ArraySHOW TM Instruction Manual

Table of Contents
Installation What's new in version 1.1 General usage comments Constructing arrays Saving your work Working with multiple array documents Printing Copy and paste into other programs Preference Settings Theoretical Background and Interpretation of Results Bandwidth of Results The Directivity Globe Signal Delay, Misalignment, and Steering ArraySHOW and Arraying Guidelines Minimizing Device Interference for Smooth Coverage Degree of array solution possible Properties of the Individual Array Elements Specific Guidelines to Narrow the "Angular Zone of Interference" Using Device Interference Constructively Additional Comments ArraySHOW Seminar Video Tape Historical Comment "Perfectly Arrayable Boxes" Appendix I: Table of Device Physical Dimensions

Installation
From CD-ROM: Insert the CD into the CD-ROM drive. If the program does not start automatically, double click the file named "setup.exe" From a downloaded installer:

If installing from the web, download and run the "setup.exe" file.

What's new in version 1.1

Fixed a bug in the globe drawing code that caused an overflow error on Windows 2000 and Windows XP A few inner-loop optimizations to eliminate some duplicated trig and exponent operations Removed "convolve" button and made convolution calculation automatic with each change to an array Included device data installation to main program installer Added all devices currently available on the EVI website as separate WinZip archives to the main installer Updated on-line documentation (this document), adding explanatory figures and converted to more-standard HTML format. Added access to on-line documentation from Help Menu.

General Usage Comments

The use of ArraySHOW is both highly intuitive and powerful. It allows the user to analyze arrays of loudspeakers independent of the room, to look directly at the lobes and nulls of given array geometries. ArraySHOW asks/allows the user to: 1. Build and array by selecting, locating, and aiming one or more loudspeakers. A diagram of the array built will appear for the you when you click ok. 2. Select a frequency and microphone distance. Results are updated interactively as the parameters and/or array is modified. Directivity is displayed in both horizontal and vertical polars. A unique and highly colorful"directivity globe" which ranges from the highest output level in red to the lowest output level in blue. 3. Quickly and easily edit the array to convolve new results to optimize array directivity. 4. Save arrays for recall at any time, and quickly compare different results. (See details on comparisons, below.) Constructing new Arrays

1. Move the cursor to the spread-sheet

box: 2. Double-click to add or edit devices. (Click once and press the "del" key to delete a device) 3. When you double-click, the "Add Device to Array" box appears:

a. Select a device by clicking on the "Device" select arrow. This will provide a list of database items included in your copy of ArraySHOW. (Additional devices may be added to your installation by copying the appropriate *.spd files into the "devices" folder in the ArraySHOW installation directory.) b. Scroll the device you wish to select and click on that device. c. If the device is not listed in the list, you may select an individual *.spd file anywhere in your file system by selecting "Browse" d. Click on X,Y and Z in turn to indicate the coordinate position of the device in the array. (in inches or centimeters - see the preference section). This position represents the center of the front face of the device. e. Set azimuth and elevation of the device selected (enter in degrees) and click to enter. f. Set delay and relative gain of each device as desired. g. Click "OK" when you are finished editing this device.

4. Repeat step 3 as required to complete your array. Note: in real life it is not possible to place multiple devices in the same physical space. When building arrays, you must take into account the physical dimensions of each device. For example, ArraySHOW will allow the acoustic centers of two XArray Xf enclosures to be separated by one inch, yet physical placement of this combination is not possible. See Appendix I for dimensional dataassociated with devices included in your database. Construction of the array can be verified by viewing the display in the lower left hand corner showing the coordinate system and the orientation of each device. 5. When array construction is completed, choose the one-third-octave center frequency you wish to view by using the "Frequency" selector. Note that you can quickly step up and down through the frequency range with the up and down arrow keys when the frequency selector is

highlighted. 6. Select the distance from with the array is to be viewed using the "distance to Microphone" slider. 7. Results are displayed interactively as you manipulate the array, distance, and frequency controls. See "interpretation of results", below. Saving your work Arrays may be saved by choosing the "Save" or "Save As" commands. Working with Multiple Documents for Comparison Multiple "open" array documents may be compared by selecting the "next window" command from the program icon (immediately to the left of the File Menu).

The CTRL-F6 keystroke can also be used to quickly cycle through all open windows in ArraySHOW. Alternatively, you may move between open Windows using the "Window" menu. Printing The entire screen may be printed in gray scale or color. Also, individual array diagrams, polar plots, and directivity globes may be selected and printed in gray scale or color. Copy and Paste into other programs The entire screen or individual array diagrams, polar plots or directivity globes may be selected and then cut and pasted into Windows-compatible programs that handle graphics. On Windows 2000, XP, or later, you can use CTRL-PrintScreen to capture the entire screen. To capture individual array orientations, polar plots, or globe plots, click on the view of interest and choose "Copy to Clipboard" from the "Edit" menu. (You can change the copied image size and color scheme inside the Edit->Preferences dialog.) Preference Settings Choose Edit->Preferences, and you will various settings, including:

Choice between color and gray-scale globe displays The size in pixels of copied globes, polars, and vector diagrams Choice between English (IP) and Metric (SI) units Optional display of dB legend on globe diagrams

Theoretical Background and Interpretation of Results

ArraySHOW predicts the interference or interaction of multiple devices as a function of device type, location and aiming with a high degree of accuracy. Basically, this is done by mathematically convolving measured device amplitude-only spherical directivity data with the complex (amplitude and time) calculated directivity of point sources located at the center of each device. (Horn mouth for component horns and box front for systems.) This process is described in detail in Mark Ureda's Audio Engineering Society Preprints available from EVI Audio:

The Convolution Method for Horn Array Directivity Prediction (Preprint 3790) Directivity Response of Horn Arrays (Preprint 3963) Amplitude and Signal Delay Shading of Vertical Horn Arrays (Preprint 4061) Wave Field Synthesis with Horn Arrays (Preprint 4144)

Extensive validation of ArraySHOW performance has been undertaken; the results are shown in the preprints. Bandwidth of Results At each available center frequency, the results are show for a spectrum one-third octave wide.

Directivity Globe View Interpretation The globe view is a three-dimensional representation of the array's response at the frequency and distance specified in the controls above. The globe is drawn as if you are standing at the end of the "+X" axis looking toward the origin.

Single HP640 oriented toward +X axis

Polars of same HP640. Note vertica

High SPL levels are shown in red, and the lowest are shown in dark blue. Signal Delay, "Misalignment", and "Steering" The option of adding signal delay to selected components or systems should not be confused with the signal delay used in electronic processors associated with biamplified or triamplified multiway loudspeaker systems. The latter are used to match arrival times of components within the single multiway system. Adding signal delay to a multiway system in ArraySHOW affects the entire system. For both systems and components, added signal delay can be used for device "misalignment." This technique is useful because part of the pattern is substantially improved from a "smoothness" standpoint while a corresponding part of the polar radiation is mare "worse". Oftentimes, the technique can substantially improve radiation smoothnes onto an audience space while "making worse" the radiation into the corresponding upper half or ceiling portion of the array. Since there is no audience present in the ceiling, the net effect from an observer's point is an improvement because of the misalignment, in terms of smoothness and evenness of coverage (see Minimizing Device Interference for Smooth Coverage for details).

ArraySHOWTM and Loudspeaker Arraying Guidelines

Loudspeaker components and systems are typically "arrayed" -- used in multiples -- in order to achieve more uniform audience coverage and/or higher sound pressure levels than are possible with a single device. In general, we believe that the destructuve interference effects of multiple loudspeakers in arrays is a subject too little understood in our industry. Furthermore, there are a number of beliefs about "arrayability" and

the propotion thereof which seem to fly in the face of both the laws of physics and actual demonstration. EVI Audio has developed and offered ArraySHOW software to the industry to aid the system designer -- whether for fixed installation or concert touring -- in maximizing the performance of arrays. ArraySHOW shows quickly and easily the interaction of multiple speakers as a function of frequency, individual device characteristics and the relative location and aiming of the devices. Thus, optimizing the array is an iterative rather than automatic process. the following material is intended to simplify this iterative process for common applications. The interaction of multiple loudspeakers can also be used constructively, e.g. a vertical dipole array that extends vertical directivity control to a frequency lower than the size of the horn operating above it in frequency allows. This application is covered as well. Here are three major points on the destructive interference effects of multiple loudspeakers in arrays:

Optimal arraying is not manufacturer or model-number specific. Boxes that fit into nice physical arrays do not necessarily array acoustically in an optimum (read "uniform coverage") way. In fact, the typical box is likely to array poorly, and only a few take into account on or more of the principles outlined below which minimize (but do not eliminate) array coverage problems. The idea that tight-packed trapezoidal boxes form a "coherent wavefront" across the bandwidth, with a "virtual acoustic source" at the intersection of the individual box axes extended to the rear of an array, is incorrect. In all cases, one is dealing with multiple acoustic sources, each somewhere within each box. No audio marketer or engineer can change this.

To get the basic idea, imagine two identical and equally-powered trapezoidal enclosures viewed from the top and tight packed the way one sees it much of the time:

Box draft angles are usually on the order of 15 or less (Higher draft angles sacrifice a lot a box volume, which is not good for bass), while the nominal horizontal coverage for each system is say, 60. Ignoring the important issue of just over what frequency range the typically smallish box can maintain the nominal 60 coverage angle, this means that box axes are displaced by only 30, for 30 of pure overlap from the two systems. What does overlap do under the conditions noted above? Whenever two transducers operate in the same frequency range and cover the same audience area at levels equal to one another, unless the observer is on the exact centerline of the array, he or she will receive two strong signals from two different sources at two different distances. There will be strong cancellation of output at those frequencies where the distance differences are equal to one-have wavelength or multiples thereof. This efffect is commonly called "comb filter interference." For typical box dimensions, these cancellations are right in the middle of the critical vocal range (500-1000 Hz). As the observer moves to the left and/or right of the array axis, very audible (to many people) disturbing changes in sound quality will be observed as the specific cancellation or null frequencies "swish" back and forth along the range. In extreme cases, unacceptable reductions in voice intelligibility, spectral fidelity, and/or gain-before-feedback occur (usually in the vertical case, of which figure 1 is not). Think of this "interference zone" as an angular zone in the listening space, located symmetrically about the array axis. This phenomenon is very general for more than two array elements in both horizontal and vertical planes, difference specific models

in an array and varying amplitude levels -- the typical "real world" situation. The detail and geometry of what has been described is different, but the general effect is the same.

Minimizing Device Interference for Smooth Coverage Degree of "Array Solution" Possible The destructive interference of loudspeakers in arrays can be reduced, even minimized, but not eliminated. Properties of the Individual Array Elements The lower the frequency to which a device maintains its nominal coverage angle, the less severe are the arraying effects. The coverage angle of a horn or direct radiator at the low end of its operating range id determined principally by the mouth or effective cone dimension. Detail of horn or cone shape have no effect on directivity when their dimensions are short with respect to the reproduced wavelengths. (i.e. the smaller the device, the more omni-directional it will be a low frequencies). Consider constant-directivity (CD) horns, the prevalent type today. CD horns maintain their nominal coverage angles over a broad though often unstated frequency range, a major step in directivity control over classic radial/sectorial (and to a lesser degree) multicell horns. "Coverage angle" in these is the angle included by the the 6dB-down points on a horn's far-field polar response (down from "hot", on-axis level), also called the "6-dB-down beamwidth". (Agreement on this definition is prettymuch industry-wide.) CD horns have a "break frequency" below which the coverage angle is no longer controlled but "balloons out," doubling with every octave lowering of frequency. There is a simple formula for break frequency: f = 1,000,000 / (x)(a) where f = approximate break frequency in HZ, x = dimension of the mouth in the same plane as the nominal coverage angle, and a = nominal coverage angle in degrees. The formula shows that low break frequencies tend to be associated with large horns and wide coverage angles.

From this formula, here is an illustrative table for a variety of Altec and Electro-Voice horns and systems presented in Appendix I
Calculated Break Frequencies for a variety of Altex and Electrovoice Horns Horn Dimension 16 in. 16 in. 16 in. 16 in 32 in 32 in. 32 in 32 in Nominal Beamwidth 90 60 40 20 90 60 40 20 Approximate Break Frequency 694 Hz 1,042 Hz 1.,563 Hz 3,125 Hz 347 Hz 521 Hz 781 Hz 1,563 Hz

Specific Guidelines to Narrow the "Angular Zone of Interference" ArraySHOW makes it easy to illustrate the following guidelines by building actual examples.

1. Splay the box axes so that the 6-dB-down beamwidths just touch, e.g., for 60 boxes, the box axes should be 60 apart. For the typical trap box, this means with rear box edges touching there must be separation at the front edges -- not tightly packed. 2. The degree to which "beamwidths touching" is successful increases as the device break frequency decreases. For example, a nominally 60 box with a horn 16 inches wide has a break frequency of approximately 1,000 Hz. Thus, there is still lots of overlap to cause lots of interference in the voice range, since the devices are simply not large enough to maintain directivity control below 1000 Hz. Boxes such as the EV PI Modular series and the large Altec DTS systems, with horn mouth dimensions in excess of 30 inches in both directions, improve things by only about 1 octave (to 500 Hz), on par with "old fashioned" large-format CD horns, such as the EV HPXXXX series and the Altex largeformat Mantaray horns.

3. When high break frequencies must be used (due to customer preference or space limitations), physically separate the devices. This reduces markedly the angular size and audible severity of the interference zone. The observer gets "in and out of it" faster. (A trick possible in some product lines is to insert an identically-sized LF system between two MB/HF or FR systems. Physically the result is tight-packed, but not so acoustically:

1. If high-break frequency devices cannot be separated and/or further improvement is desired, employ "optimal misalignment" by introducing signal delays on the order of 2-8 milliseconds to adjacent devices. Imagine again the two identical and equally-powered trapezoidal enclosures viewed from the top and tight-packed. The physical effect of introducing and increasing signal delay to one of the two devices is that of rotating the zone of interference in one direction or the other from the array axis, until it finally moves away from the listening space. The end result is not as smooth as a single device, but notable more so that two devices in "high interference." Practicioners of optimum misalignment do so experimentally and interactively, usually by checking the "house curve" to see what if any broadband EQ adjustments may have to be made to preserve the intended spectral balance. Some object to the "time smear" of optimal misalignment. One opinion is that the time aberrations are typically a lesser evil than the spectral balance and coverage evils of distance-related comb-filter interference. However, keep in mind that the time differences associated with the time smear of "optimal misalignment" are what cause the comb-filter nulls in the first place. Further, the delays in arrival times that causes comb-filtering are on the order of those typically used in "optimal misalignment". Using Device Interference Constructively

Device interference can be used constructively to extend directivity control to frequencies lower than usual. A typical example would be to extend control below 500 Hz, the break frequency of a typical large-format constant-directivity horn such as the Altec MR94B and EV HP9040 high-frequency horns or the EV MH940C midbass/high-frequency system, to something like 200 Hz or lower. The improvements in system performance include (1) Increased gain-before-feedback when microphones are located under an array and both (2) increased intelligiblity and (3) tighter, higherimpact bass in reverberant environments. A major example of constructive interference is a "dipole array" -- two sources seperated by some distance. This arrangement produces higher directivity in the direction perpindicular to the physical axis of the array, to a frequency lower (1) the size of individual sources themselves or (2) the size of the horn operating in frequency above the dipole allows. Some basic points follow: Two sources vertically arrayed form a useful, horizontat "donut" of directivity when separated by a distance equal to one-half wavelength of the frequency of interest. For example, for control at 200 Hz, a separation of 34 inches is appropriate. For perfect point sources and exactly (and only at) one appropriate frequency, there is no radiation along the array physical axis, since the half-eavelength separation cancels array output in the direction of the array axis:

Vertical dipole point sources at 34" apart.

Polars of dipole source at 200Hz. Note un attenuation above an

The 34-inch separation is determined as follows: First, determing the wavelength for the frequency of interent, 200 Hz: wavelength = 13,560 / frequency where wavelength is in inches, and frequency is in Hz. 13,560 is the speed of sound in inches/second. Thus, wavelength200 = 13,560 / 200 = 67.8 inches.

Then the half-wavelength dipole frequency is 34 inches.

At an octave below the half-wavelength frequency (100 Hz), the cancellation along the array axis is gone, but there is still a useful increase in directivity compared to that of a point source or many specific individual devices operating alone. There is also the opportunity of crossing over to a separate, larger dipole.

Vertical dipole point sources at 34" apart.

Polars of dipole source at 100Hz. Note s frequency. At higher frequencies, more

At an octave above the half-wavelength frequency (400 Hz), there is a narrow forward lobe and a major lobe of equal output above and below the array axis (see below). This suggests that the useful frequency range of the dipole radiator is restricted to something less than an octave above the half-wavelength frequency, perhaps something like 2/3 of an octave above, or in this exmaple, 315 Hz.

Vertical dipole point sources at 34" apart.

Polars of dipole source at 400Hz. Note s frequency. At higher frequencies, more

An interesting possible improvement to the situation noted in the above paragraph is employ a tripole radiator, with the same overall dimension, at twice the dipole halfwavelength frequemcy. This would be equivalent to being at a crossover frequecy from the dipole to a centrally located MB horn at twice the diple half-wavelength frequency. Note: for this technique to be successful, appropriate amplitude shading is required.

ArraySHOW makes it easy to see how the ideas descrived above work. Additional Comments The interference effects descrived can be easily tested and demonstrated in the field, indoors or out. A typical demo would go something like this: 1. Place two small, identical trapezoidal systems on a turntable (projector stands and road cases work great). A typical choice would be the prevalent approximately 15 side draft angles and 60 horizontal coverage. (In this case, "small" is stated --say a 12 or 15 inch two-way or three-way -- so the effect of break frequencies of 1,0000 Hz and higher can be heard.) 2. Drive both with a pink noise signal of identical level and polarity, with the option of introducing signal delay in the systems. 3. With no delay, tight-pack the boxes, rotate the array in front of the observer, and listen to the interference effects. 4. Still with no delay, separate the front edges to achieve a horizontal splay angle of the boxes equal to the nominal horizontal coverage angle. Again, rotate the array in from of the observer. You will hear reduced interference. A variation of this is to keep the box sides together (paralell), but move the box a few inches forward or backward. 5. Still with no delay, separate the boxes left to right, perhaps the amount of a "ghost box" in between them. Rotate. You will hear reduced intereference. 6. Tight-pack the boxes again, but introduce 3 ms of signal delay to one box (3ms normally works well, but you can try other amounts of signal delay up to 8ms). You will hear reduced intereference. ArraySHOW Seminar Video Tape EVI Audio sponsered an Array presentation at the 1997 Charlotte, North Carolina NSCA Expo. This approximately 1.5 hour presentation featured Mark Ureda, consultant to EVI Audio, acoustics/audio consultants Bob Coffeen and Craig Janssen, with Jim long as moderator. The event was edited to video tape, available for $25 plus shipping from Customer Service, EVI Audio at 800/234-6831.

Historical Comment

Arrays of "old fashioned" large-format horns, with their large and differing dimensions, achieved basically automatically many of the guidelines noted above, e.g., separation of sources. Small trapezoidal full-range systems make this more difficult to achieve.

"Perfectly Arrayable Boxes" One or two manufacturers have introduced product lines touted as "improved" or "perfectly" arrayable. These appear to be boxes with draft angles equal to one-half the nominal horizontal coverage angle. This is certainly a step in the right direction, but the break frequency of the devices cannot be ignored. For example, a horizontal angle of 40 with draft angles of 20 would appear to be a nice solution. But in a 40 box which is barely wider than a 15-inch speaker, the break frequency will be so high (on the order of 3,000 Hz or higher) that lots of overlap interference still occurs in the middle of the voice range. Those laws of physics again!

Appendix I: Table of Device Physical Dimensions

ArraySHOW and manual copyright 1998-2004 EVI Audio, Inc