PUBLIC ADDRESS SYSTEM

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A Case study Submitted to the Faculty,

Electronics Engineering Department,

College of Engineering and Architecture

Saint Louis University

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In Partial Fulfillment of

Broadcast and Acoustics LAB

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Submitted By:

Lagua, Edison L.

Manalo, Raymark

Mariano, Alyssa B.

Mariano, Saniata B.

Patacsil, Philip Jayson S.

1:00- 4:00Th H409

Submitted To:

Engr. Cythia Posadas PECE

Date: February 20, 2010

 I. Building Profile

Name: Waldo Perfecto Building - Saint Louis University, Baguio City

Structure: 7-storey building

II. Design Procedures and Consideration

The group made used of the technology “Remote Amplifier through Power line” to
establish a Public Address System at Waldo Perfecto, SLU. The technology uses the
Power line (220VAC, 60Hz) as a medium to propagate the audio signal from the
transducer to the speaker. This way will eliminate the use of connecting wires from
the amplifier to the speakers.

In designing the Public Address System (PAS), the group considered the
following:

1. Building Structure

1.1 Electrical Wirings

Under this section, the Waldo Perfecto building uses a single panel board for a
single floor and a riser to interconnect the 7-storey. The current set-up of the
wirings will be used on the implementation of the PAS.

1.2 Area of installation of Transmitter & Receiver Modules

Under this section, the transmitter module will be installed at 4th floor –
Department Heads Office while the receiver modules will be installed at both
ends of a single floor.

2. Design Parameters of the Transmitter & Receiver Module and Amplifier

2.1 The transmitter and receiver are tuned to 135 kHz using an amplitude
modulation. The 135 kHz serves as the carrier frequency of the audio input of
the system.

2.2 Amplifier

The amplifier is a stereo type with an output power of 65-Watt designed by

the group.

Distance from speaker to amplifier Gauge

Less than 80 feet 16

80 to 200 feet 14

More than 200 feet 12

 • Since the audio signal will propagate at the Power line, we will not use
a separate connector from speaker to amplifier.

3. Sound Considerations

Clean sound

Clean sound is free from distortion. Although there are other forms of
distortion, the most recognizable kind is characterized by the "fuzziness"
and/or "roughness" that are created when amplifier circuits are
overloaded.

Clear sound

Clear sound is free from noise.

Intelligible Sound

Intelligible sound is sound in which all its components are clearly

recognizable and comprehensible. If someone is speaking clearly into a
microphone, to anyone in the audience they should sound like someone
speaking clearly. Where poor room acoustics limit the range of
intelligibility, a good system properly set up should nevertheless succeed
in producing sound that is intelligible for most of the audience.

Natural sound

If some frequencies are predominant or lacking, the resulting sound will

be unnatural.

Evenly dispersed sound

We want even coverage in as much of the audience area as possible.

Radical changes in tone as you move through the audience area are
undesirable. Our loudspeakers are selected for even dispersion (the
sound at all frequencies is reasonably constant within the area the
speakers are designed to cover), and good pattern control (sound mustn't
spread to areas where it isn't wanted: sound reflecting from walls and
ceilings interferes with evenness, causing peaks and troughs - aka comb
filtering - at different frequencies). Speaker position is an important factor
here.
Adequate sound level

Although very high volume can seem impressive, loudness can interfere
with all the desired characteristics of a good system (and, indeed, sound
that isn't clean, clear, intelligible, natural, balanced, or evenly dispersed -
or even, for that matter, adequate in level - can often be described as
"loud"). There may also be legal implications if the sound is too loud. It
does, however, need to be loud enough.

The level at which a sound is adequate will depend on the main purpose
of the system.

For speech, system requirements are relatively modest (a system capable

of producing a peak level of around 85 dBA at the listener's position is
generally adequate). Headroom requirements are also modest, and output
below 100 Hz - or even much below 200 Hz - is unnecessary (and can
often be a hindrance).

For recorded music (e.g. typical disco/dance music), higher output and
extended bass range are needed. However, there is no need for lots of
extra headroom, as the peak level of recorded music is predictable, and
the dynamic range of typical disco/dance music is limited.

For live music applications, system requirements are much more

demanding. A snare drum can produce levels above 120 dB (SPL) at the
microphone. Other acoustic instruments (particularly brass) produce
impressive amounts of sound without a public address system in sight.
Amplified instruments (especially where the sound is compressed by the
amplifier, producing very high average levels) are even more of a
challenge. A loud rock band will need a system that is capable both of
exceeding the level of the backline, and of delivering it to the audience at
much higher than safe listening levels (typically peaking at around 110-
115 dB SPL at the ears of the audience). Also, dynamic range is typically
much greater, which places a corresponding demand on the system's
headroom - 6 dB or more is not wildly exaggerated - even where
compressors and/or limiters are used.
Sound Pressure Level Comparison Between
Low and High Efficiency Speakers @ 1 Meter

1 watt = 85 dB -------------- 93 dB
2 watts = 88 dB ------------ 96 dB
4 watts = 91 dB ------------ 99 dB
8 watts = 94 dB ------------ 102 dB
16 watts = 97 dB ---------- 105 dB
32 watts = 100 dB -------- 108 dB
50 watts ~ 101.5 dB ------ 109.5 dB
64 watts = 103 dB --------- 111 dB
128 watts = 106 dB ------- 114 dB
 200 watts ~ 108 dB ------- 116 dB
256 watts = 109 dB ------- 117 dB
512 watts = 112 dB ------- 120 dB

III. Equipment and Specifications:

System Block Diagram

Transduc Tone Pre- Transmitte

er Control amplifier r

AC

Speak Amplifie Receiver

er r

Amplifier-65 Watts (manually designed)

Speaker- 40 Watts

Microphone: Behringer C-2 condenser microphone

Transmitter and Receiver-135 kHz tuned frequency

IV. Bill of Materials

Amplifier:

Description Quantity Unit price Total price

AN214 2 120 240
1N4002 8 16 128
1µF/16V 4 8 32
22µF/16V 4 8 32
0.1µF 8 4 32
100µF/16v 4 3 12
0.23µF 4 6 4
22kΩ 8 0.25 2
680Ω 8 0.25 2
1Ω 12 0.25 3
Total P 487.00

Tone Control

Description Quantity Unit price Total

price
50kΩ-potentiometer 4 12 48
47µF/16V 2 3 6
10µF/16V 4 2 8
LM1036 1 150 150
0.47µF 2 15 30
0.01µF 2 2 4
0.22µF 8 6 48
0.39µF 4 6 24
10nF 2 2 4
47kΩ 8 0.25 2
1N4002 8 2 16
100µF/16V 8 3 24
Total P 364.00

Pre-Amplifier

Description Quantity Unit price Total price

9014 2 5 10
5kΩ-potentiometer 1 12 12
0.022µF 2 3 6
0.1µF 2 4 8
47pF 1 1 1
470kΩ,47kΩ,1MΩ,10 17 0.25 4.25
kΩ
Total 41.25
 Miscellaneous

Description Quantity Unit price Total price

2N4427 2 90 180
BC 238 2 90 180
BD 139 8 20 160
BC 239 8 45 360
BC 327 8 30 40
2N 3866 2 30 60
BC 548 2 50 100
7812 regulator 2 30 60
47nF polyester 8 3 24
LED mini- red 2 2 4
Ferric Chloride 5 30 150
8”x12” pre-synthesized 4 250 1000
Total P 2, 318.00

TOTAL: Receiver Module: -Amplifier (14) P 5, 096.00

-Speaker (14) P 9, 800.00

Transmitter module: -Pre-amplifier (2) P 82.50.00

-Tone Control (2) P 728.00

-Condenser microphone P 2, 500.00

-Miscellaneous P 2,318.00

________________

P 20, 524.50