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REFERENCE:
SCIENCE OF SOUND, 3rd ed., CHAPTER 24
LONG, ARCHITECTURAL ACOUSTICS, CHAPTER 18
SOUND FIELDS
POWER
CONSIDERATIONS
CLASSROOM
LECTURE HALL
SYNAGOGUE
HOME THEATER
LEGITIMATE THEATER
TRADITIONAL CHURCH
MOVIE THEATER
FUNDAMENTALIST CHURCH
SPORTS ARENA
ROCK CONCERT
80
83
85
90
90
90
100
100
105
110
Source: Long, Chapter 18
LOUDSPEAKERS
DYNAMIC
LOUDSPEAKER
MULTIPLE
SPEAKERS IN A
CABINET
HORN
LOUDSPEAKER
HORN
CLUSTERS
BANDWIDTH (Hz)
1 COMPRESSION DRIVER
2 COMPRESSION DRIVER
1 DOME TWEETER
3 CONE DRIVER
5 CONE DRIVER
8 CONE DRIVER
10 CONE DRIVER
12 CONE DRIVER
15 CONE DRIVER
18 CONE DRIVER
1200-16k
850-10k
2000-20k
700-10k
350-6k
250-5k
200-4k
150-2k
80-1250
70-1000
Source: Long, Chapter 18
LOUDSPEAKER SYSTEMS
TIME DELAY
SOUND THAT ARRIVES UP TO 50 ms AFTER THE DIRECT SOUND WILL
REINFOCE THE DIRECT SOUND AND YET PRESERVE THE APPARENT
DIRECTION OF THE SOUND SOURCE. TIME DELAY IS ESPECIALLY
IMPORTANT IN THE CASE OF SUPPLEMENTARY SPEAKERS
POSITIONED IN PROBLEM AREAS, SUCH AS UNDERNEATH A
BALCONY OR FOR SPEAKERS MOUNTED ON SIDE WALLS.
HORN LOUDSPEAKERS
LOUDSPEAKER PLACEMENT
LOUDSPEAKER
DIRECTIVITY
UNSATISFACTORY
ARRANGEMENT OF
LOUDSPEAKERS
RADIATION PATTERN
AND DIRECTIVITY
FACTOR Q FOR A
TYPICAL 8-INCH CONE
LOUDSPEAKER
ACOUSTIC FEEDBACK
EQUALIZATION
ENHANCEMENT OF REVERBERATION
ADJUSTMENT OF REVERBERATION TIME IS DESIRABLE IN MULTI-PURPOSE
HALLS. MAXIMUM CLARITY OF SPEECH DEMANDS A SHORT
REVERBERATION TIME, BUT A PIPE ORGAN SOUNDS BEST IN A
REVERBERANT ROOM. ONE SOLUTION IS THE USE OF ELECTRONICALLY
ENHANCED REVERBERATION OR ASSISTED RESONANCE
ONE METHOD OF ENHANCEMENT PLACES A LOUDSPEAKER AND
MICROPHONE IN A REVERBERATION CHAMBER
ANOTHER USES A NUMBER OF TRANSDUCERS MOUNTED ON A THIN PLATE
OR FOIL (KUHL PLATE)
DIGITAL REVERBERATORS USE DIGITAL SIGNAL PROCESSING (DSP) TO
SIMULATE REVERBERATION
MICROPHONE PLACEMENT
MICROPHONES ARE GENERALLY PLACED IN THE DIRECT FIELD OF THE
SPEAKER OR PERFORMER SO THE MICROPHONE OUTPUT IS REDUCED
BY 6dB FOR EACH DOUBLING OF THE DISTANCE. THIS REDUCES THE
GAIN BEFORE FEEDBACK BY 6dB BUT IT ALSO MEANS THE PERFORMER
CAN MOVE A LITTLE WITHOUT PRODUCING A LARGE CHANGE IN LEVEL
WHEN A MICROPHONE IS A SMALL DISTANCE ABOVE THE FLOOR,
CANCELLATION OF CERTAIN FREQUENCIES (COMB FILTERING) CAN
OCCUR. FOR EXAMPLE, IF THE MICROPHONE WERE 3 m FROM THE
SOURCE AND BOTH WERE 1.5 m ABOVE THE FLOOR, THE PATH
DIFFERENCE OF THE DIRECT AND ONCE-REFLECTED SOUND WOULD BE
1.23 m AND THE CANCELED FREQUENCY WOULD BE ABOUT 140 Hz.
PRITZKER PAVILION