Section 1

Bose® Modeler® Software Tutorial

Chapter 1: An Overview of the Modeler Software Interface

Chapter 2: Basic Modeling

Chapter 3: More Modeling Concepts

Chapter 4: Placing Listeners and Placing Loudspeakers

Chapter 5: Predicting Sound

 Bose® Modeler® 6.5 Software Tutorial

Chapter 1: An Overview of the Modeler Software

Interface
Welcome to the Bose Modeler software tutorial. The purpose of the
tutorial is to guide you through the major features of the Bose
Modeler software program. Although it can take many hours to
master every feature, you will have a solid foundation of numerous
concepts after finishing the tutorial. It should be noted that we
assume you have a strong background in sound system design.
The purpose of the tutorial is to teach you the basics of how to use
Modeler software; it does not cover sound system design concepts
and techniques.
In this Chapter, you will be given a broad overview of the main
windows and functions in the software interface using a sample
model. You will then learn the basics of how to model, some more
advanced modeling concepts, and how to place listeners and
loudspeakers in a model. Finally, you will use Modeler software to
generate acoustic predictions.

Getting started
Before you begin, you should have Modeler software installed on
your computer. If you have not yet installed the program, please
refer to Installing Modeler software, on page iii.
After you complete the installation, be sure to insert the USB
hardware key into a USB port on your computer, or you will not be
able to use the application.

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Opening the sample model

To familiarize yourself with the Modeler software interface, you will
work with a sample model of a church. Follow these steps to load
the sample project and model, located on the Modeler software
installation CD:
1. Launch Windows Explorer and navigate to the installation CD
directory.
2. Copy the folder titled “Tutorial” from the CD to your desktop and
close Windows Explorer.
3. Launch Modeler software by clicking Start > All Programs >
Bose Modeler 6.5.
4. Click File > Open Project...
5. In the Look in: drop-down menu, choose your desktop.
6. Open the Tutorial folder, then open the First Street Church
folder.
7. Open the file named First Street Church.pjt
• You will see this in the Project window:

Figure 1.1 - First Street Church project in Project window

Note: If you cannot see the Project window, go to View >

Window > Project.

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8. Double-click on the Design 1 model in the Project window. The

Design 1 model opens.
Your screen should look like this:

Figure 1.2 - Modeler software windows

The Modeler software interface centers around four main windows:

Project window
A project can contain multiple models. A project and its models are
displayed in the Project window in a tree format.

Modeling window
In the modeling window you can create models and review
coverage maps. The different displays are organized in tabs at the
bottom of the window. Clicking a tab changes what is displayed. If
you are connected to the internet, click the Web tab (located at
bottom-left of Modeling window) to link to Modeler software
information on the Bose Professional Systems website.

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Detail window
The tabs in this window provide detailed information and properties
for various elements of your model.

Data window
The tabs in this window provide information on the predicted
performance of your sound system.

Working with the sample church model

Go to View > Window > Project to close the Project window. You
will see the Design 1 model in the Modeling window:

Figure 1.3 - Design 1 model

The View toolbar

You are looking at the model of a church from a “birds-eye view”
above the building (referred to as Plan View). The tools on the
View toolbar can be used to change the way you look at the model
as well as which windows are shown:

Figure 1.4 - View toolbar

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The Data, Detail, and Project windows can quickly be toggled

between show and hide mode:

Figure 1.5 - Window toggle buttons

Try toggling these windows between show and hide mode by

clicking on the buttons shown in Figure 1.5.

Tip: You can hide the Data and Detail windows when creating a
model to increase the size of the Modeling window.

To view the model from different angles, click on the buttons shown
in Figure 1.6 to select different views:

Figure 1.6 - View buttons

Plan View: Is a “birds-eye view” of the model, or what

you might see when looking at the floor plan
of a building.
Elevation View: Allows you to see the model as though you
were standing on the ground in front of it.
The height, or elevation, of parts of the
model is apparent in this view.
Section View: Displays the model as though you were
standing on the ground beside it.
Isometric Views: Display the model from two different preset
viewing angles that are between the three
major axes, allowing you to see the model in
perspective.

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Switch back to Plan View. The zoom tools provide simple and
effective ways to change your view of the model:

Figure 1.7 - Zoom tools

Try using these different functions:

Zoom: Select the Zoom tool and click on an area of
your model to zoom in on it. To zoom out,
hold down Ctrl and then click.
Zoom to Rectangle: To use Zoom to Rectangle simply select
the tool, then click in your model and hold
down the mouse button while dragging
down in a diagonal motion to form a
rectangle around the region that you want to
zoom in on.
Zoom to Fit: The Zoom to Fit tool provides an easy way
to zoom in or out so that the entire model fits
in the window. Simply click on the button
and the model view will be adjusted
accordingly.

Your viewing angle can be rotated with the Rotate View tool, and
the entire model can be dragged with the Pan tool.

Figure 1.8 - Rotate View and Pan tools

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Try using the Rotate View and Pan tools:

Rotate View: Select the Rotate View tool by clicking on it.
Click in the modeling window and hold down
the mouse button while you drag the pointer
around the window.
Pan: Select the Pan tool by clicking on it. Click in
the modeling window and hold down the
mouse button to drag the model to a different
view.

Camera View allows you to view the model as though you are
looking through a camera that can be placed anywhere inside or
outside of the model.

Figure 1.9 - Camera View button

Figure 1.10 - Camera View, wing menu button

Clicking on the wing menu, enables you to show or hide the

wireframe that represents the camera in the Modeling window.
Click on the Camera View button. The Modeling window changes
to a view of the model through a camera inside the church. The
chart on the next page outlines how to control the camera using a
scroll-wheel mouse.
Note: It is strongly suggested that you use Modeler software
with a scroll-wheel mouse.

You must place the mouse cursor over the Modeling window for
these commands to work. Try exploring the church in Camera View
using a scroll-wheel mouse.

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Move forward or Roll the scroll-wheel on your mouse: up

backward: moves forward, down moves backward.
Adjust camera yaw Hold Shift, then roll the scroll-wheel on your
(rotation): mouse: up rotates left, down rotates right.
Adjust camera pitch: Press Ctrl, then roll the scroll-wheel on your
mouse to adjust the camera’s pitch: up
rotates the camera upwards, down rotates
the camera downwards.
Adjust lens focal length Press Shift + Ctrl, then roll the scroll-wheel
(zoom): on your mouse to adjust the camera’s focal
length: up zooms in, down zooms out.
Move along the Z-axis: Left-click on your mouse and hold: roll the
scroll-wheel forward to move up, roll the
scroll-wheel backward to move down

If you do not have a scroll-wheel mouse, use the arrow keys on

your keyboard to move the camera around the model.
The view from the camera in the negative X direction looks like
Figure 1.11 (color shades may look different on your monitor).
From the camera’s starting position, hold Shift and scroll up to see
this view:

Figure 1.11 - Viewing the model in Camera View

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The Detail window

Switch back to Plan View (see Figure 1.6) and center the model in
the window using the Zoom to Fit tool.
Click on the Simulation tab in the Detail window:

Figure 1.12 - Simulation tab

Click on the Surfaces tab in the Detail window:

Figure 1.13 - Surfaces tab

You can view various properties of each surface in the model in the
Surfaces tab. Notice that as you select or scroll through the rows,
the corresponding surface is highlighted and selected in the model.

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Click on the Loudspeakers tab in the Detail window:

Figure 1.14 - Loudspeakers tab

You can see properties of the loudspeakers in your model using

the Loudspeakers tab. As you click on individual rows, the
corresponding loudspeaker and its aiming hitpoint are highlighted
and selected in the model.
Click on the Listeners tab in the Detail window:

Figure 1.15 - Listeners tab

This is where you will find properties for listener locations. When
you select a row, the listener location is highlighted and selected in
the model, as shown in Figure 1.16.

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Figure 1.16 - Listener location

Click on the Surfaces tab again and select a single surface, then
click on the Properties tab.

Figure 1.17 - Select a surface in the Surfaces tab, then select the
Properties tab to view properties for the selected surface

The Properties tab shows additional information about the surface

that you selected.

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You can also view properties for loudspeakers and listeners:

Loudspeaker: Select a loudspeaker in the Loudspeakers
tab and then view its properties by clicking
on the Properties tab.
Listener: Select a listener in the Listeners tab and
then view its properties by clicking on the
Properties tab.

You are now familiar with some of the basic functions of Modeler
software, as well as the relationships between the main windows
and elements.

EQ tab
View and adjust the equalization of the loudspeakers in the model,
either in graph view or grid view.
Graph view
Click and drag the gray boxes to change the EQ.

Figure 1.18 - EQ Graph view

Hdrm slider: The amount of headroom available for all

selected loudspeakers (dB). When the slider
is at the bottom of the window there is 50 dB
of headroom available. When the slider is at
the top of the window there is 0 dB of
headroom available.
EQ curve sliders: Adjust the equalization of the selected
loudspeaker or loudspeakers by sliding the
gray boxes up or down.

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Tip: Headroom and EQ sliders for multiple loudspeakers

maintain relative gain by default. Hold down the Shift key to
snap sliders together.

Grid view
If you want to see the data shown as a table, right-click in the
window and select EQ Grid view.

Figure 1.19 - EQ Grid view

Gain: The gain applied to the loudspeaker. Gain

values must be between -50.00 and 50.00.
Tap: Allows the sound system designer to
determine how much power a 70/100 V
loudspeaker will receive. The available tap
settings match the capabilities of the chosen
loudspeaker in Watts.
Pwr In: The Power applied to the loudspeaker,
limited to the actual power handling of the
loudspeaker. This includes the gain and any
impact of the equalization of the speaker.
31...16 k: The numbers across the top of the grid are
the octave bands (either in 1 octave or 1/3
octave levels).

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Right-click menu
Right-click in the Detail window, on the EQ tab area:

Figure 1.20 - Right-click menu

Application Open the Application Preferences dialog box.

Preferences...:
Model Settings...: Open the Model Settings dialog box.
Show: Select to hide/unhide the Detail window.
Float: Undock the Detail window to locate it anywhere
on the screen. You can hold the Ctrl key when
moving the window to prevent it from
automatically docking.
Copy Graph: Copy the graph in the EQ tab to paste into another
application.
EQ Graph: Display Equalizer graph in EQ tab.
EQ Grid: Display Equalizer grid in EQ tab.
Zero Equalizer: Return all EQ curve sliders to 0.

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Apply House Modeler software adjusts the EQ to make the

Curve: average room-response (Direct or Direct +
Reverberant) meet a target response or “house
curve”. The house curve is defined in the
Acoustics tab of the detail window.
Max. Gain: Place the sound system at maximum gain. The
gain is increased on all loudspeakers until the first
loudspeaker reaches its power handling limit.
Select Open the Select Speakers dialog box to choose a
Speakers...: loudspeaker or loudspeakers by Cluster, Zone,
Tier and Index. The EQ curve is displayed for the
selected loudspeaker or loudspeakers.
Select Active Automatically select all loudspeakers that have a
Speakers: Status of “On”.
Select Increment: Specify the increment by which the EQ curve
sliders can be moved, in dB.

Acoustics tab
Before we start designing and predicting the performance of the
sound system for the room, the user should set a number of
parameters related to the room and environment that impact
calculations in Modeler. These parameters are collected in the
Acoustics tab.

Setting Acoustic Preferences

Select the Acoustics tab in the detail window:

Figure 1.21 - Acoustics tab

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Make the following changes. Here you can specify conditions that affect the
room acoustics.
1. Enter 22 (°C) in the Temperature field.
2. Enter 60 (%) in the Humidity field.
3. Click on the Open tab under Background Noise (top-right of
window) see Figure 1.22, select NCB 40. Click on OK.

Figure 1.22 - Background Noise database window

Generate acoustic predictions

Modeler software is a powerful tool for predicting sound system
performance. So far we have dealt only with viewing a model. Now
you will see one example of how to use Modeler software to
generate acoustic predictions.
All acoustic predictions and coverage maps are generated by the
D2R∆STIc computation engine inside Modeler software (for more
information on D2R∆STIc, see page 307). The D2R∆STIc engine is
the computational algorithm that Modeler software uses to
generate acoustic predictions. No sound or coverage data can be
calculated unless the D2R∆STIc engine is enabled. The Map
toolbar is used to toggle the D2R∆STIc engine on and off and to
create coverage maps:

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Figure 1.23 - Map toolbar

Follow these steps to generate a Direct Field coverage map:

1. Enable the D2R∆STIc engine by clicking on the Enable
D2R∆STIc Engine button in the Map toolbar:

Figure 1.24 - Enable D2R∆STIc Engine button

2. Click the Direct button on the Map toolbar.

Figure 1.25 - Direct button

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Modeler software calculates and displays the Direct Field sound

coverage map in your model. Notice that the coverage map is
displayed in a new tab in the Direct modeling window:

Figure 1.26 - Direct Field coverage map

The Data window

In general, coverage maps are displayed in the Modeling window,
and other acoustic predictions are displayed in the Data window.
For example, click on the Statistics tab in the Data window:

Figure 1.27 - Statistics tab

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In the Statistics tab, we see a histogram of the Sound Pressure

Levels in the model. The horizontal axis shows the sound pressure
level, and the vertical axis shows normalized frequency of
occurrence. This is used to determine how even the coverage data
is throughout the coverage map.

Generating and evaluating acoustic predictions, will be covered in

depth, later in this tutorial.

This completes the overview of the Modeler software interface.

Close the model by clicking on the X in the upper right-hand corner
of the Modeling window (you do not need to save the model).
Close the project by choosing File > Close Project.
You should now have an idea of the basic layout of Modeler
software, as well as some of the basic functions, tools, and
windows used in the program. This knowledge will be built upon in
the following chapters, as you learn the basics of modeling, placing
listeners and loudspeakers, and generating acoustic predictions.

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Chapter 2: Basic Modeling

In addition to providing powerful acoustic prediction capabilities,
Modeler software includes tools for constructing three dimensional
structures. This chapter will introduce the basics of modeling by
guiding you through the process of creating a new project, setting
preferences, and modeling a simple L-shaped room.

Creating a new project

Modeler software uses the project structure to organize your work
environment. A project can contain multiple models. For example,
a project might contain models of different rooms in the same
building, or a project might contain multiple versions of the same
room, each with different sound system designs.
Before getting started, you must generate a new project and a new
model.
Follow these steps to create a new project and model:
1. Launch Modeler software by choosing Start > All Programs >
Bose Modeler 6.5.
2. Click on File > New Project.
3. Name the new project “Headquarters” and navigate to an
appropriate folder to save the project in, or just choose the
desktop. Click Save.
4. When prompted by the New Project window to create a new
model or open an existing one, choose New.

Preferences
There are a few steps you should always undertake before creating
a model, including adjusting Preferences.
Preferences are divided into two types: Application Preferences
and Model Settings. Application Preferences are global for the
entire application and relate to all models in the project. In general,
these are preferences you set once. Model Settings are local to
the model, and typically change as you work through the design.
Different models in a project can have different model settings.

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Adjusting Model Settings

You have the ability to specify how the features will behave. Note
that after you create a new project or model as you progress along
within your design, the Model Settings window opens
automatically.
Follow these steps to set the preferences for creating the L-shaped
boardroom:
1. If Model Settings is not already displayed: Click Edit > Model
Settings. The Model Settings dialog box opens with the
Drawing/Saving tab selected by default.

Figure 2.1 - Drawing/Saving tab

Most functions have keyboard shortcuts. For a full list of keyboard

shortcuts, see the Keyboard Shortcuts card that is shipped with
Modeler software. To show Model Settings simply click Ctrl+R.

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2. When in the Drawing/Saving tab, make the following changes:

• Under Room Attributes (in the top-right corner), place a
checkmark next to Snap to Vertex. The vertices of each
surface will now be highlighted in the model.
• Under Room Attributes (in the top-right corner), place a
checkmark to enable Room Snap Grid, enter 1.0 m in the
field. The vertices of each surface will now be highlighted
in the model.
See the table below for an explanation of the fields in the Drawing/
Saving tab.
Units: Select the displayed unit of measure.
Selection: Click on the types of object to be selected using the
Select tool.
File Contents: The File Contents features allow you to control
what data is saved with your model.
Room Attributes: Set the options to snap to the nearest Vertex or
grid subdivision. Set the Room View Grid as a
visual aid.
Cluster Attributes: Set the options to snap to the nearest grid
subdivision and angular increment.
Curved Surface The angular increment that is used to draw the
Attributes: curve. At each angular increment, a new surface is
created, so the angular increment dictates how
many flat surfaces are used to simulate the curved
surface.

For the Display tab: Click Edit > Model Settings (or simply click
Ctrl+R). The Model Settings dialog box opens with the Drawing/
Saving tab selected by default, click on the Display tab.

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Figure 2.2 - Display tab

See the table below for an explanation of the fields in the Display
tab.
Aiming: Check the loudspeakers.
Camera: Check the camera.
Cluster: Set the origin of a cluster.
Listener: Check the listeners.
RT60: Set the origin of RT60 source.
Map: Check the coverage maps.
Drawing Aids: Check which drawing aids are displayed.
Rulers or Axis Indicators. Axis Indicators display
the orientation of the three major axis.

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Surface Type: Check which surface types are to be displayed.

Surfaces are not removed from the model and will
still be considered in all calculations, but are no
longer visible in the model.
Surface: Check Vertex, to provide red 3D crosshairs on
surface vertices.
3. When finished, click OK.
The Name Model window will automatically appear.
4. Name your new model, and click OK.

Figure 2.3 - Name Model window

Adjusting Application Preferences

Now we will set the Application Preferences by clicking on Edit,
then at the bottom of the pull-down menu, select Application
Preferences, or simply click Ctrl+E.
Direct keys allow you to access certain tools and functions in
Modeler software with a single keystroke. Follow these steps to
turn on direct keys:
1. Click Edit > Application Preferences (or Ctrl+E). The
Application Preferences dialog box opens with the General tab
selected by default.

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Figure 2.4 - Application Preferences, General tab

2. Make the following change:

• Under Accelerator Keys (in the top-right corner), place a
checkmark next to Direct to turn on Direct Keys on the
keyboard.

Note: With Direct keys on, you may not be able to enter text in
certain situations. If you find you are unable to enter text into a
field, turn off direct keys in the General tab of the Application
Preferences dialog box by removing the checkmark next to
Direct.

3. Click OK to close the Application Preferences dialog box.

Note: As soon as you click on OK, the current Application

Settings are applied to all models.

Various direct keystrokes will be mentioned throughout the tutorial.

For a full list of keyboard shortcuts, see the Keyboard Shortcuts
card that is shipped with Modeler software.

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Working with the Material Database

Before creating the room model, it is recommended to assemble a
list of materials that will be used to build the room.
Click the Material Database button in the Database toolbar (or
press Ctrl + M):

Figure 2.5 - Material Database button

The Material Database window opens.

Figure 2.6 - Material Database window

You create a list of materials that you will use to build your model in
the Material Database. You can select, modify, add, and delete
materials, and save your own materials list. Total Absorption and
Total Reflection simulation materials are displayed in the default
Material list. You should always create a list of materials that match
the actual room construction materials as closely as possible.
Each material file contains sound absorption coefficient data for 10
different octave bands, with center frequencies from 31 Hz to
16 kHz.

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Creating a materials list

The list of folders on the left side of the window is similar to
Windows Explorer. To create a list of materials for your project,
drag the material from a folder on the left, to the Material list on the
right side of the window.
Follow these steps to add new materials to the Material list:
1. Click the plus (+) sign next to the Floors folder to open it, then
click on Carpet – heavy on concrete and drag it into the right
side of the window. The material and its absorption coefficient
information is added to the Material list.

Tip: Materials are listed in alphabetical order inside each

folder.

2. Add the following additional materials to the Material list:

• From the Ceilings Reflective folder, add Plaster on Lath
1" thick.
• From the Walls Reflective folder, add Brick-Bare.
3. Close the Material Database by clicking on OK. The three
materials that you added will now be available when you build
the model.

Saving your project

Now that you have set your preferences and compiled a Material
list, you should save your Headquarters project.
Click File > Save Project to save the project.

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Building the L-shaped room

The best way to learn the basics of modeling, is to build a simple
model. The room model that you will now build is shown in Figure
2.7:

Figure 2.7 - L-shaped Boardroom model

Coordinates
The coordinate system in Modeler software is a standard Cartesian
coordinate system in three dimensions: X (red axis), Y (green axis)
and Z (blue axis). The same colors are shown in the axis indicator
in the lower left-hand corner of the Modeling window.

Figure 2.8 - Axis indicator

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Figure 2.9 - Cartesian coordinate system

In Plan View, the Z axis is oriented straight up toward your point of

view, so it is not visible.

Creating the floor surface

The first step in building the model is to create the floor surface.
Follow these steps to create the boardroom floor:
1. Select the Draw Polygonal Surface tool in the Draw toolbar.

Figure 2.10 - Draw Polygonal Surface tool

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This is the surface you will create:

Figure 2.11 - The floor surface

2. Move the drawing crosshairs to x: - 10.0 y: 10.0 z: 0.0, then

click.

Note: Before you click to begin drawing a surface, the

coordinates at the cursor display its location relative to the
origin.

Figure 2.12 - Before clicking

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Once you click to start drawing a shape, the coordinates at the

cursor reset to 0 and display distances relative to your last click. At
each click, the coordinates reset to x: 0.0 y: 0.0 z: 0.0.

Figure 2.13 - After clicking

3. Move the cross-hair cursor and click at the following locations to

outline the floor surface shown in Figure 2.11. Note that at each
click, the coordinates at the mouse pointer reset to x: 0.0 y: 0.0
z: 0.0.
• Click at x: 0.0 y:- 20.0
• Click at x: 20.0 y: 0.0
• Click at x: 0.0 y: 10.0
• Click at x: - 10.0 y: 0.0 (at the origin)
• Click at x: 0.0 y: 10.0
• Click at x: - 10.0 y: 0.0 (which is the red dot
indicating the starting point)

Tip: If you make a mistake while creating a shape, press Esc

(or Shift + Esc) to cancel your work.

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4. When you complete the shape, the Shape Properties bar opens
at the top of the window. This is where you assign properties to
the shape by entering information such as corner height,
material, surface type, audience and reflection. You are
prompted to assign these properties at each vertex of your
shape using the Shape Properties bar.

Figure 2.14 - Shape Properties bar

5. Enter the following properties for this shape:

• Leave 0 m as the surface height to establish the floor, or
ground level at Z = 0.
• Select Carpet - heavy on concrete as the surface
material.

Note: It is recommended that you select the appropriate

material type when you enter properties for the first vertex.
Although you could assign a different material type at each
vertex of your shape, Modeler software will use the material
chosen at the final vertex as the material for the entire surface.

• Select Floor as the surface type.

• Select Unoccupied and Specular, with this being a large
smooth area.
• Click Next five times, leaving the same properties for each
vertex.
• Click Finish to complete the shape.
6. Click the Save button to save your work.

Figure 2.15 - Save button

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Creating the walls

Next, you will create walls on each side of the floor surface.
Follow these steps to create the first wall of the room:
1. Select the Draw Wall Surface tool in the Draw toolbar.

Figure 2.16 - Draw Wall Surface tool

This is the first wall you will draw:

Figure 2.17 - First wall

2. Move the cross-hair cursor to x: - 10.0 y: 10.0 z: 0.0 and click.

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3. Move the cross-hair cursor to x: 10.0 y: 0.0 and click. The Wall
Properties bar opens.

Figure 2.18 - Wall Properties bar

4. Enter the following data for this wall surface:

1st bottom corner: Leave 0 m in the Bottom field because the

bottom of the wall meets the floor at zero.
Select Brick - Bare as the surface material.
Leave the surface type as Wall1.
Leave Unoccupied and Specular as is.
2nd bottom corner: Click Next and leave the same values for the
second bottom corner.
1st top corner: Click Next, leave 3 m in the Top field and leave
the other values the same.
2nd top corner: Click Next, leave the values the same and click
Finish. The first wall is created in your model.
5. Click the Save button to save your work, or press Ctrl + S.
Follow these steps to create the second wall surface:
1. Make sure Draw Wall Surface tool is still selected.
This is the second wall you will draw:

Figure 2.19 - Second wall

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2. Move the cross-hair cursor to x: 0.0 y: 10.0 z: 0.0 and click.

3. Move the cross-hair cursor to x: 0.0 y: - 10.0 and click. The
Wall Properties bar opens.
Confirm that the following values are entered (you should not
have to change any values):

1st bottom corner: Leave 0 m in the Bottom field.

Leave Brick - Bare as the surface material.
Leave the surface type as Wall1.
Leave Unoccupied and Specular as is.
2nd bottom corner: Click Next and leave the same values for the
second bottom corner.
1st top corner: Click Next, leave 3 m in the Top field and leave
the other values the same.
2nd top corner: Click Next, leave the values the same and click
Finish. The second wall is created in your
model.
4. Click the Save button to save your work.
You now have created two of the six walls for the room model. To
ensure that everything lines up, look at the model from a different
perspective.
Click on the Rotate View tool, and then click and drag in the
Modeling window to view your model from different perspectives.

Figure 2.20 - Rotate View tool

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At this point, the model should look like this:

Figure 2.21 - Model with two walls in rotate view

The remaining walls will be built in the same manner as the first
two, and will have the same material and surface type properties.
Follow these steps to build the third wall in the L-shaped room:
1. Switch back to Plan View by clicking the Plan View button, or
use the direct key shortcut: press the H key. (See information
about Direct Keys, on page 27).

Figure 2.22 - Plan View button

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2. Select the Draw Wall Surface tool.

This is the third wall you will draw:

Figure 2.23 - Third wall

3. Move the cross-hair cursor to the origin, x: 0.0 y: 0.0 z: 0.0,

and click.
4. Move the cross-hair cursor to x: 10.0 y: 0.0 z: 0.0 and click.
The Wall Properties bar opens.
Confirm that the following values are entered (you should not
have to change any values):

1st bottom corner: Leave 0 m in the Bottom field.

Leave Brick - Bare as the surface material.
Leave the surface type as Wall1.
Leave Unoccupied and Specular as is.
2nd bottom corner: Click Next and leave the same values for the
second bottom corner.
1st top corner: Click Next, leave 3 m in the Top field and leave
the other values the same.
2nd top corner: Click Next, leave the values the same and click
Finish. The third wall is created in your model.
5. Click the Save button to save your work.

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Follow these steps to build the fourth wall in the L-shaped room:
1. Make sure Draw Wall Surface tool is still selected.
This is the fourth wall you will draw:

Figure 2.24 - Fourth wall

2. Move the cross-hair cursor to x: 10.0 y: 0.0 z: 0.0, and click.

3. Move the cross-hair cursor to x: 0.0 y: - 10.0 and click. The
Wall Properties bar opens.
Leave all the same data for these walls as for the first three.
Notice that you will only be required to click on the Next
button 3 times and then the Finish button as Modeler
software defaults all setting based on the last wall surface
you drew.
4. Click the Save button to save your work.

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Follow these steps to build the fifth wall in the L-shaped room:
1. Make sure Draw Wall Surface tool is still selected.
This is the fifth wall you will draw:

Figure 2.25 - Fifth wall

2. Move the cross-hair cursor to x: 10.0 y: - 10.0 z: 0.0 and click.

3. Move the cross-hair cursor to x: - 20.0 y: 0.0 and click. The

Wall Properties bar opens.
Leave all the same data for these walls as for the first four.
Notice that you will only be required to click on the Next
button three times and then the Finish button as Modeler
software defaults all setting based on the last wall surface
you drew.
4. Click the Save button to save your work.
The sixth and final wall connects the fifth wall with the first wall that
you drew.

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This is the sixth and final wall you will draw:

Figure 2.26 - Sixth wall

Use the Draw Wall Surface tool to define the position of the wall,
then leave the same wall properties as the other walls.
When you are finished, view the model in rotate view. Try using the
direct key shortcut for the Rotate View tool: press the D key. (See
information on Direct Keys, on page 27). The room will look like
Figure 2.27.

Figure 2.27 - Model with completed walls

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Using the Extrude Walls tool

In this section, you will learn how to model the same structure
using the Extrude Walls tool. The process that you used in the
previous section to build the floor and walls of the L-shaped room
is an important lesson in basic modeling. You will now learn how to
quickly and easily achieve the same results. Follow these steps to
build the walls and ceiling of the L-shaped room using the Extrude
Walls tool:
1. Delete the walls that you previously created: Select them in the
Surfaces tab in the Detail window, then press the Delete key:

Figure 2.28 - Select walls in the Surfaces tab and press Delete

After deleting the walls, your model should only contain the
floor surface (see Figure 2.11).

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2. Select the floor surface by clicking on it in the Surfaces tab in

the Detail window. The surface is highlighted in blue in the
modeling window, indicating that it is selected:

Figure 2.29 - Floor surface, selected

3. Select the Extrude Walls tool in the Draw toolbar.

Figure 2.30 - Extrude Walls tool

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The Extrude Walls dialog box opens:

Figure 2.31 - Extrude Walls dialog box

4. The Extrude Walls tool adds walls to the outer perimeter of the
selected surface, with the option to also add a ceiling. You can
specify how high you want the walls to be in the Height field in
the Extrude Walls dialog box. Because the L-shaped room
model has 3 meter walls, leave the default value of 3 m in the
Height field.
5. In the Surface Material drop-down menu, leave Brick - Bare as
the surface material for the walls. Leave the default Surface
Type (Wall1).
6. To add a ceiling, place a checkmark next to Add Ceiling.

Figure 2.32 - Adding a ceiling

7. Select Plaster on Lath 1" thick as the surface material, and

leave Ceiling1 as the surface type.
8. Click OK. The walls and ceiling are extruded from the floor
surface.

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Use the Rotate View tool to look at the model in perspective.

The finished room model looks like this:

Figure 2.33 - Finished room model

9. Click the Save button to save your work.

Close the Boardroom model by clicking on the X in the upper right-hand
corner of the Modeling window. Close the Headquarters project by
choosing File > Close Project.
You are now familiar with how to build a basic model, including
setting preferences and assembling a material list using the
Materials Database. Proceed to Chapter 3: More Modeling
Concepts, on page 49, to continue learning about the features of
Modeler software.

Note: When using the Extrude tool, the Reflection and

Audience properties must be set manually by adjusting each
surface’s properties in the Surface tab.

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Chapter 3: More Modeling Concepts

If you completed Chapter 2: Basic Modeling, then you have a basic
understanding of how to create surfaces in Modeler software. In
this chapter, you will learn more advanced concepts. Using the
First Street Church project, you will be guided through the process
of creating the last two missing surfaces of a nearly complete
model of the church. Then you will learn to set surface colors and
view the structure in Camera View.

Open a model
Follow these steps to open the nearly complete church model:
1. Click File > Open Project...
2. In the Look in: drop-down menu, click on the desktop (see
Opening the sample model, on page 4, if you did not complete
Chapter 1).
3. Open the Tutorial folder, then open the First Street Church
folder.
4. Open the file named First Street Church.pjt
5. In the Project window, double-click on the Design 3 model.
6. After the Design 3 model opens, close the Project window.
The Design 3 model looks like this:

Figure 3.1 - Design 3 model

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Use the Rotate View tool on the View toolbar to look at the model
from different perspectives.

Figure 3.2 - Rotate View tool

Notice that there are two missing surfaces in this model, as shown
in Figure 3.3: one wall section and the conical ceiling surface over
the rounded alcove at the end of the church. These are the final
two surfaces that you will create to complete the church model.

Figure 3.3 - Missing surfaces in the model

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Creating a missing surface

The Insert Face tool can be used to create a surface by defining
the outer boundaries of the surface. Follow these steps to create
the missing square wall section using the Insert Face tool:
1. Rotate the view using the Rotate View tool until it matches
Figure 3.4. Define the shape of the new surface by clicking on
the vertices that outline the missing wall section. Notice that a
vertex will highlight in green when the crosshair cursor is moved
over it.

Figure 3.4 - Outlining the missing surface with the Insert Face tool

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2. Select the Insert Face tool in the Draw toolbar.

Figure 3.5 - Insert Face tool

When using the Insert Face tool, the starting point is

highlighted red after clicking, and each subsequent click is
highlighted with a black dot. The shape is finished when you
click on the red starting point.

Tip: If you make a mistake while creating a shape, press Esc

(or Shift + Esc) to cancel your work.

3. When you complete the shape, the Insert Face properties box
opens. Here you define the material and surface type for the new
surface. Choose Brick - Bare for the material, and Wall1 for the
surface type. Leave Audience and Reflection as is.

Figure 3.6 - Insert Face properties box

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4. Click OK. The new surface is created in the model.

Figure 3.7 - New wall surface

5. Click the Save button to save your work.

Creating a conical ceiling surface

To finish the model, follow these steps to create the conical ceiling
surface:
1. Switch to Plan View by clicking on the Plan View button in the
View toolbar. You will be creating a ceiling surface on the larger
rounded alcove of the church (in the positive X direction).
2. Select the Draw Conical Surfaces tool.

Figure 3.8 - Draw Conical Surfaces tool, with wing menu

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Define the shape as follows:

Figure 3.9 - Creating the conical ceiling surface

• Click at x: 12.0 y: 0.0 z: 0.0.

• Move the cursor in the positive Y direction until the radius
is 6 m and click.
• Rotate the cursor clockwise until the angle is -180.0° and
click.
• Move the cross-hair in towards your starting point until the
second radius is equal to 0 m and click.
3. When you finish the surface, the Shape Properties bar appears
at the top of the window. Enter the following properties for this
shape.
• Enter 4 m for Elevation 1 (Z1), since the bottom of this
ceiling meets the rounded wall at Z1 = 4 meters.
• Choose Mineral Board 5/8" ceiling tile as the surface
material.
• Select Ceiling 2 as the surface type.
• Leave Unoccupied and Specular as is.

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Figure 3.10 - Shape properties bar (Z1)

• Click Next and set Elevation 2 (Z2) to 11 m to place the

point of the conical roof section just below the peak of the
church ceiling.

Figure 3.11 - Shape properties bar (Z2)

• Click Finish. The conical ceiling is created over the

church alcove.
4. Click the Save button to save your work.

Curved surface angular increment

Curved surfaces in Modeler software are simulated as numerous
flat surfaces joined together to form a curve. Under Curved
Surfaces you specify the angular increment that is used to draw
the curve. At each angular increment, a new surface is created, so
the angular increment dictates how many flat surfaces are used to
simulate the curved surface.
Follow these steps to set the preferences for the curved surface:

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1. Click Edit > Model settings (or simply click Ctrl+R). The Model
settings dialog box opens with the Drawing/Saving tab
selected by default.

Figure 3.12 - Drawing/Saving tab

2. Make the following changes in the Drawing/Saving tab:

Under Curved Surface Attributes (bottom-right corner),
enter a value of 30° for the Angular Increment.

Tip: Rather than going to the Model Settings, simply click on

the Wing Menu next to the Draw Conical Surfaces tool, and
enter a value of 30°.

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Examples of different angular increments:

Figure 3.13 - A cylindrical wall created with an angular increment of 30°.

Figure 3.14 - A similar cylindrical wall created with an angular

increment of 5°.

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The conical ceiling should look like this:

Figure 3.15 - New conical ceiling surface

You now have completed the church structure. For an in-depth

workshop on creating this church model from the beginning, please
see Chapter 6: Modeling Workshop.

Working with Camera View

The Camera View feature in Modeler software allows you to view
the model as though you are looking through a camera that can be
placed anywhere inside or outside of the model. This is useful for:
• Gaining perspective of your model.
• Delivering a presentations.
• Ensuring that your model is closed and complete.

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Using Camera View

Select the Camera View tool in the View toolbar.

Figure 3.16 - Camera View tool

The Modeling window changes to a view of the model through the

camera inside the church. The default camera position is at the
origin (x: 0.0 y: 0.0 z: 0.0) facing in the positive Y direction, at a
height of Z = 1.5 m.
It is possible to move the camera into other positions using the
following methods:

Keyboard + mouse If you have a mouse with a scroll-wheel,

scroll-wheel you can use your keyboard and mouse to
commands: manipulate the camera.
The Properties tab: Click the Properties tab while in Camera
View. Adjust the different properties and
notice the result in the Modeling window.

Note: In the Properties tab, you can adjust the camera location,
snap the camera to a listener or add a listener at the camera
location. You can also adjust lighting and coloring.

Keyboard arrow Use the 4 arrows on your keyboard to move

commands: the camera in the X - Y plane.
Select tool: Exit Camera View and select the camera
with the Select tool in the model. You can
rotate and drag the camera to reposition it,
then re-enter Camera View to view the
model.

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The chart below outlines how to control the camera using a

scroll-wheel mouse. You must place your mouse over the
Modeling window for these commands to work.

Move forward or Roll the scroll-wheel on your mouse: Up

backward: moves forward, down moves backward.
Adjust camera yaw Hold Shift, then roll the scroll-wheel on
(rotation): your mouse: Up rotates left, down rotates
right.
Adjust camera pitch: Press Ctrl, then roll the scroll-wheel on
your mouse to adjust the camera’s pitch:
Up rotates the camera upwards and down
rotates the camera downwards.
Adjust lens focal Press Shift + Ctrl then roll the scroll-wheel
length (zoom): on your mouse to adjust the camera’s focal
length: Up zooms in, down zooms out.
Move along the Z-axis: Left-click on your mouse and hold: Roll the
scroll-wheel forward to move up, roll the
scroll-wheel backward to move down.

Setting surface colors

Modeler software provides the ability to add color to the surfaces in
your model in order to represent the actual colors of the materials
used in the room. The colors will then be displayed in the camera
view. Each surface type in Modeler software is assigned the color
white by default. You can assign a color to each material type, and
all surfaces with that material type will display in the selected color
in camera view.

Tip: To deselect items such as surfaces, use the Esc (or

SHIFT+Esc) command.

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Follow these steps to assign new colors to surfaces:

1. Select the Surfaces tab in the Detail window, then click on the
Material column header to sort by material name.

Figure 3.17 - Surfaces tab

2. Scroll to the right and double-click a cell in the Color column for
any of the Brick - Bare surfaces. The Windows Color Picker
opens:

Figure 3.18 - Color dialog box

• Choose a shade of dark red and the selected color

appears in the Color window.
• Click OK and the cells in the color column turn dark red
along with all Brick - Bare surfaces.

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Note: If you know the Red/Green/Blue color number, simply

enter them.

3. Repeat the same process for each surface material, and assign
the following colors:

Carpet - heavy on concrete: Dark gray

Concrete Block - Painted: Black
Mineral Board 5/8’ ceiling tile: Off white
Pews - Wooden: Brown

4. Click the Save button to save your work.

After setting surface colors, the view from the camera in the
positive X direction looks like Figure 3.19 below (color shades may
look different on your monitor).

Figure 3.19 - Camera view with colors

Close the Design 3 model by clicking on the X in the upper

right-hand corner of the Modeling window. Close the First Street
Church project by choosing File > Close Project and proceed to
Chapter 4: Placing Listeners and Placing Loudspeakers. Chapter 4
will cover placing listeners and loudspeakers in a model, which is
required to enable acoustic prediction data.

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Chapter 4: Placing Listeners and Placing

Loudspeakers
Objects in your model
This chapter covers placing listeners and loudspeakers in a room
model. The lessons in this chapter use the completed church
model that can be found on the Modeler software installation CD.
Follow these steps to open the completed church model:
1. Click File > Open Project...
2. In the Look in: drop-down menu click on the desktop (see
Opening the sample model, on page 4 if you did not complete
Chapter 1).
3. Open the Tutorial folder, then open the First Street Church
folder.
4. Open the file named First Street Church.pjt
5. In the Project window, double-click on the Design 2 model.

Figure 4.1 - Design 2 model

Adding listener locations

Modeler software enables you to establish listener positions
throughout your model using the Place Listener tool. Listeners
provide reference points in your model from which to analyze
acoustic predictions.

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Note: Listener locations can be added to Floor and Seating

type surfaces.

Follow these steps to add a listener location to the model:

1. Select the Place Listener tool in the Draw toolbar.

Figure 4.2 - Place Listener tool

2. Click at x: - 5.0 y: 4.0 z: 0.0 to place a listener location.

The number in the green box is the listener identifier. The

arrow indicates the direction in which the listener is facing
(the yaw). By default, listeners face in the positive X direction.

Figure 4.3 - A listener location

3. Click on the Selection tool.

4. Move the listener location by clicking and dragging the icon in
the center of the circle. Move the listener to x: 0.0 y: - 6.0
z: 0.0.

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5. Adjust the direction the listener is facing by dragging the blue

yaw arrow in the listener circle. Click near the tip of the arrow
and drag it around the circle. The listener should face in the
direction that a listener would face in the venue.

Figure 4.4 - Adjust the yaw of a listener

6. Select the Listeners tab in the Detail window and enter 1 m in

the Ear Height field to specify that the listener’s ears are located
1 m off of the ground, or that they are sitting down. If the
listeners were standing up, or sitting on the floor, you could enter
a higher or lower value for Ear Height to best represent the
height of the listeners.

Figure 4.5 - Ear Height column in Listeners tab

The typical Ear Height default is at 1 m.

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7. Add three more listener positions and place them in the three
remaining quadrants in the church. Point the yaw for each
listener toward the end of the church with the smaller rounded
alcove, and set the ear height for each at 1 m. When you are
done, your listeners should be placed like this:

Figure 4.6 - Listeners placed in model

8. Click the Save button to save your work.

Note: Typical ear height:

Seated: 3 ft (1 m)
Standing: 6 ft (2 m)

Note: Use the Place Listener wing menu to show/hide listener

Identifiers and Wireframes.

Tip: To deselect items such as listeners, use the Esc (or

SHIFT+Esc) command.

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Creating a loudspeaker layout

The ability to simulate the performance of a loudspeaker
installation is one of the central features of Modeler software. In
this section we will cover the Loudspeaker Database, and how to
place loudspeakers in your model.

Loudspeaker Database window

Figure 4.7 - Loudspeaker Database window

For detailed information about the Loudspeaker Database, see

Chapter 9: Loudspeakers, on page 219.

Clusters
A loudspeaker cluster is a collection of loudspeakers grouped
based on their spatial proximity. Modeler has a cluster aggregation
algorithm that automatically places speakers in the same cluster if
they are within 3 m of each other.

Placing loudspeakers within a model

Follow these steps to place loudspeakers in your model:

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1. Select the Place Loudspeaker tool in the Loudspeaker toolbar:

Figure 4.8 - Place Loudspeakers tool

2. Click at x: - 12.0 y: 0.0 z: 0.0 in the Design 2 model and the

Place Loudspeaker window opens:

Figure 4.9 - Place Loudspeaker window

3. Click the plus (+) sign next to the Bose folder to open it and
reveal the list of Bose loudspeakers in the database.

4. Click on Bose 502®B in the Bass folder, which is a loudspeaker

for low frequency sound.
5. Enter a Z Coordinate (height) of 6 m.

Tip: You can get to the Loudspeaker Database simply by

clicking on the Database button in the Place Loudspeaker
dialog box. Once you close the database window, you will be
returned to the Place Loudspeaker window.

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6. Click OK. The Place Loudspeaker window closes and a

loudspeaker graphic appears in the model.

Figure 4.10 - Loudspeaker graphic

The numbers at the loudspeaker graphic refer to the Cluster,

Zone, Tier and Index of this loudspeaker:

Figure 4.11 - Loudspeaker identifier numbers

Cluster: Cluster number is assigned automatically

by Modeler software based on the Cluster
Radius of 3 m.
Zone: Group multiple clusters of loudspeakers by
assigning them a zone number.
Tier: Group loudspeakers that are in the same
row by assigning a tier number.
Index: The unique identifier number for the
selected surface.

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Note: If you do not see 1.1.1.1 identifier numbers then you may
need to zoom in.

8. Place another loudspeaker 1 m in the positive Y direction from

the Bose 502®B loudspeaker by clicking at x: - 12.0 y: 1.0. The
Place Loudspeaker window opens.

• Select a Bose 402®-II Biamp loudspeaker.

Figure 4.12 - Place Loudspeaker window

• Make sure the Z Coordinate is set to 6 m so that this

speaker is at the same height as the Bose 502®B
loudspeaker.
9. Click OK. Your second loudspeaker is placed adjacent to the first
one.

Note: Use the Place Loudspeakers wing menu to show/hide

Hitpoints, Wireframes, Identifiers and Cluster Origin.

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10. Place another Bose 402®-II Biamp loudspeaker at x: - 12.0

y: - 1.0, leaving the height at 6 m. These three loudspeakers
now comprise Cluster 1.

Figure 4.13 - Cluster 1

11. Add another cluster toward the middle of the room. With the
Place Loudspeaker tool selected, click at x: 2.0 y: 0.0.

• Select a Bose 502®B loudspeaker. Leave 6 m in the Z

Coordinate field, then click OK. Notice that the new
loudspeaker has been assigned the identifier 2.1.1.1.

Figure 4.14 - Loudspeaker Identifier

This loudspeaker defines the location of a new cluster,

Cluster 2.
12. Add two Bose 402®-II Biamp loudspeakers on either side of the
second Bose 502®B loudspeaker as you did for Cluster 1. Place
one at x: 2.0 y: 1.0 and the other at x: 2.0 y: - 1.0 (leave the Z
coordinate at 6 m for each one).
13. Click the Save button to save your work.

Tip: To deselect items such as loudspeakers, use the Esc (or

SHIFT+Esc) command.

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Tip: Cluster 2 can also be created by duplicating Cluster 1.

Select all loudspeakers in Cluster 1 and choose Edit > Copy,
then choose Edit > Paste. Use the Select tool to drag the new
cluster into position in the model.

When complete, your model should look this:

Figure 4.15 - Model with placed loudspeakers

Viewing loudspeaker clusters

Loudspeakers in a particular cluster can be viewed by making a
selection from the drop-down list in the Loudspeaker toolbar.
Follow these steps to access cluster views in Modeler software:
1. Select Cluster: 1 from the Cluster drop-down list in the
Loudspeaker toolbar.

Figure 4.16 - Select a cluster view from the cluster drop-down list.

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This limits your view to only the loudspeakers in the cluster. A

blue square called the cluster origin, marks the point on
which the cluster is centered.

Figure 4.17 - Cluster 1 in Cluster View, without and with cluster origin
selected.

Although it is possible to zoom in on the model in the

Modeling window to see loudspeaker clusters, this is a quick
way to isolate one cluster for more precise adjustments.
Note that the tools in the View toolbar perform the same
functions while in a cluster view (Plan View, Elevation View,
Zoom in/out, Rotate View).

Tip: You may want to turn off the loudspeaker identifiers to get
a better view of the cluster layout. This can be done using the
Loudspeaker wing menu.

2. Select Room from the Cluster drop-down list to return to the

Room view.
3. In the Cluster drop-down list, select Cluster: 2. Modeler
software displays Cluster 2. (Note: in this model Cluster 1 and
Cluster 2 look identical).

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4. Select Room from the Cluster drop-down list. Your model should
now look like this:

Figure 4.18 - Design 2 model with two loudspeaker clusters and the four
previously defined listener points

Aiming loudspeakers in a cluster

Now that the loudspeaker clusters have been placed, the next step
is to aim the loudspeakers in order to achieve optimum sound
coverage for your room model. Loudspeakers can be aimed by
adjusting yaw, pitch, and roll. Refer to Figure 4.19 for clarification.

Figure 4.19 - Speaker aiming

Follow these steps to aim your cluster:

1. Switch to Cluster 1 view, using the Cluster drop-down list in the
Loudspeaker toolbar.

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2. Click on the Select button in the Draw toolbar:

Figure 4.20 - Select tool

3. Select the Bose 402®-II Biamp loudspeaker located at y: 1.0 by

clicking on it.
4. Click the Properties tab in the Detail window.
5. Scroll down until you see the Yaw° field and enter a value of 30.
The loudspeaker will now be aimed with a 30° yaw.

Figure 4.21 - Yaw field in the Properties tab

Figure 4.22 - A yaw of 30°

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6. Select the Bose 402®-II loudspeaker located at y: - 1.0. In the

Properties tab, enter a yaw of - 30°.

Figure 4.23 - A yaw of -30°

7. Click the Save button to save your work.

Next you will adjust the yaw for the Bose 402®-II loudspeakers in
Cluster 2 in the same manner.
1. Select Cluster 2 in the Cluster drop-down list.

2. Select the Bose 402®-II Biamp loudspeaker located at y: 1.0 and

in the Properties tab enter a yaw of 30°.

3. Select the Bose 402®-II Biamp loudspeaker located at y: - 1.0

and in the Properties tab enter a yaw of - 30°.

4. Click the Save button to save your work.

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The clusters should now both look like this:

Figure 4.24 - Loudspeakers with yaw adjusted

5. Click the Save button to save your work.

Adjusting the pitch of loudspeakers in a cluster

The pitch of the loudspeakers can be adjusted in a similar manner
as yaw.
Follow these steps to set the pitch of the Bose 402®-II
loudspeakers:
1. Switch to Cluster 1 view in the Loudspeaker toolbar.
2. Select Elevation View in the View toolbar so that it is easier to
see the change in pitch of the loudspeakers.
3. Click the Loudspeakers tab in the Detail window.

Figure 4.25 - Loudspeakers tab

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4. Select one of the Bose 402®-II loudspeakers in the list and enter
- 35° (negative indicates downward) in the Pitch field. You will
have to scroll to the right in the Loudspeakers tab in order to
see the Pitch field.

Figure 4.26 - A pitch of -35°

5. Select the other Bose 402®-II Biamp loudspeaker and enter a

pitch of - 35°.

Figure 4.27 - A pitch of -35°

6. Click the Save button to save your work.

Next, you will adjust to pitch for the Bose 402®-II loudspeakers in
Cluster 2 in the same manner.
1. Switch to Cluster 2 view in the Loudspeaker toolbar.

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2. Select one of the Bose 402®-II loudspeakers in the

Loudspeakers tab and enter - 40° in the Pitch field. Set the
pitch of the other Bose 402®-II Biamp loudspeaker to - 40°.

Figure 4.28 - Setting the pitch

3. Click the Save button to save your work.

Each cluster should now look like this:

Figure 4.29 - Cluster 1 with pitch and yaw in rotate view

You have successfully added and positioned your loudspeakers.

To verify that your model is complete and accurate, it is suggested
that you compare it to a completed model that is provided in the
First Street Church project.
Follow these steps to open the completed model:
1. Show the Project window and double-click on the Design 1
model to open it.
2. Compare the two models (your Design 2 model and the master
Design 1 model). They should be identical.

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The complete church model looks like this:

Figure 4.30 - Design 1 church model, plan view

Figure 4.31 - Design 1 church model, rotate view

Close the Design 2 model by clicking on the X in the upper

right-hand corner of the Modeling window. Close the First Street
Church project by choosing File > Close Project.

Note: Modeler software has more sophisticated ways to create

special arrays of loudspeakers, and to look at and evaluate
their acoustic performance. For example, with the array
functionality, you can create a 4 box endfire array and steer it
with a few clicks of the button. This is covered in Chapter 10:
Advanced Topics, on page 243.

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Chapter 5: Predicting Sound

The primary function of Modeler software is to design a sound
system by observing predictions about the quality of sound in your
room. After you have created a model and placed listeners and
loudspeakers, you can take advantage of the powerful acoustic
simulation capabilities of Modeler software.
Modeler software has numerous features that provide insight into
the quality of sound in your model. Coverage maps are an easy
way to visually evaluate the sound, while other tabs and tools
provide additional visual and quantitative data. This chapter
provides an overview of how to use and interpret this data.
The examples in this chapter use the First Street Church project
that you copied from the installation CD to your desktop in
Chapter 1.
Follow these steps to open the Design 1 church model:
1. Click File > Open Project...
2. In the Look in: drop-down menu click on the desktop (see
Opening the sample model, on page 4, if you did not complete
Chapter 1).
3. Open the Tutorial folder, then open the First Street Church
folder.
4. Open the file named First Street Church.pjt.
5. In the Project window, double-click on the Design 1 model.

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Room Acoustics

Getting ready
Before we start predicting the performance of the sound system,
a number of parameters related to the environment and the
acoustics should be set. These parameters are all conveniently
located in the Acoustics tab.
1. Click on the Acoustics tab in the Detail window:

Figure 5.1 - Acoustics tab

This window contains the following:

Temperature: The ambient temperature in the room.
Humidity: The humidity in the room.
Occupancy: The number of people in the room.
House Curve: A pre-determined target room-response
curve.
Background Noise: The background noise in the room.
RT60: The room’s reverberation time: based on
the amount of time it takes for a sound
pressure in a room to decay by 60 dB.

Tip: The humidity can have a significant impact on the

absorption of sound at high frequencies. The impact is largest
at low to medium humidities, with a peak around 20%.

See Acoustics tab, on page 396, for more information.

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For this model, we will set the first three parameters as follows:
Temperature: 22 oC
Humidity: 40%
Occupancy: 0 (We start by looking at the sound system
when the room is empty).

Setting the Background Noise

Selecting the curve
We will now set the Background Noise:
1. Click on the Background Noise Open button.

Figure 5.2 - Background Noise, Open button

The following window appears:

Figure 5.3 - Background Noise window

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Note: Background noise can have a significant impact on

predictors such as speech intelligibility and echoes.
Background noise can reduce intelligibility. Plus, it can help
mask a late strong reflection that may otherwise have appeared
as an echo.

In this window, you can either use one of the predefined noise
curves, or if you have actual measurements from the space, simply
create your own noise files.
Click on a few of the different noise files to get familiar with the
format. You can duplicate files, rename them and delete some of
them.

Note: The standard files (NCB - Balanced Noise Criteriaa) and

RC (Room Criteriaa) are predefined and locked. They cannot be
changed unless you duplicate them first..

a. See American National Standard Criteria for Evaluation Room Noise

ANSI S12.2-1995 (ASA 115-1995).

Creating your own Background Noise

For this example, we have measured the actual background noise
in a room. We will now create a custom noise file with this data:
1. Click on the New Noise Curve button (or select New from the
File menu).

Figure 5.4 - New Noise Curve button

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2. Name the file “Noise_Church”, then click on OK.

Figure 5.5 - Adding a New Noise Curve

The file appears at the route of the acoustics data folder:

3. Select the Noise_Church file by clicking on it.

Figure 5.6 - New Noise Curve file

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Note: Storing a Gain Offset for the Background Noise File.

In some cases you may need to increase or decrease the gain
of a background noise file. One possible way to do this is to
create multiple copies with different levels.
Modeler provides an easier way by using a Gain Offset function
that allows you to specify a gain offset per room model.
To access the Gain Offset function, open the Background Noise
Database, and preview the background noise file using the
steps described earlier. While previewing the background noise
file, you can use the Gain Offset function to increase or
decrease the initial level of the background noise.

A Gain Offset can be defined for each room model where this
particular background noise file is used. The Gain Offset
information is stored with the room model, and is recalled the
next time the room model is opened.

4. Select 1 octave band for the bandwidth.

Figure 5.7 - New Noise Curve file with 1 Octave selected in Bandwidth

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5. Enter the numbers as follows:

Figure 5.8 - Added numbers for New Noise Curve file

We now have entered the background noise.

6. Click on OK. You will then return to the Acoustic tab. You will
see the name Noise_Church in the Background Noise
section.

Figure 5.9 - Noise_Church in Background Noise field

Tip: To clear a previously selected background noise file:

• Simply replace it with another background noise file.

Note that there is a file “No Noise (-30 dB)”. When this file is
selected, the room model is simulated with no background
noise.

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Setting the House Curve

By setting the House Curve, you may quickly modify the rooms
average response to match your preferred shape (House Curve).
We will now set the House Curve.
1. Click on the House Curve Open button.

Figure 5.10 - House Curve, Open button

The following window appears:

Figure 5.11 - House Curve window

This window works similarly to the Background Noise window.

Click around to get familiar with the functionality.

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2. Select the curve labelled Flat_w_4k_knee, which is flat to 4 kHz,

and then rolls off by 3 dB per octave band.

Figure 5.12 - House Curve

3. Click on OK, and you will return to the Acoustics tab. Notice
that the House Curve name appears in the House Curve section.

Figure 5.13 - Acoustics tab, showing House Curve name

For information on Matching RT60, see Matching reverberation

times, on page 283 of the Advanced Topics chapter.

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Setting the occupancy level

Finally we will set the occupancy level of the environment.
1. In the Occupancy section, click the radio button next to Percent
Full.

Note: If you have measured reverberation times for the existing

space, Modeler has an algorithm that allows you to match
measured with predicted reverberation times for improved
prediction accuracy. For more information, see Matching
reverberation times, on page 283.

Tip: To specify the occupancy conditions of the room, at least

one surface must be designated as occupied. If you find the
Percent Full field grayed out in the Acoustics dialog box, follow
these steps to designate the seating surfaces as Occupied:
• Click the Surfaces tab in the Detail window.
• Right-click in the window and go to Sort > By Type.
• Find the Seating1 surfaces and in the Audience
column, change the value to Occupied for each
surface.

2. Enter 90 in the Percent Full field of the Acoustics tab.

Figure 5.14 - Acoustics tab, occupancy conditions

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Note: By adding people to the model, you have changed the

rooms reverberation time. Therefore, the current reverberation
time predicted by Modeler is different from what has been
measured. Hence, in the RT60 data window, the two curves will
be different.

Note: Modeler software determines the maximum occupancy

of a room, based on a density of 1.8 persons per one square
meter of floor and seating surfaces. An easy way to view your
room’s maximum occupancy is to enter 100 in the Percent Full
field, and then click the radio button next to People. Modeler
software will convert the figure to number of people.

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Hiding surfaces
Now that we have set the room acoustics parametrics, we will
prepare the model for calculations.
When you view data in Modeler software, you may find that some
surfaces in the model prevent you from seeing the data clearly. For
example, ceiling surfaces, while necessary for acoustical
consideration, do not need to be visible while displaying acoustic
predictions. Modeler software provides you with the ability to hide
these surfaces using the Model Settings dialog box.
Follow these steps to hide surfaces:
1. Click Edit > Model Settings (or simply click Ctrl+R). The Model
Settings dialog box opens with the Drawing/Saving tab
selected by default.
2. Click the Display tab.
3. Under Surface Type, click the check boxes next to Wall1, Wall2,
Ceiling1 and Ceiling2 to remove the checkmarks.
4. Click OK.

Figure 5.15 - Hiding Surfaces using the Display tab

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5. When you look at the model using the Rotate View tool, only the
floor and seating surfaces are visible.

Tip: You also can turn off the grid by clicking the Grid toggle
button in the View toolbar:

Figure 5.16 - Grid toggle button

This is what your model should now look like:

Figure 5.17 - Design 1 model with the grid, wall and ceiling surfaces hidden

6. Before moving on to the next section, undo the steps we took in

this section (re-select Wall1, Wall2, Ceiling1, Ceiling2 in Model
Settings. Turn the Room View Grid back on).

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Modeler software coverage maps

Modeler software includes tools for viewing the coverage of your
sound system in the form of a color-based map. In this section, you
will learn how to generate three coverage maps. Modeler software
uses the D2R∆STIc engine to generate Direct Field sound
coverage maps, Direct plus Reverberant Field sound coverage
maps and Speech Intelligibility coverage maps. For more
information on the D2R∆STIc engine, see The D2R∆STIc Process
on page 307.

Direct Field coverage map

This section describes how to generate the Direct Field coverage
map. Direct Field coverage is all of the sound energy arriving at the
listening area directly from the loudspeakers, without consideration
for reflections and reverberation.

Viewing Direct Field coverage

Follow these steps to view the Direct Field coverage map for your
model:
1. Switch to Plan View and click the Enable D2R∆STIc Engine
button in the Map toolbar:

Figure 5.18 - Enable D2R∆STIc Engine button

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2. Click the Direct button in the Map toolbar.

Figure 5.19 - Direct button

Tip: Make sure that in the Simulation tab, you have Seating1
selected.

Modeler software generates the Direct Field coverage map, which

looks like this:

Figure 5.20 - Direct Field coverage map

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Setting simulation tab parameters

Parameters of the coverage maps are controlled through the
Simulation tab in the Detail window:

Figure 5.21 - Simulation tab

See the following for an explanation of the fields in the Simulation

tab.
Frequency: The frequency or range of frequencies at
which the coverage map displays sound
pressure levels. Select individual center
frequencies, or a frequency band (1 - 4 kHz
or 31 Hz - 16 kHz).
Resolution: The level of detail for your coverage map.
Lower values provide finer resolution but
longer computation times. Higher values
provide coarser resolution with faster
computation times.
Bandwidth: The width in octaves of the frequency range
displayed in the coverage map. The
selected frequency lies in the middle of this
band. (Not applicable when displaying
1 - 4 kHz or 31 Hz - 16 kHz).
Data: The calculation method used for the
simulation. Power Sum calculates sound
pressure without regard to phase
interactions between sound sources.
Cross-Power Sum takes into account the
interference effects between sound
sources.

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Offset: Changing the offset shifts the color scale of

the map legend. In the case of an SPL “hot
spot” in front of a loudspeaker that is
preventing the display of lower SPLs in
other areas of the map, use the offset
feature to more clearly display coverage in
the areas of lower SPL.
Scale: Absolute displays the map legend in actual
dB SPL values while Relative displays the
SPL values relative to the highest reading.
Surfaces: Toggle these checkboxes to specify which
surfaces in your model display acoustic
prediction data. Normally, coverage is
viewed on surfaces that are occupied by
listeners (seating and floor surfaces – note
that you can input the map height for these
surfaces).
Views: Select Maps to view maps – choose All to
view maps for all selected surfaces or
choose Custom Areas to view maps for
Custom Areas drawn on selected surfaces.
Select Listeners to view and calculate for
listeners placed on selected surfaces.

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Custom Areas
If you do not want to map the entire audience area, you can use
the Draw Custom Areas tool. Here you draw a virtual surface on
the area you want to map. This surface has no impact on the
acoustics of the room, it is simply a surface for mapping.
In this situation, we will create a map on a rectangular area near
listener position 2. The map will be made on surface type
Seating 1.
1. First, click on the Draw Custom Areas tool wing menu and
make sure that Seating 1 is selected. This ensures that we can
create a map on Seating1.

Figure 5.22 - Draw Custom Areas tool

Tip: You can create a Custom Area that spans multiple surface
types. For example, you can create one that covers the seating
area and parts of a wall. Simply make sure that the surface
types you want to include are checked in the Custom Areas
wing menu list.

2. Select the model tab.

3. Click on the Draw Custom Areas tool.

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4. Create a polygonal surface similar to what is shown below (when

you have finished drawing the Custom Area, the object will
automatically be selected and highlighted in blue).

Figure 5.23 - Polygon Custom Area

5. Select the Direct model tab.

The coverage map should look like Figure 5.24. The data shown in
the statistics and SPL tabs, now represent the data from the
Custom Area only (frequency: 1-4 kHz).

Figure 5.24 - Selected coverage map

6. Click on All (under Views) in the Simulation tab to return back to

the original coverage map on the entire Seating 1 area.

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Note: To display a Map that was created using the Draw

Custom Areas tool, three things need to be checked:
1. The surface types you are mapping (Floor,
Seating1, etc.)
2. The Maps checkbox.
3. The Custom Areas radio button.
For the Map we just created to be shown, the following 3 items
need to be checked.

Note: The Draw Custom Areas tool works on all mapping

functions in Direct, Direct plus Reverberant, and Speech.

Tip: To delete a Custom Area, select and click the Delete button
on your keyboard (cut, copy, and paste functions are invalid).

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Direct plus Reverberant coverage map

This section describes how to generate the Direct plus
Reverberant coverage map. Modeler software provides data on the
overall loudness and frequency response of a system by
calculating the Direct Field sound energy combined with reflected
sound energy. This prediction is displayed in the Direct plus
Reverberant coverage map.

Viewing the Direct plus Reverberant coverage map

Follow these steps to view Direct plus Reverberant coverage:
1. Make sure the D2R∆STIc engine is still on.

Figure 5.25 - Enable D2R∆STIc Engine button

2. Click the Direct + Reverberant button on the Map Toolbar.

Figure 5.26 - Direct+Reverberant button

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The D2R∆STIc engine will compute the Direct plus Reverberant

coverage and display it in your model:

Figure 5.27 - Direct plus Reverberant coverage map

Simulation parameters for the Direct plus Reverberant coverage

map can be adjusted in the Simulation tab.

Speech Intelligibility coverage map

This section demonstrates how to set acoustic properties, and
generate and display speech intelligibility predictions in your
model.

Viewing the Speech Intelligibility coverage map

To generate the Speech Intelligibility coverage map, click the
Speech Intelligibility button on the Map toolbar.

Figure 5.28 - Speech Intelligibility button

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Modeler software generates the STI (Speech Transition Index)

coverage map:

Figure 5.29 - STI coverage map

While viewing your STI coverage map, notice that in the

Simulation tab, the Algorithm drop-down has three different
options: STI (1998), STI (2003) and STIPA (2003).

Figure 5.30 - Algorithm drop-down menu

This version of Modeler supports the following STI based

algorithms: IEC 60268-16:1998, IEC 60268-16:2003 and STI-PA
(according to IEC 60268-16:2003).

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In the Data drop-down, you will see three different options for
displaying the data: STI, PB, and %ALcons.

Figure 5.31 - Data drop-down menu

Note: When Speech Intelligibility prediction is set to show PB

or %ALcons, the histogram will still show the STI histogram.

Finally, once the STI 2003 is selected as the data, then you can
choose between male and female voice. You can select the voice
in the source drop-down menu.

Note: Modeler now includes the STI specification from 2003,

IEC 60268-16:2003. This includes a drop-down to select male or
female voice as the input.

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The Source drop down has two different settings: Male, Female.

Figure 5.32 - Coverage in Simulation tab

Tip: The data in the Simulation tab changes based on which

map you are displaying.

Note: With STI calculation and simulation tab settings,

although frequency and bandwidth can be adjusted in the
Simulation tab, these adjustments will have no effect on STI
calculations and coverage maps.

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Viewing Modeler software data

As you evaluate your sound system design, you can make use of
the data displayed in the tabs in the Data window. These tabs
provide acoustic predictions in the form of graphs that can be used
to analyze your sound system. This section outlines the basic
functions of each tab and how to generate acoustic prediction data.
It is important to make a distinction between the kinds of data
displayed in the Data window. Modeler software can display
location dependent data, room response data, and room acoustics
data.

Type of data Characteristics Displayed in

these tabs:

Location Location dependent data is unique to Time Resp.

dependent a single location in the room. This
data: location is defined by the placement Freq Resp.
of the Sample tool in the coverage
map. The data that is shown in these MTF
tabs is specific to the location of the
Sample tool and will change as the
tool is moved around the coverage
map.

Room Room response data pertains to the Statistics

response sum of the energy in the entire
data: coverage map, and is not location SPL
dependent. The data in these tabs will
be different for each coverage map.

Room Room acoustics data depends on the RT60

acoustics acoustic properties of the room as a
data: whole. This includes variables like the
reflective or absorptive properties of
the materials used in the room
construction, the temperature and
humidity of the air in the room, and
the number of people in the audience.

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The Time Response tab

This section describes how to generate time-arrival data in the
Time Resp. tab and how to use the Time Resp. tab to set
loudspeaker delays.

Generate time-arrival data

Data in the Time Resp. tab is location dependent, and therefore
can only be seen when the Sample tool is placed in your coverage
map. The Sample tool allows you to specify an exact location from
which to generate acoustic prediction data. Follow these steps to
use the Sample tool to generate time-arrival data:
1. Make sure that the D2R∆STIc engine has been enabled, and
that the Direct, Direct + Reverberant, and Speech
Intelligibility coverage maps have been turned on.
2. Select the Sample tool in the Draw toolbar.

Figure 5.33 - Sample tool

3. Click in the Speech Intelligibility coverage map to place the

Sample tool. Time-arrival data for that location will populate in
the Time Resp. tab.

Note: Time-arrival is only displayed for a single frequency

band. The Time Resp. tab will be grayed out and a warning will
be displayed in the graph, indicating to pick a single frequency
band from the Frequency drop-down menu.

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Figure 5.34 - Frequency band warning

The Time Resp. tab displays elapsed time on the horizontal axis
and dB SPL on the vertical axis. Each pin in the graph represents
an arrival of sound at the exact location where you placed the
Sample tool. The colors of the pins have the following meanings:

Red pins: Direct arrivals from the sound source.

Green pins: First order reflections. They have reflected off
of one surface.
Blue pins: Second order reflections. They are arriving at
the sample point after reflecting off of two
surfaces.
Yellow line: Reverberant Field Envelope Function (RFEF),
which shows the build-up and decay of
reverberant energy in the room.

Figure 5.35 - Time Resp. tab

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Note: In the HEDC™ Time Resp. window, the direct arrival from
each cluster is represented by a single pin. Its level is
calculated using x-power sum on all individual arrivals from
that cluster. Its time is set equal to the time of arrival of the first
individual arrival time.

Click on a pin in the graph to generate the path from the source to
the listener location, which is viewed in the Modeling window. You
can scroll through the pins sequentially using the scroll bar to the
right of the Time Resp. graph.

Figure 5.36 - Time Resp. tab, first pin highlighted

Set loudspeaker delays

The Time Resp. tab can be used to set loudspeaker delays. In a
decentralized sound system, the signal to certain loudspeakers
can be delayed by a fraction of a second to ensure proper signal
localization. Follow these steps to use the Time Resp. tab to set
loudspeaker delays:
1. Select the Direct tab in the Modeling window.
2. Place the Sample tool in the model to the right of Cluster 2, as
shown in Figure 5.37:

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Figure 5.37 - Sample tool placed behind Cluster 2 (with 1 kHz selected)

Loudspeaker delays are set using direct arrival information.

When the Sample tool is placed in the Direct Field coverage
map, the Time Resp. tab shows only the direct sound arrivals
(red pins).
3. Scroll through the arrival pins in the Time Resp. tab and take
note of which arrivals come from which cluster.

Figure 5.38 - Matching arrivals with clusters

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4. As you can see in Figure 5.38, sound is arriving at the Sample

tool location from Cluster 2 first (notice the selected pin and its
corresponding trace on the coverage map).
Humans localize sound based on the first arrival that they hear.
Cluster 1 is closest to where a talker or music presentation
would be located, so the audience should hear their first sound
arrivals from Cluster 1, not Cluster 2. Because listeners in the
back of the church are closer to Cluster 2, sound from these
loudspeakers would normally reach them first. To prevent this, a
signal delay should be set on the loudspeakers in Cluster 2 so
that all listeners in the church receive sound from Cluster 1 first.
5. Click the Loudspeakers tab in the Detail window and scroll to
the right until you can see the Delay column.
6. Enter a delay of 45 (ms) for the three loudspeakers in Cluster 2.
7. Notice that the time-arrivals in the Time Resp. tab have
changed, and the first sound arriving at the Sample tool location
is now from Cluster 1.

Figure 5.39 - After a delay of 45 (ms) is set, sound arrives from

Cluster 1 first

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The Frequency Response tab

The Freq. Resp. tab displays dB SPL on the vertical axis, and the
frequency spectrum on the horizontal axis. The frequency
response at a specific location in the coverage map can be
displayed by placing the Sample tool at the desired location.
Follow these steps to display a frequency response:
1. Click the Freq. Resp. tab.
2. Select the Sample tool in the Draw toolbar.
3. Click inside the Speech Intelligibility coverage map in the
Modeling window. Notice that data appears in the Freq. Resp.
tab.
4. Drag the sample tool around the model. Because frequency
response is position-dependent, the data changes as you
change the location of the Sample tool.
Drag the Sample tool over each of the listener locations in the
model. The Sample tool snaps to the listener location when you
drag the tool near a listener. As you make changes to your sound
system, these listener locations allow you to return to a specific
and consistent location in the model to evaluate acoustic
prediction.

Figure 5.40 - Freq. Resp. tab

Note: You can change the smoothing of the frequency

response curve by right-clicking in the Freq. Resp. tab and
choosing a different octave value. Lower values produce finer
resolution.

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The Modulation Transfer Function (MTF) tab

The STI is calculated using band limited noise in seven octave
bands. Each band is modulated at 14 different frequencies
between 0.63 and 12.5 Hz. Each of these curves represents the
one of the seven octave bands, and is called an MTF curve
(Modulation Transfer Function).
The MTF is a graphic description of the Speech Transmission
Index calculation and tells us how well the speech was preserved
when it arrived at the listener after leaving the loudspeaker and
traveling through the room. If the signal is perfect upon arrival it
would be a flat line at the top (100% intelligible = 1.0); if it were
totally degraded it would be a flat line at the bottom (0% intelligible
= 0.0). By looking at the shape of the MTF curve we can determine
the probable cause of reduced intelligibility.
The MTF is color coded 125 Hz to 4 kHz, using Roy G. Biv
(Sequence of hues in the visible spectrum).
Follow these steps to view MTF data:
1. Select the Speech tab in the Modeling window to display the
Speech Intelligibility coverage map.
2. Click the MTF tab in the Data window.

Figure 5.41 - MTF tab

Note: You can copy a graph or the data into Excel by

right-clicking in the graph window and selecting either Copy
Graph or Copy Data.

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Here are some beginning guidelines for understanding the MTF

data:
Background Noise: Has the effect of reducing the entire MTF,
independent of modulation frequency. The
lines would both start and end lower on the
graph.

Figure 5.42 - A reduced MTF due to Background Noise

Reverberation: Has the effect of gradually decreasing the

modulation as the modulation frequency
increases. The MTF that results from high
reverberation levels will slope continuously
downward. Higher reverberation times
cause the curve to decrease more rapidly.

Figure 5.43 - A downward sloping MTF caused by reverberation

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Late-arriving Have the effect of putting a notch in the

reflections: MTF. The later the reflection, the lower the
modulation frequency at which the notch
occurs.

Figure 5.44 - A notched MTF caused by late reflections

Tip: The notch is located at a frequency, f where

1
f =
2 × ∆t
where

∆t is the time difference between the two arrivals causing the

echo. If you see a dip at 5 Hz, look at 2 arrivals spaced by
1
roughly or 100 ms.
2 × 5Hz

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The Statistics tab

The Statistics tab is a histogram that indicates how even the
coverage data is in a given coverage map. Specifically, the
Statistics tab is a plot of the normalized frequency of occurrence
of a particular sound pressure level or STI number (depending on
what you are evaluating) versus the sound pressure level or STI
number.
This tab also provides the standard deviation from the average.
1. Select Direct Field map
2. Select 1-4 kHz in the frequency drop-down menu.
Figure 5.45 is the Statistics tab for the Direct Field coverage (at
1-4 kHz) of our sample model. The mean SPL and standard
deviation are displayed below the graph in the Status Bar.
In the example, the mean is 69.9 and the standard deviation is
1.8 dB. 95% of the samples fall within +/-2 standard deviations, so
in this situation 95% of the samples would fall within the range:
66.3-73.5 dB SPL.

Figure 5.45 - Statistics tab

The standard deviation number displayed in Modeler represents

the +/- range, in dB, from the mean for one standard deviation. For
example, if the mean SPL is 80 dB, and the standard deviation is
6.0 dB, we can assume that 68% of the samples will fall within
74 and 86 dB. To determine the SPL variance for 95% of the
samples we simply multiply the standard deviation by 2, since two
standard deviations represents 95% of the samples.

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The SPL tab

The Sound Pressure Level (SPL) tab shows the room frequency
response, with dB SPL on the vertical axis and the frequency in Hz
on the horizontal axis.

Figure 5.46 - SPL tab

The SPL tab displays the mean SPL, standard deviation, and
average total SPL in the status bar below the graph.

Note: The shaded bandwidth region can be dragged across the

frequency spectrum to display Sound Pressure Levels at
different frequencies in the Direct or Direct plus Reverberant
coverage maps.

The RT60 tab

RT60 is a measure of the amount of time it takes for the sound
pressure level in a room to decay by 60 dB. Modeler software
displays the predicted RT60 for the room across the entire
frequency range in the RT60 tab.

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The RT60 source (the red sphere in your model which is selected)
should be located near the primary source of sound in your room
model. For example, in the tutorial model the RT60 source should
be placed just below Cluster 1.

Figure 5.47 - The RT60 source

Follow these steps to reposition the RT60 source:

1. Select the RT60 source in your model by clicking on it with the
Select tool. It will highlight in red when selected.
2. There are 2 ways to position the RT60 source once it has been
selected:
• Drag the purple sphere to the proper location in your
room, or
• Click on the Properties tab in the Detail window and enter
the desired X, Y and Z coordinated for the RT60 source. In
this case enter X= -12.0, Y= 0.0, and Z= 5.0.

Note: To show the measured RT60, right-click in the graph

window and select Measured Reverberation Time.

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The RT60 curve is displayed in the RT60 tab in the Data window.
The vertical axis displays time in seconds and the horizontal axis
displays frequency:

Figure 5.48 - RT60 tab

Note: If you do not see data in the RT60 tab, the RT60 source
may be located outside of your room model, or it is a Model
where more than 95% of the energy from the RT60 source is
removed within three reflections. The source must be located
inside the walls of your model to provide data. Reposition the
RT60 source so that it is inside the room model.

Changing surfaces and RT60

The RT60 (or reverberation time) of the room depends heavily on

the surface materials in your room model.
Follow these steps to see how changing surface materials affects
the RT60 curve:
1. Click the RT60 tab to display RT60 data.

2. Click the Surfaces tab (in the Data window).

3. Right-click in the window and confirm Sort > By Number.
4. Select the surface at the top of the list (Pews - Wooden).
5. Click the drop-down menu in the Material column and change
the surface to Carpet - heavy on concrete.

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Figure 5.49 - Choosing a different material for a surface

6. With the first surface still selected in the Surfaces tab, move the
pointer to the lower right corner of the cell until it changes to a
double arrow as shown below:

Figure 5.50 - Mouse arrow changes to double arrow pointer

7. Copy this value to other rows by clicking and dragging the

double arrow downward until all surfaces are highlighted.

Figure 5.51 - Copying value to all other cells

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Note: You can also change all materials by selecting them and
then right-click to select Edit cells...

8. When you release the mouse, all the materials in the model will
change to Carpet - heavy on concrete.
Notice that the RT60 curve changes dramatically due to the
absorption characteristics of this material. For example, at
100 Hz the RT60 changed from 2.4 to 4.8 seconds.

Figure 5.52 - RT60 curve before change in surface material

Figure 5.53 - RT60 curve after change in surface material

This demonstrates how reflective and absorptive properties of

the room affect the RT60 curve.

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Reverberant Decay Curves

Alternatively, you can see how changing surface materials affect
the Reverberation Time by viewing the Reverberant Decay
Curve. To view Reverberant Decay Curve, right-click in the
graph window and select Decay.
Modeler predicts the decay rate of sound for each octave band
in the room model as a function of time and then fits a line to that
curve to estimate the reverberation time.
Below, you can see the reverberant decay curve at 100 Hz for
the two different scenarios above. Notice how the slope of the
curve changes as you change material.

Figure 5.54 - Reverberant decay curve before changing surface material

Figure 5.55 - Reverberant decay curve after changing surface material

The EQ tab
The EQ tab displays the equalization settings for a given
loudspeaker or loudspeakers, and allows you to adjust the
equalization and gain. As you make adjustments in the EQ tab, you
can see the results of your adjustments in the SPL tab (when
viewing Direct or Direct plus Reverberation coverage maps).

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Follow these steps to adjust the equalization:

1. Select the EQ tab.
2. Right-click in the EQ tab and choose Select Speakers...
The Select dialog box opens. Here you can select the speakers
for which to display EQ data.

Figure 5.56 - Select Speakers

To select all speakers, make sure that any is selected in each of

the four columns, then click OK. The line of EQ values and the
Gain values appear in the EQ tab. The EQ is flat by default.

Tip: A quick way to select all active loudspeakers is to

right click in the EQ tab and choose Select Active Speakers (or
press the F4 key).

Figure 5.57 - EQ tab with all active loudspeakers selected

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3. To adjust the EQ values, click and drag the gray boxes up or

down, or shift and click. Each gray box is positioned at a different
frequency.

Figure 5.58 - Dragging a slider to change the equalization

4. You can adjust loudspeaker gain in the same fashion by

dragging the gray box in the Headroom (Hdrm) slider up or
down.

Tip: When multiple speakers are selected, dragging will

change the gain while maintaining the relative level differences.
Shift + drag will adjust all gains to the same level.

You also can view and adjust the EQ in grid view. Right-click in the
EQ tab and choose EQ Grid.

Figure 5.59 - EQ Grid

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As you make changes in the EQ tab, observe how the adjustments

affect the Sound Pressure Level curve in the SPL tab. When
adjusting equalization in the EQ tab, keep these points in mind:
• You can alter the sensitivity of the adjustments you make to the EQ
and gain by right-clicking in the EQ tab and changing the Select
Increment setting. Lower dB settings will allow finer adjustments,
or you can select None to turn the grid sensitivity off.
• Right-click in the EQ tab and select Apply House Curve to apply
the house curve to your EQ settings. Make sure the D2R∆STIc
engine is turned on, and Direct, Direct plus Reverberant, or STI tab
is selected. A house curve is a predetermined room-response
setting that is used when a particular frequency response is
desired in your model. The EQ curve is automatically adjusted to
produce the house curve response. The house curve is specified
in the House Curve window in the Acoustics tab.
For more information on preferences in Modeler software, see:
Window and Right-Click Menu Reference, on page 353.

Next steps
This tutorial was designed to introduce you to the major features of
Modeler software. While you have been exposed to much of the
functionality of the application, the tutorial is not a comprehensive
presentation of the capabilities of Modeler software.
Please use the Modeler software User Guide, or visit
http://pro.bose.com/modeler to learn more about the capabilities of
Modeler software.

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