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Audio System Design Portfolio

Audio System Design Portfolio. Scott Hanlon. Next. Contents. Microphones Loudspeakers Amplifiers Mixing Consoles Signal Processors Software References. Microphones.

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Audio System Design Portfolio

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  1. Audio System DesignPortfolio Scott Hanlon Next

  2. Contents • Microphones • Loudspeakers • Amplifiers • Mixing Consoles • Signal Processors • Software • References

  3. Microphones Microphones are devices used to convert acoustic energy to electrical energy. There are several things to consider when selecting which microphone to use in any given situation. There are several considerations to make when choosing a microphone. Firstly the design/type itself (i.e. is it built for what you want to do) a very expensive highly sensitive Condenser microphone normally mounted in a shock stand would probably not last very long as a live microphone due to being handled all the time. Polar Pattern should be taken into account as you want to be able to pick up what you want with as little as possible background interference. The frequency response is very important as this tells you at what level the microphone will pick up certain frequencies. Impedance should also be checked as if a microphone is connected to an input with a lower impedance this will result in a loss of signal strength. • Types of Microphone • Microphones for Studio Use • Microphones for Live Use • Microphones for Broadcast Use Back to Contents

  4. Types Of Microphone Dynamic Microphones Condenser Microphones Ribbon Microphones • Capacitor Microphones (referred to commonly as a condenser microphone) it use capacitance to convert acoustical energy into electrical energy. It has four main components a floating metal plate, a fixed metal plate, a preamplifier and a power supply. Similarly to the dynamic microphone changes in sound pressure are used to move the diaphragm however in this type of microphone the diaphragm is a floating metal plate. Combined with the back plate this forms a capacitor which stores electrical charge. When the floating plate is moved the capacitance is altered this changes the electrical charge of the circuit thus converting acoustic energy to electrical energy. Due to the high impedance of the circuit the pre amplifier is required to send the signal through the cable and for this a power supply is required. Condenser microphones are very sensitive which make them good for recording quiet instruments such as acoustic guitar. • Dynamic Microphones convert acoustic energy to electrical energy via mechanical movement. It comprises three main components a diaphragm, a moving coil of wire and a magnet. As sound is directed toward the microphone changes in sound pressure cause the diaphragm to move backwards and forward. As this happens the coil is moved in and out of a magnetic field creating electrical current that is analogous to the sound pressure exerted upon the microphone. Dynamic microphones are generally very sturdy and are used a lot in live sound as they are unlikely to get damaged. Ribbon Microphones similar to a dynamic microphone made up of a flexible corrugated aluminium ribbon, which acts as the diaphragm, and a permanent magnet. Again as sound pressure changes the ribbon moves backwards and forwards within the magnetic field inducing a current which again is analogous to the sound pressure. It has very low impedance so a transformer is used to drive the signal through the cable. An advantage of a ribbon microphone over a condenser microphone is they don’t suffer from proximity effect (sometimes referred to as “bass tip up”). Back to Microphones Back to Contents

  5. Studio Microphones • AKG C 414 XL II • Type: Condenser • Polar Pattern: Switchable(Omnidirectional, wide cardioid, hyper cardioid, Figure of 8 and 4 intermediate settings) • Frequency Response: 20Hz – 20KHz • Sensitivity: 20 mV/Pa (-34 dBV) +/- 0.5dB • Frequency Response Diagram: • Varies between polar patterns information on Manufacturers Website Back to Microphones Back to Contents

  6. Live Microphones • Shure SM58 • Type : Dynamic • Polar Pattern: Cardioid • Frequency Response: 50 Hz - 15 kHz • Sensitivity (1 kHz): -54,5 dBV/Pa / 1,88 mV/Pa • Frequency Response Diagram: • Audio samples available on manufacturers website Back to Microphones Back to Contents

  7. Broadcast Microphones • CharterOak S700 • Type: Condenser • Polar Pattern: Cardioid • Frequency Response: 20Hz-20KHz • Sensitivity: 16mV/Pa 94dB=1V/Pa@1kHz • Frequency Response Diagram: • Further information available on Manufacturers Website Back to Microphones Back to Contents

  8. Loudspeakers • Loudspeakers operate the opposite way around from a microphone converting electrical energy into acoustic energy. This is achieved by passing the current through a coil of wire that is surrounded by a permanent magnet and attached to the speaker cone. As the current passes through the coil this affects the magnetic field around it causing the coil and therefore the speaker coil to move generating sound. When deciding what speaker to use we need to look at the design of the speaker ( is it suitable for live use and moved around due to a rugged plastic housing or more useful as a studio monitor in a static place as its made of easily damaged wood?). Frequency response should be looked at to ensure the speaker can reproduce everything you need it to. The sensitivity of the speaker at what level will sound become distorted?, Impedance again if this is mismatched to the input signal strength will be lost and dispersion angle will the speaker cover the necessary area sufficiently. • Loudspeakers for Live Applications • Loudspeakers for Studio Applications Back to Contents

  9. Loudspeakers for Live Applications • Function-One F88 • Frequency Response:70Hz-18Khz • Sensitivity:99dB SPl @ 1W 1M • Dispersion Angle: 110° x 40° • This speaker could be used as part of a sound reinforcement system or as part of a sound system in a bar/club. • More information can be found on the Manufacturers Website • Tannoy VQNET 60 Live • Frequency Response: 90Hz- 27KHz • Sensitivity: LF 134dB@ 1M / HF 134dB@ 1M • Dispersion Angle: 60° conical. • This type of speaker would be more suited to use as part of a live sound system installation but could also transported and used as a portable PA. • More information can be found on the Manufacturers Website Back to Loudspeakers Back to Contents

  10. Loudspeakers for Studio Applications • Genelec 1035B • Frequency Response: 30Hz-20Khz +/- 2.5dB • Sensitivity 131dB SPL @ 1M • No dispersion angle detailed as this is a monitor • speaker and should only be used within a room • and the listeners no more than a few meters away. • Full information available on Manufacturers Website Back to Loudspeakers Back to Contents

  11. Amplifiers Back to Contents

  12. Mixing Consoles Back to Contents

  13. Signal Processors Back to Contents

  14. Software Back to Contents

  15. Polar Pattern Cardioid Hyper Cardioid Narrower pickup field and could be used to ignore background noise however a side effect of this is a small area of pickup to the rear. This can also This pattern it generally has a wide pickup area and is commonly found on standard Dynamic and Condenser microphones Omnidirectional Bidirectional Picks up all sound around the microphone Also known as Figure of 8. Picks up sound in front and behind the microphone Back to Contents Back to Microphones

  16. References • http://www.mediacollege.com/audio/microphones/how-microphones-work.html • http://www.shure.co.uk/products/microphones/sm58 • http://www.akg.com/site/products/powerslave,id,1129,pid,1129,nodeid,2,_country,EN,_language,EN.html • http://charteroakacoustics.com/products_s700_details.htm • http://micro.magnet.fsu.edu/electromag/java/speaker/ • http://www.funktion-one.com/products/f88/ • http://www.tannoypro.com/#Page=Product&Id=92.350 • http://moodle2.stow.ac.uk/course/view.php?id=36 Back to Contents

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