d&b ArrayProcessing is a part of the simulation software d&b ArrayCalc that incorporates powerful filter algorithms to optimise the tonal and level performance of the d&b J-, V-, Y- and T-Series line array systems over an entire listening area. ArrayProcessing ensures that every member of the audience benefits from the same remarkable quality of sound no matter where they are seated. The ArrayCalc simulation software faithfully predicts the precise performance of a d&b system for any application. This tool visualizes a complete electro-acoustic design and the tasks associated with system modelling, placement, performance, prediction, alignment, level, safety parameters and rigging plans.In order to see to it that all systems share a common tonality, ArrayProcessing uses the same frequency response targets for all line arrays in a project. This means that different arrays for main-hang and out-fill configurations will generate the same spectral result for the listener – regardless of length, splay settings or system type. With ArrayProcessing each box in a line array is processed individually. Target frequency responses are calculated over 240 different frequency bands, every 20cm of the listening area, and a specific combination of FIR and IIR filters are then applied to each loudspeaker to achieve a consistent sound throughout the venue. Furthermore, sound designers can program multiple slots for different performance characteristics of the same array without the need to make any mechanical adjustments. The constant additional latency of just 5.9ms remains unchanged, while the entire system can be altered during an event as required.
The main focus of ArrayProcessing is to enable sound engineers to optimise the level and tonal performance of d&b line array systems over the entire listening area. The potential of ArrayProcessing is immense since it makes a significant improvement to the standards and quality of sound delivery a sound engineer can give to his clients.
The first idea explored by d&b to give the farthest listeners a sound that might be slightly less powerful but spectrally compatible with the sound that is heard in the front rows. Their next focus is on smoothing the curves of sound pressure level and tonal response. In other words, to smooth out the bumps inherent, for example, to the coupling in the low end or to the proximity to enclosures in the HF. Then comes achieving more effective correction of the effects of temperature and humidity on the propagation of the high end. Another added possibility is to freely cut three different zones, like the pit, the orchestra and the balcony, to treat them separately, with the possibility, for example, of “turning off” the sound in an unoccupied, upper ring of bleachers. The last aspect is the possibility to automatically homogenize the output to a standardized response, for example, in order not to perceive too much difference between the main arrays and the lateral reinforcement hangs. A correction is also incorporated into the Array Processing to account for diffraction effects generated between the enclosures themselves.
Firstly, the ArrayCalc simulation software V8 accurately maps and simulates the targeted performance in any given space. A planning toolbox that will enable predictions that match real life, before stepping onsite. Next, to achieve the targeted performance, ArrayProcessing controls and optimizes the spectral and spatial performance of d&b line arrays using combinations of FIR and IIR filters. All data, including the intuitive user interface for the complete system is transferred to the R1 Remote control software, and then transported to the d&b amplifiers.
The simulation accurately displays the sonic results for everyone, everywhere, allowing greater creative and technical freedom for the engineer before arriving at the event. To ensure the system performs perfectly, the precisely predicted ArrayCalc project file can be adapted and optimized onsite, even during the show. Sound designers become architects of sound, exceeding their targets, aims and intentions to realize more than ideal results. At Audio Academy we work with Live Sound Engineers from the industry and ensure your are mentored throughout the process while you pursue our Recording Arts & Live Sound course. From real world projects to assisting a producer on commercial assignments we see you through it all.
We’d be open for a detailed chat over a cup of tea at our office where you will also get to interact with faculty, and students to get a better understanding of whether this really is your calling.