IDENTIFY THE SOUND SYSTEM 1PLANNING THE SOUND SYSTEM.

transcript

IDENTIFY THE SOUND SYSTEM

1PLANNING THE SOUND SYSTEM

Sound is the signal that resulted by a vibrate, can hear by human and can be transmitted

by air material, solid material, and liquid material

What’s the Sound?

What’s the

Sound?

Sound often call as AUDIO SIGNAL

Have a frequency from 20 Hertz to 20.000 Hertz

AUDIO SIGNAL WAVE FORM

Amplitude(Volt)

Frequency (Hertz)

AUDIO SOURCE

INSTRUMENT

AUDIOGENERATO

ELECTRONICS

OTHER SOMETHI

NG VIBRATE

AUDIO SOURCE

Is the sound resulted by human speech, such as we speak something.

Also resulted by Animals such as cat, dog, etc.

AUDIO SOURCEINSTRUMEN

Is the sound resulted by musical instrument, such as guitar, drums, percussion, etc.

AUDIO SOURCEAUDIO

GENERATOR

Is the electronics tool that specially used for resulting audio signal.

This tool is used in Electronics laboratories

AUDIO SOURCE

ELECTRONIC TOOLS

TelevisionTape RecorderActive SpeakerHand phoneRadioComputer

AUDIO SOURCE

OTHER VIBRATE

Is the vibrate that resulted the sound, but not specially, such as machine, knock the door, benda jatuh, pukulan, etc.

PLANNING THE SOUND SYSTEM 11

THE SOUND SYSTEM

AUDIO SOURCE

AUDIO PROCESSO

AUDIO AMPLIFIER

LOUD SPEAKER

AUDIO SIGNAL PROCESS DIAGRAM

AUDIO SOURCE

MICROPHONE

The audio source in Sound System is :

TAPE RECORDER

DVD/CD PLAYER

COMPUTER

FM TUNER

AUDIO PROCESSOR

The audio processor in Sound System is :

AUDIO MIXER

EQUALIZEREFFECT

GENERATOR

COMPOSER

LIMITER

AUDIO PROCESSOR

The audio processor in Sound System is :

POWER AMPLIFIER

LOUD SPEAKER- SUB WOOFER- WOOFER- MIDLE SPEAKER- TWEETER- FULLRANGE

THE MICROPHONE

MICROPHONE

an acoustic to electric Transducer or sensor that converts sound

into an electrical signal

sometimes colloquially called a mic or mike

MICROPHONE

Microphones are used in many applications such as

telephones, tape recorders, hearing aids, motion pictures production, live and recorded

audio engineering, in radio and television broadcasting and in computers for recording voice,

VoIP, and for non-acoustic purposes such as ultrasonic

checking

VARIETIES of MICROPHONE

The sensitive transducer element of a microphone is called its element or capsule

A complete microphone also includes a housing, some means of bringing the signal from the element to other equipment, and often an electronic circuit

to adapt the output of the capsule to the equipment being driven

VARIETIES of MICROPHONE

Condenser, capacitor or electrostatic microphone

Dynamic microphone

Carbon microphone

Piezoelectric microphone

Fiber optical microphone

Laser microphone

Liquid microphone

MEMS microphone

CONDENSER, CAPACITOR OR ELECTROSTATIC MICROPHONE

The diaphragm acts as one plate of

a capacitor, and the vibrations

produce changes in the distance

between the plates

There are two methods of extracting an audio output from the transducer thus formed: - DC-biased - radio frequency (RF) or high frequency (HF) condenser microphones

Condenser microphones span the range from telephone transmitters to inexpensive karaoke microphones to high-fidelity

recording microphones

They generally produce a high-quality audio signal and are now the popular

choice in laboratory and studio recording applications

They require a power source, provided either from microphone inputs as phantom

power or from a small battery

Condenser microphones

are also available with

two diaphragms, the signals from which

can be electrically connected such as to provide a

range of polar patterns

ELECTRET CONDENSER MICROPHONE

An electret microphone is a relatively new type of capacitor microphone invented at Bell Laboratories in 1962 by Gerhard Sessler and Jim West

The externally-applied charge described above under condenser microphones is replaced by a permanent charge in an electret material

DYNAMIC MICROPHONE

This, coupled with their potentially high gain before feedback makes them ideal for on-stage use

Dynamic microphones work via electromagnetic induction

They are robust, relatively inexpensive and resistant to moisture

DYNAMIC MICROPHONE

Moving coil microphone, use the same dynamic principle as in a loudspeaker, only reversed

A small movable induction coil, positioned in the magnetic field of a permanent magnet, is attached to the diaphragm

RIBBON MICROPHONE

Ribbon microphones use a thin, usually corrugated metal ribbon suspended in a magnetic field.

The ribbon is electrically connected to the microphone's output, and its vibration within the magnetic field generates the electrical signal

RIBBON MICROPHONE

Ribbon microphones are similar to moving coil microphones in the sense that both produce sound by means of magnetic induction. Basic ribbon microphones detect sound in a bidirectional (also called figure-eight) pattern because the ribbon, which is open to sound both front and back, responds to the pressure gradient rather than the sound pressure

CARBON MICROPHONE

A carbon microphone is a capsule containing carbon granules pressed between two metal platesA voltage is applied across the metal plates, causing a small current to flow through the carbon

CARBON MICROPHONE

Unlike other microphone types, the carbon microphone can also be used as a type of amplifier, using a small amount of sound energy to produce a larger amount of electrical energyCarbon microphones found use as early telephone repeaters, making long distance phone calls possible in the era before vacuum tubes

PIEZOELECTRIC MICROPHONE

A crystal microphone uses the phenomenon of piezoelectricity — the ability of some materials to produce a voltage when subjected to pressure — to convert vibrations into an electrical signal

Crystal microphones were once commonly supplied with vacuum tube (valve) equipment, such as domestic tape recorders

Sound Waves

Audio Signal

PIEZOELECTRIC MICROPHONE

Piezoelectric transducers are often used as contact microphones to amplify sound from acoustic musical instruments, to sense drum hits, for triggering electronic samples, and to record sound in challenging environments, such as underwater under high pressure

FIBER OPTICAL MICROPHONE

The fiber optical microphone is an entirely new microphone concept, first invented in Israel in 1984 by Drs. Alexander Paritsky and Alexander Kots

Conversion of acoustical waves into electrical signals is achieved not by sensing changes in capacitance or magnetic fields (as with conventional microphones), but instead by sensing changes in light intensity

The fiber optical microphone has very specific advantages over conventional microphones

No electronic or metal components are used in the microphone head or the connecting fibers

The physical nature of optical fiber light propagation

LASER MICROPHONE

Laser microphones are often portrayed in movies as spy gadgets

A laser beam is aimed at the surface of a window or other plane surface that is affected by sound

The former implementation is a tabletop experiment; the latter requires an extremely stable laser and precise optics

LIQUID MICROPHONE

Early microphones did not produce intelligible speech, until Alexander Graham Bell made improvements including a variable resistance microphone/transmitter

A sound wave caused the diaphragm to move, forcing a needle to move up and down in the water

?The electrical resistance between the wire and the cup was then inversely proportional to the size of the water meniscus around the submerged needle

MEMS MICROPHONE

The MEMS (Micro Electrical-Mechanical System) microphone is also called a microphone chip or silicon microphone

The pressure-sensitive diaphragm is etched directly into a silicon chip by MEMS techniques, and is usually accompanied with integrated preamplifierMost MEMS microphones are variants of the condenser microphone designOften MEMS microphones have built in analog-to-digital converter (ADC) circuits on the same CMOS chip making the chip a digital microphone and so more readily integrated with modern digital products

SPEAKERS AS MICROPHONES

A loudspeaker, a transducer that turns an electrical signal into sound waves, is the functional opposite of a microphone

speakers can actually work "in reverse" as microphones

The result, though, is a microphone with poor quality, limited frequency response (particularly at the high end), and poor sensitivity

In practical use, speakers are sometimes used as microphones in such applications as intercoms or walkie-talkies, where high quality and sensitivity are not needed

CAPSULE DESIGN AND DIRECTIVITY

The inner elements of a microphone are the primary source of differences in directivity

A pressure microphone uses a diaphragm between a fixed internal volume of air and the environment, and responds uniformly to pressure from all directions, so it is said to be unidirectional

A pressure-gradient microphone uses a diaphragm which is at least partially open on both sides; the pressure difference between the two sides produces its directional characteristics

CAPSULE DESIGN AND DIRECTIVITY

MICROPHONE POLAR PATTERNS

A microphone's directionality or polar pattern indicates how sensitive it is to sounds arriving at different angles about its central axis

MICROPHONE POLAR PATTERNS

OMNIDIRECTIONAL

Unidirectional

Cardioids

Bi-directional

Shotgun

Sub Cardioids

Cardioids

Super Cardioids

Hyper Cardioids

OMNIDIRECTIONAL

An omnidirectional (or nondirectional) microphone's response is generally considered to be a perfect sphere in three dimensions

The wavelength of sound at 10 kHz is little over an inch (3.4 cm) so the smallest measuring microphones are often 1/4" (6 mm) in diameter, which practically eliminates directionality even up to the highest frequencies.

UNIDIRECTIONAL

An unidirectional microphone is sensitive to sounds from only one direction

The sound intensity for a particular frequency is plotted for angles radial from 0 to 360°

The microphone faces upwards in each diagram

CARDIOIDS

The most common unidirectional microphone is a cardioids microphone, so named because the sensitivity pattern is heart-shaped

A cardioids microphone is effectively a superposition of an omnidirectional and a figure-8 microphone; for sound waves coming from the back, the negative signal from the figure-8 cancels the positive signal from the omnidirectional element, whereas for sound waves coming from the front, the two add to each other.

CARDIOIDS

SUBCARDIOID CARDIOID

CARDIOIDS

SUPERCARDIOID HYPERCARDIOID

BI-DIRECTIONAL

"Figure 8" or bi-directional microphones receive sound from both the front and back of the element

Most ribbon microphones are of this pattern

SHOTGUN

"Shotgun" microphones are the most highly directional

shotgun microphones are commonly used on television and film sets, in stadiums, and for field recording of wildlife

WIRELESS MICROPHONE

is a microphone without a physical cable connecting it directly to the sound recording or amplifying equipment with which it is associated

WIRELESS MICROPHONE

AUDIO DECODER

TAPE RECORDER

Play the audio / music from magnetic ribbon

TAPE RECORDER

Digital Audio Tape (DAT)

COMPACT DISC AUDIO

Play the music or audio from Compact Disc Digital Audio

Just Play ‘Digital Audio’ Format

Not Supported VCD and MP3 Format

COMPACT DISC AUDIO

COMPUTER

Multifunction, multiplayer audio software

Big capacity of sound / music track

Have many audio processor such as equalizer, effect, reverb, environment and speaker setting

COMPUTER

AUDIO PROCESSOR

AUDIO MIXER

Midas Heritage 2000 Mixing Console

AUDIO MIXER

an electronic device for combining (also called “mixing"), routing, and changing the level, timbre and/or dynamics of audio signals

In professional audio, a mixing console, or audio mixer, also called a sound board or

soundboard

A mixer can mix analog or digital signal, depending on the type of mixer

AUDIO MIXER

Mixing consoles are used in many applications, including recording studios, public address system, sound reinforcement system, broadcasting, television, and film post-production

AUDIO MIXER

Structure

A typical analog mixing board has three sections:- Channel inputs- Master controls- Audio level metering

AUDIO MIXER

Channel input strip

The input strip is usually separated into these sections:

- Input Jacks / microphones pre amp

- Basic input controls

- Channel EQ (High, Middle and low)

- Routing Section including Direct Outs, Aux-sends, panning control and Subgroup assignments

- Input Faders

AUDIO MIXER

Basic input controls

Below each input, there are usually several rotary controls (knobs, pots). The first is typically a trim or gain control

AUDIO MIXER

Auxiliary send routing

The Auxiliary send routes a split of the incoming signal to an auxiliary bus which can then be used with external devices

AUDIO MIXER

Channel equalization

Further channel controls affect the equalization (EQ) of the signal by separately attenuating or boosting a range of frequencies, e.g., bass, midrange, and treble

AUDIO MIXER

Subgroup and mix routing

Each channel on a mixer has an audio taper pot, or potentiometer, controlled by a sliding volume control (fader), that allows adjustment of the level, or amplitude, of that channel in the final mix

AUDIO MIXER

Master output controls

Subgroup and main output fader controls are often found together on the right hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels

AUDIO MIXER

Metering

Finally, there are usually one or more VU or peak meter to indicate the levels for each channel, or for the master outputs, and to indicate whether the console levels are over modulating or clipping the signal

EQUALIZER

An equalization (EQ) filter is a filter, usually adjustable, chiefly meant to compensate for the unequal frequency response of some other signal processing circuit or system

EQUALIZER

An EQ filter typically allows the user to adjust one or more parameters that determine the overall shape of the filter's transfer function

EQUALIZER

There are three primary types of equalizers with peaking filters:

PARAMETRIC EQUALIZERS

GRAPHIC EQUALIZERS

NOTCH FILTERS

EQUALIZER

A parametric equalizer uses independent parameters for Q, center frequency, and boost/cut

PARAMETRIC EQUALIZERS

Any range of frequencies can be selected and then processed

This is the most powerful EQ because it allows control over all three variables

This EQ is predominantly used in recording and mixing

EQUALIZER

A graphic equalizer uses predetermined Q and frequency ranges which are equally spaced according to the musical intervals, such as the octave (12-band graphic EQ) or one third of an octave (36-band graphic EQ)

GRAPHIC EQUALIZERS

These frequency ranges can then be independently boosted or cut

This type of EQ is often used for live applications, such as concerts

EQUALIZER

A notch filter is an EQ with a very high fixed Q

NOTCH FILTER

The frequency and boost/cut remain variable

This kind of EQ is useful in multimedia applications and in audio mastering

EQUALIZER

COMPOSER / LIMITER

Any process by which a specified characteristic (usually amplitude) of the output of a device is prevented from exceeding

a predetermined value

COMPOSER / LIMITER

AUDIO EFFECT

ECHO / REPEATER

REVERB

AUDIO EFFECT

EFFECT RACK

AUDIO EFFECT

FOH EFFECT RACK

POWER AMPLIFIER

AMPLIFIER

Any device that changes, usually increases, the amplitude of a signal

AMPLIFIER

LOUDSPEAKER

A loudspeaker (or "speaker") is an electro

acoustical transducer that converts an electrical

signal to sound

The speaker pushes the air in accordance with the variations

of an electrical signal and causes sound waves to

propagate

LOUDSPEAKER

The most common type of driver uses a

lightweight diaphragm, or cone, connected to a rigid basket, or frame,

via a flexible suspension that constrains a coil of

fine wire to move axially through a cylindrical

magnetic gap

LOUDSPEAKER

SUB WOOFER

WOOFER

MIDRANGE

TWEETER

LOUDSPEAKER

SUB WOOFER

A subwoofer is a woofer driver used only

for the lowest part of the audio spectrum:

typically below 120 Hz.

LOUDSPEAKER

NEXO SUB WOOFER LS1200

LOUDSPEAKER

WOOFER

A woofer is a driver that reproduces low

frequencies

Some loudspeaker systems use a woofer for the lowest

frequencies, making it possible to avoid using a subwoofer

LOUDSPEAKER

WOOFER

LOUDSPEAKER

MIDRANGE DRIVER

A midrange driver is a loudspeaker driver that

reproduces middle frequencies

LOUDSPEAKER

MIDRANGE DRIVER

LOUDSPEAKER

MIDRANGE DRIVER

LOUDSPEAKER

TWEETER

A tweeter is a high-frequency driver that

typically reproduces the highest frequency band

of a loudspeaker

LOUDSPEAKER

TWEETER

MONITOR SPEAKER

HEADPHONE

Headphones are a pair of small loudspeaker, or less

commonly a single speaker, with a way of holding them close to a

user's ears and a means of connecting them to a

signal source such as an audio amplifier, radio or

CD player

THE END

IDENTIFY THE SOUND SYSTEM 1PLANNING THE SOUND SYSTEM.

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