Line Array Ideas

Thoughts on line arrays
Pgina 1 de 24
Thoughts and Ideas behind the design of Line

Since setting up this web site Ive had requests for information about designing line arr
This page is to explain some of my thoughts on the topic. If you still have any questions
further thoughts and issues feel free to contact me. The idea of this page is to give som
on what I have been asked. If you dont agree that is fine by me. Please remember t
theoretical text and that I've tried to keep the maths to a minimum. The concepts are mo
than accurate formula.
Before starting please be aware that any images, diagrams and quotations taken from ma
sites belong to the respective companies and I have used them purely for educa
instructional and illustration only. For the sake of ease of layout Ill credit the guilty parti
The basic question is whether it is possible to build a line array. In general terms, yes, a
have sufficient knowledge and ability plus the willingness to put in some time, effort and
a line array is a distinct possibility. Whether any particular individual who emails me is ca
a line array I simply dont know. Dont ask me questions about rigging or suspending louds
dont think that it is something no-one should attempt, as a safety point if you need to as
fully understand the issues involved and are best sticking to floor stacked speakers.
A lot of hype surrounding commercially produced line arrays is simply that. The numbe
the manufactures is to make money. To this end they use a lot of smoke and mirror
marketing and pseudo- science to try and convince us that their product as the edge.
Most of the science seems to be directed at coupling the high frequency horns to prod
sources or isophasic wave fronts. This is usually accomplished by some patented, pr
One reason for this maybe because if the low frequency section comprises of a bunch of
drive units stacked vertically it is difficult to claim any originality or advantage over the n
array with similar drive units stacked exactly the same. Hidden behind the horns and s
claim all manner of great attributes for you device.
Whilst some manufactures claim to use revolutionary new technology others just use m
horn designs stacked up one above the other. That all these systems work as line arrays
who prefer each system above another suggests that producing some new patented
waveguide is not an absolute prerequisite of building a line array.
If you look at line arrays they are almost universally hung vertically. They would work in
manner if orientated horizontally or any angle between. Rivers and the ocean shore
natural line arrays in a horizontal format. The reason that line arrays are hung vertically
a horizontal world with ears on the sides of our head. This makes us more sensitive to va
such as lobing caused by interference between drive units, in the horizontal plain.
loudspeaker stack vertically the lobing is less noticeable than using conventional horizonta
Given the above I think that the best way to design a line array is to forget the line and co
horizontal directivity of each individual cabinet. Using better quality components will ob
using a design that maintains an even and smooth (if not constant) directivity is the key to
The previous page, where I outlined my design, explains how I went about trying to ac
look at some of the commercial designs you will see a similar goals. The original mode
http://www.burton-manor.co.uk/Audio/LAthoughts.htm
12/08/2005
Pgina 2 de 24
Vdosc uses two 15 drive units in a cabinet 1.3m wide. If the distance between acoustic c
be 0.75m and the half wavelength rule is applied, the cross over frequency should be 2
cross over frequency is 200Hz. Similarly the crossover frequency between the mid and
sections occurs where the half wavelength is similar to the dimension of the mid range
the smaller two way cabinets some compromise has to be reached and the Nexo geo, whic
driver crosses over at 1.8KHz a frequency whose wavelength corresponds approximately w
of the bass drive unit. I suspect that 1.8KHZ was the lowest frequency the manufacturer
ensure reliability. Interestingly the smaller dV-DOSc loudspeaker uses a lower cross over f
than its bigger brother possibly because it uses a slightly larger cones forthe bass/mid.
well the need to pay attention to cross over frequencies and horizontal dispersion.
The diagram shows a stack o

DOSc
cabinets.
The
sm
(relative
to
wavelen
radiating area of each freque
band can clearly be seen.
Given that an array consists of multiple elements it is worth looking at how multiple sou
front. The following gif gives the general idea.
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The following diagrams show calculated interference patterns from various sources.
consider the sound sources as arrayed vertically so that you are looking from the side, o
that you are looking from above.
This diagr
shows 4 po
sources
radiating at
low frequen
where
t
wavelength
large
compared
with
t
spacing . T
wave appe
to be com
from a sin
source
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As
t
frequency
increase t
wave
fro
starts
flatten.
a
the darken
edges
indicates t
the radiat
is
becom
directional.
As
t
frequency
continues
increase t
formation
lobes and n
spots begin
appear.
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Increasing t
frequency
again
t
number
lobes
a
increases.
More of
same.
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This diagr
uses the sa
frequency
the previo
one but he
the
spac
between t
sources
been reduc
with
correspondi
reduction
the
num
and intens
of the s
lobes.
The white l
here
represents
perfect
l
source. At t
frequency
shown the l
is
j
beginning
show
directivity.
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Pgina 7 de 24
Even a perf
line
sou
produces
lobes.
That
worse as t
frequency
increases.
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Pgina 8 de 24
This diagr
represents
two
loudspeaker
placed clo
together
(maybe wit
horn betwe
them?). In t
diagram t
frequency
low
enou
for them
act as a sin
source.
As
t
frequency
t
rises
dreaded
interference
patterns st
to appear.
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Pgina 9 de 24
And start
give a se
of deja vu.
This diagr
shows
t
equivalent
two
loudspeaker
angled at 9
similar to t
arrangemen
with the
DOSc.
He
the frequen
is low but s
showing si
of directiv
as the wa
darken alo
the line of t
loudspeaker
As
t
frequency
increases t
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Pgina 10 de 24
radiation
continues
be
smoo
with a sli
darkening
(decrease
output) aw
from
w
would be t
main axis.
If the op
end of t
drive
un
represents t
mouth of t
high
frequency
wave guide
can be se
that
t
method
produces l
interference
patterns th
the physica
separated
speakers
shown abov
At even hig
frequencies
the directiv
of
t
individual
drive
un
starts to sh
with a la
null spot
the main a
(45 down).
12/08/2005
Pgina 11 de 24
If you want to mess with interference patterns go here, but I'd finish reading this first an
later
What the above diagrams show is that it is important to pay attention to the layo
interaction between drive units. It also shows that even an ideal line array is not per
reducing the side lobes of a line array is to use a tapered array. This is where the power
of the array is tapered off as you move out from the centre. The more modern name fo
Intensity shading is similar to the principle mentioned above where the intensity or po
elements is varied. Frequency shading is the same thing only it is frequency dependen
varies the length of the line according to frequency. Angular or divergent shading means
less elements at a certain point by either tightly packing the cabinets or angling them furt
the relative intensity. This last technique is employed in the classic J shaped arrays.
Tapering or shading is nothing new and was described back in the 1950s the image below s
source was effectively made shorter at high frequencies by using wedges of fibreglass in f
units.
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The term isophasic comes up quite often with descriptions of line arrays the following
from Acoustical engineering. Back in the 1950s the aim seems to be that of increasing the
isophase or phase contour rather than making it flat. What it illustrates is that all loudsp
produce isophases.
Another acoustic device that has been rediscovered is the lens. The small image is ...
manufacturer describe it.
The SERPIS is a D.A.S. designed plane-wave adaptor which provides accurate high freque
the generation of a flat, isophasic wave front. The complex design of the SERPIS adapt
destructive interference associated with the high frequency sections of traditional mul
The result is improved over all sonic quality while maximizing the use of input power.
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Sound waves on the scale of loudspeaker cabinets don't behave like the rays drawn on the
tracing can be useful to illustrate a point. Lenses do work and used to be a common si
Hopefully the similarity between the plane-wave adaptor and the lens can be seen. The la
old PA systems were supposed to have major sonic problems and inferior to the constant
that replaced them. No doubt the original short comings have been overcome.
If all the principles behind modern line arrays appear to originate from the 1950s then the
dispel that notion. It is a quote from "Text Book on Sound" first published in 1908 and
Rayleigh
Definition
Huyghens'
Principle
The locus of all points just reached by a wave disturbance

any instant is called the wave front at the instant in questio
The wave front at any instant may be derived as the envel
of wavelets whose origins are all the points constituting
wave front which existed t seconds previously. In an isotro
medium at rest these wavelets are spherical and of radius
where v is the velocity of propagation of the waves in
directions in the given medium.
The above is better explained by a diagram.
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Using his principle Huyghens (sometimes Huygens) was able to explain both reflection an
main deficit of the principle is that it fails to explain the directionality of the wave. If the
in all directions the wave should also converge back to the origin. Subsequently, August
1827) elaborated on Huyghens' Principle by stating that the amplitude of the wave at
equals the superposition of the amplitudes of all the secondary wavelets at that point (a
wavelets have the same frequency as the original wave). Fresnel didn't actually resolve th
"backward" propagation of waves, but was able to account for diffraction. Fresnel an
prominent in the work done by Heil on the V-DOSc. The diagram below hopefully demons
and why slot apertures feature in line arrays.
A small opening or narrow slot acts

a point source in the dimension tha
small compared to the wavelength.
When the opening is approximately

same as 1 wavelength the so
propagates mainly in a forw
direction
Where the opening becomes la

compared to 1 wavelength the so
diffracts around the edge of the slot
If we now look at the polar plots for a couple of radial horns, we can see how the above
The diagrams are taken from Olson's Acoustical Engineering, and the first shows a 60
chosen because the polar plots are given in relation to the radius and with a 60 horn
mouth is equal to the radius.
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Where the radius and hence mouth dimension is small relative to the wavelength there
control. As the wavelength becomes comparable with the mouth width the dispersion
With an increasing frequency and shortening wavelength the radiation pattern approxim
horn walls.
With a 120 horn the width of the mouth is approximately double and the narrowing of d
starts at the half wavelength point.
The graphs are for a curved mouth radial horn, but it does show the effect that the flare
size has on the radiation pattern. Also interesting to note is that even with a single hor
interference patterns show up on the diagrams.
It is now worth looking at a few more methods deployed by some of the manufacturers in
First of all there is the waveguide used in the grandfather of the modern line arrays. The f
shows the use of a sliced cone to produce a constant path length from the drive unit
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diagram underneath, criteria No 1 basically states that if you have a load of slot (simil
drawing in the diagram above where d>) sound sources, they behave as a continuous sou
gaps in between the slots is less than 20% of the total area.
Within the physical constraints of their size and operating parameters it would be intere
one of the DOSC waveguide elements with the more traditional slot tweeters two of
below.
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Instead of using obstacles to force the sound waves round, some manufacturers use
reflection; most notably Nexo. The diagram below is taken from their web site.
Despite its small size, an array of G

S830s can produce a remarkable pun
Whether the parabolic reflector wo
as described, the cabinet has a g
reputation.
Outline use a similar technique with their butterfly array.
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The pictures look great and the concept seems like a neat idea except that as I mention
doesn't work like light in the scales that we are dealing with. Ray tracing is useful to give
but it is worth remembering that the wavelength of visible light ranges from 400 to 700 na
longest wavelength that is 0.0007mm. If you consider the diameter of a small torch, say 1
is 17,142 wavelengths (hope Ive got all my decimal places correct). To give a similar
audio wave whose wavelength is 0.172m, the reflector would need to be 2948 m in di
kilometres! To find out how light behaves with openings and obstructions that are com
wavelength of light do a search for Youngs slits or Newtons rings. If you do search, y
there are interference patterns similar to the comb filtering we get when arraying lo
tracing, as shown in the diagrams above, predicts that the sound level outside the beam is
that doesnt happen in real life. If the reflector technique works, why has no one mentio
to folded, or W, horns?
The JBL Vertec looks suspiciously like the V-DOSc.
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The high frequency horn is more conventional but fits three drive units in one cabinet k
driver spacing to a minimum.
While most of the other manufacturers go to great lengths to explain how the wave front
produces is perfectly flat, JBL have acknowledged that in some instances a curved wav
better results and have included spacers between the drive unit and horn to achieve this.
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The Apogee cabinet shown below doesn't appear to use any special lens, reflector or other
device in its line array loudspeaker.
Martin produce one of the only horn loaded line arrays. As well as being horn loaded it use
asymmetrical layout.
I would have expected this to produce some rather skewed polar plots at the cross over
12/08/2005
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polar plots, however, look quite smooth.
Unfortunately the plots are taken at octave intervals and the cross over frequencies fall
shown. Another way to smooth the results (I'm not suggesting that Martin may have
measure each pass band separately so that there is no interaction between each section.
for those wanting to build their own line array is that from the photographs and drawings
to be the normal constant directivity type. The main problem with using the horn based
even with a minimum stack of four cabinets, each cabinet needs to be large to give an
size at the lower frequencies.
I mentioned the Nexo Geo wavesource above. The Geo-T despite its unusual look is ba
layout as the dV DOSc, with the high frequency section between two 8" bass units.
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The biggest difference is not the shape, but that it uses an additional two rear facing driv
the directivity. The principle behind this technique is quite simple. The drive units are pl
of a wavelength apart. The front drive unit is then delayed to effectively re align the d
the sound adds together in phase. For a sound wave radiating backwards the effective
quarter wavelength physical separation plus an additional quarter wavelength delay. The
source 1/2 wavelength or 180 out of phase from that of the rear drive unit and whe
cancel out. The effect is usable over a range of one octave centred on the frequency chos
This
diagra
shows how usi
two
sou
sources
a
adjusting
t
phase of o
relative to t
other can
used to cont
the
radiati
pattern.
changing
t
phase betwe
the two the n
spots can
steered.
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Pgina 23 de 24
Another design that uses additional drive units to modify the directivity is the Meyer
Using four 15" drive units with a large gap between the forward facing ones to accommod
loudspeaker appears to defy all the principles that go to make a good line array. Closer i
that all four 15" drive units only operate up to 140Hz. The half wavelength for this frequen
is about the width of the cabinet. Above 140Hz just one 15" drive unit radiates up to 500H
takes over. The distance between the centre line of the horn and centre of the 15" d
about the same as one half wavelength at the crossover point. Based on the principle men
the bass/mid cross over frequency of 140 Hz, the directivity control provided by the rea
will be effective from 70Hz to 140Hz (the octave below the cross over frequency. Taki
point of about 105 Hz the quarter wavelength is about 80cm. This should set the front to
the cabinet. The actual measurement is 77cm.
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The pictures above show the Renkus Heinz line array cabinet. The slot, or Isophasic Plane
exits straight on to the front baffle without the additional flare used by other manufactu
give a very wide dispersion pattern and allows the 10" drive units to be placed closer tog
the close spacing baffles are used to improve dispersion. To quote the literature
The PN102/LA and PNX1102LA's unique diffractor baffle provides mid range diffrac
eliminates mid range narrowing of the horizontal dispersion to provide consistent wid
across the entire frequency range.
I think that about covers everything that I have been asked. Hopefully it will be of some
forget to experiment with the interference patterns.
12/08/2005

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Thoughts on line arrays

Thoughts and Ideas behind the design of Line

Thoughts on line arrays

The diagram shows a stack o

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

The locus of all points just reached by a wave disturbance

Thoughts on line arrays

A small opening or narrow slot acts

When the opening is approximately

Where the opening becomes la

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Despite its small size, an array of G

Outline use a similar technique with their butterfly array.

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

polar plots, however, look quite smooth.

Thoughts on line arrays

Thoughts on line arrays

Thoughts on line arrays

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