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Abstract
Line array technology isnt new but is considered the best speaker choice for large audiences and
venues. With modern developments in the field, it is easy to see the attraction. Modern digital
steering has developed into a system that can manipulate the sound field by modelling the audience
listening area on a computer. Therefore a computational model that delivers the desired calculations
at a suitable resolution that allows for implementation of the correct FIR and IIR filters for steering.
All software is readily produced by manufacturers such that they can aid the use of their products.
1. Introduction
3
1
! 1
2
3
Equation 1 - ! is the distance between the array and the near/far field
border, F is the frequency (kHz) and H is the height of the array (m).
3. Array Shapes
There are three main array shapes.
1. Flat line source
2. Constant-curve line source
3. Variable-curve line source
The scientifically ideal line source is a flat vertical
line, however this is usually impractical as there is a need
to aim the array at the audience area, which usually starts
10m in front of the bottom of the array. Therefore
different shape types have been created to resolve this
problem where the array is typically flown above the
front of the stage.
!"#$ =
!
!
!!"#$%&'
!!
!
!
!
!!"!!(!)
!!
!
!"#$%&
1
=
+1
!!"!!
!,!
!!!
! + ! !
!
!
!!"!!
!!
!
!
+ !
!!"[!! !!!! !
Equation 5 - ! and ! are the amplitudes per unit length of the line
and curve sections respectively [Ureda 2001],
5.4. Conclusion
6. Conclusions
The shape of the array is chosen on an application basis,
depending on the height of the array and distance of
audience area. There are many different methods of
modelling a system, each with their own benefits and
drawbacks. An array is digitally steered using FIR and
IIR filters in the DSP of the amp channel or the cross over
circuitry of an active array.
In the software the control the user has is powerful yet
limiting at the same time. This is to aid the end user
whilst also protecting the reputation of the manufacturer,
as simple data input and control makes the system less
liable to misuse.
7. References
Feistel, Stefan, Thompson, Ambrose and Ahnert,
Wolfgang, 2008: Methods and limitations of line source
simulation, Audio Engineering Society Convention 125.
Gloukhov, Arkady, 2003: A Method of Loudspeaker
Directivity Prediction Based on Huygens-Fresnel
Principle, Audio Engineering Society Convention 115.
Gunness, David W. and Hoy, William R., 2000:
Improved Loudspeaker Array Modeling-Part 2, Audio
Engineering Society Convention 109.
Klipper, David L. and Steele, Douglas W., 1963:
Constant Directional Characteristics from a Line Source
Array, Journal of the Audio Engineering Society, 11, 3, ,
pp.198202.
Smith, David L., 1997: Discrete-element line arraysTheir modeling and optimization, Journal of the Audio
Engineering Society, 45, 11, , pp.949964.
Thompson, Ambrose, 2006: Real World Line Array
Optimisaion, Real World Line Array Optimisation.
Thompson, Ambrose, 2009: Improved methods for
controlling
touring
loudspeaker
arrays,
Audio
Engineering Society Convention 127.
Thompson, Ambrose, Baird, Jason and Webb, Bill, 2011:
Numerically optimized touring loudspeaker arrayspractical applications, Audio Engineering Society
Convention 131.
Urban, Marcel, Heil, Christian and Bauman, Paul, 2001:
Wavefront Sculpture Technology, Wavefront Sculpture
Tecnology.
Urban, Marcel, Heil, Christian and Bauman, Paul, 2003:
Wavefront sculpture technology, Journal of the Audio
Engineering Society, 51, 10, , pp.912932.
Ureda, Mark S., 2001: J and Spiral Line Arrays,
Audio Engineering Society Convention 111.
Webb, Bill and Baird, Jason, 2003: Advances in line
array technology for live sound, Audio Engineering
Society Conference: UK 18th Conference: Live Sound.
Figure 4 - The venue plotter screen. Entering all the relevant data for audience areas within a venue. Note that only the audience listening areas are
inputted. This screen contains the input section on the left hand side and a real time graphical top and side view to the right. An area can be edited by
manipulating the shape in the graphical representation for user ease if required.
Figure 5 - The array plotter. This section allows the user to plot the array in the venue and creates the shape of the array. The left window is setting the
shape of the array, by setting the splay angles. The middle window shows the shape of the array. Top right window shows the position of the array in the
venue and the horizontal coverage, below is the graphical representation of the cell aiming. The bottom is SPL over distance with area representation. This
is the array after using the Auto Splay feature. The program choses the best array shape and splay angles for the given venue. Note that the top two boxes
are considered a line source still, however after this, the array becomes a variable curve array. This would therefore be a classed as a spiral array.
Figure 6 This is the sub array plotter. The theory of sub arrays is not under the scope for this paper, however this step is included for completion. Similar
to the main array, the positions are entered by the user (with several user-friendly features) on the left hand side of the screen. The top right window
contains the SPL mapping for a given frequency whilst below that is the polar function of the array at assignable frequencies.
Figure 7 - Array processing window. This is where information on temperature and humidity can be entered for an individual listening area. There is also a
sliding scale to choose between whether you want to deliver high SPL at a loss of flat spectral coverage, known as Power. However, if a high spectral
coverage is required, this can be achieved by selecting Glory at a sacrifice of SPL across the audience areas.
Figure 8 The polar response of the system in the venue at a frequency of A) 500Hz , B) 1kHz , Live) 5kHz , C) 12.5kHz.
Figure 9 The polar response of the system in the venue after Array Processing is applied at a frequency of A) 500Hz , B) 1kHz , Live) 5kHz , C) 12.5kHz.