BUILDING UTILITIES 2

SOUND REINFORCEMENT
SYSTEM AND

LATEST TRENDS IN
ACOUSTIC SYSTEMS

PRESENTED BY GROUP 3
 CAPAHI, FAYETTE CAROLINE BENETTTE
COFREROS, GEOFFREY T.
DE GUZMAN, ENRICO ANTONIO P.
DELA CRUZ,PRINCES MHICAEHLA M.
ELLI, ROSELLAINE TRINIE R.

GROUP 3 LAMPIÑO, MICHELANGELO D.

LAO, KHAZUMI ALECY

MEMBERS
MANALAD, BON JEREMY A.
ORBILLO, QUEEN VHYLETTE K.
PENDILLA, DALE GENOAH
SASIS, MARIE GENEVIEVE FELICITY A.
SALIGUMBA, MARLA IRIZ F.
VINIEGRA, PATRICK STEVENZ F.
SOUND
REINFORCEMENT
SYSTEM
 DEFINITIONS/
BASIC CONCEPTS
Definitions
A sound reinforcement system is a system that is designed and
engineered to make capture and amplify sound and deliver it to an
audience. The role of the sound reinforcement system is to
distribute sound evenly to the audience. It can vary from complex
setups comprising many microphones, multiple arrays, and complex
mixing and signaling processing systems to a small public address
system with a single microphone connected to a loudspeaker.
1. CHURCHES
Church sound systems have to balance between architecture
and performance. In terms of architecture and design, most
churches want their sound system to be unobtrusive and blend
in with the woodwork and stonework, so customized speaker
cabinets may be necessary to avoid making the sound system
stick out against the more traditional and religious
setting.
2. THEATRES
Theaters also experience the same sound reinforcement
challenges as churches in both performance and architecture.
But an added challenge is the fact that performers are
moving onstage, which will require wireless microphones
attached to the actors. This should be done by professionals
to get the best quality and avoid reception and interference
issues during the performance
3. LECTURES AND CONFERENCES
Lecture halls and conference rooms often have echo-producing
surfaces, and picking up unwanted sounds like papers
shuffling and other background noises in a lecture is the
sound operator’s job to prevent audio feedback. This can
happen whether a speaker presenting is wearing a wireless
microphone or using a regular microphone.
4. CONCERT HALLS & CLUBS
Sound reinforcements in clubs can vary because of the venue
these clubs are set in. Some clubs are oddly-shaped, therefore
making it more difficult to maintain sound consistency. There
also has to be adequate coverage and a proper delay to ensure
the audience and guests are not hearing the same sound at
different times, causing an echo that can be hard for guests to
appreciate.
1. TONE
The moment you deal with the problems relating to the tone,
the sound might not come out of the speakers as it is
supposed to be. There can be many reasons behind it. For
instance, poor selection of microphone, its placement, and
issues related mixers and sometimes speakers. This will
require some electronic effects.
2. RANGE
Every system is designed with a purpose. If you are having a
system that is being used for broadcasting the announcements
across a vast territory but is not loud enough to hear or
perhaps have clashing frequencies, irritating sound – then
always modify the system.
3. STEREO AND MONO
This issue deals with the fact where the stereo or the listener when it
is not placed correctly. If you possess, panned elements like a live gig
planned at left and right. Then anyone has hearing issues. The simple way
of dealing with the issue is by playing the audio at mono. It means even
if the person is deaf or hard of listening, the person won’t miss a word
by hearing it through the headphones.
4. Factors affecting sound quality
One of the most important issues to be considered when you are
designing the sound system consider whether anything present in
the room is reflective.

Also, always consider testing the sound system in an empty venue

because it is going to sound different. Moreover, when you put
in a room full of people that distinct sound.
Input
Input usually means a microphone, a source of
commercial broadcast material of various types,
and a means of reproducing recorded material in
all common commercial formats. Connections to
local computers and computer networks are
available in sophisticated systems.
Amplifier and Controls
The amplifier should carry technical specifications for
signal-to-noise ratio, linearity, and distortion. Exact
values depend upon the application and are left to the
acoustics specialist or sound engineer to supply. In
addition to the usual volume, tone mixing, and input/
output selector controls, the amplifier must contain
special equalization controls for signal shaping.
Amplifier and Controls
These are highly critical filter networks that, by selective
amplification and attenuation of portions of the overall
audio frequency spectrum, voice or equalize a system after
installation. Equalization is the sine qua non of a good
sound system; without it, the system will howl, sound rough,
give insufficient and poorly distributed gain and sound
level, and generally produce bad sound.
Loudspeakers
These are the heart of any sound system and must be of the
same high quality as the remainder of the system. Indeed,
scrimping on system costs will show up much more quickly in
loudspeaker performance than in any other component.
Selection of speakers is a complex technical task beyond the
scope of our discussion. Nevertheless, a few general remarks
are in order.
Loudspeaker Considerations
Loudspeaker system design and placement
must be coordinated with the architectural
design. The two principal types of
loudspeaker systems are central and
distributed.
Loudspeaker Considerations
The loudspeakers in a conventional central
system are a carefully designed array of
directional high-frequency units, combined with
less directional low-frequency units placed above
and slightly in front of the primary speaking
position.
Loudspeaker Considerations
A distributed loudspeaker system consists of a series
of low-level loudspeakers located overhead throughout
the space. Each loudspeaker covers a small area, in a
manner similar to downlights. This type of system is
used in low-ceiling areas where a central loudspeaker
cluster cannot provide proper coverage.
EQUIPMENT AND
COMPONENTS
GENERAL SYSTEM WIRELESS SYSTEMS

COMPONENTS
Wireless systems work as
a way of connecting
equipment to consoles in
order for the user to
have an emphasized sound.

INPUT TRANSDUCERS MIXING CONSOLES

Takes a form of physical This is an equipment that
energy and converts it allows the user to adjust
into a signal which can the volumes and tones of
be read. each input.
 Signal processing is an
SIGNAL electrical engineering subfield
that focuses on analysing and
PROCESSORS synthesising signals such as
sound.

EQUALIZERS
Electronic Devices that allow audio
engineers to control the tone and
frequencies of the sound in a
channel.

COMPRESSORS
These are designed to help the
audio engineer to manage the
dynamic range of audio signals.
 NOISE GATES

SIGNAL PROCESSORS
This mutes signals below a set
threshold level, functions opposite
of a compressor while picking up
noise that is not relevant to the
program.

SOUND EFFECTS
This enhances the sound of a mix
while creating desired effects are
reverberation and delay, adding a
sense of spaciousness to the sound.

FEEDBACK SUPPRESSOR
This detects unwanted audio
feedback and suppresses it, which
an be done automatically inserting
a notch filler into the signal
path.
SOUND REINFORCEMENT EQUIPMENT

POWER AMPLIFIERS MAIN LOUDSPEAKERS MONITOR LOUDSPEAKERS IN-EAR MONITOR

This uses electrical A simple and inexpensive These are speaker This allows the monitor
power and circuitry to PA loudspeaker may have a cabinets used on stage to engineer to deliver
boost a line level signal single-full range loud- help performers to hear accurate and clearer mix
speaker driver. their singing or playing. that only the user hears.
ARCHITECTURAL
CONSIDERATIONS
ARCHITECTURAL CONSIDERATIONS
1. Audio spectrum
2. Obstructions and line-of-sight
3. Pattern and loudspeaker sizes
a. Point-and-shoot and vertical-line-
array loudspeakers
b. Delay-fill speakers and distributed
AUDIO SPECTRUM
The acoustical properties of the room and
sound systems
plans for the sound system should be planned
4. Sound system optimization
to match the design process to avoid
mistakes in terms of money and the unsightly
view
ARCHITECTURAL CONSIDERATIONS

AUDIO SPECTRUM
For live or recorded music, the entire audible spectrum needs to be considered

For speech intelligibility and sound

systems, designers need to pay High frequencies have short
particular attention to the middle
range of frequencies. wavelengths.
Lower frequencies have
longer wavelengths
ARCHITECTURAL CONSIDERATIONS

Obstruction and line-of-sight and

Pattern control and loudspeaker size
Speakers are located depending on what kind of room the architects are making for
example the theatre, wherein the loudspeakers should tend to be visible to the
audience.

To match the speakers in the

Poor pattern controls will
aesthetic or the room's design, some
include covering the speakers with result to uneven sound
an acoustically transparent facade.
coverage
ARCHITECTURAL CONSIDERATIONS

Point-and-shoot and vertical-line-array

loudspeakers
point-and-shoot loudspeakers are most known as the traditional speakers

Vertical-line-array loudspeakers it
is now becoming more popular and are
mostly installed since it is more Sound system optimization
enhanced than the front-to-back Fill speakers allowed shadowed areas
speaker Delay-fill speakers can also be part way
back in the room
Distributed sound systems
Sound system optimization
OTHER FACTORS
Room Size and Shape Room Layout and Furniture
Shape affects how sound bounces Placement
across the room Optimal use of space and equipment

Sound-Reflecting Materials Sound Transmission

Controls where sound travels to Minimize sound transmission to
reach the audience another space

Sound Absorbing Materials

Reduce echo and improves speech
intelligibility
OTHER FACTORS
Electrical Risk Tripping Hazard
System requires proper power Proper cable management should be
source and grounding observed

Risk of Falling Structural factor

Barriers should be set up Load capacities of the venue should
before installation to avoid be taken into account for hanging
accidents equipment
BEST PRACTICE
 BEST PRACTICE SOUND REINFORCEMENT SYSEM

Example of best practice is, in theatrical

performances, where performance is delivered to an
audience at a specific time and location by live actors
in a large stadium or room
THEATRICAL SOUND ISSUES
-due to too many open mics being too far away from the performers, there
was a reduced gain before feedback.

- Comb filtering, which is the thin, hollow sound produced when the same
actor is picked up by several microphones.

- Amplification of undesired sounds like reverberation and stage vibration

noise.

- Variable noise levels as actors enter and exit various microphone pick-
up locations

-Poor acoustics
SAMPLE PROJECTS
TANGHALANG NICANOR ABELARDO
The Tanghalang Nicanor Abelardo or the Main Theater is the largest performance
venue inside the Tanghalang Pambansa inside the Cultural Center of the Philippines.
It can accommodate up to 1,815 people in four levels: orchestra, boxes, and two
balconies. It was built to accommodate sound requirements of various types of
presentations, and can typically hold opera and orchestra performances without
further amplification. New York Times critic Howard Taubman praised the theater's
acoustical flexibility in his review of the center's opening night, writing that
the architect and his team seem to have built a venue "that will be equally
congenial for drama, instrumental and vocal music and dance."
SYDNEY OPERA HOUSE
is a multi-venue performing arts centre in
Sydney. Located on the foreshore of Sydney
Harbour, it is widely regarded as one of the
world's most famous and distinctive buildings and
a masterpiece of 20th-century architecture

Concert Hall: With 2,679 seats, the home of the

Sydney Symphony Orchestra and used by a large
number of other concert presenters. It contains
the Sydney Opera House Grand Organ, the largest
mechanical tracker action organ in the world,
with over 10,000 pipes
 Acoustic Environment - Achieving optimal sound quality and intelligibility in different
settings can be challenging due to variations in acoustics, including room size, shape, and
materials.
Feedback and Sound Reinforcement - Preventing feedback, which occurs when amplified
sound re-enters microphones, can be challenging and may result in unwanted squealing or
howling noises.
Coverage and Uniformity - Preventing feedback, which occurs when amplified sound re-
enters microphones, can be challenging and may result in unwanted squealing or howling
noises.
Power and Signal Distribution - Efficiently distributing power and audio signals to various
components of a sound reinforcement system, particularly in large venues, can be
challenging.

ISSUES AND CHALLENGES

COMPONENTS THAT BRING SOUND TO LIFE ,SPEAKERS, INPUT DEVICES LIKE
MICROPHONES, DIGITAL OR ANALOG MIXERS AND MORE.

POSITIONING AND TUNING

EVERY SOUND SYSTEM WILL CONSIST OF DIFFERENT DEVICES

INPUT
SIGNAL ROUTING AND PROCESSING
AMPLIFICATION
SOURCE
OUTPUT

SOUND SYSTEM DESIGN

IN THEATRE
 Latest Trends in
Acoustic System

COACHELLA 2001 COACHELLA 2023

 Latest Trends in
Acoustic System

CINEMA HOME SUTDIO

SETUP
LATEST TRENDS IN
ACOUSTIC SYSTEMS
 Latest Trends in
Acoustic System
DEFINITION/BASIC CONCEPTS:

ACOUSTIC SYSTEM
The acoustics system is a combination of components and
technologies used to capture, process, transmit, or
reproduce sound. The latest trends in acoustic systems
can vary depending on the specific application, such as
audio recording, playback, communication, or noise
control.
 Latest Trends in
Acoustic System
DEFINITION/BASIC CONCEPTS:
SOUND ABSORPTION
Reduces echoes and reverberations in
NOISE CONTROL
space. Mitigating the impact of external
Minimize background noise. noise sources, such as traffic, HVAC
Create more comfortable and pleasant systems, or mechanical equipment, on
acoustic environment the indoor environment.
Promote privacy and reduce sound To minimize noise transmission into
transmission between rooms. occupied spaces
SOUND INSULATION SOUND REINFORCEMENT
Reduce the impact of external noise
Amplify and distribute sound to ensure optimal
sources
audibility throughout a space
Create a quiet and peaceful Provide balanced and even sound coverage for large or
environment challenging venues
Prevent the transmission of sound Overcome the limitations of a room's natural acoustics
between different spaces Ensure appropriate sound levels for different types of
ROOM ACOUSTICS events or activities
Focus on shaping the sound
characteristics within a specific
space
To create optimal listening
conditions for different activities,
such as concert halls, theaters, or
lecture rooms.
Bass Traps
These devices are designed to absorb or trap bass
sounds at the corners of a room. There are
different types of bass traps you can install,
depending on the acoustic issues you’re
experiencing. Some traps are also effective at
trapping mid and high frequencies. Bass traps are
made from porous materials like rigid fiberglass
and foam that effectively soak up sound waves in
the corner of a room.
Acoustic Panels
Acoustic panels are designed to absorb sound
waves, just like bass traps. However, acoustic
panels are thinner than bass traps, which means
they won’t be as effective at trapping lower
frequencies. They can still make a significant
improvement, however, in spaces where
reverberation is an issue. Rather than allowing
sound waves to reflect off and travel throughout a
room, acoustic panels absorb the sound.
Ceiling Clouds
These panels, known as ceiling clouds, are
lightweight panels that hang horizontally from
the ceiling. Ceiling clouds are especially
helpful in buildings with high ceilings. High
ceilings can be an attractive architectural
feature, but unfortunately, high ceilings can
also contribute to excessive sound
reverberation.
Diffuser Panels
These panels are three-dimensional, with pieces
that stick out to different degrees. The effect is
that sound waves that hit the diffuser panel will
scatter in random directions. So, while sound
absorption treatments remove sound energy, which
deadens sound, diffuser panels are an acoustic
treatment that helps to keep a space sounding
live. You can use diffuser panels as a complement
to sound-absorbing treatments or in place of them.
Acoustic Foam
Acoustic foam is more commonly used in recording
studios than in businesses that need acoustic
treatment. Whereas acoustic panels tend to be
smooth, acoustic foam has a distinct egg crate-
like surface. This is partly why acoustic foam
is used for more practical, heavy-duty acoustic
treatment as opposed to lighter treatments for
spaces like restaurants or stores.
Fiberglass Insulation
Fiberglass insulation is a great option to
consider. Adding insulation in walls can
prevent sound from moving through them.
Fiberglass insulation also works to absorb
sound in the same way that bass traps,
acoustic panels and ceiling clouds do,
helping to prevent reverberation and other
acoustic problems.
Helmholtz Resonators
Helmholtz resonators are able to absorb sound of a
similar frequency to its own natural frequency. You
can use resonators of different sizes and shapes to
absorb different frequencies. This allows you to
target specific frequencies that are superfluous in
a space. By absorbing these specific frequencies,
you can neutralize the issue. Helmholtz resonators
are not a popular means of general acoustic
treatment, but they can come in handy in certain
situations.
EQUIPMENT AND
COMPONENTS
SOUND REINFORCEMENT EQUIPMENT

HEADSET MOUNTED
BLUETOOTH SPEAKERS
MICROPHONE
Most portable speakers
It offers considerable
use Bluetooth wireless
freedom of movement and
technology to stream
music from another device converts human speech
such as a smartphone or a into electrically
laptop transmitted signals
ABSORTIVE MATERIALS

ACOUSTIC CEILING CLOUDS WALL PANELS ACOUSTIC TILES CEILING BUFFLES

A good suspended ceiling
suspended parallel to the to offer insulation to make the nuances of reduces the noise and
ceiling, allowing them to between the room and the auditory experience helps the noise within a
absorb sound waves at two stone walls more pleasant. room to seem clear and
points richer.
AECHITECTURAL
CONSIDERATION
A good acoustician is vital for early acoustics
issues such as a room's shape, noise control,
and proportions.

Reverb time is the time where it takes for a

sound to disappear in the room so that it can
match the use of the room.
OTHER FACTORS
Function of Space/Room
Local Noise Regulations
Building Codes
 Latest Trends in
Acoustic System
Issues and Challenges
Implementation Complexity - New acoustic system trends, such as spatial audio or active
acoustic treatment, pose challenges due to specialized tools, calibration needs, and expertise in
acoustic programming and design.

Cost - Implementing the latest acoustic trends, like immersive audio or distributed sound
systems, can be expensive due to equipment, installation, and expertise costs.

Limitations - The absence of standardization in new acoustic system trends presents challenges
in guidelines and compatibility between manufacturers.

Maintenance and Support - It's possible that sophisticated acoustic systems need routine
upkeep, software updates, and technical support. For ideal performance, it may
Latest Trends in
Acoustic System
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REFERENCES