Transcript IDENTIFY THE SOUND SYSTEM

IDENTIFY THE SOUND SYSTEM
PLANNING THE SOUND SYSTEM
1
IDENTIFY THE SOUND SYSTEM
What’s the
Sound?
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
PLANNING THE SOUND SYSTEM
2
IDENTIFY THE SOUND SYSTEM
What’s the
Sound?
Sound often call as AUDIO SIGNAL
Have a frequency from 20 Hertz to 20.000 Hertz
PLANNING THE SOUND SYSTEM
3
AUDIO SIGNAL WAVE FORM
Amplitude
(Volt)
Frequency
(Hertz)
PLANNING THE SOUND SYSTEM
4
AUDIO SOURCE
ELECTRONICS
TOOLS
HUMAN
INSTRUMENT
OTHER
SOMETHING
VIBRATE
AUDIO
GENERATOR
PLANNING THE SOUND SYSTEM
5
AUDIO SOURCE
HUMAN
Is the sound resulted by
human speech, such as we
speak something.
Also resulted by Animals such
as cat, dog, etc.
PLANNING THE SOUND SYSTEM
6
AUDIO SOURCE
INSTRUMENT
Is the sound resulted by
musical instrument, such as
guitar, drums, percussion, etc.
PLANNING THE SOUND SYSTEM
7
AUDIO SOURCE
AUDIO
GENERATOR
Is the electronics tool that
specially used for resulting
audio signal.
This tool is used in
Electronics laboratories
PLANNING THE SOUND SYSTEM
8
AUDIO SOURCE
ELECTRONIC
TOOLS
Television
Tape Recorder
Active Speaker
Hand phone
Radio
Computer
PLANNING THE SOUND SYSTEM
9
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
10
THE SOUND SYSTEM
PLANNING THE SOUND SYSTEM
11
THE SOUND SYSTEM
AUDIO
SOURCE
AUDIO
PROCESSOR
AUDIO SIGNAL
PROCESS DIAGRAM
PLANNING THE SOUND SYSTEM
AUDIO
AMPLIFIER
LOUD
SPEAKER
12
AUDIO SOURCE
The audio source in Sound System is :
MICROPHONE
TAPE RECORDER
DVD/CD PLAYER
COMPUTER
FM TUNER
PLANNING THE SOUND SYSTEM
13
AUDIO PROCESSOR
The audio processor in Sound System is :
AUDIO MIXER
EQUALIZER
EFFECT GENERATOR
COMPOSER
LIMITER
PLANNING THE SOUND SYSTEM
14
AUDIO PROCESSOR
The audio processor in Sound System is :
POWER AMPLIFIER
LOUD SPEAKER
- SUB WOOFER
- WOOFER
- MIDLE SPEAKER
- TWEETER
- FULLRANGE
PLANNING THE SOUND SYSTEM
15
THE MICROPHONE
PLANNING THE SOUND SYSTEM
16
MICROPHONE
an acoustic to electric
Transducer or sensor
that converts sound into
an electrical signal
sometimes colloquially
called a mic or mike
PLANNING THE SOUND SYSTEM
17
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
PLANNING THE SOUND SYSTEM
18
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
PLANNING THE SOUND SYSTEM
19
VARIETIES of MICROPHONE
Condenser, capacitor or
electrostatic microphone
Dynamic microphone
Carbon microphone
Piezoelectric microphone
Fiber optical microphone
Laser microphone
Liquid microphone
MEMS microphone
PLANNING THE SOUND SYSTEM
20
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
PLANNING THE SOUND SYSTEM
21
CONDENSER, CAPACITOR OR ELECTROSTATIC
MICROPHONE
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
PLANNING THE SOUND SYSTEM
22
CONDENSER, CAPACITOR OR ELECTROSTATIC
MICROPHONE
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
PLANNING THE SOUND SYSTEM
23
CONDENSER, CAPACITOR OR ELECTROSTATIC
MICROPHONE
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
PLANNING THE SOUND SYSTEM
24
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
PLANNING THE SOUND SYSTEM
25
DYNAMIC MICROPHONE
Dynamic microphones work via
electromagnetic induction
They are robust, relatively
inexpensive and resistant to
moisture
This, coupled with their potentially
high gain before feedback makes
them ideal for on-stage use
PLANNING THE SOUND SYSTEM
26
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
PLANNING THE SOUND SYSTEM
27
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
PLANNING THE SOUND SYSTEM
28
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
PLANNING THE SOUND SYSTEM
29
CARBON MICROPHONE
A carbon microphone is a
capsule containing carbon
granules pressed between
two metal plates
A voltage is applied across
the metal plates, causing a
small current to flow
through the carbon
PLANNING THE SOUND SYSTEM
30
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 energy
Carbon microphones found use
as early telephone repeaters,
making long distance phone
calls possible in the era before
vacuum tubes
PLANNING THE SOUND SYSTEM
31
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
Sound Waves
Audio Signal
Crystal microphones were once
commonly supplied with vacuum
tube (valve) equipment, such as
domestic tape recorders
PLANNING THE SOUND SYSTEM
32
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
PLANNING THE SOUND SYSTEM
33
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
PLANNING THE SOUND SYSTEM
34
FIBER OPTICAL MICROPHONE
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
PLANNING THE SOUND SYSTEM
35
FIBER OPTICAL MICROPHONE
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
PLANNING THE SOUND SYSTEM
36
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
PLANNING THE SOUND SYSTEM
37
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
PLANNING THE SOUND SYSTEM
38
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 preamplifier
Most MEMS microphones are variants of the condenser
microphone design
Often 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
PLANNING THE SOUND SYSTEM
39
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 walkietalkies, where high quality and sensitivity are not needed
PLANNING THE SOUND SYSTEM
40
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
PLANNING THE SOUND SYSTEM
41
CAPSULE DESIGN AND DIRECTIVITY
PLANNING THE SOUND SYSTEM
42
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
PLANNING THE SOUND SYSTEM
43
MICROPHONE POLAR PATTERNS
OMNIDIRECTIONAL
Unidirectional
Sub Cardioids
Cardioids
Cardioids
Bi-directional
Super Cardioids
Hyper Cardioids
Shotgun
PLANNING THE SOUND SYSTEM
44
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.
PLANNING THE SOUND SYSTEM
45
UNIDIRECTIONAL
An unidirectional microphone
is sensitive to sounds from
only one direction
The microphone faces
upwards in each diagram
The sound intensity for a
particular frequency is
plotted for angles radial from
0 to 360°
PLANNING THE SOUND SYSTEM
46
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.
PLANNING THE SOUND SYSTEM
47
CARDIOIDS
SUBCARDIOID
CARDIOID
PLANNING THE SOUND SYSTEM
48
CARDIOIDS
SUPERCARDIOID
HYPERCARDIOID
PLANNING THE SOUND SYSTEM
49
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
PLANNING THE SOUND SYSTEM
50
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
PLANNING THE SOUND SYSTEM
51
WIRELESS MICROPHONE
is a microphone
without a physical
cable connecting it
directly to the sound
recording or
amplifying equipment
with which it is
associated
PLANNING THE SOUND SYSTEM
52
WIRELESS MICROPHONE
PLANNING THE SOUND SYSTEM
53
AUDIO DECODER
PLANNING THE SOUND SYSTEM
54
TAPE RECORDER
PLANNING THE SOUND SYSTEM
55
TAPE RECORDER
Play the audio / music
from magnetic ribbon
PLANNING THE SOUND SYSTEM
56
TAPE RECORDER
Digital Audio Tape (DAT)
PLANNING THE SOUND SYSTEM
57
COMPACT DISC AUDIO
Play the music or audio from Compact Disc
Digital Audio
Just Play ‘Digital Audio’ Format
Not Supported VCD and MP3 Format
PLANNING THE SOUND SYSTEM
58
COMPACT DISC AUDIO
PLANNING THE SOUND SYSTEM
59
COMPUTER
Multifunction, multiplayer audio software
Big capacity of sound / music track
Have many audio processor such as equalizer,
effect, reverb, environment and speaker
setting
PLANNING THE SOUND SYSTEM
60
COMPUTER
PLANNING THE SOUND SYSTEM
61
AUDIO PROCESSOR
PLANNING THE SOUND SYSTEM
62
AUDIO MIXER
Midas Heritage 2000 Mixing Console
PLANNING THE SOUND SYSTEM
63
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
PLANNING THE SOUND SYSTEM
64
AUDIO MIXER
Mixing consoles are
used in many
applications, including
recording studios,
public address
system, sound
reinforcement system,
broadcasting,
television, and film
post-production
PLANNING THE SOUND SYSTEM
65
AUDIO MIXER
Structure
A typical analog
mixing board has
three sections:
- Channel inputs
- Master controls
- Audio level metering
PLANNING THE SOUND SYSTEM
66
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
PLANNING THE SOUND SYSTEM
67
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
PLANNING THE SOUND SYSTEM
68
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
PLANNING THE SOUND SYSTEM
69
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
PLANNING THE SOUND SYSTEM
70
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
PLANNING THE SOUND SYSTEM
71
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
PLANNING THE SOUND SYSTEM
72
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
PLANNING THE SOUND SYSTEM
73
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
PLANNING THE SOUND SYSTEM
74
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
PLANNING THE SOUND SYSTEM
75
EQUALIZER
There are three primary types of equalizers with peaking filters:
PARAMETRIC EQUALIZERS
GRAPHIC EQUALIZERS
NOTCH FILTERS
PLANNING THE SOUND SYSTEM
76
EQUALIZER
PARAMETRIC EQUALIZERS
A parametric equalizer uses independent parameters for Q,
center frequency, and boost/cut
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
PLANNING THE SOUND SYSTEM
77
EQUALIZER
GRAPHIC EQUALIZERS
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)
These frequency ranges can then be independently boosted
or cut
This type of EQ is often used for live applications, such as
concerts
PLANNING THE SOUND SYSTEM
78
EQUALIZER
NOTCH FILTER
A notch filter is an EQ with a very high fixed Q
The frequency and boost/cut remain variable
This kind of EQ is useful in multimedia applications and in
audio mastering
PLANNING THE SOUND SYSTEM
79
EQUALIZER
PLANNING THE SOUND SYSTEM
80
COMPOSER / LIMITER
Any process by which a specified characteristic (usually
amplitude) of the output of a device is prevented from
exceeding a predetermined value
PLANNING THE SOUND SYSTEM
81
COMPOSER / LIMITER
PLANNING THE SOUND SYSTEM
82
AUDIO EFFECT
ECHO / REPEATER
REVERB
DELAY
DECAY
ETC
PLANNING THE SOUND SYSTEM
83
AUDIO EFFECT
EFFECT RACK
PLANNING THE SOUND SYSTEM
84
AUDIO EFFECT
FOH EFFECT RACK
PLANNING THE SOUND SYSTEM
85
POWER AMPLIFIER
PLANNING THE SOUND SYSTEM
86
AMPLIFIER
Any device that changes, usually
increases, the amplitude of a signal
PLANNING THE SOUND SYSTEM
87
AMPLIFIER
PLANNING THE SOUND SYSTEM
88
AMPLIFIER
PLANNING THE SOUND SYSTEM
89
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
PLANNING THE SOUND SYSTEM
90
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
PLANNING THE SOUND SYSTEM
91
SUB WOOFER
WOOFER
MIDRANGE
TWEETER
PLANNING THE SOUND SYSTEM
FULL RANGE SPEAKER
LOUDSPEAKER
92
LOUDSPEAKER
SUB WOOFER
A subwoofer is a
woofer driver used only
for the lowest part of
the audio spectrum:
typically below 120 Hz.
PLANNING THE SOUND SYSTEM
93
LOUDSPEAKER
NEXO SUB WOOFER LS1200
PLANNING THE SOUND SYSTEM
94
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
PLANNING THE SOUND SYSTEM
95
LOUDSPEAKER
WOOFER
PLANNING THE SOUND SYSTEM
96
LOUDSPEAKER
MIDRANGE DRIVER
A midrange driver is a
loudspeaker driver that
reproduces middle
frequencies
PLANNING THE SOUND SYSTEM
97
LOUDSPEAKER
MIDRANGE DRIVER
PLANNING THE SOUND SYSTEM
98
LOUDSPEAKER
MIDRANGE DRIVER
PLANNING THE SOUND SYSTEM
99
LOUDSPEAKER
TWEETER
A tweeter is a highfrequency driver that
typically reproduces the
highest frequency band
of a loudspeaker
PLANNING THE SOUND SYSTEM
100
LOUDSPEAKER
TWEETER
PLANNING THE SOUND SYSTEM
101
MONITOR SPEAKER
PLANNING THE SOUND SYSTEM
102
MONITOR SPEAKER
PLANNING THE SOUND SYSTEM
103
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
PLANNING THE SOUND SYSTEM
104
THE END
PLANNING THE SOUND SYSTEM
105