Curvilinear Hybrid Arrays and

System Design

Acoustical Engineering,
by Dr. Harry F. Olson, 1947

1
Straight-Line Source - A straight-
line source may be made up of a
large number of points of equal
strength and phase on a line
separated by equal and very small
distances….
Harry F. Olson, Acoustical Engineering, ©1957
based on Elements of Acoustical Engineering ©1940, 1947

Straight Line Source

• Large number of points
• Equal strength
• Equal phase
• On a line
• Separated by equal and
very small distances
• Sources omni-directional
at all frequencies

2
Early Array Design

Early Array Design

3
 Early Array Design

Today’s Curvilinear Hybrid Arrays

M1D &
M1D-Sub
M’elodie

M2D &
MICA
M2D-Sub

MILO &
M3D-Sub
M3D & M3D-Sub

4
 M-Series Loudspeakers are
Hybrid Systems

Part I
Mid to Low Frequency Behavior

5
 MILO

12-inch cone driver

Direct Radiators
(driver not coupled to a horn)

MILO

12-inch cone drivers

Drivers function in a 2-way arrangement –
both drivers active below 300 Hz for
maximum low frequency output and pattern
control

6
 MILO Horizontal at 160Hz

MILO

2’ 8” or 81.1cm

Above 300 Hz one driver is rolled off

for optimal polar and frequency
response.

7
 Part II
High Frequency Behavior

High Frequency CQ Horns

Provide Horizontal Directivity

8
 MILO

Mid-High Section
• 4-inch diaphragm compression driver
• Meyer Sound’s Ribbon Emulation Manifold
• 90˚ constant directivity horn

Single MILO

Very- High Frequency Section

•3x 2-inch diaphragm compression drivers
•Meyer Sound’s Ribbon Emulation Manifold
•90˚ constant directivity horn

9
 MILO Horizontal

MILO Horizontal

500
Horizontal Pattern:
1K
Wide and constant
2K

4K

8K

10
360° M-Series

270°
Horizontal
Directivity
180°

90°

0°
20Hz 1kHz 10kHz

MILO Vertical

11
 MILO Vertical

500

Vertical Pattern: 1K
Constantly
2K
narrowing
4K

8K

360° M-Series

270°
Vertical
Directivity
180°

90°

0°
20Hz 1kHz 10kHz

12
 360° Vertical
Horizontal

270°
M-Series
Directivity
180°

90°

0°
20Hz 1kHz 10kHz

Curvilinear Hybrid Loudspeaker Arrays

How do the hybrid characteristics of
a single M-Series Loudspeaker
behave when used as part of an
entire array?

13
How Hybrid Arrays Work

Part I

Low Frequencies

Directional control of
Low Frequencies requires:

• Multiple Sources

14
2 Elements @ 11.3 ft (3.44 m)

+6dB (0°Phase Shift)

> -20dB (180°Phase Shift)

+6dB (360°Phase Shift)

Phase Shift = 11.3 ft X 100Hz X 360°/ 1139 ft = 360°(1 cycle)

Temperature:
15 °C
60 °F
2 Subwoofers. Distance 360°@ 100Hz

2 Elements @ 16.95 ft (5.16 m)

+6dB (0°Phase Shift)

> -20dB (180°Phase Shift)

+6dB (360°Phase Shift)

> -20dB (540°Phase Shift)

Phase Shift = 16.95 ft X 100Hz X 360°/ 1130 ft = 540°(1 cycle + 180°)

Temperature:
15 °C
60 °F 2 Subwoofers. Distance 540°@ 100Hz

15
 2 Elements @ 22.6 ft (6.88 m)

+6dB (0°Phase Shift)

> -20dB (180°Phase Shift)

+6dB (360°Phase Shift)

> -20dB (540°Phase Shift)

+6dB (720°Phase Shift)

Phase Shift = 22.6 ft X 100Hz X 360°/ 1130 ft = 720°(2 cycles)

Temperature:
15 °C
60 °F
2 Subwoofers. Distance 720°@ 100Hz

2 Elements @ 28.25 ft (8.6 m)

+6dB (0°Phase Shift)

> -20dB (180°Phase Shift)

+6dB (360°Phase Shift)

> -20dB (540°Phase Shift)

> -20dB (900°Phase Shift) +6dB (720°Phase Shift)

Phase Shift = 28.25 ft X 100Hz X 360°/ 1130 ft = 900°(2 cycles + 180°)

Temperature:
15 °C
60 °F 2 Subwoofers. Distance 900°@ 100Hz

16
 2 Elements @ 33.9 ft (10.32 m)

+6dB (0°Phase Shift)

> -20dB (180°Phase Shift)

+6dB (360°Phase Shift)

> -20dB (540°Phase Shift)

+6dB (720°Phase Shift)

+6dB (1080°Phase Shift)
> -20dB (900°Phase Shift)

Phase Shift = 33.9 ft X 100Hz X 360°/ 1130 ft = 1080°(3 cycles)

Temperature:
15 °C
60 °F 2 Subwoofers. Distance 1080°@ 100Hz

Directional control of
Low Frequencies requires:

• Multiple sources

• Each source to be closely

spaced

17
 8 Elements @ 90°

Length of Line= 19.775ft (6.02m)

Sum Area

Cancel Area Not Sum Area Cancel Area

Phase Shift = 2.825 ft X 100Hz X 360°/ 1130 ft = 90° Phase Shift = .86 m X 100Hz X 360°/ 344 m = 90°

Temperature:
21 °C
8 Subwoofers @ 100Hz 70 °F

8 Elements @ 120°

Length of Line= 26.39 ft (8.05 m)

Sum Area

Cancel Area
Not Sum Area Cancel Area Not Sum Area

Phase Shift = 3.77ft X 100Hz X 360°/ 1130ft = 120° Phase Shift = 1.15m X 100Hz X 360°/ 344m = 120°

Temperature:
21 °C
8 Subwoofers @ 100Hz 70 °F

18
 8 Elements @ 150°

Length of Line= 32.97 ft (10.01 m)

Sum Area

Cancel Area
Not Sum Area Not Sum Area
Cancel Area
Cancel Area
Not Sum Area

Phase Shift = 4.71ft X 100Hz X 360°/ 1130ft = 150° Phase Shift = 1.43m X 100Hz X 360°/344m = 150°

Temperature:
21 °C
8 Subwoofers @ 100Hz 70 °F

8 Elements @ 180°

Length of Line= 39.55 ft (12.04 m)

Sum Area

Área sin Not Sum Area Cancel Area

Cancel Area
suma
Cancel Area

Phase Shift = 5.65ft X 100Hz X 360°/ 1130ft = 180° Phase Shift = 1.72m X 100Hz X 360°/ 344m = 180°

Temperature:
15 °C
8 Subwoofers @ 100Hz 60 °F

19
 8 Elements @ 240°

Length of Line= 52.71ft

Sum Area

Área de
cancelación
Not Sum Area
Cancel Area Cancel Area
Cancel Area
Not Sum Area Not Sum Area Not Sum Area

Phase Shift = 7.53ft X 100Hz X 360°/ 1130ft = 240°

Phase Shift = 2.29m X 100Hz X 360°/ 344m = 240°

Maximum Distance between Sources is 240°(2/3 de cycle) Temperature:

15 °C

2 Subwoofers @ 100Hz 60 °F

8 Elements @ 360°

Length of Line= 79.1 ft

Sum Area

Cancel & Not Sum Area

Sum Area

Phase Shift = 11.3ft X 100Hz X 360°/1130ft = 360°

Phase Shift = 3.44m X 100Hz X 360°/344m = 360°

Maximum Distance between Sources is 240°(2/3 de cycle) Temperature:

15 °C

2 Subwoofers @ 100Hz 60 °F

20
 How Line Arrays Work

Rule:
Spacing between elements must be
less than 240 degrees of the highest
frequency being produced in order
to get addition on axis and
cancellation off axis.

Low Frequencies:
Directional Control is a Combination of:
•Constructive interference
-Additions on-axis

12 Mica 250Hz 1 Oct

21
 Low Frequencies:
Directional Control is a Combination of:
•Constructive interference
-Additions on-axis
•Destructive interference
-Cancellations off-axis

12 Mica 250Hz 1 Oct

A = 138.9ft Maximum
B = 138.25ft Deviation =
A B C = 138.87ft .65ft or 7.8in
C

12 Mica 250Hz 1 Oct

22
.65ft (.2m) is how many degrees at
100Hz?

Phase – 100Hz
Temp = 20°C / 68°F

3.44m / 11.3ft

20.8°
.2m / .65ft

20.8° = .198m x 100Hz x 360º / 344m/s

20.8°= .65ft x 100Hz x 360º / 1127ft/s

23
Phase Shift and Gain Relationship
2 Signals - Same Level and Polarity

20°

Phase Shift and Gain Relationship

2 Signals - Same Level and Polarity
20°

24
 All signals arrive between
0º to -20º at 100Hz

12 Mica 250Hz 1 Oct

-2dB at -20º
100Hz -2dB at -16º
-1dB at -12º
-1dB at -8º
0dB at -4º
0dB at 0º
0dB at 0º
-1dB at -4º
-1dB at -8º
-2dB at -12º
-2dB at -16º
-3dB at -20º
Addition – Constructive Interference

25
All signals arrive between
0º to -40º at 200Hz

12 Mica 250Hz 1 Oct

Area where vector sum is

CONSTRUCTIVE

12 Mica 250Hz 1 Oct

26
 Low Frequencies:
Directional Control is a Combination of
•Constructive interference
•Additions on-axis
•Destructive interference
-Cancellations off-axis

12 Mica 250Hz 1 Oct

A = 43.78’ Maximum
A B = 37.63’ Deviation =
B C = 31.79’ 12ft
C

12 Mica 250Hz 1 Oct

27
 Phase – 100Hz
Temp = 20°C / 68°F

3.44m / 11.3ft

383°
3.66m / 12ft

383° = 3.66m x 100Hz x 360º / 344m/s

383° = 12ft x 100Hz x 360º / 1127ft/s

All signals arrive between

0º and -328º at 100Hz

12 Mica 250Hz 1 Oct

28
 -6dB at -328º
100Hz -5dB at -300º
-5dB at -270º
-4dB at -240º
-4dB at -210º
-3dB at -180º
-3dB at -150º
-2dB at -120º
-2dB at -90º
-1dB at -60º
-1dB at -30º
0dB at 0º
Cancellations – Destructive Interference

Area where vector sum is

DESTRUCTIVE

12 Mica 250Hz 1 Oct

29
Single MILO – 125Hz

Two MILO – 125Hz

30
Four MILO – 125Hz

Six MILO – 125Hz

31
Eight MILO – 125Hz

Ten MILO – 125Hz

32
Directional control of
Low Frequencies requires:

• Multiple sources

• Each source to be closely spaced

• Array length longer than the

wavelength of frequency being
“directed”

10x Mica
Length = 12’
50 Hz 1/24th Oct

63 Hz 1/24th Oct

80 Hz 1/24th Oct 100 Hz 1/24th Oct

33
 20x M1D
Length = 12’
50 Hz 1/24th Oct

63 Hz 1/24th Oct

80 Hz 1/24th Oct 100 Hz 1/24th Oct

How Hybrid Line Arrays Work

Part II

High Frequencies

34
High Frequency Behavior:

• The high frequency section in each

cabinet acts as its own small line
array in the high frequencies.
500

1K

2K

4K

8K

Narrow vertical coverage pattern:

• Isolates the high frequency energy
from other elements in the array
• Minimizes destructive interference
in the high frequencies

35
High Frequency Behavior:
• The narrow vertical coverage
minimizes destructive interference in
the high frequencies.

Challenges in developing
loudspeakers for curvilinear arrays:

• To achieve less than 2/3 of cycle

(240°) between sources

36
For ALL frequencies….

100Hz
d<
11.3ft x 2/3 = 7.5ft
3.44m x 2/3 = 2.6m
1000Hz
d 1.13ft x 2/3 = .75ft
34cm x 2/3 = 26cm
10,000Hz
.11ft x 2/3 = .08ft
3.4cm x 2/3 = 2.6cm

High Frequencies

•Using Ribbon transducers could be the

ideal solution for HF

•Ribbon transducers meet pattern needs

•Vibration surface behaves as multiple

infinitesimal sources

•They behave as a line array at HF

37
 Meyer Sound Ribbon Transducer Prototype

Ribbon Transducer Disadvantages

• Very low sensitivity
• Limited SPL
• Thermal dissipation problems
on ribbon
• Magnetic field needed is huge
due to gap too wide
• Heavy
• Other problems...

Meyer Sound Ribbon Transducer Prototype

38
Compression Drivers Advantages
• Higher sensitivity
• Higher SPL
• No thermal dissipation
problems on diaphragm
• Narrow magnetic gap
• Lightweight

Compression Driver Disadvantage

Space between the

exit of drivers will not
accomplish line array
principles at high
frequencies

39
Solution: Ribbon Emulation Manifold

M2D MILO (HF)

M3D MILO (MF)

Ribbon Emulation Manifold

IN OUT

40
Ribbon Emulation Manifold

Multiple
exits

Distance
between
exits is
small

41
Ribbon Emulation Manifold

• All frequencies
in-phase at exit

• Internal paths
are Equal-length

Ribbon Emulation Manifold

Produces directivity at
high frequencies due
to the length of the
reproduction source

42
 Ribbon Emulation Manifold
• Line array principles at high frequencies
• Works for single or multiple drivers
• Combines more than one driver in phase
• Very low distortion
• Couples drivers to horns
• Patented

Review…

Spacing between elements must be less

than 240 degrees of the highest frequency
being produced in order to get addition on
axis and cancellation off axis.

Array length longer than the

wavelength of frequency being “directed”

43
 Line Array System Design

Line Array System Design

Objectives:

• Even horizontal and vertical coverage

• Uniform frequency response
• Uniform SPL
• Sufficient SPL for the application

44
 Perfection…..

Courtesy Bob McCarthy

Vertical Coverage

• Number of array elements

• Splay angles

NOTE: Results are dependant

of frequency range
– Mid to low frequencies
– High frequencies

45
 Vertical Coverage

High frequencies
• Number of array elements
Profoundly affects vertical coverage
Lower impact on overall SPL

• Splay angles
Small angles = improve coupling
Large angles = increase vertical coverage

Vertical Coverage

Mid and Low Frequencies

• Number of array elements
Directly related to SPL
Effects Directivity Control

• Splay angles
Have little effect on directivity

46
 Vertical Coverage

Possible Splay Configurations:

•All at 0 degrees
•All even at X degrees
•“J” configuration
•“Stepped” configuration

Vertical Coverage
10 MILO all at 0°

250 Hz

47
Vertical Coverage
10 MILO all at 0°
250 Hz

8K Hz

Vertical Coverage
10 MILO all at 5°

250 Hz

48
 Vertical Coverage
10 MILO all at 5°
250 Hz

8K Hz

Vertical Coverage
10 MILO “J” Angles
250 Hz

1 0
2 0
3 0
4 0
5 0
6 0
7 0
8 -5
9 -5
10 -5

49
 Vertical Coverage
10 MILO “J” Angles
200 Hz

8K Hz

Vertical Coverage 10 MILO “Stepped” Angles

250 Hz

1 -.5
2 -.5
3 -.5
4 -1
5 -1
6 -1.5
7 -2
8 -3
9 -5

50
Vertical Coverage 10 MILO “Stepped” Angles

250 Hz

8K Hz

Vertical Coverage 10 MILO “Stepped” Angles

1 -.5
2 -.5
3 -.5
Smaller angles for long throw
4 -1
5 -1
6 -1.5
7 -2 Larger angles for near field
8 -3
9 -5

4K Hz

51
 Line Array System Design
Vertical LF Coverage:
•Adjusting trim height, angle of grid,
and splay between loudspeakers

Curve

11 Mica
250Hz 1Oct

52
 No Curve

11 Mica
250Hz 1Oct

Trim Height and Array Angle

11 Mica
250Hz 1Oct

53
 Line Array System Design
Horizontal Coverage:
System behaves like a single
loudspeaker on the horizontal plane

Melodie 4k 1oct horizontal

MILO 4k 1oct horizontal

Line Array System Design

Horizontal Coverage:
Multiple arrays behave similarly to
point source arrays

54
 M’elodie
Left and
Right with
stage

Mica

4kHz 1oct

55
 Horizontal Coverage (0°)

Horizontal Coverage (5°Out)

56
Horizontal Coverage (5°In)

Driving Self-Powered Arrays

57
 Creating Zones
1 -.5
2 -.5
Far
3 -.5
4 -1
5 -1
Middle
6 -1.5
7 -2
8 -3 Near
9 -5

4K Hz

Vertical Coverage 10 MILO “Stepped” Angles

Creating Zones
1 -.5
2 -.5
Far • Typically divided into
3 -.5
4 -1
two to four zones
5 -1
Middle • Depending on
6 -1.5
7 -2
– Design
8 -3 Near
– Size of the array
9 -5 – Area of coverage

4K Hz

Vertical Coverage 10 MILO “Stepped” Angles

58
M3D 17 Box Array

M3D 17 Box Array

59
 High-Frequency EQ Strategies
Far Zone
• Air absorption critical
• Longer distance = greater attenuation of
high frequencies
• High frequencies correction needed
usually proportional to distance and air
absorption

4K Hz

High-Frequency EQ Strategies
Near and Mid Zone

•Air absorption not nearly as critical

•Little or no additional correction needed
•Perhaps reduction in near zone

4K Hz

60
 Low-Frequency EQ Strategies
250 Hz

All Zones
•At lower frequencies the array acts as a
single element.

Low-Frequency EQ Strategies
250 Hz

All Zones
•Response is generated by coupling of all
the elements of the array
•Identical or similar correction filters should
be applied to each zone

61
 Low-Frequency EQ Strategies
250 Hz

Gain tapering is not recommended for line

arrays, because…
•Length of the line array column is effectively
shortened
•Directionality decreases
•Low frequency headroom decreases

All Three Processors at

0dB Gain

62
 125Hz
no level change

-3 and -6 shading

0dB
-3dB
-6dB

63
 -3 and -6 level changes
125Hz

205 feet

no level changes
125Hz

no level change245 feet

Now at 250 Hz…

64
 -3 and -6 level changes

250Hz

235 feet

no level change
250Hz

285 feet

Delay tapering is not recommended for

line arrays, because…

•Alters phase relationship between

elements
•Directionality changes with frequency
•Off-Axis response is also affected

4K Hz

65
 No Delay

4K Hz

Delay in Pairs

No Delay

Delay in Pairs

66
 Bob’s Alternate
Design Concept

Driving Self-Powered Arrays

Strategies Summary
• Drive the array in zones
• Global low frequency filters to
all zones
• Individual high frequency
changes per zone

67
2 Inputs – 6 Zone Outs / 2 Sub Outs

Simple System with LD-3

68
Galileo 616

6 In (AES or Analog) x 16 Out

Compass Control Software

System Map

69
Compass Control Software

SCIENCE

ART

70
14 M’elodie in Theater – 4 Zones

14 M’elodie in Theater – 4 Zones

71
14 M’elodie in Theater – 4 Zones

14 M’elodie in Theater – 4 Zones

72
Array Correction Galileo 616 / LD-3

Array Correction Curves - Mica

12

16

73
 Array Correction or
TruShaping EQ vs. CP-10 Compare

Atmospheric Correction
Galileo 616

74
 Atmospheric Correction

Zone 1 = 70’
Zone 2 = 110’
Zone 3 = 180’

4K Hz

Vertical Coverage 10 MILO “Stepped” Angles

75
Troubleshooting…

12 MILO - 125Hz

Polarity Normal

Polarity Reversed
MILO #6

76
12 MILO - 4kHz

Polarity Normal

Polarity Reversed
MILO #6

12 MILO – 125Hz
Signal
Signalto
toall
allMILO
MILO

No Signal MILO #6

77
 12 MILO – 4kHz
Signal to all MILO

No Signal MILO #6

Always use the predictive software for

the loudspeakers you are using

78
Line arrays at low
frequencies…

Straight Line
8-700HP

8’ separation

79
31Hz

40Hz

80
50Hz

63Hz

81
80Hz

100Hz

82
Curved Line
9-700HP

31Hz

83
40Hz

50Hz

84
63Hz

80Hz

85
 100Hz

Cardioid Straight Line

16-700HP

Polarity flip, 3.56ms delay at 4’ separation

86
31Hz

40Hz

87
50Hz

63Hz

88
80Hz

100Hz

89
Cardioid Curved Line
18-700HP

Polarity flip, 3.56ms delay at 4’ separation

31Hz

90
40Hz

50Hz

91
63Hz

80Hz

92
 100Hz

Questions or Comments?

93