NEW YORK, NY, AES 111TH CONVENTION, NEW USA, YORK, NY, USA, 2001 SEPTEMBER 21–24 2001 SEPTEMBE R 21–24 2
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of complex interference phenomena and thus opens the road to establishing the criteria for the effective coupling of sound sources and for the coverage of a given audience geometry in sound reinforcement applications.The derived criteria form the basis of what is termed Wavefront Sculpture Technology.
Wavefront Sculpture Technology AES Journal - Vol. 51, n°10 - 2003 The Fresnel approach in optics is introduced to the field of acoustics. Fresnel analysis provides an effective, intuitive way of understanding complex interference phenomena and allows for the definition of criteria required to couple discrete sound sources effectively and to achieve coverage of a given audience geometry in soundreinforcement applications. The derived criteria from the basis of what is termed Wavefront Sculpture Technology.
references white papers
PAPERS
URBAN ET AL.
PAPERS
angular form factor for written
the edge for r distance from edge element to observationas elangle diffraction point ) Mod sources angle is defined as the interior F( ) angular form factor for edge can beof the baffle, that sources; characterle (DED is, 2 − . Two cases istic of aDipo given model. exist for F Fig. the shadow 4 2 shows two different baffle types. One is very thin and illuminate 1 ibuted Edge action Effects* = F = and 4 −corresponds d zones, 2 − 2 to . a wedge angle of 0° whereas the other The Distr Diffr The resultant is boxlike with 2a wedge angle of 90°. pressure at the observation point Vanderko (5) Both baffle types is obtained 1 oy Member ⇒ F Cabinet by adding the driving and edge contributions, 2 willelementar =− be studied experimentally. angular , AESconsiders BAUMANdependenc y P
PAPERS
The Distributed
DISTRIBUTE
D EDGE DIPOLE
W
BH
(DED) MODEL
BH
W
V
2 edge sources e that 1 + cos The dashed , AND P. ward direction has SP represents the geowith an phaseline extending along , C. COMBET the Vanderko and ismetric shadow opposition in phase in straight the for- line going C. PIGNON France towardboundary. A oy angular from⇒the + Pedge r,is, C. HEIL, Ptotal r, = Pdrive r, Marcouss sound source to anthe rear. In situated . tion sources (4) FV = 1 general,in the shadow region 2 the form factor for observer M. URBAN, can be TICS, 91462 on expressed will have to pass through the edge L-ACOUS 2 thediffracbaffle. edge diffraction as 1 + cos in an enof cabinet FVwhen mounted since it As a basis for comparison, for the effects the B&H s[2] model and Vander1.1 Driving Pressure in Shadow and since r component to account kooy Zone dipole (DED) with their axes [3] models proposed loudspeake will be evaluated. edge ting It will be seen 1 sin model is dipoles the is firstFor a finite baffle it is possible 2that 2 model the distributed distributed A simple forward for direct-radia sound pressure − W to have an observation DED level (SPL) as a=function ion using sound field approach is termed 2 The1 − ofto frepoint in the shadow region so the driving sources. a real-world radiated approximat quency is described MO be proposed 1 pressure correctlydiffractive applied HowMP MO 2 by these cos = must W 2 and the Kirchhoff elementary thenmodels. level defined there. on theboth closure. The basedever, and two The question that arises is: should + MO OP as the baffleare of approaches MO the cos drivsound pressure inaccurate MP = is developedlar to the baffle edgefor these when good agree. ing pressure a thin circular The forward region model show it comes tontscharacterizing MO MP 2 − W for−the be symmetrical to the cosshadow baffle. the angular the DED perpendicu dependence, and measureme driving pressure rectangular predictions ofSPL in the2 illuminated − this aisthick, especially region, that is, for > tested against true , and at 90°. r that has are investigated 90°, Pdrive( ) Pdrive(180°W − ), or The Vanderko loudspeake domain Section 1 presents nts. the models from [2] (6) should it be zero and oy angular [3], intromeasureme for a and therefore althe introduce entire angular a thin discontinuity duces form DED on the boundary? Difcircular model, and compares all three modeling experiment factor is ment with now developed driving pressure In Fig. approaches. In Section 2 a point cular baffle and baffle.ferent formulations in the shadow zone s 3 M runs source represents mounted on of M is arethe discussed in propagate the along following finite baffle is analyzed using the DED drive defined by a the section for the various modedgePelement. source edgethe cirand followthe angle andmodel from eling ,approaches. the radius a diffractiveThe position ing this, the case of an extended sound pressure which OM itL.energizes source sound source runs is considshown The from driving [4]. A distant inedges ered. In Section 3 the adopted experimental 0 in to 2 , Fig. 3where of the observatio andisthe added 1.2 Description pressures OZ.baffle vector n B&H to the P isprocedure must be of point and Vanderkooy Models sound described, and in Section 4 a detailed the OP makes The projection sources comparison observa-P is the source. an angle the edge of P For given angle between a[2] there nofofthe iszeno the ontoB&H predictions of all three models indication as to what the driver issound with theatplane presented, pressure CTION with experiX OZ, sound Forcontributio anding pressure and the characteri theMO a thin baffle MP . be in mental data of aaloudspeak andthe is shadow region. Since B&H is to should 0 INTRODU of baffle. thin circular deterFinally and directivity forthe problem in Section 5the to determine location expression or tothan the wedge do not consider order response a more sourcesmore 10° off axis, consequently their realistic thick, rectangular for F ( ) angle Essentially of the of the baffle, boxlike cabinet point. isVmea-reduces to the edgeform factor The frequencyon the shapesured will W tion directivity 0° account for and driving the to source that field due angular andthe compared sound pressure is set to the and to the expredictions of allsound sound of K system depend on the baffle, radiated three models. first to present, obBH( ) 1 ( 90°). source −1 type sound FV an =equivalent [1] was the effects. diffraction driving the sound Vanderkooy mine the[3] assumes that the driving pressure itself. Olson 1g DESCRIPTION ge2 cosed diffraction cabinet edge is to express on theCOMPARISON as follows: AND 2 .choosezero sound source for edge-relat in the shadow baffleregion OF THREE we and the sound pressure in this field depends l results concerninMODELING on a finite APPROACHES FOR CABINET In this paper perimenta the radiated sound region (7)(1)theFig. 3. Geometry baffle a piston mounted is due to radiation from edges only. We EDGE DIFFRACTION the geometric Vanderkoo used serving that baffle. thus have pressure for K [2] used model. the (r, ) V( ) 1 for 90°, and KV( )y 0 for >to calculate angular to the baffle d (B&H) P 90° for ometry of the Vanderkooy model. form factor Fig.diffraction Hawksfor 2 definesdue the and (r, ) K( ) baffle the wedge along angle for the boundary Bews and W P drive to model propagate between rays pro- zones. The wedge and illuminated diffraction sound shadow 1.2.1 Elementary Edge Diffraction angle the edges, theory of defined Sources by by considering their approach,is are scattered a sectionwhere by the piston view along the and edges. In tional secondary The B&Hproduced model assumes form ofomnidirec that the baffle. each elementary edge the baffle edge al The pressure of angle angular is the angle necessound is anout surface element is sending infinitesim sary to turn around the baffle ) is the the isotropic spherical wave in baffle, K( ) series of characteris an P baffle and (r, factor forcompletely, the wedge ducing a phase oppositionwhich on an infinite the Therefore the with thebetween main piston. angular form theory. The B&H when situated driving sound pressure, edge sources. [3] derived an polar angle the oy ld diffraction and is and is the factor for Vanderko the source. Sommerfe omnidirectional of model, axis using n. given sources n and the istic of a the edge edge sources is no longer angle of observatio of observatio pressure induced by phase direction diffracted y pressure on the projected concerning the The elementar as tal results highly signifihighly dependent wave are −jkrP oy’s experimen can be expressed e Vanderko the edge diffraction (2) dl. on of = 90° 2 r P behavior g the phenomen r = L, of great interest. concernin and Wright cant and = F P drive ncurrent literature contradictory, dP edge r, However, (3) is somewhat of the major inconsiste conto diffraction summary of edge analysis an excellent on finite-element dP edge results are provides P edge = o modeling Wright relies , and his findings cies [4]. ts. Wright’s around edge edge diffraction sider cabinet by practical experimenent of the DED model, proed corroborat to edge element dl = for the developm diffracwhere piston center baffle edge, are very important in the following. baffle edge distance from discussed l length along tion of the L outlined in as will be a representa jected differentia to all models n point Fig. 1 shows which is common observatio center to L d 1043 from piston tion geometry, 9, distance 2004 July r
(8)
Edge Dipole (DED) Model for Cabinet
Diffraction Effects AES Journal - Vol. 52, n°10 - 2004 A simple model is proposed to account for the effects of cabinet edge diffraction on the radiated sound field for direct-radiating loudspeaker components when mounted in an enclosure. The proposed approach is termed the Distributed Edge Dipole (DED) model since it is developed based on the Kirchoff Approximation (KA) using distributed dipoles with their axes perpendicular to the baffle edge as the elementary diffractive sources. The DED model is first tested against measurements for a thin circular baffle and is then applied to a real world loudspeaker that has a thick, rectangular baffle. The forward sound pressure level and the entire angular domain are investigated and predictions of the DED model show good agreement with experimental measurements.
t received *Manuscrip August 13. July 30, and
23; revised 2003 October
Fig. 2. Description of wedge J. Audio angle Eng. Soc., Fig. 1. Geometry common Vol. 52, W and shadow to No. all 10, approaches for characterizing baffle edge and illuminated diffraction. 2004 October zones for two kinds J. Audio Eng. Soc., Vol. 52, No. of baffles 10, 2004 October
2004 October 1044 No. 10, Vol. 52, Eng. Soc., J. Audio
studied.
1045
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ings of the
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Proceed ings of the s Institute Proceedings of the Institute of of Acoustic of Acoustic Acoustics
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= ?? + EVAC we look at LIGIBILITY impact of the second image, + INTEL the sound. 3 O INTELLIGIBILTY ’S TAKE the red ignoring Areas tells : “PAâ€? “THE sound VS. in red ANCE AUDI P.A.â€? FACTURER & STI are defined us something different. pressure away from MANU PERFORM As discussed earlier, venues of the philosoph the primary levels 10db down as having unaligne This image past had yaudio systems designed SPEAKER public address. source. with one from that maximize mission a primary in mind – d sound coverage is showing delay The systems used This sis, France between A LOUD components source, s STI,the throwimage reveals Marcous based arrays to maximize announcer, and volume aof the and thereby Franceensuring at least STICS, would officially for it also is intelligibi sis, most patrons large problem more than 30mson criteria knew L-ACOU who madehave maximizi lity issues Marcous was not that last goal/run/touchdown. ng the echo/del always considered‌. STICS,Intelligibility in delay sound propagat United Kingdom with the due to a good A. Nagel r L-ACOU STICS, London, “less is Kingdom ion of each the distance from STI rating, however ay problems mind an g, United C. Montrezo L-ACOU . A person moreâ€? “old stadiumâ€? array would each Today we use STiPA (Signal Transmission the dia Consultin seated sound, render the source. The echo actual sound G. LeNost Index for Public Vanguar Address) complete to give the intelligibility of a sound system. would have absolute announc valueerto and delays This with an Originally D. Yates problem developed in the 1970’s as the STiPA long echo. industry an objective standard withis STI, concerni gives thedifficult to understa caused by the to addtoloudspea which predict and ng fewer the measure andability of a sound system nd, and reproduce speech in a particular optimize numbersources bring to to ker system acoustic environment. vs. echo/del SPLto grow in sound eelements ay issue below continue while reducing , thereby ION is highly intelligibl a similar the and the world show and echo caused creating a morenot new; the most Source , the safe around Technology INTRODUCT 3.1 Line & STiPA: common high quality distribute this sound, increase Is venue, venues STI by distance 1 timeus? the for both answer with five d system offooling sporting with this and between demand 12-eleme that event. Also ce to the qualitySize isn’t all that Thesmodern comes a“line-source nt line source loudspeakers. will further arrayâ€? of the was ment, worship, developed by Christian Heil in States, importan increase outside Entertain together. United 1992, revolutionizing live sound. What was array systems. The images as Wavefront of equal Sculpture With these balance during andtermed a the TechnologyÂŽ find their become g loudspeakers to provide high to the capacity. activities quality, full has Union and in allowed bandwidth, turers high volume tion for audio ncoverage patrons evenlyintegratin Europea fromemergen the frontcy reproduc evacuation of very and manufac to rear of a venue, even a the way large one. Over time, for thisthe in both s, talent technology d but lead has grown mid- and made throughout onward thetoindustry controlle , engineer many installed tor systems its way into sound just conform smaller n moves It is common the“line to see to not systems. eventhe array inmentâ€? leaving operators ; legislatio and annuncia bananasâ€? hanging down not simply atturers for concerts, but alarm also however in performance “sports-ta patron manufac te systemsvenuesr, ofasevery voice type, matters, and stadiums. large athletic arenas reevalua nt with Thewewide for the including pattern audio systemequipme must coverage Moreove ability sound ; to project the sound , if not requiring upper ce centers. andquality evenly from the lower to seems to be a perfect stadiums accurate nce soundlonger justdecks nt to a stadium. highest However this thematch performa , and conferen full range, the match in heaven‌ is not always made require n. It’s no audio equipme churches to provide turer of evacuatio arenas, y, operators& bin systems can a manufac in popularit sized theatres, of horn So what s to grow g the “echoâ€? high continue for the event. ce, eliminatin reproduction to balancingof line experien solutions use Figure the quality music 3:control working SPL impact, n through concert present network 5 arrays integratio STICS will do? n system r amplifiers, and in place and in L-ACOU evacuatio controlle gy changeslive equipment case studies, ents, and g, smart technolo tion, Using severalaudio, STI requirem ker monitorin discussion of presenta nce pad for gy, loudspea through performa s. technolo as a launchmanufacturers, attendee source array . This will serve the session nce audio and switching by performa le discussion within roundtab the works ration, and demonst BABYâ€? Figure 1: SPL impact,IN’, GET ROCK 3 arrays ed by sound, be. D: “LET’S attention not bombard that are at us to get our OF SOUN simply an lly few places THE ISSUE there are targeted specifica “PAâ€? is no longer rs and the 2 action world, us, or where the ce forFigure the spectato d, non-stop occurs around As you barrage, 4: Delay this can fast-pace experien to simply impact, our see, In immuneoverlapping 5 arrays of an auralthe top image ental that and SPL no longer deliverer it environm the would shows evenand echoing optimizat events are be more but rather on ion.stadium better Sporting intelligibl a few a fullsound In fact, horns red zones, ng to the man e and easier ement system, demandi reflecting even coverage than through announc rs are sitting es. and audience shrieking to listen after, substant between spectato before, ial delaybefore, to. However anthem . Based the players themselv ce, trying onprices, STI predictio nationalintelligibl in ticket the second loudspeakers, with more the system mismatch e audio d rise the experien es of a tinny through this system n, give image shows solution. fromticket, this solution priced g to the now the continuemusic pumping the days highwould us even Gone are grandstand. With Are line-sourteams are scramblin added to the quality score quite five audio sources more nal ces ce, with for value poorly, despite around the above a poor– choice simply notFigure event and professio inment experien Delay being the the work 2: arrays for3 large for the entire sports-ta when it impact, problem more Venue operators excited venues comes to – as each during play. in, and keep them and multiple proper STI then? Does the array and intelligibi width, overlap ons flowing.(example sources, propagates into to lure fansIn these images, we see a typical the and even the concessi lity? As 2).stadium audienceeither So whatsidecreating area beingvenue, or to get line source array systems. theby covered coverage shown, three 12-element audience the echo the solution? The dots shown the overlap inis yellow in being on the top image problem indicate impact zones, with open circles the sound is the pressurehit from many (example representing a “-3dbâ€? down point for the loudspeaker. As you1), see, there is a very even and consistent canor delay/ST directions coverage across the seating area. I problems would create even SPL The system as designed Vol. and33. anPt. optimized 6. 2011STI rating based on the definitions of STI. However, when Vol. 33. Pt. 6. 2011
Performance audio + intelligibility + evac = ?? a loudspeaker
manufacturer’s take Institute of Acoustics - Vol. 33. Pt. 6. - 2011 Using several case studies, L-ACOUSTICS will present working solutions to balancing high performance audio, STI requirements, and evacuation system integration through the use of line source array technology, loudspeaker monitoring, smart controller amplifiers, and network control and switching. This will serve as a launch pad for discussion of technology changes in place and in the works by performance audio manufacturers. Vol. 33.
Pt. 6. 2011
29
Environmental Credentials
GREEN SOUND SYSTEMS
MANUFACTURING, STORAGE AND SUBCONTRACTING
RECYCLING
• wooden pallet recycling • L-ACOUSTICS line arrays have replaced the wall of sound from the ’80s Assembly plants, storage, and R&D • paper and cardboard recycling: systematically departments are all local. 100% of our sorted at every workstation and collected by • acoustic energy focused on the audience, suppliers and subcontractors are located in specialized companies less noise pollution France or Europe. • minimized acoustical interferences and • recycling of computer equipment and • SIMEA joinery: Alsace, France electrical energy waste consumables • electronic assembly: Germany MODERN ELECTRONICS • assembly of the loudspeakers: Marcoussis, LOUDSPEAKER COMPONENTS France • all metallic parts used in the loudspeakers • origin of speaker parts: European region are recyclable • high-powered Class D amplification of LA8 electronic • wood: from renewable forests in Finland • wood cabinets: no toxic product rejects and Lithuania • elevated energy efficiency close to 85% • wood: L-ACOUSTICS participates in a (versus 50% in the ’80s) reforestation program for the Baltic area • highly efficient power supplies sophisticated system control
30
and
PHOTO CREDITS Cover page
Hollywood Bowl, Ramesh Shihora (Yahoo! Flickr) Guangzhou Opera House, © HUFTON + CROW Copenhagen Opera House, Lars Schmidt
Page 4
Shanghai Oriental Arts Centre
Page 8
Hollywood Bowl, Ramesh Shihora (Yahoo! Flickr)
Page 9
Hollywood Bowl - Adam Latham
Page 10-11
Bamboo Nightclub Grammy Award-winner Alejandro Sanz performing at Bamboo Miami
Page 12-13
Danish Radio Concert Hall - Bjarne Bergius Hermansen
Page 16-17
The National Theatre
Page 18-19
Page 18 - Chongqing Grand Theatre, © HGEsch, Hennef And top of page 19 - Chongqing Grand Theatre, © HGEsch, Hennef
Page 22
Guangzhou Opera House, © HUFTON + CROW
Page 23
Guangzhou Opera House
Page 24-25
© Pierre-Emmanuel Rastoin/Salle Pleyel
Page 26
Copenhagen Opera House, Copenhagen – Denmark Suzhou Science and Cultural Centre, Suzhou - China
Page 27
Opéra Royal de Wallonie, Liège - Belgium Jacky Croisier Salle Raoul-Jobin, Quebec
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