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# Thoughts on line arrays

## Thoughts on line arrays

the bass drive unit. I suspect that 1.8KHZ was the lowest frequency the manufacturers felt was safe to ensure reliability. Interestingly the smaller dV-DOSc loudspeaker uses a lower cross over frequency (800Hz) than its bigger brother possibly because it uses a slightly larger cones forthe bass/mid. It does illustrate well the need to pay attention to cross over frequencies and horizontal dispersion.

The diagram shows a stack of V DOSc cabinets. The small (relative to wavelength) radiating area of each frequency band can clearly be seen.

Given that an array consists of multiple elements it is worth looking at how multiple sources form a wave front. The following gif gives the general idea.

## Thoughts on line arrays

The following diagrams show calculated interference patterns from various sources. You can either consider the sound sources as arrayed vertically so that you are looking from the side, or horizontally so that you are looking from above.

This diagram shows 4 point sources radiating at a low frequency where the wavelength is large compared with the spacing . The wave appears to be coming from a single source

## Thoughts on line arrays

As the frequency increase the wave front starts to flatten. and the darkening edges indicates that the radiation is becoming directional.

As the frequency continues to increase the formation of lobes and null spots begin to appear.

## Thoughts on line arrays

This diagram uses the same frequency as the previous one but here the spacing between the sources has been reduced with a corresponding reduction in the number and intensity of the side lobes.

The white line here represents a perfect line source. At the frequency shown the line is just beginning to show directivity.

## Thoughts on line arrays

This diagram represents two loudspeakers placed close together (maybe with a horn between them?). In this diagram the frequency is low enough for them to act as a single source.

## And start to give a sense of deja vu.

This diagram shows the equivalent of two loudspeakers angled at 90 similar to the arrangement with the V DOSc. Here the frequency is low but still showing signs of directivity as the waves darken along the line of the loudspeakers.

## Thoughts on line arrays

As the frequency increases the radiation continues to be smooth with a slight darkening (decrease in output) away from what would be the main axis. If the open end of the drive units represents the mouth of the high frequency wave guide, it can be seen that this method produces less interference patterns than the physically separated speakers as shown above.

At even higher frequencies the directivity of the individual drive units starts to show with a large null spot on the main axis (45 down).

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## Thoughts on line arrays

If you want to mess with interference patterns go here, but I'd finish reading this first and I'll remind you later What the above diagrams show is that it is important to pay attention to the layout, coupling and interaction between drive units. It also shows that even an ideal line array is not perfect One way of reducing the side lobes of a line array is to use a tapered array. This is where the power to each element of the array is tapered off as you move out from the centre. The more modern name for this is shading. Intensity shading is similar to the principle mentioned above where the intensity or power to individual elements is varied. Frequency shading is the same thing only it is frequency dependent and effectively varies the length of the line according to frequency. Angular or divergent shading means pointing more or less elements at a certain point by either tightly packing the cabinets or angling them further apart to vary 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 shows how a line-source was effectively made shorter at high frequencies by using wedges of fibreglass in front of the drive units.

The term isophasic comes up quite often with descriptions of line arrays the following diagram is taken from Acoustical engineering. Back in the 1950s the aim seems to be that of increasing the curvature of the isophase or phase contour rather than making it flat. What it illustrates is that all loudspeaker drive units produce isophases.

Another acoustic device that has been rediscovered is the lens. The small image is .... well I'll let the manufacturer describe it. The SERPIS is a D.A.S. designed plane-wave adaptor which provides accurate high frequency summing and the generation of a flat, isophasic wave front. The complex design of the SERPIS adaptor eliminates the destructive interference associated with the high frequency sections of traditional multi-box clusters. The result is improved over all sonic quality while maximizing the use of input power.

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## Thoughts on line arrays

Sound waves on the scale of loudspeaker cabinets don't behave like the rays drawn on the diagram, but ray tracing can be useful to illustrate a point. Lenses do work and used to be a common site on PAs of old. Hopefully the similarity between the plane-wave adaptor and the lens can be seen. The large lenses on the old PA systems were supposed to have major sonic problems and inferior to the constant directivity horns 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 following should dispel that notion. It is a quote from "Text Book on Sound" first published in 1908 and written by Baron Rayleigh Definition Huyghens' Principle

The locus of all points just reached by a wave disturbance at any instant is called the wave front at the instant in question The wave front at any instant may be derived as the envelope of wavelets whose origins are all the points constituting the wave front which existed t seconds previously. In an isotropic medium at rest these wavelets are spherical and of radius vt, where v is the velocity of propagation of the waves in all directions in the given medium.

## The above is better explained by a diagram.

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## Thoughts on line arrays

Using his principle Huyghens (sometimes Huygens) was able to explain both reflection and refraction. The main deficit of the principle is that it fails to explain the directionality of the wave. If the wavelets expand in all directions the wave should also converge back to the origin. Subsequently, Augustin Fresnel (1788-1827) elaborated on Huyghens' Principle by stating that the amplitude of the wave at any given point equals the superposition of the amplitudes of all the secondary wavelets at that point (assuming that the wavelets have the same frequency as the original wave). Fresnel didn't actually resolve the question about "backward" propagation of waves, but was able to account for diffraction. Fresnel and diffraction are prominent in the work done by Heil on the V-DOSc. The diagram below hopefully demonstrates diffraction and why slot apertures feature in line arrays.

A small opening or narrow slot acts like a point source in the dimension that is small compared to the wavelength.

When the opening is approximately the same as 1 wavelength the sound propagates mainly in a forward direction

Where the opening becomes large compared to 1 wavelength the sound 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 comes into play. The diagrams are taken from Olson's Acoustical Engineering, and the first shows a 60 horn. This was chosen because the polar plots are given in relation to the radius and with a 60 horn the width of the mouth is equal to the radius.

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## Thoughts on line arrays

Where the radius and hence mouth dimension is small relative to the wavelength there is no directional control. As the wavelength becomes comparable with the mouth width the dispersion pattern narrows. With an increasing frequency and shortening wavelength the radiation pattern approximates that of the horn walls. With a 120 horn the width of the mouth is approximately double and the narrowing of dispersion pattern starts at the half wavelength point.

The graphs are for a curved mouth radial horn, but it does show the effect that the flare angle and mouth size has on the radiation pattern. Also interesting to note is that even with a single horn and drive unit, interference patterns show up on the diagrams.

It is now worth looking at a few more methods deployed by some of the manufacturers in their line arrays. First of all there is the waveguide used in the grandfather of the modern line arrays. The following diagram shows the use of a sliced cone to produce a constant path length from the drive unit to the slot. The diagram underneath, criteria No 1 basically states that if you have a load of slot (similar to the bottom drawing in the diagram above where d>) sound
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## Thoughts on line arrays

sources, they behave as a continuous source as long as the 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 interesting to compare one of the DOSC waveguide elements with the more traditional slot tweeters two of which are shown below.

Instead of using obstacles to force the sound waves round, some manufacturers use the principle of reflection; most notably Nexo. The diagram below is taken from their web site.
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## Thoughts on line arrays

Despite its small size, an array of Geo S830s can produce a remarkable punch. Whether the parabolic reflector works as described, the cabinet has a good reputation.

## Outline use a similar technique with their butterfly array.

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## Thoughts on line arrays

The pictures look great and the concept seems like a neat idea except that as I mentioned before sound doesn't work like light in the scales that we are dealing with. Ray tracing is useful to give a general outline but it is worth remembering that the wavelength of visible light ranges from 400 to 700 nanometres. At the longest wavelength that is 0.0007mm. If you consider the diameter of a small torch, say 12mm across -that is 17,142 wavelengths (hope Ive got all my decimal places correct). To give a similar ratio for a 2KHz audio wave whose wavelength is 0.172m, the reflector would need to be 2948 m in diameter; nearly 3 kilometres! To find out how light behaves with openings and obstructions that are comparable with the wavelength of light do a search for Youngs slits or Newtons rings. If you do search, you will find that there are interference patterns similar to the comb filtering we get when arraying loudspeakers. Ray tracing, as shown in the diagrams above, predicts that the sound level outside the beam is zero, something that doesnt happen in real life. If the reflector technique works, why has no one mentioned it in relation to folded, or W, horns? The JBL Vertec looks suspiciously like the V-DOSc.

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## Thoughts on line arrays

The high frequency horn is more conventional but fits three drive units in one cabinet keeping the inter driver spacing to a minimum.

While most of the other manufacturers go to great lengths to explain how the wave front that their device produces is perfectly flat, JBL have acknowledged that in some instances a curved wave front produces better results and have included spacers between the drive unit and horn to achieve this.

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## Thoughts on line arrays

The Apogee cabinet shown below doesn't appear to use any special lens, reflector or other wave sculpting device in its line array loudspeaker.

Martin produce one of the only horn loaded line arrays. As well as being horn loaded it uses an asymmetrical layout.

I would have expected this to produce some rather skewed polar plots at the cross over frequencies. The polar plots, however, look quite smooth.
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## Thoughts on line arrays

Unfortunately the plots are taken at octave intervals and the cross over frequencies fall in between those shown. Another way to smooth the results (I'm not suggesting that Martin may have done this) is to measure each pass band separately so that there is no interaction between each section. More importantly for those wanting to build their own line array is that from the photographs and drawings the horns appear to be the normal constant directivity type. The main problem with using the horn based approach is that even with a minimum stack of four cabinets, each cabinet needs to be large to give an effective mouth size at the lower frequencies. I mentioned the Nexo Geo wavesource above. The Geo-T despite its unusual look is basically the same layout as the dV DOSc, with the high frequency section between two 8" bass units.

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## Thoughts on line arrays

The biggest difference is not the shape, but that it uses an additional two rear facing drive units to control the directivity. The principle behind this technique is quite simple. The drive units are placed one quarter of a wavelength apart. The front drive unit is then delayed to effectively re align the drive units so that the sound adds together in phase. For a sound wave radiating backwards the effective separation is the quarter wavelength physical separation plus an additional quarter wavelength delay. The result is a sound source 1/2 wavelength or 180 out of phase from that of the rear drive unit and when combined they cancel out. The effect is usable over a range of one octave centred on the frequency chosen.

This diagram shows how using two sound sources and adjusting the phase of one relative to the

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## Thoughts on line arrays

other can be used to control the radiation pattern. By changing the phase between the two the null spots can be steered.

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 accommodate the horn this loudspeaker appears to defy all the principles that go to make a good line array. Closer inspection reveals that all four 15" drive units only operate up to 140Hz. The half wavelength for this frequency is 1.2m which is about the width of the cabinet. Above 140Hz just one 15" drive unit radiates up to 500Hz where the horn takes over. The distance between the centre line of the horn and centre of the 15" drive unit is again about the same as one half wavelength at the crossover point. Based on the principle mentioned above and the bass/mid cross over frequency of 140 Hz, the directivity control provided by the rear facing speakers will be effective from 70Hz to 140Hz (the octave below the cross over frequency. Taking the a halfway point of about 105 Hz the quarter wavelength is about 80cm. This should set the front to back distance of the cabinet. The actual measurement is 77cm.

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## Thoughts on line arrays

The pictures above show the Renkus Heinz line array cabinet. The slot, or Isophasic Plane Wave Generator exits straight on to the front baffle without the additional flare used by other manufacturers. This should give a very wide dispersion pattern and allows the 10" drive units to be placed closer together. Even with 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 diffraction loading . It eliminates mid range narrowing of the horizontal dispersion to provide consistent wide angle coverage across the entire frequency range. I think that about covers everything that I have been asked. Hopefully it will be of some use. Finally don't forget to experiment with the interference patterns. Diagrams are from Acoustical Engineering L'Acoustics DAS JBL Outline Martin Audio Nexo Renkus Heinz Meyer Apogee [ Home ] [ Up ] Harry Olson

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