EASE Sound System Design Project Report Evaluation

Transcription

1 EASE Sound System Design Project Report Evaluation Group Members Time Spent* Initials Score** Sonja Adams hrs SA Kejian Lin 1 hr KL Joseph Sweeney 24.5 hrs JS Alex Klapka 12 hrs AK *documented in Activity Log Sheet for each team member, included as Appendix A **may be different for each team member, based on amount of effort proportionally invested CRITERION SCORE WGT. PTS. Engineering design process System design constraint analysis Design constraint satisfaction Component selection Technical content / creativity Writing style / professionalism TOTAL Instructor comments:

2 TABLE OF CONTENTS Abstract ii 1.0 Engineering Design Process Design Constraint Analysis Design Constraint Satisfaction Equipment Selection Power Amplifier Requirements and Selection Signal Processing Requirements and Selection Mixing Console Requirements and Selection Microphone Requirements and Selection Rack Requirements and Design Cabling and Wiring Requirements Summary and Recommendations References 22 Appendix A: Activity Logs 23 Appendix B: Venue Illustrations 28 Appendix C: Loudspeaker Placement and EASE Simulation Results 30 Appendix D: Signal Path Wiring Diagram 35 Appendix E: Rack Design and Power Sequencing/Distribution 37 Appendix F: System Component List and Street Price Cost Estimate 39 Appendix G: Manufacturer Data Sheets 42 -i-

3 Abstract This report documents the design of a complete sound reinforcement system tailored for a generic, 6000-seat fan-shaped multi-purpose auditorium, with (approximately) 3750 seats on the main floor, 1500 seats on the first balcony, and 750 seats on the second balcony. Room dimensions and configuration should be chosen based on the specified seating capacity. The primary system design constraints are as follows: minimum SPL of 105 db at back row of (main floor) seating no more than 5 db variation in SPL over the entire seating space for the 500 Hz, 1 KHz, 2 KHz, 4 KHz, and 8 KHz frequency bands frequency response of 40 16,000 Hz 5 db %ALCONS no greater than 10% over entire seating space minimum 48-channel mixing console minimum of 4 separate monitor mixes (and corresponding monitor loudspeaker systems may choose an in-ear monitoring system as an alternative) support for a minimum of 20 compatible wireless microphone channels (include multiple transmitters/receivers to support all 20 channels) good assortment of general-purpose wired and wireless microphone systems for speaking, individual vocalists, a variety of musical instruments, choral performances digital media recording/playback capability all equipment mounted in rack cabinet(s) budget of $500,000 -ii-

4 1.0 Engineering Design Process Designing the venue was the first step to completing the EASE design project. In many real life situations, existing venues need to be analyzed for sound reinforcement. However, this project gave us the freedom to design both the sound system and the building within which it was to be installed. This allowed us to make use of specific sound absorbing materials and take advantage of speakers sound pattern to maximize listener experience in our venue. Before beginning to input data in EASE, we calculated a rough estimate for seating area. We used a dimension of 3 feet wide by 4 feet deep for each listener seat. Given the constraint of 3750 main area seats, the seating area was estimated to be square feet. Using this, we decided on a main floor seating area of rough dimensions 180 feet wide and 250 feet deep. We performed similar calculations for the balconies, adjusting for the venue width at the back. We decided on a symmetrical, 4 section seating set up. Making it symmetrical was great for quicker EASE design. Each section is about 25ft wide. Between each section is a 5 foot aisle. This spacing allows all audience members to easily reach their seats without losing too much floor space for seating. Also, having more aisles is great in terms of fire safety. The shape of the venue is a gradual fan. The walls are angled at about 10 degrees. Furthermore, there is roughly an 8-degree incline angle for all three seating areas. The seating areas are split into four sections, with an aisle between each. The seating sections contain a comparable number of seats for all three areas. The maximum ceiling height is roughly 85 feet. This is just in front of the front row seats. The minimum ceiling height is roughly 12 feet, which occurs in the back seats of each balcony. The stage extends behind and to the sides of what is visible to the audience. This is important as it allows a variety of performances and other events that require off stage room. Furthermore, it allows room for stage props or audio equipment. In its final iteration, the designed venue has an area of approximately 4.32 million cubic feet. Three major materials were used in the venue. The stage area was chosen to be wood flooring. This is close to what is used in many theaters. Next, the seating areas were chosen to be carpet. Carpet is useful for dampening sound and is comfortable for audience members. For the -1-

5 ceiling and walls, Pyrok acoustical plastic was used. This helps prevent echoes or other unwanted drawbacks to using powerful arrays in a large hall. While difficult to model in EASE, a real venue might have patterned walls to further aid in sound dissipation. The sound reinforcement system of the venue required analysis from several different viewpoints during the design process. The most apparent was the sound itself. As the entire purpose of the system is to provide adequate sound for the audience, we primarily designed for good SPL plots and ALCon levels, adjusting other parts of the project to fit in with the required speaker selection, placement, and aiming. One facet of this design goal can is exemplified by the main speaker array. Due to the sheer number of speakers, the system is capable of very strong output, which is very desirable for intentionally loud performances, such as a rock concert. Another important issue in designing this venue is power. Powering speakers to fill such a large space can be expensive, and should be minimized when possible. This comes down to using the right speakers, the right number of speakers, and positioning the speakers carefully so that each speaker s ability is put to good use. Along with raw power usage is the consideration of power sequencing. While we did not design the entirety of the venue s electrical wiring, we were responsible for ensuring that our equipment was powered and sequenced in a reasonable manner. Further, our team considered the types of events to occur at the venue as a crucial design point. This is important because it determines how the system is set up, what sort of options performers or acts are provided, and what the venue is capable of hosting in general. To this end, a plethora of microphones were selected in order to accommodate a variety of needs and wants. Additionally, speakers were selected with appropriate speaker responses over their frequency ranges. The digital signal processor was chosen to connect to other components in a modern and accessible manner, allowing our venue to function well into the future. Sonja Adams and Joseph Sweeney were the primary contributors to this project (Alex Klapka and Kejian Lin worked primarily on the Active Crossover Network). Both Sonja and Joseph completed the provided EASE tutorial, designed the architecture of the venue, selected and configured speakers, picked wall materials, and ran full area simulations. Joseph -2-

6 spent slightly more time on these activities, while Sonja additionally selected microphones, cables, and other necessary equipment. Alex helped select a digital signal processor, select appropriate power amplifiers, and create the venue wiring diagram. Kejian helped with various aspects of the project, including hosting and updating documentation as well as helping prepare the team for the Spark Challenge design competition. -3-

7 2.0 Design Constraint Analysis Reliability is an important constraint in any engineering design project, as a product is only useful for as long as it is in working order. As it applies to our sound reinforcement project, reliability is important in that the system must be long lasting within the context of sparse use. Some of the more susceptible items are digital processors, like the digital signal processor and MacBook, as well as some of the analog devices, including power amplifiers. The former should be expected to require replacements in years, and analog components may require replacements in roughly 20 years. The venue is designed for electrical safety. The building requires several circuit breaker panels in order to provide electrical protection against shorts, while establishing a common ground for the venue s circuits. The overall power usage of the venue was checked to ensure acceptable power levels throughout the structure. A simply power sequencer was chosen in order to protect against surges and prevent all of the electrical components of the system from coming on at once. Loudspeaker rigging from a mechanical perspective deals with ensuring loudspeakers can be physically supported by the venue. Since the detailed material construction of the venue is not laid out in EASE, we can assume that the building architects will ensure that the building itself can support the weight and inclusion of the necessary speakers. This reduces rigging to a problem of how. We used a manufacturer recommended rigging setup in order to ensure that our speakers are safely placed. The equipment racks are accessible in that they are reasonable heights. Furthermore they were chosen to be simple racks as they are permanent fixtures for the facility. When designing for economic constraints, our team decided to shoot for the best quality possible given the budget. We wanted to work within the client s economic capabilities while still providing a high-class venue. To this end, we budgeted equipment such that it allowed us to use high end equipment where we wanted it and affordable equipment where it was acceptable. The digital signal processor, mixing console, and main speaker array as well as our broad microphone collection were among the high end equipment the design deemed important. -4-

8 Cabling, certain delay speakers, and rack cabinets were among the items that we chose affordable good enough components for. The last constraint we focused on was architecture and aesthetic. Loudspeaker clusters are all out of the way of the viewing path of audience members - the main array is above the stage, the front fill are built into the front of the stage, and the delay speakers are built into the first balcony. The mixing console is located at the back of the hall on the main floor, centered amongst the four seating sections. This gives a pleasant symmetrical appearance to the hall, and also prevents any audience members from having to look over the audio mixing console during a performance. -5-

9 3.0 Design Constraint Satisfaction When selecting loudspeakers, we started with the main array. We wanted the main array to fill up as much of the venue as possible, and then use delays and fills to flesh out the sound. We first considered the JBL VRX932LAP s due to their availability within the EASE modeling environment. These speakers turned out to work very well for the space we had designed. We also considered using the Meyer M3D, but EASE models were not available and the VRX lines were providing good SPL plots. Front fill speakers were chosen in order to produce a satisfactory total SPL plot. Initial research suggested that the EAW JF80 was a good quality front fill speaker. However, this speaker did not produce enough output in the critical areas and left several gaps in sound in the listener areas. The Meyer UPM-1P was used instead, as it provided solid front fill coverage at all tested frequencies. The delay fill speakers were chosen to have helpful coverage patterns and a small size. Several alternatives were considered for this position, but many were rejected due to lack of EASE data, insufficient power, or bad shapes. In the end the JBL VTX F15 was chosen for its outstanding shape and price. The main array was positioned such that each of the four seating sections had a pair. Initially, each section had one array, but the SPL plots were not loud enough, so a second was added for each section. The two arrays on either side are splayed slightly (1 or 2 degrees) outward to account for the fan shape of the room. The top speaker in each array is aimed roughly 5 degrees above the railing of the second balcony. This allows sound to propagate to all three seating areas. During EASE modeling, the positions of speakers were adjusted slightly to match a realistic setting. For example, the front fill speakers were positioned slightly above the stage despite being mounted on the stage. This is due to the short estimated height of the stage and the limitations of EASE s audience areas. The front fills have no vertical angle, as their purpose is to point directly to the audience. However, they do have a gradual splay that increases by half a -6-

10 degree for each speaker, which results in the outermost speakers having an outward angle of 5 degrees. The delay fill speakers were placed directly under the front edge of the first balcony. This allows the delay fills to reach as many seats as possible. Each of the four seating sections has two dedicated delay fills. In order to keep the speakers out the the viewers lines of site, pairs of delay fills were placed in aisles, with singles on the outermost rows. This provided each section with a left and a right delay speaker, allowing for better coverage and a more consistent directivity. Since the JBL VRX932LAP is a constant angle array, the bottom speakers were attenuated in order to provide even coverage, since they are much closer to their destination. Attenuations of 55 db, 35 db, and 10 db were used on the bottom 3 of 6 array speakers. This allowed for the specific loudspeaker placement that was used. The main array rigging is the most important piece of audio equipment rigging for this venue. This is because the main array provides the majority of the sound, the main arrays are the heaviest pieces of equipment, the main array will be the only speakers that are hanging, and the main arrays are positioned very high off the ground. The recommended rigging by JBL for these speakers is compatible with the number of speakers that are required per array. Furthermore, the venue shall be constructed with enough support for the eight main arrays simultaneously. The front fill speakers will ideally be mounted to the stage. This should occur in the front of the stage, so that the speakers blend in with the stage and do not protrude from the top of the stage, which would be distracting for audience members seated close to the stage. The front fill speakers must include a protective grill since any audience member will be able to touch the speaker if they get too close to it before or after a performance. The delay speakers should be rigged to the balcony directly. They should be set into the underside of the first balcony to the extent to where they are not immediately apparent to audience members as they enter, watch the performance, or leave. These speakers should be -7-

11 positioned just high enough so that they cannot be reached by audience members, and should be bolted into the frame of the first balcony so that they do not fall. The SPL constraint has been mostly met. The SPL mapping of the venue shows that db levels fit mostly within a ±5 db offset. However, the center of this offset is slightly lower than the target 110 db, and in a few seats the db falls out of the ±5 db threshold. However, this is a problem that we feel can be remediated with digital signal processing. No seat experiences more than ±5 db variation in SPL for the provided bands. Furthermore the frequency response falls within a ±5 db radius. The maximum ALCons percentage for the venue is 8.75%, which falls within the target of 10%. The selected mixing console satisfies the requirements as well. It has close to twice the number of channels at 80, and is capable of handling 24 mixes simultaneously. Wireless microphone support is complete as well. Sennheiser and Shure microphones combine to provide up to 20 possible wireless channels. A nice assortment of microphones has also been chosen, with over ten different models including drum and other instrument microphones. The Digital media recording a playback for our venue is handled by a MacBook Pro. All equipment has been accounted for in the mounting racks, and extra space has been left for expansion. The estimated cost is roughly $470000, which is within the $ budget. -8-

12 4.0 Equipment Selection 4.1 Power Amplifier Requirements and Selection Our Arrays and front fill speakers were specifically chosen to be self-powered to eliminate the need of finding complementary amplifiers. Our delay speakers however, were not self-powered and actually needed to be bi-amplified. Each of our VRX932LAP speakers (in our arrays) is powered by a Drivepack DPC-2 crown amplifier that delivers 1750 Watts of Peak power. As mentioned before, this amplifier is installed on the back side of each unit so that there is no external amplifier needed. See figure below. Crown Amplifier and built in DSP Our front fills, 22 Meyer sound UPM-1P, all have built in a 2 channel amplifier that delivers 350 watts to each speaker total. Our delay fill under the balcony comprised of 8 JBL VTX F15 speakers. Each of these needed to be bi-amplified. According to the spec sheet, the recommended amplification for each of these speakers was W into 8 ohms for the low frequency driver and W into 30 ohms for the high frequency driver. The spec sheet also recommended Crown I-tech HD power amplification so we started there in our search for amplifiers. We found the I-Tech 4x3500HD amplifier that provides up to 2100 W at 8 ohms, which is enough for our purposes. -9-

13 Crown I-Tech 4x3500HD These amplifiers also come with the added bonus of high common-mode rejection (less then 80dB), only 0.35% THD and a signal to noise ratio of 108 db. These are great specs that let us know that our amplifier won t audibly decrease our audio quality that the listeners hear. At 120 VAC/60 Hz, the A.C. power needed in sleep mode is 75 Watts and 335 Watts in awake mode. We also looked at Crown s I-tech 5000 HD amplifier as an option. The two amps have very similar specs, however the I-Tech 4x3500HD has four outputs (analog, AES 3, VDrive, CobraNet) and we decided that this would be ideal for in the future, if they want to upgrade or change the sound system, they can still use these amplifiers with confidence that they will work with many future and current speakers. To figure out the SPL requirements at one of our listener seats under the 1 st balcony we used an example calculation of a listener 20 ft away from our speaker. Electrical watts example calculation: The sensitivity is 108 1m/1w. We want 100 db at a seat 20 ft away 20*log (20) = 26 db Add 10 db for peak head room = 136 db 10^(28/10)= 631 W Our speaker specified 200W rms /800W peak so our 631 Watts needed falls within the operable range. -10-

14 4.2 Signal Processing Requirements and Selection We chose our signal processing to be a Symetrix Edge. The reasoning behind this was because it s a Dante network enabled device that simplifies our wiring and eventually cuts down cost. Furthermore, we didn t require a ton of processing power because the arrays have built in DSP to supplement themselves. The majority of this card will be used for delay, limiting, setting up where output signals go, and even RMS gauges. The greatest benefit to this processing box is the Dante network. This means that it can be fed inputs via an Ethernet cable, and it can be controlled via a computer from another Ethernet cable. Since our outputs were not Dante, we chose to use two digital output cards and two analog output cards that would be plenty for the arrays, front fills, and delay speakers. Symetrix uses an interface that is becoming somewhat of a standard across all of the digital signal processing brands, which is a very simple block diagram that is easily editable for different purposes. For example, setting up LRC panning is very simple and can be by arranging the blocks and then saved. With this easily configurable setup, the possibilities are endless on how you d like the speakers set up. -11-

15 It can be seen above that this processor is very simple, easily configurable with cards, and network friendly. They include built-in gigabit switches so that we didn t have to account for this in the long run, and could save money. It also meets the criteria of being rack mountable. -12-

16 4.3 Mixing Console Requirements and Selection The mixing console was also made easy by our early decision of wanting a network enabled device so that we didn t run XLR and other cables all over the venue. From this, we chose Yamaha because they re a very highly regarded brand that isn t over the top in terms of price or functionality. The console of choice is the CL5 shown below. This console is as simple as it gets because it utilizes Dante networking, hence we use a RIO box for all of the microphone and instrument inputs which converts it to Ethernet. It allows for 72 possible inputs which makes this board go above and beyond the required 48 inputs. It features phantom power which is typically the standard today. -13-

17 The Yamaha CL5 meets the requirements for digital media recording and playback by seamless integration with the program Nuendo Live via a computer or ipad local, or it can simply record to a thumb drive. The console also has expandable card slots so if Yamaha were to expand their series and outlook, it d be very simple to buy the new card and insert it into the board. One of the large benefits of having a digital board is simplicity for the board operator; this board has 300 scenes that can be customized and changed to make sure that the front of house always gets it right and takes out some of the confusion of live performance. Lastly, the board can handle up to 16 separate mixes, meaning that monitor mixing would be very simple and well within the capability of this board. -14-

18 4.4 Microphone Requirements and Selection For Microphone selection, we needed to have a stock of microphones that would adequately cover any and all types of performances in our multipurpose theater. Also, as listed in the design requirements, we had to support at least 20 wireless microphones. In the end we ended up with 50 microphones and spent $15,000. First up is our vocal wireless mics. We decided to go with two Shure beta58 s, two Shure beta87 s, two Shure sm58 s, four countryman E6 s, four guitar/bass wireless packs, two Shure wl93 mics, and four Sennheiser D1-845-s. The beta58, the sm58, and the Sennheiser mics are all vocal wireless mics. We felt that 8 wireless vocal mics should be more than enough for most occasions and having both Shure and Sennheiser mics will keep even the pickiest performers happy. The beta 58 s and Sm 58 s are dynamic mics while the beta57 s and the sennheiser 845 s are condenser microphones. All the wireless vocal mics have super cardioid patterns except the SM58 s which are cardioid mics. We wanted these polar patterns so that there was better off axis rejection for music performers who are singing to really loud crowds. Second up is our other wireless mics. The countryman E6 s are earset mics that are very small and skin colored so that become almost invisible to the audience. We bought two of these so that if we have a theater performance the two lead singers can still have the freedom of using their hands. The wireless packs for the guitar/bass pick up consist of a cable that has a ¼ in. pickup and ends in a 4 pin connector that goes straight into a Shure wireless body back. Aside from the 4 Sennheiser wireless mics, all of our wireless products are Shure so that we could use the transmitters and receivers in several different combinations and not have to worry. As for our wired mics, we decided to have enough for one drum kit, a brass instrument, ambient mics, piano mics, choral mics and one wired vocal mic. For the drum kit we have three beta56a, a beta 52A, and two beta 181 s. The beta 56A s are for the toms and snare, the beta -15-

19 52A is our kick drum dynamic mic, and the 181 s serve as drum overheads. We decided to go with the beta line for many of our microphones because it s Shure s second to top line. They are more rugged then the SM line but way less expensive than the KSM line. Plus, the KSM line is more suited for studio vocals, rather than live vocals. We also want to draw extra attention to the Beta181 because it has a changeable polar pattern. Its cartridge can be changed to have an omni, cardioid, super cardioid, or bi-directional pick up pattern. This makes it so it can be used in a variety of situations, including but not limited to: drum overhead, ambient mic, snare mic, and piano mic. We also purchased 12 choral mics. If each are placed in the 3:1 ratio that Shure suggests (12 ft. apart, 4 ft. above singers heads), we cover the whole stage front. We decided to purchase two specialty mics. For solo jazz performer we got a Beta98H, which clips onto the horn end of the brass instrument. We also bought a KSM8 because it was Shure s cool new dual diaphragm dynamic mic that reduces proximity effect. -16-

20 Rack Requirements and Design For our theater design we decided we would need only 3 racks. The first would sit on stage and house all our wireless receivers and xlr to Ethernet converter box. The second would be our amplifier rack for all our delay speakers. The last rack would be a small one for our DSP unit. The onstage rack had to house four Shure ULXD4Q wireless Receivers, four Sennheiser EMD1 wireless receivers, one Rio 3225-D converter, and one power sequencing unit. The ULXD s take up 1 rack unit each and the EMD1 take up ½ a rack unit. The power sequencer takes up one unit and the Rio 3224-D takes up 5 rack units. This totals up to be a 12 unit rack. For this task we chose an Odyssey Black Label 12 space rolling rack. This rack worked well for our purposes because we wanted it to roll so that we could move it to different places on the edges of the stage with ease, but we didn t require it to be super heavy duty such as racks used for touring. The second rack, or what we call the Amp rack, is used to house all of our amplifiers for our delay fill speakers that sit under the 1 st balcony. These are our only speakers that need amplification so our rack is pretty small. It accommodates four I-Tech 3x3500HD Amplifiers and its own power sequencing module. Each I-Tech 3x3500HD amplifier takes up 1 rack unit and the power sequencer also takes up 1 rack unit. So we needed a case with at least 5 rack units and for this we chose the odyssey 6 space carpeted amp rack. That means we have extra space for possible expansion in the future, and the quality of the rack is such that it can be used for long periods of time in the same venue. It s definitely not suited for touring, but that s fine because we aren t going anywhere with it. It will most likely sit in a side room so that the noise from the fans can t be heard. -17-

21 The final rack is being used to house our DSP module, the Symetrix Edge DSP. This rack will sit by the audio console in the front of house. Since the DSP only needs one rack unit of space, we decided to go with the Odyssey 2 space carpeted amp rack. We were hoping to sit this rack on a table to the side of the CL5 mixing console, and make it so that you could just throw the mac book pro on top of it without having to worry too much. This is why we needed it to be carpeted. Also, the extra rack space provides the option of putting in a rack mounted CD reader/writer in there down the road if necessary. -18-

22 4.5 Cabling and Wiring Requirements Our cabling and wiring consists of 3 different types of cables: xlr, speak On, and Ethernet. The great thing about our set up is that since we are sending all the on stage signals to the cl5 board digitally, we don t need a huge, 200ft snake and instead all we need is a really long Ethernet cord! The wiring diagram is attached in the appendix, and from it you can see that we need one Ethernet cord from the rio box in our stage amp rack to our mixing console. We decided that the front of house audio desk is going to be placed approximately 160 ft back from the front of the stage, so a 200ft Ethernet cable should give us plenty of length with a bit of wiggle room. There also needs to be a Ethernet cable that goes from the console to the DSP and since they sit right next to each other, we decided a 5ft long one would fit our needs. From the DSP we have 2 analog and 1 digital xlr outputs. The first analog output will be headed to the front fills. From there we will be daisy chaining the front fills together for the audio signal via 21 male-female xlr cables. The second analog output will go to our big hanging arrays. These will be daisy chained together using SpeakOn cables because of the enhanced reliability of the connectors. Lastly, our digital output signal from the board will travel via xlr to our I-tech amplifiers then from there go to our delay fill speakers via speakon cables. On stage we have our Shure wireless receivers, our Sennheiser wireless receivers and our wired mics that all need to be hooked up. The Shure wireless and Sennheiser wireless receivers will be sending their balanced signals to the Rio box via xlr, with one xlr per mic channel. Our wired mic inputs will first go to direct boxes to switch their unbalanced input to balanced ones then to our Rio box via xlr. We do not have any on stage monitors because we are going to solely use in ear monitors, so no wiring is needed for that purpose. Also, We have 2 power sequencers. One that sits in the on stage rack and the other sits in the amp rack. The wireless receivers, rio box, and amplifiers will all be plugged into these boxes via Edison connectors. -19-

23 From left to right: xlr, SpeakOn, and Ethernet -20-

24 Summary and Recommendations The venue we have designed is 4.32 million Cubic feet. It contains 2 balconies and a main floor. Each balcony has an 8 degree incline. Each level contains four sections, each about 25 ft wide with 5ft aisles between them. We had a wood floor stage, a carpeted seating area, and plaster walls made out of special acoustic plaster. We have 3 sets of speakers installed: the main arrays, the front fills, and the delay fills for under the first balcony. The arrays are made with JBL VRX932LAP s. There are 8 arrays and each contains 6 of these speakers. JBL designed this array to have a constant splay angle and on board DSP for steering of each speaker. Four our front fills we chose to use 22 Meyer UPM-1P speakers which will be sitting at the edge of the stage and form an uncoupled horizontal line array that covers the first rows that the main arrays do not reach. Lastly, the 8 delay fills are hung under the first balcony in clusters of two. Our max ALCons was 8.75% and our spl levels were 105 db ±6 db at all locations and frequencies of 500, 1000, 2000, 4000, and 8000 Hz. Equipment Selection started with the purchasing of 50 microphones of 14 varieties. These mics cover a gambit of applications, everything from rock groups to choral performances to stage productions. We then had 20 wireless microphone channels which required 4 Shure wireless receivers and four Sennheiser wireless receivers. Form there we converted all our outputs into digital data that could be sent over one Ethernet cable to our Yamaha CL5 Console. From the console we went to the Symetrix DSP via another Ethernet cable, and from there out to all our sets of speakers. Our array speakers and front fill speakers are self-powered. The delay fill speakers needed to be bi-amplified with an external amplifier so we chose to purchase 4 I-tech 4x3500 amplifiers. For all our equipment we needed 3 racks. The first rack will sit on stage and hold our wireless receivers and Rio 3224-D. The second rack will hold all our amplifiers for the delay fills and our third rack will hold our DSP. Our total cost is $470,000 which is $30,000 under budget. -21-

25 References Furman M-8S 8-Outlet AC Power Conditioner with Voltage Sequencing. (n.d.). Retrieved May 05, 2016, from Jbl Professional. (2015). Retrieved May 04, 2016, from Jbl Professional. (n.d.). Retrieved May 04, 2016, from Microphones Shure Americas. (n.d.). Retrieved May 05, 2016, from Odyssey Cases - ATA Flight Ready Cases, Flight Zone Cases, Turntable Cases, DJ Cases, Road Cases, DJ Gear. (n.d.). Retrieved May 05, 2016, from UPM-1PUltraCompact Wide Coverage Loudspeaker. (n.d.). Retrieved May 04, 2016, from

26 Appendix A: Activity Logs -23-

27 Activity Log for: Sonja Adams Role: EASE Primary Activity Date Start Time End Time Time Spent EASE Tutorial 4/1/16 10:30 12: hrs Subwoofer selection and enclosure design 4/8/16 13:30 14: hr EASE Venue Drawing 4/13/16 16:30 19: hrs EASE material Placement 4/19/16 10:45 11: hr EASE speaker Placement 4/26/16 9:30 11: hrs EASE speaker Placement 4/26/16 15:00 17:00 2 hrs EASE speaker Placement 4/27/16 17:30 21:30 4 hrs Component Selection 4/28/16 9:45 10:45 1 hr Equipment Selection 4/30/16 14:30 17:30 3 hrs Equipment Selection 5/1/16 11:30 12:30 1 hr Working on Presentation Slides 5/2/16 15:00 19:00 4 hrs Presentation Rehearsal 5/3/16 12:00 12: hr Writing Report 5/4/16 21:30 23:30 2 hrs Writing Report 5/5/16 11:00 12:00 1 hr Writing Report 5/5/16 20:00 23:00 3 hrs Writing Report 5/6/16 8:30 11:30 3 hrs -24-

28 Activity Log for: Alex Klapka Role: Crossover Primary Activity Date Start Time End Time Time Spent EASE Tutorial 10APR DSP Selection and Speaker integration 4/28/ hrs Working on Presentation Slides 5/2/16 15:00 19:00 4 hrs Report Writing 5/5/16 12:00 4: hrs -25-

29 Activity Log for: Kejian Lin Role: Crossover Primary Activity Date Start Time End Time Time Spent Preparing for EASE Presentation 5/2/15 10:00 10: hr 5/3/15 2:00 2: hr Ease class Presentation -26-

30 Activity Log for: Joseph Sweeney Role: EASE Primary Activity Date Start Time End Time Time Spent EASE tutorial 4/1/16 11:00 12: EASE tutorial 4/4/16 16:25 17: EASE tutorial 4/12/16 17:25 17: Venue Drawing 4/13/16 17:00 19: Speaker Selection and Placement 4/19/16 11:00 13: Speaker Selection and Placement 4/26/16 20:30 21: Speaker Selection and Placement 4/27/16 17:30 21: Speaker Selection and Placement 4/28/16 9:30 10: Speaker Selection and Placement 4/30/16 14:30 16: Presentation 5/1/16 11:30 12: Presentation 5/2/16 15:00 17: Rehearsal and Presentation 5/3/16 12:30 13: Report 5/5/16 19:00 1:

31 Appendix B: Venue Illustrations -28-

32 -29-

33 Appendix C: Loudspeaker Placement and EASE Simulation Results -30-

34 -31-

35 -32-

36 -33-

37 -34-

38 Appendix D: Signal Path Wiring Diagram -35-

39 -36-

40 Appendix E: Rack Design and Power Sequencing/Distribution -37-

41 EMD1 EMD1 ULXD4Q ULXD4Q ULXD4Q ULXD4Q EMD1 EMD1 Rio 3224-D Furman Power Sequencer On- Stage Rack I-Tech4x3500HD I-Tech4x3500HD I-Tech4x3500HD I-Tech4x3500HD Furman Power Sequencer Amp Rack for delays DSP Rack symetrix edge dsp -38-

42 Appendix F: System Component List and Street Price Estimate -39-

43 Speakers Hardwear Item name what is it units cost per unit cost of group JBL VRX 932lap meyer sound upm-1p vtxf Yamaha CL5 console 1 27, rio3224-d analog to dante converter 1 8, Shure ULXD4Q shure wireless reciever 4 5, P3TRA215CL personal monitor systems EM D1 sennheizer wireless receiver vrx932la-af array hangers 8 1, VTX-F15-UB universal bracket bracket for delays I-tech 4x3400 amplifiers 4 11, symetrix edge dsp 1 rack unit 1 5, channel analog output card bss bludigital channel digital output card bss bludigital ethernet cable 200ft cabling mac book pro computer 1 1, xlr cable 30ft cabling xlr 50 ft cabling xlr 20 ft cabling Furman power sequencer xlr 10 ft cabling odyssey 12 space rack rack odyssey 6 space rack rack odyssey 2 space amp rack rack speakon 3ft cable speakon 50ft cable Microhones mics Expanded Microphone costs -40- Total 470,103.96

44 Microphones quantity price per unit ($) price per group ($) 1 ulxd2/b ulxd2/b beta56a beta52a beta 98H/c beta ulxd2/sm ksm CVO countryman E ulxd wa wl ew D1-845-s-nh-us totals

45 Appendix G: Manufacturer Data Sheets -42-

46 Key Features: Built-in JBL DrivePack DPC-2 amplifier module designed by Crown provides 1750 Watts of peak power. DSP-based resident input module provides system optimization and EQ. JBL s exclusive neodymium magnet Differential Drive woofer for high-power capacity and light-weight. VRX932LAP features 3 x 2408J Annular Ring Diaphragm HF drivers. The 2408 represents the latest in JBL Professional compression driver design. Constant Curvature waveguide for unprecedented array coherence. Integral rigging hardware for simple connection of enclosures and optional array frame. Dual angle pole socket for aiming flexibility. Array Configuration Selector permits array shading. Application: Music playback and sound reinforcement in mid-size venues. Entertainers, corporate A/V professionals and sound system hire companies. Permanent Installation. The VRX932LAP is a powered, lightweight, compact 12" two-way line-array speaker system designed for use in arrays of up to five units. VRX932LAP is the ideal choice when line-array performance is needed but the venue size doesn't call for the very long-throw characteristics of larger line-arrays and a fast and easy setup is vital. The Constant Curvature waveguide mounts three compression drivers on a continuous arc. When additional VRX932LAP speakers are added to the array the uninterrupted arc continues. In effect, all the drivers work together as if they were a single driver on a very long waveguide. Since there are three drivers in each VRX932LAP, the combined power handling and acoustic output of the system is far greater than a single driver could achieve. VRX932LAP uses amplitude shading to shape the coverage of the array. Switches on the input plate allow, for example, the upper box in an array to reach a distant balcony while the lower box is shaded back to reduce excessive level at the front of the listening area. This yields to a more coherent sound field and less feedback problems. One or two VRX932LAP s may also be used on a tripod or over subwoofers. The integrated rigging hardware is used to securely lock the array together while the dual-angle pole socket provides aiming flexibility. As many as five VRX932LAP speaker systems may be suspended in a single array for a nominal vertical coverage of up to 75. Suspended applications require the JBL VRX-AF array frame or eye bolts (available separately). VRX932LAP 12" Two-Way Powered Line Array Loudspeaker System The VRX932LAP is compatible with VRX918SP/VRX918S and SRX781S subwoofers. The VRX932LAP is manufactured and sold under U.S. patents 5,748,760; 6,112,847; 6,394,223; 6,847,726; 6,768,806; 6,774,510; and D483,743 Specifications: Frequency Range (-10 db): 57 Hz - 20 khz Frequency Response (±3 db): 75 Hz - 20 khz Coverage Pattern: 100 x 15 nominal Maximum Peak Output 1 : 136 db SPL at 1m LF Driver: 1 x JBL 2262FF 305 mm (12 in) dual voice coil Differential Drive woofer with neodymium-magnet HF Driver: 3 x JBL 2408J, 38 mm (1.5 in) voice coil neodymium compression driver Bandpass Nominal Impedance: LF: 2 x 2 ohms HF: 4 ohms DPC-2 Internal Amplification Output (at nominal load): 1750 Watts Peak, 875 Watts Continuous DPC-2 Output as (Continuous IEC shaped pink noise into rated load impedance): LF: 750 Watts, HF: 125 Watts DPC-2 Output Section: LF: Dual-Bridged Technology, Class D HF: Bridged Class D Audio Input Connector: XLR with loop through User Controls: Input Attenuator (0-16 db) ACS (Array Configuration Selector), HF level adjustment (+3 db, 0 db, -3dB) Signal Processing: DSP based, resident in Input Module System Management: DSP based limiters for mechanical and thermal protection. AC Power Operating Range: VAC or VAC, 50/60Hz AC Line Voltage: User selectable: 120V/240V (-15%, +10%) AC Input Connector: Neutrik PowerCon (NAC 3MPA) AC Loop Through Connector: Neutrik PowerCon (NAC 3MPB) AC Current Requirements: 6A per system at 120V, 3A per system at 240V Enclosure: 25/15 mm birch plywood. Suspension / Mounting: Optional VRX-AF line-array frame kit, 10mm forged eyebolts or internal dual angle 36mm pole mount cup for pole or tripod mounting Finish: Black DuraFlex finish Grille: Powder coated, black, 16-gauge perforated steel with acoustically transparent foam Dimensions (H x W x D): 349 mm x 597 mm x 444 mm (13.75 in x 23.5 in x 17.5 in) Net Weight: 24 kg (52 lb) Optional Accessories: VRX-AF array frame, eyebolt kit part # SS2-BK tripod speaker stand SS3-BK satellite speaker pole SS4-BK adjustable satellite speaker pole to be used with the VRX918SP and SRX718S only. 1 Measured with IEC shaped noise in free field conditions. JBL continually engages in research related to product improvement. Some materials, production methods and design refinements are introduced into existing products without notice as a routine expression of that philosophy. For this reason, any current JBL product may differ in some respect from its published description, but will always equal or exceed the original design specifications unless otherwise stated.

47 VRX932LAP 12" Two-Way Powered Line Array Loudspeaker System Block Diagram Array Configuration Selector (ACS) Amplitude shading is a technique that allows the coverage pattern of a loudspeaker array to be shaped by adjusting the relative acoustic output of some of the devices in the array. Most often, array shading involves only the mid and high-frequency sections of the array. In a simple system consisting of three VRX932LAP s, the lower speaker (which covers the nearest listeners) may have its high-frequency output reduced. At the same time, the upper speaker may have its high frequency output increased. The overall sound-power in the room is unchanged but the distribution of acoustic energy to the audience is far more uniform. The -3 db position of the HF output level selector will typically be used for the speaker(s) in an array that are covering the nearest listening area. The +3 db position will be used for the speaker(s) covering the more distant areas, or to compensate for the low-frequency build-up resulting from mutual coupling of multiple woofers in an array. For single speaker applications the -3 db HF-output level is recommended for best tonal balance. AUDIO OUT VRX932LAP Serial No. JBL DrivePack DPC-2 system Equipped with Differential Drive Transducer Technology. U.S. PATENTS: 5,748,760; 6,768,806; 6,847,726; 6,774,510; and D483,743. AC LOOP OUTPUT / V~ 50/60Hz 7A 840W CLASS 1 WIRING AC LINE INPUT / V~ 50/60 Hz 5A 600W 12A 1440W MAX AUDIO IN PUSH LINE SELECT -16dB PWR Array Configuration Selector HF OUTPUT LEVEL ATTENUATION SIG PEAK RESET -3dB 0dB +3dB 0dB Designed, Engineered and Assembled in USA N108 VRX-AF Array Frame Accessory The VRX-AF is an array frame kit designed to be used for suspension of the VRX932LAP line array loudspeaker. The optional array frame kit includes an array frame, four quick release pins, a pair of forged 3/8" shackles, and a pair of drop levers. The following table defines the maximum number of speakers that may be suspended using the VRX-AF. A minimum design factor of 7:1 is maintained for all speakers configuration at or below those indicated in the table: Maximum number of VRX918SP in array: Maximum number of VRX932LAP in array: For some applications, it may be necessary to pull back the array from the bottom in order to achieve the desired coverage. Every VRX-AF is supplied with a spare set of quick release pins and a pair of spare drop levers that are used to adapt a second array frame to the bottom of a VRX932LAP array. Once these are installed on the bottom enclosure, the array frame may be attached as previously described. Ground-Stacked, Upward Firing Arrays: Applications such as covering stadium bleachers from the playing field may be addressed by installing the VRX-AF array frame to the bottom of the array as described above. Up to four VRX932LAP loudspeakers may be locked together and ground stacked using the VRX-AF array frame kit, as shown.

48 Dimensions 23.5 [596.9] 17.8 [452.1] 7.1 [179.5] TOP 9.5 [241.7] 23.5 [597] [349] 15 LC 6.9 [176] FRONT R [203.2] 4.7 [118.6] REAR SIDES Dimensions in inches (mm) BOTTOM System Configurations With SS2-BK With subwoofers and SS4-BK Ground-stacked with VRX-AF Suspended with VRX-AF

49 VRX932LAP 12" Two-Way Powered Line Array Loudspeaker System Frequency Response 115 SPL (db) HF +3dB HF 0dB HF -3dB Frequency (Hz) Horizontal Beamwidth Vertical Beamwidth P P JBL Professional 8500 Balboa Boulevard, P.O. Box 2200 Northridge, California U.S.A. A Harman International Company Copyright 2007 JBL Professional SS VRX932LAP CRP 5M 10/07

50 DATASHEET ULTRASERIES UPM-1P : Ultra-Compact Wide Coverage Loudspeaker " [457 mm] 7.00" [178 mm] 4.25" [108 mm] 7.70" [196 mm] 9.05" [230 mm] 6.85" [174 mm] 3.76" [96 mm] Dimensions Weight Enclosure Finish Protective Grille Rigging 6.85" w x 18.00" h x 7.70" d (174 mm x 457 mm x 196 mm) 21 lbs (9.53 kg) Premium birch plywood Black textured Powder-coated hex-stamped steel, foam covering Three 3/8"-16 or metric M10 nut plates The UPM-1P is a remarkably compact, self-powered professional sound reinforcement loudspeaker system. It is ideally suited to applications requiring a relatively small and inconspicuous loudspeaker that can also provide high sound pressure levels, extremely low distortion, and uniform directional control. The UPM-1P loudspeaker provides vocalrange reinforcement as a small PA system, or as a fill or delay loudspeaker in larger indoor or outdoor systems. A full-range system can be created with the addition of an optional subwoofer. The UPM-1P high-frequency section comprises a 1-inch metal dome tweeter on a symmetrical constant-directivity high-frequency horn with 100-degree beamwidth. At lower frequencies, sophisticated phasecorrection circuitry assures true pointsource performance without the off-axis cancellation effects that plague customary dual-woofer designs. Two 5-inch low-frequency cone drivers are driven in parallel at low frequencies to take advantage of their combined acoustic output. To prevent destructive interference and comb filtering effects in the mid-band frequencies close to the crossover area, one of the drivers rolls off above 320 Hz. Two channels of power amplification are provided (350 watts total), along with an active crossover, driver protection voltage limiters, and frequency- and phaseresponse alignment circuitry. A lasertrimmed differential input stage affords superior common-mode rejection to allow long signal runs through shielded twistedpair cable. The standard UPM-1P is switchable between the 115 V AC and 230 V AC ranges. A 100 V AC version is also available. The UPM-1P s integral power supply suppresses high-voltage transients, while two PowerCon AC connectors facilitate AC looping. The rugged cabinet is coated with a textured black finish. Mounting is via three 3/8"-16 or metric M10 threaded recessed nut plates. Optional U-bracket, yoke, and pole-mount hardware is available. The UPM-1P loudspeaker can be supplied with either the standard audio input module incorporating looping XLR connectors, or an alternate that adds attenuation and a polarity switch. The UPM-1P easily integrates with the RMS remote monitoring system network and software (optional). RMS displays signal and power levels, driver status, limiter activity, and amplifier temperature on a remote Windows computer. Options available for the UPM-1P cabinet include weather protection and finishes in custom colors for fixed installations and situations requiring specific cosmetics. features & benefits applications Exceptional fidelity and power capability in an ultra-compact package Wide, symmetrical pattern covers broad listening areas Unique crossover design eliminates combing for consistent midrange response Metal dome driver delivers exceptionally smooth high-frequency characteristic Frontfill and under balcony Theatrical sound reinforcement Portable and installed audio-visual systems Cinema surround sound and effects Compact voice reinforcement systems

51 UPM-1P specifications Acoustical Coverage Crossover Transducers Audio Input Operating Frequency Range 1 Frequency Response 2 Phase Response Maximum Peak SPL 3 Dynamic Range Horizontal Vertical Low Frequency 5 High Frequency Type Maximum Common Mode Range Connectors Input Impedance Wiring DC Blocking CMRR RF Filter TIM Filter Nominal Input Sensitivity Input Level Amplifiers Type Output Power 8 THD, IM, TIM Load Capacity Cooling AC Power Connector Voltage Selection Operating Voltage Ranges 10 Current Draw: Idle Current Max Long-Term Continuous Current (>10 sec) Burst Current (<1 sec) Ultimate Short-Term Peak Current Draw Inrush Current RMS Network (Optional) 75 Hz - 20 khz 80 Hz - 16 khz ±4 db 300 Hz - 18 khz ± db >110 db Hz 4 Two 5" cone drivers Nominal impedance: 8 Ω Voice coil size: 1" Power-handling capability: 200 W (AES) 6 One 1" metal dome tweeter Nominal impedance: 8 Ω Voice coil size: 1" Diaphragm size: 1" Power-handling capability: 20 W (AES) 6 Differential, electronically balanced ±15 V DC, clamped to earth for voltage transient protection Female XLR input with male XLR loop output 10 kω differential between pins 2 and 3 Pin 1: Chassis/earth through 220 kω, 1000 pf, 15 V clamp network to provide virtual ground lift at audio frequencies Pin 2: Signal + Pin 3: Signal - (optional polarity reversal switch) 7 Case: Earth ground and chassis Differential DC blocking up to maximum common mode voltage >50 db, typically 80 db (50 Hz 500 Hz) Common mode: 425 khz; Differential mode: 142 khz <80 khz, integral to signal processing 0 dbv (1 V rms, 1.4 V pk) continuous average is typically the onset of limiting for pink noise and music Audio source must be capable of producing a minimum of +20 dbv (10 V rms, 14 V pk) into 600 Ω to produce maximum peak SPL over the operating bandwidth of the loudspeaker Complementary MOSFET output stages (class AB/bridged) 350 W total <.02 % 4 Ω low channel, 8 Ω high channel Convection PowerCon with looping output External 115/230 V AC switch (100 V AC version available) V AC V AC (115 V AC); 210 V AC V AC (230 V AC) 0.13 A rms (115 V AC); A rms (230 V AC); 0.15 A rms (100 V AC) 1 A rms (115 V AC); 0.5 A rms (230 V AC); 1.2 A rms (100 V AC) 1.3 A rms (115 V AC); 0.65 A rms (230 V AC); 1.5 A rms (100 V AC) 2.9 A pk (115 V AC); 2 A pk (230 V AC); 3.3 A pk (100 V AC) 18 A pk (115 V AC); 12 A pk (230 V AC); 15 A pk (100 V AC) Equipped for two-conductor twisted-pair network, reporting all amplifier operating parameters to system operator s host computer. Notes: 1. Recommended maximum operating frequency range. Response depends on loading conditions and room acoustics. 2. Free field, measured with 1/3 octave frequency resolution at 4 meters. 3. Measured with music at 1 meter. 4. At this frequency, the transducers produce equal sound pressure levels. 5. To eliminate interference at short wavelengths, the two 5 drivers work in combination at low frequencies below 320 Hz. Above 320 Hz only the cone driver closer to the tweeter is fed from the crossover up to the crossover frequency to maintain optimal polar and off-axis frequency response characteristics. 6. Power handling is measured under AES standard conditions: transducer driven continuously for two hours with a band-limited noise signal having a 6 db peak-to-average ratio. 7. Two additional input module options are available with polarity reversal switch and an attenuator (0 db to -18 db): one looping and one with two inputs for mono summing. 8. Amplifier wattage rating based on the maximum unclipped burst sine-wave rms voltage the amplifier will produce in to the nominal load impedance. Low and high channels 30 V rms (42 V pk) V AC version, range V AC; recommended maximum 115 V AC. 10. Fuse-protected above 135 V AC (115 V AC switch position) and 265 V AC (230V AC switch position). Made by Meyer Sound Laboratories Berkeley, California USA European Office: Meyer Sound Lab. GmbH Carl Zeiss Strasse Polch, Germany UPM-1P C Copyright 2005 Meyer Sound Laboratories Inc. All rights reserved meyer sound laboratories inc San Pablo Avenue Berkeley, CA T: F: techsupport@meyersound.com architect specifications The loudspeaker shall be a self-powered, full-range system. The transducers shall consist of two 5-inch diameter cone drivers and a 1-inch metal dome tweeter. The loudspeaker system shall incorporate internal processing electronics and a two-channel amplifier. Processing functions shall include equalization, phase correction and signal division and driver protection for the high- and low-frequency sections. The crossover point shall be 1.3 khz. Each amplifier channel shall be class AB/bridged with complementary MOSFET output stages. Burst capability shall be 350 watts total with nominal 4 ohms low channel and 8 ohms high channel resistive load. Distortion (THD, IM, TIM) shall not exceed 0.02%. Performance specifications for a typical production unit shall be as follows, measured at 1/3 octave resolution at 4 meters. Operating frequency range shall be 75 Hz to 20 khz. Phase response shall be ±60 from 300 Hz to 18 khz. Maximum SPL shall be 123 db at 1 meter. Horizontal coverage and vertical coverage shall both be 100 degrees. The audio input shall be electronically balanced with a 10 kohm impedance and accept a nominal 0 dbv (1 V rms, 1.4 V pk) signal. Connector shall be XLR (A-3) type female with parallel looping male. RF filtering shall be provided, and CMRR shall be greater than 50 db from 50 Hz to 500 khz. Two input module options shall be offered: one with loop-through output and another with an attenuator and polarity reversal switch in addition to the loop-through output. Two versions shall be available: a switchable 115/230 V and a non-switchable 100 V-only version. The voltage selection needs to be manually selected. The internal power supply shall perform EMI filtering, soft current turn-on and surge suppression. Powering requirements shall be nominal 100 (100 V version) and 110 or 230 V AC (115/230 version) line current at 50 or 60 Hz. UL and CE operating voltage range shall be 115 V AC V AC. Ultimate short-term peak current draw shall be 2.9 A at 115 V AC, 2 A at 230 V AC and 3.3 A at 100 V AC. Current inrush during turn-on shall not exceed 18 A at 115 V AC. AC power connectors shall be PowerCon with looping output. The loudspeaker system shall provide facilities for installing Meyer Sound s optional RMS remote monitoring system. All loudspeaker components shall be mounted in an acoustically vented trapezoidal enclosure constructed of premium birch plywood with a black textured finish. The front protective grille shall be hex-stamped steel covered by charcoal gray foam. Dimensions shall be 6.85" wide x 18" high x 7.70" deep (174 mm x 457 mm x 196 mm). Weight shall be 21 lbs (9.53 kg). Rigging shall be three 3/8"-16 or M10 nut plates. The loudspeaker shall be the Meyer Sound UPM-1P.

52 Application VTX F15 delivers studio monitor sound quality in a premium two-way multipurpose enclosure featuring point and shoot flexibility along with patented D2 Dual Diaphragm Dual Voice Coil compression driver and Differential Drive LF technologies employed in VTX V25 and the M2 Studio Reference Monitor. Ideal for sound reinforcement rental companies, live performance venues, theatrical sound design, performing arts centers, high-impact A/V presentations, houses of worship and themed entertainment venues, VTX F15 is a highlyversatile sound design tool. Key Features c Bi-Amplified 2-Way System c D2430K D2 Dual Diaphragm Dual Voice Coil Compression Driver c Progressive Transition Waveguide (90 x 50 ) c Differential Drive, dual neodymium magnet, dual voice coil, Direct Cooled 15" transducer for low weight and high output c BSS Audio OmniDriveHD V5 Processing for use with Crown ITechHD and Crown VRack c Dedicated OEM factory presets provide unparalleled application flexibility c JBL HiQnet Performance Manager Control For point-and-shoot fill applications, VTX F15 is a perfect sound design complement to VTX V25 due to the sonic consistency provided by common large format D2 and differential drive component technology. The patented D2 Dual Diaphragm, Dual Voice Coil high frequency compression driver delivers a dramatic increase in high frequency extension and sound pressure levels with significantly lower distortion, reduced power compression, increased dynamic headroom and reduced weight. For the low frequency section, JBL's patented Differential Drive dual voice coil, dual magnetic gap cone transducer technology dramatically reduces weight while providing high linear excursion capability and greatly enhancing all critical performance parameters: frequency response, power output and distortion. VTX F15 fully integrates with JBL's comprehensive amplification and intelligent control, including BSS Audio OmniDriveHD Linear Phase FIR Processing, Crown ITech HD or Crown VRACK amplification and JBL HiQnet Performance Manager Control. A comprehensive set of application-specific V5 OEM factory presets for Crown ITech HD amplifiers provide optimized, plug-and-play performance for short throw (ST), long throw (LT) and stage monitor modes. When paired with the VTX F18S subwoofer, F15 provides a premium-quality, compact Frontof-House, Sidefill or Drum Monitoring solution and with their clean lines, F15 is perfectly suited for demanding tour sound stage monitoring requirements. Standard pole mount socket, M10 mount points and an optional U-bracket accessory allow VTX F15 to be used in a wide variety of distributed fill applications. VTX F15 15" 2-Way Loudspeaker Specifications: System Frequency Range (-10 db): 43 Hz khz (short throw mode, free field) 42 Hz khz (monitor mode, half-space) Frequency Response (±3 db): 59 Hz khz (short throw mode, free field) 58 Hz khz (monitor mode, half-space) Coverage Pattern: 90 x 50 degrees nominal (Vertical Orientation) System Input Power Rating: LF: 1000 W Continuous, 4000 W Peak (AES / 2 hour) HF: 200 W Continuous, 800 W Peak (AES / 2 hour) Maximum Peak Output 1 : 134 db SPL (LF), 137 db SPL (HF), free-field 140 db SPL (LF), 137 db SPL (HF), half-space Recommended Amplification: LF: W into 8 ohms HF: W into 20 ohms Recommended Signal Processing: Crown I-Tech HD power amplification VTX F Series presets available for download at Transducers Enclosure Optional Accessories Low Frequency: One 2265H, 381 mm (15 in) dia., 76 mm (3 in) dual voice coil, dual neodymium magnet, Differential Drive, Direct Cooled Bandpass Nominal Impedance: 8 ohms Input Power Rating 2 : 1000 W Continuous, 4000 W Peak (AES / 2 hour) 700 W Continuous, 2800 W Peak (100 hour) Bandpass Sensitivity: 98 db, 1W / 1m (2.83 Vrms at 3.3 ft) free-field 104 db, 1W / 1m (2.83 Vrms at 3.3 ft) half-space High Frequency: One 2430K D2 Dual Diaphragm Dual Voice Coil Compression Driver; two 76 mm (3 in) diameter voice coils; 38 mm (1.5 in) exit Bandpass Nominal Impedance: 20 ohms Input Power Rating 2 : 200 W Continuous, 800 W Peak (AES / 2 hour) Bandpass Sensitivity: 108 db, 1W / 1m (2.83 Vrms at 3.3 ft) Construction: Symmetrical stage monitor (53 degree angle); 18 mm, 11-ply Baltic birch plywood; black DuraFlex finish; integral recessed handle Suspension: Integral pole mount socket (35 mm diameter); 16 x M10 mount points; Optional U-bracket and extension rod (SS5-BK) accessories available Grille: Powder coated 14 gauge hex-perforation steel with acoustically transparent black cloth backing Input Connectors: Neutrik Speakon NL-4 (4x) Pins 1+/- LF, Pin 2+/- HF Dimensions (H x W x D): x x mm (25.2 x 18 x 12.9 inches) Net Weight: 22.9 kg (50.5 lbs) Shipping Weight: 26.5 kg (58.5 lbs) SS5-BK: Adjustable extension rod with M20 thread for attachment to VTX F18S; hand crank height adjustment; patented expanding mandrel system for secure vibration free attachment to F18S using either integral pole mount socket or optional UB universal bracket accessory VTX F15 UB: Universal bracket accessory 1 Calculated maximum SPL based on rated peak power and measured sensitivity 2 AES Standard, one decade pink noise with 6 db crest factor within device's operational band, free air. Standard AES 2 hr rating plus long term 100 hr rating. JBL continually engages in research related to product improvement. Some materials, production methods and design refinements are introduced into existing products without notice as a routine expression of that philosophy. For this reason, any current JBL product may differ in some respect from its published description, but will always equal or exceed the original design specifications unless otherwise stated.

53 c VTX F15 15" 2-Way Loudspeaker Acoustical Measurements Frequency Response with Recommended V5 DSP (Individual Bandpasses with Composite Overlay) Short Throw (Freefield) or Monitor or Monitor Mode (Half-space) Mode (Half-space) Beamwidth and Normalized Off-Axis Response Frequency Response with Recommended V5 DSP (Individual Bandpasses with Composite Overlay) (Vertical enclosure orientation) Long Throw Mode Mode Dimensions System Configurations Floor Monitor Small Format Front of House Drum/ DJ Monitoring JBL Professional 8500 Balboa Boulevard, P.O. Box 2200 Northridge, California U.S.A. Copyright 2014 JBL Professional SS VTX F15 CRP 01/14