In various theaters, there are many contradictions in aesthetic design and acoustic design. Especially in China, the “visitability†of the theater is often given priority, but the defects of architectural design cannot be compensated by the later electro-acoustic design. Therefore, in order to ensure the final effect of the sound reinforcement system, there must be some basic requirements for architectural design. For example, the design of each volume of the small theater auditorium must conform to: Opera 4.5~7.0m3/seat; Opera, Drama 3.5~5.5m3/seat; Multi-purpose (excluding movies) 3.5~5.5m3/seat.
The visual design of the auditorium of the theater should make the distribution of the early reflected sound field uniform and the sound field of the reverberation spread, avoiding acoustic defects such as acoustic focusing and echo; the acoustic decoration should prevent resonance defects; the height of the opening of the lower platform and the depth of the platform Should be greater than or equal to 1:1.2, the net height of the back row of the building and the pool should be greater than or equal to 2.8m; the acoustic design of the theater auditorium should include the extended stage space; when the theater is performing music, the stage acoustic reflector should be set or Acoustic reflective surface.
The reverberation time of the song and dance in the auditorium of the small theater should be 1.3~1.6s, and its frequency characteristics are 125Hz: 1~1.35s, 250Hz: 1~1.15s, 2000Hz: 0.9~1s, 4000Hz: 0.8~1s, 8000Hz: 0.7 ~1s; reverberation time for drama, drama, multi-purpose, conference should be 1.1~1.4s, its frequency characteristics are 125Hz: 1~1.2s, 250Hz: 1~1.1s, 2000Hz: 0.9~1s, 4000Hz: 0.8~ 1s, 8000Hz: 0.7~1s. Moreover, the background noise of the auditorium should generally be better than NR25, and the minimum should not be lower than NR35.
The sound reinforcement system should be powered by a transformer separate from the stage lighting load. The total power supply capacity is more than twice the rated power of the power amplifier; an independent grounding busbar should be provided, and the grounding resistance should be no more than 1Ω.
A complete small theater sound reinforcement system should include: auditorium sound reinforcement, stage sound reinforcement and monitoring, stage supervision, background music broadcasting.
Under the rated bandwidth and normal working level, the frequency response must be better than 0~-1dB from the microphone output to the amplifier output, the total harmonic distortion should be less than 0.1%, and the signal-to-noise ratio is better than the worst single device in the path. 3dB. The design of the sound reinforcement system of the theater, its acoustic characteristics must be carried out in accordance with the national first-class standards of the performance, its maximum sound pressure level: greater than or equal to 106dB in the rated passband, transmission frequency characteristics: average sound pressure level of 80~8000Hz 0dB, ​​the allowable range is -4dB~+4dB in this frequency band; 40~80Hz and 8000~1600Hz range allow -6dB/oct attenuation, sound gain (dB): the average value of 100~8000Hz is greater than or equal to -8dB, Steady state sound field unevenness (dB): less than or equal to 10dB at 100Hz; less than or equal to 6dB at 1000Hz; less than or equal to 8dB at 8000Hz, early and late acoustic energy ratio (optional) (dB): 500 to 2000Hz The average value of the 1 octave band analysis is greater than or equal to +3 dB, and the total system noise level is NR-20.
The theater sound reinforcement system should ensure that the audience has sufficient sound pressure level, clear sound, uniform sound field and consistent sound image. The sound reinforcement system design should provide complete drawings and documentation. Including piping diagrams, equipment layout drawings, system schematic block diagrams, equipment selection and configuration, and wiring diagrams.
The transmission of the sound reinforcement system signal of the theater can be divided into three forms: analog, analog digital combination and digital according to scale, investment and demand. Balanced transmission should be used between analog system equipment, regardless of the distance, to minimize the interference of external noise. Various types and a sufficient number of cables should be reserved between the voice control room and the stage (the podium). The theater should be equipped with a stage monitor tuning position, which can be located near the upper or lower entrance. There is a suitable space for the equipment such as the monitor mixer and the processor, and various types and a sufficient number of signal channel interfaces are reserved. The integrated interface box should be set up according to the function requirements in Taikou, Lechi, side table and auditorium, including microphone socket, return speaker socket, internal socket, and external equipment reserved power supply; the socket point should be avoided. The main performance area of ​​the stage. The sound reinforcement system adopts three-channel (left/middle/right) full-field coverage plus a separate subwoofer channel, and sets the sound image speaker in the slap and lip position, and some of the main speakers cannot provide sufficient direct sound position. A supplementary speaker should be provided and equipped with a signal processing device that can individually adjust the time and frequency characteristics of its feed signal.
The theater must be equipped with an on-stage listening speaker system that serves the cast members. The stage listening system should include a fixed-mounted back-listening speaker system, a mobile listening speaker system, and a listening headset. A number of effect sound speaker systems can be placed on the ceiling, side walls, back wall or stage of the auditorium according to investment and usage requirements. Room areas that require scheduling or live sound reinforcement signals, such as technical rooms (mainly voice control rooms, lighting control rooms, and stage machinery control rooms), dressing rooms and staff lounges, vestibules, spectator lounges, and spectator entrances. It is advisable to set up a small broadcast speaker system, and the system should do the zone broadcast. The main control equipment should be set in the stage supervision position or the guidance room and be centrally controlled. The maximum sound pressure level of the broadcasting system in the service area should be greater than or equal to 90 dB. An independent internal communication system should be set up, and an internal communication station substation should be set up in the voice control room, lighting control room, stage machinery control room and main dressing room; on stage, music pool, chasing position, surface bridge, live tuning The internal communication socket panel is set up in the technical room such as the power amplifier room; the cable system is mainly used, supplemented by the wireless system; the system host is set in the stage supervision position or the guidance room.
The theater is equipped with an independent video surveillance system. The monitoring system includes the main stage, the upper and lower courts, the rear stage, the music pool, the main auditorium and the main audience lounge, the entrance to the audience, etc.; the dressing room, the staff lounge and the late arrival The monitoring point should be set at the entrance of the audience; the main control equipment of the monitoring system should be set in the stage supervision position or the guidance room, and the sub-control point should be set in the voice control room. According to the characteristics of use, it is considered to reserve the audio signal interface for signal exchange with other systems for other transmission systems such as relay or videophone. If there is such a requirement, 10kW external equipment can be reserved for power consumption on the stage. The plug-in signal jumper system should also be set. The principle is that the jumper is used when the common state does not require jumpers, and when it is used for special use or system debugging. Finally, the system design should fully consider system upgrades and extensions.
Speaker selection for the theater sound reinforcement system must use advanced technology as an aid to design to avoid major design errors.
The theater sound reinforcement system is the most demanding of all sound reinforcement systems, and it needs to restore various performance forms in an original way. We know that any single sound emitted in nature comes from a point source, and the source comes from a point, such as singing, musical instruments, birdsong, thunder, voice, and so on. When designing the speaker to restore these sounds, the single unit of the speaker cannot cover such a wide range, so the conventional speaker is divided into a tweeter and a woofer. Usually, the tweeter is on the top and the woofer is on, which violates the natural sounding mode. Because its sound is not emitted from a point.
For decades, all the speaker manufacturers in the world have been working on the research of point source technology. They use the sound array method to achieve the effect of the point source with the processor's large parameter correction, but this is only suitable for outdoor use. Array suspension of large venues cannot be satisfied with indoor environments, especially indoor spaces where sound is not good. The purely physical point source of a single speaker can only be achieved by the British TANNOY speaker brand under TC GROUP. Well-known manufacturers in the world that use coaxial technology in addition to TANNOY include EAW, L-Acoustics, MEYER, and so on.
Coaxial loudspeakers have more natural sound, more accurate phase, clearer sound, more controlled scattering, more efficient coverage, lower distortion, a more stable system, and higher heat dissipation efficiency.
TANNOY's VQ series loudspeakers are equipped with high-performance point source technology. The horn design is available in a variety of angles. It is suitable for fixed installation in theaters. Its drive unit uses two concentric annular diaphragms and is uniquely engineered. The Blessing Hall performance scene technology focuses on the BUSINESS technology-development of the BUSINESSPoint-Source Waveguide (the point source sound waveguide) horn to form a coupling, the crossover point avoids the vocal frequency band, and ensures the phase consistency of the sound reproduction in the critical frequency range.
Power amplifier and processor selection, first of all, power matching, in the theater sound reinforcement, it is recommended that the effective power of the power amplifier is twice the effective power of the speaker, so as to ensure the optimal working dynamic range of the speaker. It should also be noted that the power loss between the power amplifier and the main speaker system should be less than 10% of the power of the main speaker system, and the power loss of the subwoofer system should be less than 5%.
The Lab.gruppen amplifier from Sweden features a patented TD-class amplification technology that combines the efficiency of a Class D digital amplifier with the pure sound quality of a traditional Class B amplifier, with R.SMPS regulated switching power supply, Intercooler efficient cooling system, VHF Ultra-high frequency protection, VPL? Voltage peak limiter and many other core leading technologies.
The sound reinforcement of the theater requires high reliability, and the partial damage of the speakers and amplifiers will not cause serious performance accidents. However, if the processor or the mixer is faulty, the performance may be interrupted. Therefore, it is recommended to use DSP processing in the theater. And backup amplifiers can avoid performance accidents.
Digital mixers are an irreversible trend to replace analog mixers, and digital mixers have incomparable advantages in analog mixers in terms of noise, dynamic range, scene switching, etc., while considering reliability, theater sound reinforcement is preferred. Digital mixer + analog tuning dual backup mode, its output to the digital input and analog input section of the power amplifier, hot backup seamless switching, the tuner can also choose to use analog mixer or digital according to personal preferences Mixer operation.
The theater sound reinforcement digital mixer is the most cost-effective VENUE brand SC48 mixer, which has first-class sound quality and unbreakable stability. The VENUE SC48 is a versatile live sound system that combines all I/O, digital signal processing and haptic control into a single console, making it the most affordable and portable VENUE system to date. The mixer retains all of VENUE's most prestigious benefits, including support for recording-level plug-ins, seamless docking with Pro Tools LETM, superior portability of show files, and the introduction of innovative workflows that greatly simplify The mixing operation lets you focus on the mix production without being distracted by the console's operation.
The theater should be equipped with a sufficient number of wireless microphones and wired microphones to meet the needs of different types of performances.
The main microphone should choose products that are good for suppressing acoustic feedback, such as: BLUE, SENNHEISER, AKG, SHURE, DPA, etc., and equipped with high-quality microphone stands, such as the German K&M brand. Among them, wireless microphones also need to consider various forms such as hand-held, lavalier, and head-on. The wireless microphones currently used in theaters are SENNHEISER 2000 series, and the Tianyou Hall is also equipped with 2000 series 8-channel handheld, 4-channel lavalier, and 4 channels. Wearing a wireless system.
The theater sound reinforcement system should consider setting up a signal distribution system to facilitate the needs of multi-point work and system backup. In the Tianyou Hall, a split-line system is used to distribute signals to digital mixers, analog backup mixers and return tuning positions. .
In addition to considering CD players, hard disk drives and other audio source devices, modern theaters also need to consider the need for recording and multi-track audio source playback. Therefore, the theater needs to be equipped with ProTools audio workstations and corresponding interfaces for multi-track digital recording and editing, which can be combined. The multi-channel effect sound speaker is edited offline to achieve a variety of rich sound performance. In particular, ProTools can seamlessly interface with VENUE, making it the first choice for professional audio equipment in modern theaters.
In addition, the theater also needs to consider the system equipped with professional effects and other peripheral equipment. The effects for the theater are TC Electronic and LEXICON, and users can choose according to their needs.
In the process of system installation, of course, safety is always the first consideration, including personal safety and equipment safety. During the construction of the theater, safety should be considered for fire prevention, anti-theft, fall prevention and finished product protection.
The construction shall be carried out according to the formal design documents and construction drawings, and shall not be arbitrarily changed. If it is necessary to make partial adjustments and changes, the design unit must obtain the consent and complete the relevant procedures, and the pipes, holes, trunkings and embedded parts to be laid are reserved. Should meet the design requirements; the installation position, reservation conditions and weight load of the speaker system should meet the design requirements. The construction site should have a strict management system.
According to the characteristics of the theater sound reinforcement system project and the actual situation of the site, all kinds of embedded parts and wiring construction should be carried out in the construction process, then the installation and construction of the speaker system should be carried out, and finally the installation and construction of the sound control room and the power amplifier room equipment; The installation of the junction box (box) shall be smooth and firm, the cover shall be open and closed flexibly, and the shape and surface shall be intact; the pipe diameter of the pipe shall meet the design requirements, and the pipe diameter of the linear pipe shall be utilized when the design is not required. The rate is 50% to 60%, and the utilization rate of the curved pipeline should be 40% to 50%; the cable should be laid naturally straight, should not be twisted, and should not be squeezed and damaged by external force; The concealed installation, after the installation of the speaker system, the adjustment range of horizontal angle, depression angle and elevation angle should meet the design requirements and have reliable safety guarantee measures; the layout and installation of the cabinet should meet the design requirements, when the design is not required, the back of the cabinet The distance from the wall should not be less than 0.6m, and the front of the cabinet should have a distance of not less than 1.5m.
Of course, the complete sound reinforcement system should include system commissioning, and system commissioning should be carried out under empty field conditions.
After the installation and construction is completed, the system should be debugged. Before commissioning, the type and installation position of all kinds of equipment should be checked to meet the design requirements; the power supply voltage should be consistent with the working voltage marked by various equipments; the specifications, models and connections of the equipment connection The insertion position should be correct, the output terminal of the amplifier should match the polarity of the input terminal of the speaker; the power switch of each type of equipment should be in the “off†state before power-on, and each function knob and button should be placed in the initial position; the output control knob of the power amplifier should be at the maximum attenuation. s position. Digital processing equipment should first be powered on by a single unit, and the installation, setting and adjustment of the application software should be completed according to its operating procedures. If you need to rely on the network environment support, you need to connect to the computer control network and ensure that the connection is normal. Standard samples of instruments, instruments, and program sources for system commissioning should be prepared. Electrical indicator measurements should include total harmonic distortion, frequency response, and signal-to-noise ratio of the system equipment. Acoustic characteristic measurement should include maximum sound pressure level, transmission frequency characteristics, sound transmission gain, and steady-state sound field unevenness. During the system debugging process, the system should be in the optimal setting state, and the adjustment and setting of the system equipment parameters should be combined with the subjective listening effect of the sound quality. After the system debugging is completed, a commissioning report should be issued.
Similarly, the training of the sound reinforcement system of the theater is very important. Even the best equipment is not properly arranged and it is not good enough to achieve the expected results. The owner needs to identify the operator as early as possible, participate in the work during the construction phase, and be familiar with the situation in advance. Training includes: basic professional knowledge, system composition, equipment operation, troubleshooting, etc. When the sound reinforcement system is completed, the following materials shall be arranged and handed over: the sound reinforcement system project construction completion drawing, the concealed engineering work acceptance record form, the speaker system installation quality work acceptance record form, the acoustic characteristic index test report, the system test Operation record, grounding, insulation resistance test record, equipment, material quality certificate, equipment, material entry inspection record, construction change negotiation record, sound reinforcement system engineering construction log, setting software for various equipment.
Of course, a good system is inseparable from scientific use and responsible maintenance. We need to develop strict operating procedures, such as: the sequence of power on and off, dust removal, safe drinking water in the equipment room, and so on. The system needs regular maintenance. It cooperates with integrators and equipment agents every year to carry out necessary equipment inspections and software upgrades to ensure long-term safe operation of the system.
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