Last month (FOH, Aug. 2019, page 28) we examined the history of center speaker clusters and the key manufacturers that developed/offered the large HF horns… Read More »Center Clusters and Exploded Clusters: The Debate Continues
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Once upon a time, manufacturers such as Altec and JBL — along with organizations like SynAudCon — emphasized the proper design/engineering of center loudspeaker clusters,… Read More »Whatever Happened to Center Loudspeaker Clusters?
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Much has been written about appropriate sound levels for airplanes, concerts, races, sporting events, shooting ranges, workplaces and worship services. I sometimes choose a simple… Read More »Loud, Louder, LOUDEST!
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Modeling & Set-up of Directional Sub Arrays… In last month’s FRONT of HOUSE (May 2019, page 36) we discussed and compared five types of cardioid/directional… Read More »Array/Room Modeling & Control, Part 2
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In the May, 2018 FRONT of HOUSE, Vince Lepore asked if flown sub arrays would cover better at his church and still “hit like they… Read More »Cardioid/Directional Subwoofer Arrays, Part 1
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History & Trends in Array & Acoustic Modeling Programs Note: This is the second in a series of articles on array modeling software and acoustical… Read More »Array/Room Modeling & Control, Part 2
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Note: With this installment, we kick off a series of technical articles dealing with various aspects of acoustics technology, penned by experienced designer/acoustical consultant David… Read More »What to Expect from Loudspeaker Modeling
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Audio Networks and Switching Your Way to PTPv2 Support
Audio networks are hardly new, with a huge increase in the number of projects using audio networks over the past few years. Besides the various solutions (like Dante, RAVENNA, etc.), which have made this possible, there are a number of protocols working under the surface too. One of these is IEEE 1588 (otherwise known as PTP or Precision Time Protocol), one of the protocols that underpins many of the various audio (and video) networking standards.
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A hallmark of many people that I have met in the world of professional audio is the ability to get the show working quickly. Behind the scenes of most live audio and installation deployments are a set of compromises, sometimes small and sometimes not so small. This month’s article is a tale of such compromises.
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Managing low frequencies is one of live audio’s constant challenges. We deal with room nodes, architectural resonances, uneven coverage and unwanted spill. The last two decades have brought about the ready availability of digital signal processing (DSP) and digital consoles. DSP is now in almost everyone’s arsenal, allowing the easy creation of cardioid arrays with everyday tools.
Since the beginnings of professional audio, we have needed more output, coverage, and frequency response than a single loudspeaker transducer could provide. Due to the limitations of loudspeaker drivers, much of the effort in professional loudspeaker design has been expended in combining multiple drivers in a single loudspeaker box, and then combining multiple boxes together into arrays. Even with dramatic increases in modern transducer performance, it would seem that combining multiple loudspeakers together — whether for response, coverage or output — will continue to be a perpetual fixture of the industry.
With the imminent arrival of InfoComm 2016, the professional audio industry is rolling out the booths, demo rooms and display trucks to show off what’s new in professional audio technology. Among the myriad sights and sound, many manufacturers will be displaying their latest and greatest loudspeakers.
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