PA System Design Fundamentals (Book 1)

Content

Page

Introduction....................................................................................

3

Section A 5 Stages in PA System............................................................................................

5

Section B 5 Design Levels in PA System...............................................................................

9

Section C 5 Design Considerations in PA System................................................................ 17

Section D 5 Design Steps of a PA System............................................................................. 23

Section E Advancement in the PA System Industry............................................................. 37

Section F Component Selection Guide............................................................................... Microphone Selection Guide................................................................................... Power Amplifier Selection Guide........................................................................... Line Supervisory Selection Guide......................................................................... Loudspeaker Selection Guide................................................................................ Product References Table

45 46 47 48 50

- Design Level 1 & 2................................................................................................. 54 - Design Level 3........................................................................................................ 56 - Design Level 4........................................................................................................ 58 - Design Level 5........................................................................................................ 60

Section G Design Template..................................................................................................... Design Level 1............................................................................................................... Design Level 2............................................................................................................... Design Level 3............................................................................................................... Design Level 4............................................................................................................... Design Level 5............................................................................................................... Estimating Equipment Rack Space Requirement...........................................

63 64 66 68 70 74 78

1

Page

Section H Installation Guide.................................................................................................................... Cable Specification................................................................................................................................ Conduit & Trunking Specification..................................................................................................... Testing & Commissioning.................................................................................................................... Common Challenges Faced During Installation......................................................................... Maintenance..............................................................................................................................................

79 80 80 81 86 88

Section I PA System - Overall System Specifications...........................................................

89

Design Level 1 ....................................................................................................................................... 90 Mixer Amplifier PA System Design Level 2 ....................................................................................................................................... 94 Programmable Preamplifier PA System Design Level 3 ....................................................................................................................................... 99 Modular Mixer PA System Design Level 4 ....................................................................................................................................... 105 Digital Matrix PA System Design Level 5 ....................................................................................................................................... 111 Early Evacuation PA System

Glossary

2

...................................................................................................................................................... 119

Introduction Over the recent years, Public Address System has been evolving to cater for the many new demands in managing the audio signal paths. These new demands are mainly to facilitate the operators of different types of buildings and complexes to perform more complex simultaneous broadcasting of different paging, digital announcements and background music. Moreover the increase in demand of the Public Address System to serve as a life-saving and emergency evacuation system has also spurred innovations in these systems. The purpose of this book is to simplify the complexity of the Public Address System that is now commonly used. It also attempts to explain the easy-way on how to design Public Address System from basic applications to the more complex ones. Section A – 5 System Stages in PA system

Section F – Component Selection Guide

This section will provide design engineers with an overview of all the 5 system stages that are required to specify a PA System.

This section will enable the design engineer to select the required components from our range of products once the design engineer has defined the specifications and quantity of the required source and output equipment.

Section B – 5 Design Levels in PA System

Section G – System Schematic Examples

This section will define the 5 different design levels of PA Systems: From a simple plug-and-play mixer-amplifier system for small scale applications to the Early Evacuation System (EES) for commercial and industrial applications.

This section consists of 5 different system schematic examples for every of the 5 design levels explained in Section B. These system schematics serves as an example of how a typical Public Address System is configured & illustrated in a schematic drawing.

Section C – 5 Design Considerations in PA System

Section H – Installation Guide

This section will provide a more in-depth look at the 5 system stages of a PA System. Design engineers will be guided through all of the components and considerations that should be taken into account when designing a PA System.

This section will identify and provide the design engineer with information on various installation issues that must be considered during the installation process. Issues such as cable selection and testing procedures will be discussed in this section.

Section D – 5 Design Steps of a PA System

Section I – PA System Overall Specification

This section will explain the procedures involved in specifying a PA System. A step-by-step guide is provided to the design engineer to aid in defining the specifications and quantity of the required source and output equipment.

This section will discuss the overall system specification for typical applications, along with their benefits.

Section E – Advancement in the PA System Industry This section aims to provide the design engineer with an overview of the PA System industry and its current trends. With an understanding of the technologies available and the general direction of the industry, a PA system can be effectively designed to leverage on technology effectively and not solely for the sake of being ‘high tech’.

With all the sections mentioned above, we hope that this manual provides a comprehensive guide for design engineers in designing and specifying PA Systems. For further design assistance, please visit our website at www.aexsystem.com or contact your nearest AEX System representative.

3

Safety and Evacuation Standards The design and manufacturing of Public Address systems should take into consideration various international standards for building safety and evacuation. These standards are set in place to ensure safety of building occupants. AEX products and systems are designed to ensure these buildings achieve these standards by providing the functions and safety features required. Below are some relevant standards that AEX System can comply with:

AS 60849

Australian National Standards for Emergency voice Evacuation System Equipment

BS EN 60849

British National Standard for Emergency Voice Evacuation System

IEC 60849

International Electrical Community Standards for Emergency Voice Evacuation System Equipment.

JGJ/T16-92

People’s Republic of China National Standards for Commercial building Electrical Design Standard

GB/T50314-2000

People’s Republic of China National Standards for Intelligent Building Design

DIN EN 60849

German National Standard for Emergency Warning System equipment

SS CP 25

Singapore National Standard for Emergency Voice Evacuation System Equipment

4

Section

A 5 Stages in PA System

5 Stages in PA System Introduction to Section A

Systemstage

The equipment in a typical PA System can always be categorized into 5 different stages. The understanding of the purpose and function of each stage can provide the engineer with a basis to start building a PA System. The 5 stages of a PA System are:

Systemstage

Input Sources

Systemstage

Preamplifier & Signal Management

Systemstage

Power Amplifier

Systemstage

Control & Monitoring

Systemstage

Loudspeakers

The 5 System Stages outline the flow of data in a Public Address System from the Input Sources, where information is received, to the Loudspeakers where information is relayed to the listener.

5

Section

5 Stages in PA System

A 5 Stages in PA System

Systemstage

Input Sources

Systemstage


Emergency Microphone : Emergency Handheld Microphone Mixer Amplifier

Paging Microphone :

Desktop Microphone

Matrix Remote Microphone

eMatrix

Programmable Preamplifier Digital Matrix Sound Management System

Remote Paging Console

20-Zone Remote Microphone

Modular Mixer System Hand-Held Microphone

Remote Paging Console Communication Panel

1

Digital Source Player :

2

3

4

Fibre Optic Transceiver Digital Source Player Early Evacuation Management System

BGM Sources :

Tuner

Cassette Desk

CD Player

STAGE 1: Input Sources

STAGE 2 : Preamplifier & Signal Management

There are 4 main types of input sources in a PA System:

At Stage 2, the audio signals are received and amplified from the input sources to a level suitable for the power amplifiers. This stage also manages the input signals depending on their different priority levels. The equipment required varies according to the number of inputs and outputs as well as whether simultaneous broadcast is required.

Emergency Microphone Used during emergencies for manned evacuation (Highest Priority) Paging Microphone Used for general paging and announcement (2nd Highest Priority) Digital Source Player Used for the playback of a selection of prerecorded digital messages upon trigger (3rd Highest Priority) Background Music (BGM) Sources Examples are Digital Source Player, CD Player, Cassette Player and Radio Tuner (Lowest Priority) In a PA System, the Priority Control of the above sources are very important. Therefore all input sources should be identified and ranked in order of priority. This is to ensure that only the most important information (i.e. emergency evacuation) is broadcasted through the system when required. Fibre Optic Transciever This unit caters for the designing and implementation of long distance solutions.

The available types of equipment are: Mixer Amplifier This unit combines both the preamplifier & power amplifier in one package. Priority management is achieved by muting the other inputs when the priority input is in use. Programmable Preamplifier This unit is packaged with a fixed number of selectable inputs and outputs. Input signals can be set at 3 different priority levels. Modular Mixer This unit is comprised of a range of function specific modules. Users are able to create fully customized systems depending on their needs. There is no limit on the number of inputs and outputs, but a normal system would comprise of Emergency Paging, General Paging & BGM outputs. It manages the input signals in 3 selectable choices: Top Priority, FIFO Priority and Cascade Priority. eMatrix – Sound Management System This unit supports 20 inputs and 60 pure audio outputs. Users can configure the system to route 8 inputs to 60 outputs simultaneously, providing a multichannel sound management system. The routing patterns can be easily configured via a Graphic User Interface. Digital Matrix- Sound Management System This unit can route up to 32 input sources to any of its designated outputs (max. 128 nos.) in any pattern, configured by the user. The ability to convert audio signals into the digital domain enables multi-channel sound management & Simultaneous Broadcast of all inputs. The routing patterns and priority level of each individual input can be configured via a Graphical User Interface.

6

Early Evacuation Management System Built on the Matrix Sound Management platform, this unit is capable of conducting fully automated concerted evacuation with User Programmable Evacuation Patterns. The system is capable of delivering various simultaneous messages to inform occupants what to do based on their location relative to the emergency.

Section

A

Power Amplifier

Systemstage


Systemstage

Loudspeaker

VOLUME

Mixer Amplifier

Amplifier Monitoring Unit

Spring Mounted Ceiling Loudspeaker

Wall Mounted Loudspeaker

Foreground Music Loudspeaker

Foreground Music Loudspeaker

Horn Loudspeaker

Bidirectional Surface Mounted Wall Loudspeaker

Aluminium Column Loudspeaker

Wooden Column Loudspeaker

Line Monitoring Unit 60W Audio Power Amplifier

Amplifier Supervisory Module 120W Audio Power Amplifier

Line Supervisory Unit

5 Stages in PA System

Systemstage

240W Audio Power Amplifier Automatic Changeover Unit

Loudspeaker Line Selector 360W Audio Power Amplifier Program Timer

4 X 60W Audio Power Amplifier

Audio Atteunator

Sound Reinforcement Loudspeaker

Line Array Loudspeaker

STAGE 3 : Power Amplifier

STAGE 4 : Control & Monitoring

STAGE 5 : Loudspeaker

During the power amplification stage, the preamplifier signal from stage 2 is amplified to a 100V line to drive the loudspeakers. Public Address amplifiers differ from the ordinary amplifier as they have one additional input for the Priority signal to override both Paging & BGM during emergencies. They can also be powered by DC battery power in the event of a power failure. Power amplifiers differ from each other by output power capacity and type, such as:

To ensure the integrity of the PA System, control and monitoring devices must be incorporated to monitor and supervise the audio path from the microphone up to the last loudspeaker.

Loudspeakers are used to transduce electrical energy from the power amplifiers into sound energy, reproducing the audio signal from the input source to the listener. Various types of loudspeakers are available for specific applications in a Public Address System such as:

Amplifier Monitoring Unit This component provides visual & aural monitoring of the amplifier’s output at the equipment rack.

Mixer Amplifier This unit combines both the preamplifier & power amplifier in one package.

Line Monitoring Unit This component uses DC method to monitor the loudspeaker lines for common faults such as short and open circuit.

Single Channel Power Amplifier A dedicated amplifier unit with different output power capacities e.g. 60W, 120W, 240W & 360W.

Amplifier Supervisory Module This component monitors the operation of the power amplifier for fault.

Multichannel Power Amplifier An amplifier unit with multiple amplifier modules in a single package i.e. 4 nos. of 60W modules, housed in an amplifier unit.

Line Supervisory Unit This component uses impedance measurement to monitor the loudspeaker lines for common faults such as shorts and open circuits as well as ground leak.

Spring Mounted Ceiling Loudspeakers Wall Mounted Loudspeakers Paging Horn Loudspeakers Column Loudspeakers Foreground Music Loudspeakers Bidirectional Loudspeaker Sound Reinforcement Loudspeaker Weatherproof Loudspeakers Line Array Loudspeakers

Automatic Changeover Unit This component is used to switch over the operation of a faulty amplifier to a standby unit when it receives a fault report from the Amplifier Supervisory Module. Loudspeaker Line Selector This component is used for the purpose of zone On/Off switching and selection between Paging and BGM for dual amplifier configuration. Program Timer The component provides a number of user prescheduled dry contact triggers to other external equipments. Audio Attenuator This component attenuates the sound level at the installed area to the preference of the user. 7

PAGE INTENTIONALLY LEFT BLANK

Section

B 5 Design Levels in PA System

5 Design Levels in PA System Introduction to Section B

This section simplifies the design of PA System into 5 different Design Levels. These levels range from a basic ‘Plug & Play’ design (Design Level 1) to a more complex digital system which encompasses Early Emergency Evacuation System with long distance audio transmission over fibre-optic as an option (Design Level 5). The understanding of these 5 Design Levels can provide the design engineer an easier task to choose a particular design level to suit his project at hand. The main differences of these 5 Design Levels is in the signal management of the preamplifier stage. The System Features, Technical Features and Applications will be discussed for each level. The system levels mainly differ at the Preamplifier and Signal Management Stage.

9

Section

5 Design Levels in PA System


Design Level 1 systems are inherently standalone, desktop Public Address systems. With its combination of preamplifier and power amplifier, the system is easy to configure and use. Applications for this systems are limited to small setups such as restaurants, small retail outlets and small offices. Characteristics of a Design Level 1 system are as below;

Applications : F & B Outlets Health & Fitness Clubs

Number of Input Sources


Power Amplifier


Number of Loudspeaker

Fixed

Analogue Signal Management - Single Audio Output

Fixed

Not Available

Limited

Retail Outlets

No Automated Evacuation Capabilities

Personal Care Salons Small Offices (Any requirements of a Basic PA System)

As shown in the table above, Design Level 1 systems have a fixed number of input sources as the preamp modules are built into the equipment, thus it is not possible to add additional sources should they be required. Design Level 1 systems are based on analogue technology with a single audio output and fixed amplification power rating. Having a fixed amplification power rating also limits the number of loudspeakers that can be connected to the system. Due to the small and simple nature of the system, Control & Monitoring equipment are limited or not required altogether. The example below depicts a typical Design Level 1 system.

Input Sources

Preamplifier, Signal Management & Power Amplifier


Loudspeaker

Desktop Microphone

Mixer Amplifier

CD Player

System Features Simplicity Of Use The combination of preamplifier and power amplifier gives the system ‘Plug & Play’ functionality. Minimal Integration of Equipments The connection of a loudspeaker line & microphone makes the PA System ready for use. Desktop Application An equipment rack is not necessary for system setup.

Technical Features

Applications Small Offices

Microphone & Auxiliary inputs

10

Bass & Treble control

Health & Fitness Clubs

Master Volume

Retail Outlets

30, 60 & 120W Power Output

Personal Care Salons

(Any requirements of a Basic PA System)

Schools Place of Worship Small & Medium Scale Offices

Characteristics of a Design Level 2 system are shown below; Number of Input Sources


Power Amplifier



Fixed

Analogue signal management - Dual simultaneous audio output

Variable

Available

Unlimited

Factories & Workshops

No automated evacuation capabilities

As depicted above, the system still has a fixed number of input sources and is based on an analogue technology. Utilizing analogue technology posses a limitation on the number of simultaneous outputs the system is capable of, Design Level 2 systems are usually confined to 2 simultaneous audio outputs at once, catering for Background Music and Paging. However with the preamplifier separated from the Power Amplifiers, this allows for a variable amplification power rating, where power amplifiers can be added in accordance to the requirements. This feature thus allows the number of loudspeakers connected to the system to be unlimited as amplifiers can always be added to accommodate additional loudspeakers. The example below depicts a typical Design Level 2 system; Input Sources


Power Amplifier


Loudspeaker


Characteristics of a Design Level 2 system are shown below;

Applications :

Section

To compensate for the Design Level 1 system’s fixed amplification power that is built as an ‘all in one’ package, Design Level 2 systems are based on a preamplifier unit separated from the power amplifiers. Design Level 2 systems are also capable of integrating with control and monitoring equipment and are usually applied in small and medium scale offices, factories and schools among others.

Amplifier Monitoring Panel Paging

Paging Microphone Paging Console Communication Panel

Paging

Line Selector

BGM

Programmable Preamplifier BGM

Emergency Microphone

Power Amplifier

Amplifier Changeover Unit

Digital Source Player Standby Power Amplifier

System Features

Technical Features

Multiple number of input with selectable input levels The system is able to receive 3 groups consisting of 8 inputs total (6 inputs selectable between -2dBV or -62dBV and 2 fixed auxiliary inputs)

Multiple inputs (Microphone / Auxiliary) (balanced) with muting control

Uninterrupted BGM (2 Audio Output Channels) The system can be configured in a dual amplifier configuration where paging & BGM are operated by two different sets of amplifiers independently. Thus, BGM will not be interrupted at areas where paging is not intended.

Optional Chime/Siren Module

3 Priority Levels (Emergency, Paging & BGM) Emergency paging will take priority over normal paging. Lead paging will take priority over normal paging. Normal paging will take priority over BGM. Increased Amplification Power Power amplification available: 60W, 120W, 240W, 360W & 480W per amplifier. Multiple units can be used to configure a system that requires higher amplification.

Line level output and 1 Rec output for External Recorder Bass & Treble control Dual mode power supply of either AC mains or DC battery supply

Applications Schools Places of Worship Small & Medium scale Offices Factories & Workshops

11

Section



Design Level 3 systems are based on a modular mixer Preamplifier & Signal Management. Unlike Design Level 2 systems, this allows the system to have a variable number of input sources which can be increased or decreased to suit an application. With its flexibility in being a modular system, Design Level 3 systems can be configured for multichannel input sources suiting applications such as hotels and factories.

Applications : Higher Learning Institutions Place of Worship Office Buildings Large Scale Factory

Characteristics of a Design Level 3 system are shown below; Number of Input Sources


Power Amplifier



Variable based on user requirements

Analogue Signal Management - Multiple Audio input and output

Variable

Available

Unlimited

No automated evacuation capabilities

Government Building Supermarkets Hotels Public Transport Stations Shopping Mall Museums

As depicted above, the system has a variable number of input sources. Similar to Design Level 2 systems, a Design Level 3 system is based on an analogue technology. Due to its modularity, a system with multiple inputs and outputs can be configured. Multiple audio inputs and outputs are suitable for applications that require different background music and even announcements to be broadcasted to different zones. The system also allows for a variable amplification power rating, where power amplifiers can be added in accordance to the requirements. However the Design Level 3 does not allow simultaneous paging of microphones. The example below depicts a typical Design Level 3 system; Input Sources


Power Amplifier


Loudspeaker

Program Timer Paging VOLUME

Amplifier Monitoring Panel

Remote Paging Console

Paging

Line Selector

Paging Console Communication Panel

BGM Modular Mixer System


Digital Source Player


BGM

Power Amplifier

Automatic Changeover Unit

Digital Source Player Digital Source Player

Standby Power Amplifier

System Features Modular Architecture Modularity provides the flexibility to configure the system to the needs of the user without the extra cost of unused inputs or outputs. It also allows for future expansion of additional inputs and outputs. Configurable Into a Multi-Channel Preamplifier This system provides the flexibility to add multiple input sources (more than Design Level 2) which suit installations such as hotels and factories.

Technical Features

Applications

Modular mixer enclosure houses different function specific modules.

Higher Learning Institutions

Hotels

Additional modules are to be housed in another enclosure linked to the main mixer enclosure.

Place of Worship

Public Transport Stations

Office Buildings

Shopping Mall

Large Scale Factory

Museums

Bass & Treble control Optional Chime/Siren Module Dual mode power supply of either AC mains or DC battery supply User programmable functions for priority settings and external device interface

12

Government Building Supermarkets

Intelligent High-Rise Buildings Exhibition & Convention Centres Hotels & Resorts

Number of Input Sources


Power Amplifier




Programmable Digital Signal Management Multiple audio input and output with simultaneous paging capabilities.

Variable

Available with multi-system interfacing

Unlimited

Limited automated evacuation capabilities.

As depicted above, a Design Level 4 system or more commonly referred to as a ‘matrix’ system in the industry is based on a digital Preamplifier & Signal Management. The system works by converting all analogue input sources into the digital domain for management and routing to their appropriate zones. This allows for simultaneous paging of multiple microphones at the same time to different zones.

Theme Parks

The system also allows integrating with other ELV systems such as Close Circuit Television (CCTV) systems, fire alarm panels and intrusion alarm systems by providing control input as well as output trigger signals to externals systems.

Multi Campus Universities

The example below depicts a typical Design Level 4 system;

Sport Complexes Public Transportation Airport Ferry Terminal Railway Station MRT

Input Sources


Power Amplifier



Loudspeaker


Mixed Developments (Shopping Mall, Hotel, Office)

Section

Applications :

Design Level 4 systems are based on digital signal Preamplifier & Signal Management. This allows for multiple simultaneous audio paging & broadcast, controlled by software configuration. Running in the digital domain also allows a host of programmable functions such automated operation with time scheduling, self-diagnostics and multi-system interfacing. Multi-system interfacing is essential in most modern facilities as it allows all the Extra Low Voltage (ELV) systems ie; security systems, fire alarm systems, CCTV systems, etc. In a building to be integrated providing better value to building owners. Applications for Design Level 4 systems are mixed developments, intelligent high-rise buildings, hotels and shopping malls.

Internet Connectivity Panel VOLUME

Department Stores Zone amplifiers


Matrix Remote Microphone Zone amplifiers

Digital Matrix Sound Management System Matrix Remote Microphone

Integrated Supervisory Unit

Zone amplifiers

(or)

Zone amplifiers

Analogue Handheld Microphone

eMatrix

Zone amplifiers

Power Amplifier Digital Source Player

Addressable Fire Alarm System


System Features Simultaneous Paging & Broadcast The system allows multiple inputs with a combination of paging, BGM & digitally prerecorded messages to be simultaneously broadcasted to a maximum of 128 zones. The audio routing patterns can be modified at any time through the use of an intuitive GUI. Remote Zone Paging Up to 1.2 km The system has Remote Microphone functionality which performs remote zone paging away from the equipment rack. Digital communication reduces microphone cabling by 80%, thus reducing cabling cost.

System Surveillance & Self Diagnosis The system performs constant surveillance of the audio path, starting from the paging console right up to the last loudspeaker, ensuring continuous and uninterrupted operation. The system is also able to carry out a self-diagnosis check at fixed intervals and report the results in its event log. Automated Operation with Time Scheduler Automated prescheduled message and program playback to all zones minimises the need for human intervention.

System Surveillance & Self Diagnosis The system performs constant surveillance of the audio path, starting from the paging console right up to the last loudspeaker, ensuring continuous and uninterrupted operation. The system is also able to carry out a self-diagnosis check at fixed intervals and report the results in its event log.

Internet Connectivity Technology The system can be monitored and configured via the Internet when the system is connected to the Internet Connectivity Panel. The system is also able to send emails to preprogrammed addresses for every reported fault found during system surveillance and self diagnosis.

Windows Based GUI A simple to use Windows based graphical user interface provides ease of system configuration and monitoring with 2 levels of password protection to prevent unauthorized access to the system.

Technical Features

Multi-System Interfacing The system is able to interface with other building services such as fire alarm, security, and management systems as well as a master clock to ensure time synchronization. Modular Architecture Modularity provides the flexibility to configure the system to the needs of the user without extra cost in unused inputs or outputs. It also allows for future expansion of additional input sources, output zones, to receive external triggers and provide control to other systems or devices. Windows Based GUI A simple to use Windows based graphical user interface provides ease of system configuration and monitoring with 2 levels of password protection to prevent unauthorized access to the system.

Simultaneous multiple inputs & outputs Remote paging function Modular Architecture Expandable loudspeaker zones Internet connectivity

Applications Mixed Development (Shopping Mall, Hotel, Office)

Sport Complexes

Hotels & Resorts

Public Transportation Airport Ferry Terminal Railway Station MRT

Theme Parks

Department Stores

Intelligent High-Rise Buildings Exhibition & Convention Centres

Multi Campus Universities

13

Section



Applications : Mixed Development (Shopping Mall, Hotel, Office) Intelligent High-Rise Buildings Multi Complex Manufacturing Facilities

Design Level 5 systems are able to conduct fully automated evacuation procedures. Often referred to as Early Evacuation Systems (EES) matrix in the industry, these systems are capable of providing voice instructions informing building occupants ‘what to do’ during an emergency depending on where they are relative to the threat. Applications for Design Level 5 systems are mixed developments, intelligent high-rise buildings, hotels, shopping malls and wide spread facilities. Characteristics of a Design Level 5 system are shown below; Number of Input Sources


Power Amplifier




Programmable Digital Signal Management Multiple audio input and output with simultaneous paging capabilities

Variable

Available

Unlimited

Exhibition & Convention Centres Hotels & Resorts Theme Parks Multi Campus Universities

Fully automated concerted evacuation capabilities

Under normal operating conditions the Design Level 5 system is very similar to a Design Level 4 in terms of its digital matrix capabilities. Design Level 5 system also allows integration with other ELV systems such as Close Circuit Television (CCTV) systems, fire alarm panels and intrusion alarm systems by providing input sensors as well as output trigger signals to externals systems. During an emergency, the system will provide an automatic simultaneous voice assisted evacuation. These evacuation procedures are progressive in nature aimed at managing the flow of human in the fire-escape. The example below depicts a typical Design Level 5 system; Input Sources



Power Amplifier

Loudspeaker

Matrix Remote Microphone Internet Connectivity Panel VOLUME



Line Supervisory Unit Matrix Remote Microphone

Zone amplifiers

Digital Matrix Early Evacuation Management System

Zone amplifiers


Zone amplifiers

DS 202

All Call Manual Line Selector Zone amplifiers

DS 202 Emergency Panel

Power Amplifier


Automatic Changover Unit


System Features

Technical Features

Phased Evacuation In the event of an internal hazard such as a fire, gas leak or bio-hazard, the system is capable of conducting a phased evacuation. The evacuation message will start from the source zone, and progressively be broadcast to adjacent zones until the whole building is evacuated.

Digital Audio Matrix

Time Scheduler

Remote Paging Function

Priority Mic Queuing

Optimum Evacuation In the event of an external hazard such as bomb threat or collapse of an adjacent building, the system is capable of evacuating building occupants in an optimal manner to minimize evacuation time and minimize casualties. Automatic Simultaneous Voice Assisted Evacuation This system achieves optimal evacuation by broadcasting multiple simultaneous messages. Manual Voice Assists Evacuation The system displays the areas that have been automatically evacuated and allows Firemen to conduct a manual evacuation of remaining areas via microphone & line selector.

14

In Accordance of IEC 60849 (Sound Systems for Emergency Purposes) The Early Evacuation System complies the hardware requirements of IEC 60849.

Control Input & Output for Interfacing Expandable Loudspeaker Zones Event-Logging Capability Supports Dual-CPC redundancy

Applications Mixed Development (Shopping Mall, Hotel, Office) Intelligent High-Rise Buildings Multi Complex Manufacturing Facilities Exhibition & Convention Centres Hotels & Resorts Theme Parks Multi Campus Universities

Fixed number of inputs and output

Fixed number of inputs and output

Expandable based on users’ requirement




Unable to conduct simultaneous paging and BGM.

Supports a fixed number of multiple inputs but unable to conduct simultaneous paging.

Supports expandable inputs but limited to 2 outputs. Unable to conduct simultaneous paging.

Digitally managed with easy integration with BMS Systems. Capable of simultaneous paging and BGM broadcast.

Similar to Design Level 4 but provides an advanced preprogrammed life-saving evacuation plan during emergencies.

Power Amplifier

Limited and unexpandable.

Expandable in accordance to requirement.

Similar to Design Level 2 but allows for limited emergency override.

Each loudspeaker zone powered by individual amplifiers.

Similar to Design Level 4, but with added real-time amplifier diagnostic and fault monitoring.


Limited interface with control devices. No monitoring equipment available.

Capable of interfacing with some control and monitoring equipment.

Able to provide local control and monitoring of limited system peripherals.

Conducts digital self-diagnostics and automatic response to system faults.

System integrity is of paramount importance, system capable of dual redundancy and also reports diagnostic faults via internet.

Loudspeaker

Typically cost effective loudspeakers.

Typically cost effective loudspeakers.

Loudspeakers capable of a minimal level of accepted clarity.

Better frequency response loudspeakers with bass supplements for BGM.

Similar to Design Level 4 but with loudspeakers placement designed to meet Speech Transmission Index (STi) recommendations.

Automated Evacuation

Not Available

Capable of manually conducted ‘ALL CALL’ voice evacuation.

Capable of a single step ‘ALL CALL’ or manual paging to individual zones evacuation.

Capable of simultaneous digitally recorded paging.

Similar to Design Level 4, but can be digitally programmed to a specific evacuation plan of a building.


Input Source

Section

Summary of Differences in the Design Levels & Applications

Applications Hotels 3 Stars 4 Stars 5 Stars

-

-

-

Airports Domestic/Small International

-

-

-

Education Institution Schools Universities Multi-campus Uni.

-

-

-

Hospitals Small Scale Large Multi-block

-

-

-

Sports Facilities Indoor Stadium Outdoor Stadium Swimming Complex Veledome

-

-

-

Apartments

-

-

Exhibition Centers

-

-

-

Military Facility/Camp

-

-

-

Shopping Complex

-

-

-

F&B Outlets

15


Section

Introduction to Section C

C 5 Design Considerations in PA System

5 Design Considerations in PA System Having understood the 5 Design Levels, the design engineer should try to understand the building operator’s requirement in a Public Address System. In trying to gauge the operator’s requirement, there are basically 5 design considerations the design engineer should address. A good understanding of these 5 design considerations will allow the design engineer to configure a PA System which is ‘custom-designed’ and application specific to the building operator. The 5 design considerations are:

Design Consideration


Signal Management


System Monitoring & Integrity


Integration With Other Systems


Technology Involved


User Friendliness

17

5 Design Considerations in PA System Section

Each of the 5 design considerations would consider equipment from certain stages in a PA System. The line drawing below shows the 5 stages of a Design Level 4 PA System along with some sample equipment as a reference.


Systemstage Input Sources

Preamplifier &

Systemstage Signal Management

Systemstage

Power Amplifier

Systemstage


Systemstage

VOLUME

Loudspeaker

PA Zone

Amplifier Monitoring Unit (AM 10)

iX 151

PA Zone iX 151

Integrated Supervisory Unit (LA 08)

4 X 60W Audio Power Amplifier Tuner

iX 101

PA Zone

Cassette Desk 1

2

3

4

PA Zone

FT 811

DS 202

Standby Power Amplifier PA Zone +

+

+

+

PC Battery Changer

Fire Alarm Battery

PA Zone

PA Zone

Building Management / Information System PA Zone Intercom System

Security System


Types of BGM players: Digital Music Player

Signal Management

The PA System’s signal management complexity is determined by the following information gathered by the design engineer from the building owners and operators. This design consideration covers 4 main points (1.1 ~ 1.4) and affects equipment from Stage 1- Input Source, Stage 2- Preamplifier & Signal Management, Stage 5Loudspeaker

CD Player Cassette Deck Player AM / FM Tuner When to broadcast the Pre-Recorded Broadcast options: Continuous broadcasting Automatic routine broadcast during the day

1.1 Input Sources Information

Automatic routine broadcast for everyday

The input source information is needed to determine the PA System audio input channels management. The information needed is as follow:

Broadcast upon triggering of other systems or services

Types of input signal for the PA system: Emergency paging General paging Pre-recorded message Background music (BGM) Paging station allocation for: Emergency / Firemen paging Control Room Operator paging Security Officer paging Receptionist paging Manager paging Others 18

MD Player

Automatic routine broadcast for certain special days

1.2 PA Zone Allocation Information The zone allocation information is required to determine the number of output zones to be controlled by the PA System. Separate zones facilitate separate broadcast and control. Zone separation can be performed based on the following methods: Evacuation plan zoning Floor-by-floor zoning Functional areas zoning

Outdoor zones Floor-by-floor zoning defines zone by floor. They are divided based on the following: One zone per floor Sub-zone for rooms on the same floor Staircase as a separate zone

Functional area zoning defines zone by functional area. Examples of different or special functional areas are as follow: Back-of-house zone for hotels and resorts Nurse quarters and patient zones for hospitals and medical centers Waiting lounges zone for airports and terminals Anchor tenant zone for shopping complexes and departmental stores

- Fire Hazard Early Evacuation for fire hazard and other building threats - Bomb Threat - Neighbouring Building on Fire - Bomb Threat from Neighbouring Building

1.4 Amplifier Sizing/Calculation There are significant differences in design philosophy between Design Level 1, 2 & 3 and Design Level 4 & 5. These differences affect amplifier allocation and calculation as well as control and monitoring equipment. The system limitations of Design Level 1, 2 & 3 mean that multiple zones will share a single amplifier. Design Level 4 & 5 allow full utilisation of the Matrix System’s capabilities by allowing each zone a dedicated amplifier. The following diagrams illustrate the considerations needed for amplifier sizing in a Design Level 3 and a Design Level 4 environment:

Exhibition hall zone for convention centers The design engineer may consider choosing one of the zoning methods to apply into the project design or integrate all three methods at the same time to apply to a project.

1.3 Signal Management Information Signal management information is required to determine the intricacy of the PA System signal handling. This information will also provide guidelines for the design engineer on deciding the appropriate Design Level (please refer back to page 9 to 15 for the Design Levels) for the project.

Input Sources



Loudspeaker

Zone 1

Remote Paging Console CP 102

Power Amplifier


Escape route / staircase zones

Early Evacuation management: Early Evacuation for internal hazards

Section

Evacuation plan zoning defines zone by evacuation group. They are based on the following: Fire compartment zones – for a large area, zones are defined to enable optimal evacuation should the need arise.

20 nos. CM 361 @ 3W

Paging Line Selector

Modular Mixer System

BGM Power Amplifier

Cassette Deck

Zone 2 20 nos. CM 361 @ 3W


Zone 3 25 nos. CM 361 @ 3W Zone 4 30 nos. CM 361 @ 3W

Priority setting for all the paging stations: Top priority for the Emergency microphone Volume control overriding during emergency paging Differentiating priority – all microphones having different

In a level 3 environment a single 360W amplifier can be used to power speakers in all zones.

priority levels First in first serve priority Microphone queuing Paging management:

Input Sources

All zones BGM are automatically muted during paging


BGM is allowed on zones that are not paged

Power Amplifier


Loudspeaker

Zone 1

More than 1 paging is allowed at the same time – simultaneous

Zone 1 20 nos. CM 361 @ 3W

Power Amplifier

paging

Zone 2 Zone 2

BGM management: 1 BGM across all zones Different BGM for different zones Automatic BGM switching at different time of the day Automatic BGM level at different time of the day Communication between PA systems: Paging stations from first PA system can page the second PA system Paging stations from first PA system can select specific

Power Amplifier Matrix Remote Microphone

Cassette Deck

Zone 3 Digital Matrix Sound Management System

Power Amplifier Zone 4

20 nos. CM 361 @ 3W Line S upervisory Unit

Zone 3 25 nos. CM 361 @ 3W Zone 4

Power Amplifier

30 nos. CM 361 @ 3W

In a level 4 Matrix System environment, individual amplifiers are required for each audio output zone. It is important to keep these considerations in mind when conducting amplifier allocation and calculation.

zones in the second PA system Cross paging between 2 different PA system Shared BGM for more than 1 PA system

19

5 Design Considerations in PA System Section

2.5 Central Processing Card Backup



System Monitoring & Integrity

The most important purpose of a PA System is to handle emergency broadcasts and paging in order to conduct an effective evacuation. Hence it is imperative to ensure the integrity of the entire system via system monitoring and automatic changeover to backups. This design consideration covers 7 main points (2.1 ~ 2.7) and affects equipment from Stage 1-Source, Stage 2-Preamplifier & Signal Management, Stage 4-Control & Monitoring.

2.1 Microphone Cable Monitoring As microphones & paging equipment are often located away from the main equipment rack, it is important to frequently monitor their line condition. The design engineer should choose one of two types of microphones that allow for the microphone cable monitoring function: Microprocessor-based microphones that indicate condition of its data communication with the main communication panel in main equipment rack. Digital microphones that provides a self-diagnosis pilot tone check on its line condition (used in conjunction with the Matrix System).

2.2 Matrix Self-diagnostic Monitoring The Matrix System is the most complex of all PA System levels, hence its self-diagnosing feature is crucial to allowing the user to assess how well the system is performing. The critical items that a Matrix System should check in its self-diagnosis routine are: Central Processing Card error All matrix cards Controller Area Network error Extension Frame error Audio path condition DC supply (5Vdc and 24 Vdc) status AC mains status Memory Battery status

The Central Processing Card (CPC) serves as the brain of the entire Matrix System. Hence an automatic changeover to a standby CPC for any incidence of CPC failure is required to ensure the integrity of a Matrix System. In order to achieve this, the design engineer should consider a dual-CPC option for the Matrix System where both master and slave CPC operate in the system concurrently.

2.6 Power Supply Backup Most building fires are caused by electrical short circuits, which in turn cut power to the entire building. Hence, it is critical to backup the AC power supply to the PA System with a DC battery and automatic charger.

2.7 Methods of Monitoring The design engineer should consider the various methods of monitoring the overall PA System. There are a few methods to monitor the PA System status: Integrated monitoring – the PA System status (especially the power amplifier status) is fed back to the Building Management System which is managed by security officers and Building Maintenance officers at all time. The officers will be notified of any fault in the PA System via the Building ManagementSystem On-line monitoring – used when the Matrix System mainframe has a dedicated monitoring PC. The Matrix System self-diagnosis results are directly fed into the monitoring software Off-line monitoring – used when the Matrix System mainframe does not have a dedicated monitoring PC. The Matrix System self-diagnosis results are manually fed into the monitoring software at fixed intervals. Remote monitoring – matrix self-diagnosis results are transmitted via the Internet.

2.3 Power Amplifier Monitoring and Automatic Changeover The power amplifier is one of the most critical pieces of equipment, hence it is essential that it be monitored with a power amplifier monitoring panel, VU meter indicator and monitoring speaker. A visual and aural alert should be triggered upon any detection of amplifier faults. A seamless automatic changeover to standby amplifier mechanism upon any amplifier fault is vital to ensure the integrity of the entire PA System.


Integration with other Systems

The advancement and convergence of technologies make it crucial for today’s building services to be integrated as well as provide centralized control and monitoring solutions to the building owner. The following 5 examples (3.1 ~ 3.5) are building services a design engineer can consider to integrate with and their applications:

2.4 Loudspeaker Line Monitoring Loudspeaker lines travel the longest distance through a building and are exposed to high risk of damage. They need to have dedicated equipment to ensure their integrity. In certain countries, line monitoring has been made compulsory through their building codes of practice, and more countries are beginning to adopt this practice. There are two different ways of monitoring a loudspeaker line: DC method AC method Please refer to Section F Line Supervisory Equipment Selection Guide (page 48) for different application for loudspeaker line monitoring.

20

3.1 Fire Alarm System This integration will provide fire alarm trigger signals to the PA System and allow the PA System to automatically broadcast any pre-recorded messages to the fire zones. Trigger signals from the Fire Alarm System can also be treated as a pre-confirmation signal to launch the full-fledge automated Early Evacuation System (for projects under Design Level 5).

3.2 Building Management / Building Automation System This integration allows the PA System status, especially the power amplifier status to be monitored by the Building Management / Building Automation System. This centralized monitoring allows for a more cost-effective and systematic operation for the building owner.

This integration provides security alarm trigger signals to the PA System and allows the PA System to automatically broadcast any pre-recorded messages to the intrusion zones.

3.5 Building Information System This integration makes use of the building information system’s to provide the building occupants with aural information. This is especially useful in airports and any public transport depots where the arrival and departure of any planes, trains or buses can be broadcast over the PA System using data of the existing information system.


Technology Involved

The design engineer will be required to consider the technology involved in the design of a PA System. The use of current technology is recommended to ensure that future support is available in terms of system upgrades and maintenance. More importantly, the design engineer should choose a technology that is widely used and be aware of the trends and direction of the PA System industry. Below are 3 examples (4.1 ~ 4.3) of technological considerations:

4.1 Digital audio matrix management Digital audio management allows multiple audio signals to be managed digitally and without loss in signal quality. Hence problems like audio interference and cross-talk can be totally eliminated.

4.2 Fiber-Optic Audio Transmission Fiber-optic transmission allows for long distance audio and control signals transmission. This usually involves a transceiver that converts the analogue audio to digital format and transmits to another transceiver. There is a common misconception that fiber optics are always better regardless of the application, to the extend that systems that requires inter-equipment fiber-optic cabling are preferred. Fiber-optic transmission are usually applicable for connecting ‘local systems’ between buildings, for example university campuses that are spread over a wide area and where cross building paging is required. For high-rise applications, where all equipment are housed in a common area, fiber-optics becomes an unnecessary cost factor as its doesn’t serve its purpose of long distance transmission.

User Friendliness

The design engineer should consider the user friendliness of the system design to facilitate project installation, operation and maintenance. User friendliness can come from the following 4 areas (5.1 ~ 5.4):

5.1 Installation This section refers to hardware installation. Easy to install hardware will reduce unnecessary costs by minimising human error and installation time. Below are a few examples of installation friendly features a designer should consider: A spring-mounted ceiling loudspeaker takes less installation time than a screw-mounted ceiling loudspeaker. Minimisation of remote microphone cabling decrease the possibility of human installation error. A Printed Circuit Board (PCB) backplane modular system that eliminates all jumper cutting is always easier to install compared to a hard-wired modular system.

5.2 Configuration This section refers to the matrix software configuration. It is important to have a user friendly Graphic User Interface (GUI) to simplify the configuration steps. An intuitive configuration wizard will enable the user to configure the system with minimal coaching.

5.3 Operation & Monitoring

5 Design Considerations in PA System

3.4 Security System


C

This integration allows any intercom calls to be broadcast via the PA System loudspeakers. This is especially useful for factory application where paging staff on the factory floors using a centralized microphone is deemed impractical.

Section

3.3 Intercom System

The operation of the PA System equipment needs to be easy to comprehend and simple to handle. Clear indications on the LED or LCD display allow users to monitor and operate equipment with ease.

5.4 Maintenance Design engineer should also consider future maintenance requirements during the design stage. Here are a few basic pointers to follow: Loudspeakers installed at a convenient height or location will allow future service to be carried out with little difficulty. Spring-mount ceiling loudspeakers are easier compared to screw-mount ceiling loudspeakers.

to

service

Equipment with Internet connectivity will be able to prompt the maintenance contractors on any system irregularities through emails. Equipment with Internet connectivity will also enable maintenance contractors to be prepared when they come for equipment maintenance service. They can log on to the monitoring webpage of the equipment via the Internet to check on any special component replacement requirements before they proceed for the maintenance service.

4.3 Internet Connectivity & Encrypted Communication Protection Internet-enabled PA Systems make the monitoring of projects in remote sites and different countries a cost-effective reality. However when considering the use of the internet one must always take into account communication protection. In today’s digital age requires data encryption to reduce the threat of exposure to hackers. The design engineer should ensure proper data encryption before transmitting or receiving over the Internet. 15 21


Section

D 5 Design Steps of a PA System

5 Design Steps of a PA System Introduction to Section D

Designstep

This section introduces a step-by-step thinking procedure when designing a PA System. These are basically 5 steps in building a PA System design. Applying the knowledge from Section C, the design engineer can logically follow each of these 5 step in choosing one of the 5 design levels (Section B) and identify the suitable equipment for each of the 5 stages of the PA System (Section A).

Designstep

Input Source Selection

Designstep

Zone Allocation and Loudspeaker Selection

Designstep

Signal Management Selection

Designstep

Power Amplifier Calculation & Backups

Designstep

Control & Monitoring Selection

Each step would involve identifying requirements and equipment for each stage of the PA System (discussed in Section A).

23

5 Design Steps of a PA System The line drawing below depicts a sample PA System, all the steps from step 1 to step 5 required to form the system will be discussed within this section.

Designstep

Designstep

Designstep



10 nos. CM 361 @ 3W

20 nos. CM 361 @ 3W Digital Matrix Sound Management System 5 nos. FG 415 @ 23W

Analogue Handheld Microphone 10 nos. FG 415 @ 23W

Power Amplifier


Automatic Changeover Unit 4 nos. RH 103 @ 30W



Designstep



Adressable Fire Alarm System


Input Source Selection In this step, the design engineer needs to determine the types and quantity of input signals for the system. As mentioned in the previous section, the input types can be subdivided into the following: Emergency Microphone: Used during emergencies to conduct evacuation. This microphone is usually placed in the Fire Command Center for easy access to the Fire Department authorities. Paging Stations: Paging Station without zone selection control – this paging station is suitable for systems where zone selection is unnecessary or the paging station is situated near the PA equipment rack. Paging Station with zone selection control – this paging station is commonly used for remote paging; hence it is sometimes referred to as a remote microphone. The zone selection feature is built into the paging station where all the zone selection buttons are incorporated into the paging station. The zone selection method can be numerical entry or specific button assignment.

24

Designstep

Amplifier Monitoring Panel Matrix Remote Microphone

Section

Designstep

Messaging equipment: Used to broadcast prerecorded messages in a system. The pre-recorded messages can be controlled using a Program Timer where messages are triggered to play at a specific time or intervals. Some messaging equipment can also be used as a background music player. Background Music Players: Equipment used to provide background music to a building. Cassette Deck Player, CD Player or AM/FM Tuner are typical examples of background music players. Information on the quantity and types of input sources would differ from project to project and would typically be provided by the building owner, developer or consulting engineers. When selecting the microphones try to keep in mind certain selections will affect Step 3 - Signal Management and vice versa, i.e. the Matrix Remote Microphone is only compatible with the Matrix System.

Designstep

20 nos. CM 361 @ 3W

5 nos. FG 415 @ 23W

10 nos. FG 415 @ 23W

4 nos. RH 103 @ 30W

Floor by floor zoning. Functional areas zoning. Example; back-of-house zone for hotels and resorts, nurse quarters and patient zones for hospitals and medical centers, waiting lounge zones for airports and terminals, anchor tenant zones for shopping complexes and departmental stores, exhibition hall zone for convention centers, etc.

Based on the above considerations, the design engineer will be able to select the suitable loudspeaker with their respective power tapping. Please refer to Section F Loudspeaker Selection Guide (page 50) for loudspeaker selection. After the loudspeaker selection process, the design engineer can then proceed to plot the chosen loudspeaker onto the building floor plan based on the required Sound Class.

Please note that for all the 3 zoning rules mentioned above, it is advisable to allocate staircases and fire escape stairwells as independent zones. The design engineer will be required to consider the architectural and acoustic requirements of the building in order to propose the right type and quantity of loudspeakers to be used. The considerations will consist of: Sound classification required for the area (Please refer to page 30 for the various sound classes and their explanation. Ceiling height. Room Construction: For example with or without false ceiling, room with or without acoustics / sound absorption material, etc.

Designstep


Evacuation plan zoning.

Ambient or Environmental Noise Level: A table with the Typical Noise Levels Of Common Area can be found in the (page 31).

Section

10 nos. CM 361 @ 3W

Zone Allocation & Loudspeaker Selection For zone allocation, the design engineer will need to refer to building schematics such as floor plans and elevation drawings to decide on the number of zones the PA System should consist of. As discussed in the earlier section, the ideal PA System zoning rules are as follows:

Signal Management Selection For this step the design engineer will need to decide on the Design Level to be incorporated into the project. The Design Level selection will be based on the system application, signal management complexity, number of audio input and output channels and number of control inputs and outputs. As mentioned in the previous section, there are 5 Design Levels in a PA System.

Digital Matrix Sound Management System

Mixer Amplifier PA System Programmable Preamplifier PA System Modular Mixer PA System Digital Matrix PA System Early Evacuation PA System The design engineer shall choose one of the 5 Design Levels and implement it into the Signal Management Step of the PA System design.

25

5 Design Steps of a PA System

Section

Designstep

Power Amplifier Calculation & Backups


After plotting the loudspeaker and designing the signal management section, the design engineer can calculate the power amplifier sizing, this determines the amount of power amplifiers needed for the system. It is always good practice to allow 15% to 20% headroom for all the power amplifiers used. This headroom is to allow for any loudspeaker line loss and future loudspeaker addition purpose.

Power Amplifier


All the power amplifiers shall be supported by a standby amplifier. Ideally, for every 5 duty amplifiers one standby amplifier should be provided as a backup. The standby amplifier rating shall follow the highest rating amplifier among the 5 duty amplifiers. Any faulty amplifier among the five duty amplifiers should be switched to the standby amplifier. This can be accomplished using the automatic amplifier changeover unit that switches both the input signal and 100V output signal. Amplifier sizing is greatly dependant on the number of speakers and the power tapping. Once the speakers have been selected and plotted, the amplifier sizing can be calculated based on the speaker quantity and power tapping.

7.5W

1.5W

Office

3W

Cafeteria

Common Area

Take the sample floor plan above. Assuming a functional area zoning, the following zones can be identified; Zone 1 - Office Zone 2 - Common Area Zone 3 - Cafeteria Once the zones have been identified, depending on the design level selected (as discussed on pg15) the amplifier sizing will be calculated. Both configurations will be discussed below starting from the conventional method using line selectors and the matrix configuration ; Conventional System Amplifier sizing Step 1 : Identify the quantity and tapping of speakers in each zone and list them out as shown below.

Zone1, Office; 18 nos. Ceiling speakers @ 1.5W (refer to calculation)

Zone2, Common area; 6nos. Ceiling speakers @ 3W Zone3, Cafeteria; 4nos. Foreground speaker @ 7.5W Line Selector

Step 2 : Because the system is split by line selectors, a single amplifier is typically used to power all the zones collectively. In this case total power required: 75W = (18ceiling speakers x 1.5W) + (6ceiling speakers x 3W) + (4Foreground speakers x 7.5W) Adding a 20% headroom to allow for a power tapping increase or having additional loudspeakers will equal to a requirement for 90W, thus a suitable amplifier sizing would be one capable of catering for a 100.8W load, for example a 120W Amplifier unit.

Zone1, Office; 18 nos. Ceiling speakers @ 1.5W 120 W Amplifier Zone2, Common area; 6nos. Ceiling speakers @ 3W Zone3, Cafeteria; 4nos. Foreground speaker @ 7.5W Line Selector

26

Power Amplifier Calculation & Backups Matrix System Amplifier Sizing

Step 1 : Identify the quantity and tapping of speakers in each zone and list them out as shown below.

Zone1, Office; 18 nos. Ceiling speakers @ 1.5W

Zone2, Common area;

Zone3, Cafeteria;

6nos. Ceiling speakers @ 3W

4nos. Foreground speaker @ 7.5W

Step 2 : Because the system requires an individual amplifier for individual zones, the power requirement of the individual zones will have to be calculated. Zone 1 Zone 2 Zone 3

: 27W = (18 x 1.5W) : 18W = (18 x 3W) : 22.5W = (4 x 7.5W)

Adding 20% headroom to allow for a power tapping increase or having additional loudspeakers will result in the following: Zone 1 Zone 2 Zone 3


The matrix amplifier sizing is calculated based on an amplifier per zone sizing without the use of speaker line selectors.

Section

Designstep

: 27 + 20% = 32.4W : 18 + 20% = 21.6W : 22.5 + 20% =27W

With the calculated power requirements, appropriate amplifiers can be allocated to the individual zones.

Zone1, Office; 18 nos. Ceiling speakers @ 1.5W 60 W Amplifier Zone2, Common area;

6nos. Ceiling speakers @ 3W

60 W Amplifier Zone3, Cafeteria;

4nos. Foreground speaker @ 7.5W

60 W Amplifier

Designstep



After determining the power amplifiers needed, the design engineer will be required to provide for the visual and aural monitoring of the power amplifiers. This consists of a VU meter (visual monitoring) and built-in speaker (aural monitoring).

Line Selector Unit

Loudspeaker line monitoring is another important aspect of control & monitoring. There are two methods of monitoring a loudspeaker line, the DC method and the AC method. The difference between these two methods is illustrated in Section F Line Supervisory Equipment Selection Guide (page 48). The DC method loudspeaker line monitoring is more suitable for small scale projects where the loudspeaker quantity per zone is less, while the AC method is more suitable for high speaker quantity zones. Both these loudspeaker line monitoring devices are to be placed between the amplifiers and the first loudspeaker of the zone.

Amplifier Supervisory Selector

For Design Level 4 or 5, the design engineer must also monitor the Matrix System which can be accomplished via its event log. This event log can be transmitted over the Internet when the optional Internet Connectivity Panel is used. Finally, the design engineer would have to calculate the total power consumption of the entire PA System based on the quantity of equipment used and design a suitable battery backup system complete with an automatic battery charger.

27


Section

Designstep



There are 2 types of power requirement to be calculated for a PA System, namely the AC Power Requirement and the DC Battery Supply which is used to provide the secondary supply requirements. AC Mains Power Requirements It is important to determine the total system AC Mains power requirements to ensure that adequate supply is rating are allocated. The first step would be to identify all the equipments that require power supply from the AC mains supply. Some equipments do not connect directly to the AC Mains but through a low voltage DC Power Supply unit. These information can be obtained from the equipment’s user manual or technical datasheet.

Technical Specifications

Frequency Response at Rated Output

PB 106

PB 112

PB 124

PB 136

20 Hz to 20 kHz

20 Hz to 20 kHz

20 Hz to 20 kHz

20 Hz to 20 kHz

Power Consumption at rated output

Optional Accessory

ASM 01B Amplifier Supervisory Module The AEX SYSTEM ASM 10B Amplifier Supervisory Module is designed

Connection Diagram

for use with the PB 100 Series Audio Power Amplifiers. The unit superimposes a 20 kHz pilot signal onto the audio signal at the preamp stage. During normal operation, the module will continuously monitor the presence of the pilot signal at the amplifier’s output. Failure to detect the pilot signal will constitute as an internal fault within the amplifier. Upon detection of a fault the module will provide a dry contact closure which can be used to activate external devices such as automatic changover unit, central monitoring systems or fault display panels.

Equipment technical specs

In the example above the PB 106 60W Power Amplifier consumes 200VA. Using the formula for Power (VA), the current required for a single unit of amplifier can be calculated. The example below is calculated based on a 240 Vac application.

P = VI 200 = 240 x I I = 200/240 I = 0.833 Amperes Once all the AC current of a single unit have been calculated, this can easily be multiplied by the total number of similar amplifiers.

Battery Backup Supply The DC Power requirements would indicate the battery backup sizing for the system. Here it is important to note the DC power rating that the PA System accepts. Having a single brand of PA System helps to minimize the complication of having to provide various DC voltage to suit the various equipments.


Frequency Response at Rated Output

PB 106

PB 112

PB 124

PB 136

20 Hz to 20 kHz

20 Hz to 20 kHz

20 Hz to 20 kHz

20 Hz to 20 kHz

Power Consumption at rated output Power Requirement

ASM 01B Amplifier Supervisory Module The AEX SYSTEM ASM 10B Amplifier Supervisory Module is designed

Optional Accessory Connection Diagram

for use with the PB 100 Series Audio Power Amplifiers. The unit superimposes a 20 kHz pilot signal onto the audio signal at the preamp stage. During normal operation, the module will continuously monitor the presence of the pilot signal at the amplifier’s output. Failure to detect the pilot signal will constitute as an internal fault within the amplifier. Upon detection of a fault the module will provide a dry contact closure which can be used to activate external devices such as automatic changover unit, central monitoring systems or fault display panels.

Equipment technical specs

28

24 Vdc

Control & Monitoring Once the equipment have been identified, determine the Power Requirement from the technical datasheet. In the example above the PB 106 60W Power Amplifier receives 24Vdc battery backup and has a power requirement of 200VA.

P = VI 200 = 24 x I I = 200/24 I = 8.33 Amperes For the total DC current, multiply the DC current requirement of a single unit with the total number of identical units and add the current requirements for all the other equipment would The Backup Batteries are usually specified in ‘Ampere Hours’ (aH). For example if battery backup is only required for a single 60W amplifier for an hour. The battery specification should read; 24Vdc, 8.33AH Battery backup. This ensures that the battery is capable of supplying 24Vdc at 8.33A for an hour.


Using the formula for Power (VA), the current required for a single unit of amplifier can be calculated as follows.

Section

Designstep

29


Section

Classification of Sound


It is important to classify sound to ensure that building owners are able to identify, distinguish and establish the quality of sound in which to install into their building. While certain areas in a building might require good sound quality other areas might just require a configuration capable of producing clear speech announcements. The Classification of Sound provides a quantitative approach to defining sound quality and aid the design engineer in specifying suitable sound classes to suit the various areas in a project. There are 4 classes of sound with each sound class consist of 4 main components, namely; Loudness, Sound Coverage, Speech Intelligibility and Frequency Response.

CLASS A

CLASS B

CLASS C

CLASS D

+ 12 dB

+ 12 dB

+ 9 dB

+ 9 dB

Sound Coverage

< +/- 3 dB

< +/- 3 dB

3 dB ~ 6 dB

3 dB ~ 6 dB

RaSTI

0.60 ~ 0.74

0.60 ~ 0.74

0.45 ~ 0.59

0.45 ~ 0.59

20 Hz ~ 20 kHz

75 Hz ~ 18 kHz

85 Hz ~ 16 kHz

600 Hz ~ 10 kHz

Loudness

Freq Response

(minimally)

Class A Sound

Class A Sound provides music and speech reproduction of the highest quality. Countless research has shown that a top quality sound is an integral part of customers' experience, with sound quality able to affect customers' perception of a company's product and services. Class A sound stresses on covering the whole frequency response curve sufficiently, usually utilizing subwoofers and high quality tweeters to ensure crisp clear sound with a full enveloping bass response. Class A sound applications: hotel main lobby, music halls, bars, restaurants, café.

Class B Sound

Class B sound emphasizes on providing even coverage with good speech intelligibility. Class B sound configuration is still able to re-produce an acceptable quality of background music, however less emphasis is placed on the low-end frequency range. Class B sound configurations are usually deployed in hotel corridors, shopping malls and transportation hubs.

Class C Sound

A Class C sound provides a balance between cost and sound quality. Providing adequate coverage with speech clarity and sound pressure level appropriate for acceptable background music reproduction and clear announcements during emergencies. Class C sound requires loudspeakers that are designed to reproduce the human voice spectrum and BGM. As there is less emphasis placed on providing seamless coverage, there are cost saving benefits derived from deploying fewer speakers. Class C sound configurations are usually deployed at areas along the path of human traffic such as stairwells, corridors, washrooms and offices.

Class D Sound

Class D sound are suitable for areas where announcements are priority. Class D sound is not suitable for music reproduction. Emphasis is instead placed on delivering a life saving announcement with sufficient speech clarity, intelligibility and loudness to areas with high ambient noise. Class D sound requires loudspeakers that are able to minimally reproduce the human voice frequency spectrum for only announcement and evacuation. Placements of the loudspeakers minimally cover work areas such as back-of-house areas, mechanical rooms and workshop.

30

1. Loudness

Typical Noise Level Of Common Areas Airport Washroom Public Area Retail & F&B Outlet Arrival & Departure Hall

Typical Noise Level (dB) 50 55 60 70

-

55 65 70 80

60 60 65 55 70

-

65 65 75 60 80

Convention & Exhibition Centre Registration Area Reception Foyer Exhibition Hall Convention Hall (delegates at silence) Convention Hall (delegates in conversation)

Home (Urban) Bedroom Living Room

Hospital

Audiometric Room Operating Theatre, Single Bed Ward Multi-bed Ward, Waiting Room Corridor, Laboratory Wash Room, Toilet, Kitchen Staff Room, Recreation Room

Hotel & Resort

Guest Room, Suite Ballroom, Banquet Hall Corridor, Lobby Kitchen, Laundry

Industrial Warehouse, Garage Workshop (Light Machineries) Workshop (Heavy Machineries)

Learning Institution Classroom, Lecture Theatre Laboratory, Workshop Corridor, Gymnasium, Cafeteria

Main Event Hall (Indoor Stadium) Visitors seated at silence Visitors excited

Main Event Area (Outdoor) Visitors seated at silence Visitors excited


In order for a public address broadcast to be audible to the listener, the SPL at the listening level should minimally be 6 dB higher than ambient noise. For example, in an office area where the total ambient noise (incl. human noise, air conditioning, office equipment, etc.) is 50 dB, the public address system shall be able to produce an SPL of 56 dB at listening level. The requirement for the SPL difference between ambient & produced sound signal can be 10 dB in cases where better sound quality is required ie. Conference Room, Hotel Ballroom or Lecture Theatre. Below is a list of typical noise level found in some common public areas. The list provides only an approximate guide to the system designer while keeping in mind that the value may be different from actual due to human and environmental factors.

Section

Acoustical Design Requirements

45 50

40 - 45 50 - 55 55 55 - 60 55 - 65 50 - 60

40 50 55 60

-

50 55 60 75

65 - 70 65 - 75 70 - 85

45 - 55 55 - 60 55 - 65

60 - 65 70 - 80

55 - 60 65 - 75

31

5 Design Steps of a PA System Offices

Section

Boardroom, Large Conference Room Small Conference Room, Executive Office Open Plan Office Layout Office with heavy use of typing / lettering /printer


Public Buildings Court Room Assembly Hall Library, Bank, Museum Washroom, Toilet Swimming Pool, Sports Arena Garage, Car Park Church

Shopping Mall Walkway & Corridor Retail & F&B Outlet Car Park Concourse Area

Stadium Guest Entrance Guest Foyer

Theme Park & Entertainment Reception & Ticketing Retail & F&B Outlet Amusement Park

45 - 50 50 - 55 55 55 - 65

45 45 50 55 60 75 45

-

55 60 75 75

-

50 55 55 65 70

- 50

60 70 80 90

60 - 65 65 - 70

55 - 60 60 - 70 60 - 75

Transportation Depot Off Peak Period (no incoming transport) Off Peak Period (with incoming transport) Peak Period (no incoming transport) Peak Period (with incoming transport)

32

50 55 60 65

-

55 65 65 75

Section

Formulas for Sound Pressure Level (SPL) Calculation Sound Pressure Level (SPL) Losses Over Distance

D

1

2

3

4

5

6

7

dB

0

-6

-9.5

-12

-14

-15.6

-16.9

8

9

10

11

12

13

14

15

-18

-19.1

-20

-22.3

-22.9

-23.5

-20.8 -21.6

dB drop over = 20 log10 D distance, D 90dB

1m

84dB

2m (-6dB)

78dB

4m (-12dB)

As shown in the illustration, if the loudspeaker is capable of producing 90dB (1W at 1m), meaning the SPL at the listener would be 90dB standing 1m away from the speaker. As the listener moves away from the loudspeaker unit, the SPL would drop accordingly.


As the listener moves away from the loudspeaker, the SPL will drop and the audio would be perceived as getting softer and softer. Power to the loudspeakers must be increased to compensate for the SPL drop to maintain teh required 10dB above ambient noise level. The table below indicates the SPL drop over distance and is derived from the formula:

Sound Pressure Level Increase with Power For applications with high ambient noise or to ensure coverage to a further distance, the design engineer is to select a suitable loudspeaker that is able to produce sufficient SPL to reach the listener. Coupling two loudspeakers of the same type could also increase the SPL output by 3 dB. Public Address speakers usually come with multiple power tapping of full power (100% Output), half power (50% output or -3 dB) and quarter power (25% output or -6 dB). The table below, indicates the SPL increase with power:

Speaker at 1w

90dB

1m

Speaker at 4W 96dB

1m

P

1

2

4

6

7.5

dB

0

+3

+6

+7.8

+8.8

8

9

10

11

12

13

+11

+11.8

78dB

4m

84dB

4m

+14 +14.8 +17

+18.8

dB increase over = 10 log10 P power, P

For a loudspeaker with a sensitivity of 90 dB @ 1m/1W, the SPL at the listener standing 4m away from the loudspeaker would be 78 dB (90 dB - 12 dB). As shown in the table above, increasing the power to the loudspeaker to 4W will increase the SPL by 6 dB. Thus, the SPL produced by the loudspeaker at the listener is now 84 dB (78 dB + 6 dB).

33


Section

2. Sound Coverage A good sound system design shall have an even coverage through out the intended listening area. Thus, ideally when the listener walks in a same direction with the loudspeaker arrangement, away from the 1st loudspeaker towards the 2nd loudspeaker, the difference in SPL shall not audible. As the human ear is difficult to perceive two different loudness if the difference in SPL is not more than 3 dB, ideally, the design shall only have an SPL difference of 3 dB through out the intended listening area.


To achieve this criteria, the effective coverage angle of the loudspeaker to be used must be known. The effective coverage angle would be the angle where the SPL drops by 6 dB measured off-axis. With that, the next loudspeaker is placed where the coverage area intersects at the listening plane. The resultant of two sources of equal loudness at the intersection will increase the SPL by 3 dB, thus making the on-axis & off-axis SPL difference only 3 dB.

Loudspeaker Placement Guide

60

1.155 dL

65

1.274 dL

70

1.4

75

1.535 dL

3. Speech Intelligibility Speech Intelligibility is an index of measure for the ability of the listener to hear the vowels & consonants correctly in order to identify the words and sentence structure. A sound system with sufficient SPL need not necessary be intelligible to the listener, as occasionally we do face the scenario that it may be loud but not understandable to the listener. Factors that affect intelligibility include:

Sound System Bandwidth (Frequency Response)

The spectrum for speech is approximately 100 Hz – 8 kHz and intelligibility is mostly concentrated in the 2 kHz and 4 kHz band. Thus, the system must be able to minimally reproduce the above frequencies. Factors which affect the frequency response of the system includes poor source (ie. microphone or digital message player) and loudspeaker quality, boundary effect caused by loudspeaker placed near to walls and interaction between loudspeakers.

Loudness & Signal-To-Noise Ratio

Ensure a SNR of minimum 6 dBA or higher, preferably 10 dBA.

Loudspeaker Directivity

The use of loudspeakers with high directivity is important in highly reverberant areas to provide control of the coverage area, avoiding excessive sound from reaching the walls and ceiling to minimise multiple reflection paths.

Reverberation Time and Direct to Reverberant Levels

Sound reflections mask direct sound reaching the listener, thus affecting speech intelligibility in levels depending upon reverberation time and the level of reverberant field.

34

dL

Effect of Reverberation Time

1.0s - 1.2s

Excellent to good intelligibility should be achieved

1.2s - 1.5s

Good intelligibility should be achieved though loudspeaker type and location become important.

> 1.5s

Careful design required (loudspeaker selection & spacing)

1.7s

Limit for good intelligibility in large spaces (distributed systems) eg. shopping malls, airport terminals.

> 1.7s

Directional loudspeaker required. (Churches, multipurpose auditoriums and highly reflective spaces).

> 2s

Very careful design required. High quality directional loudspeaker required. Intelligibility may have limitations. (Concert halls, churches, treated sports halls / arenas).

> 2.5s

Intelligibility will have limitations. Highly directional loudspeaker required. (Large churches, sports halls, arenas, atriums, enclosed railway stations and transportation terminals).

> 4s

Highly directional loudspeakers required and located as close to the listener as possible. (Very large churches, cathedrals, mosques, large and untreated atria, aircraft hangars, untreated enclosed ice sports arenas / stadiums).

Distance Between Listener & Loudspeaker

Reducing the distance between listener and loudspeaker reduces the sound energy that arrives at the unintended reflection surfaces, causing less reflections and lower levels of reverberation.


Results Excellence intelligibility should be obtained.

Section

RT 60 < 1s

Volume, Size & Shape of Space

These are some useful guidelines on how to improve the intelligibility of a sound system : Provide a line-of-sight between the loudspeaker & listener. Minimise the distance between the loudspeaker(s) & listener. Ensure adequate system bandwidth (at least 250 Hz ~ 10 kHz). Avoid frequency response anomalies and correct unavoidable peaks with appropriate equalization. Avoid mounting loudspeakers at corners. Avoid long path delays (> 45 ms) Use directional loudspeakers in reverberant spaces. Ensure that speech SNR is at least 6 dB (preferably > 10 dB) Ensure a conducive place for microphone placement, away from noise & reflection paths, mounted vibration-free. Below is a list of objective measures techniques for speech intelligibility:

Articulation Index (AI)

One of the first assessment method developed to measure intelligibility in telephone communications, AI rates the effects of noise on speech with range of 0 (no intelligibility) to 1 (100% intelligibility) by methods of calculation based on measurements of the spectrum of the interfering noise and desired speech signal with the use of a real time spectrum analyzer.

Articulation Loss of Consonants (%Alcons)

This measurement technique, developed in the 1970s, is based on the calculation of the D/R (Direct to Reverberant) ratio. A high D/R ratio represents good intelligibility. A %Alcons measurement begins with an impulse response, normally displayed as a log-squared response or ETC (Energy Time Curve), and examines the ratio between early energy, late energy & noise. A major limitation of this method is that it only uses the 2 kHz band where majority of loudspeaker systems directivity vary with frequency, thus unable to determine the overall response of the system.

Direct to Reverberant Ratio (Early to Late Ratio)

The most common measure is C50 which takes as its ratio the total energy occurring within the first 50 ms to the total sound energy of the impulse response. A well defined scale has not been developed but a value of around +4 dB C50 would be recommended for good intelligibility in an auditorium or a similarly large acoustic space. Limitations of this method includes the lack of a defined scale, frequency limitations and does not take account of background noise.

Speech Transmission Index (STI) & RASTI

STI was developed as a measurement method (in contrast of %Alcons developed primarily as a predictive technique) which considers the source/room/listener as a transmission channel and measures the reduction in modulation depth of a special test signal as it traverses the channel. STI takes account of both reverberation and noise effects when assessing intelligibility. With the availability of signal processing equipments, it is possible to directly measure the modulation reduction from obtaining the impulse responses at various test signals and even amplitude modulation that occurs in natural speech, hence compute the STI for speech or music.

35

5 Design Steps of a PA System Frequency Response Section

The frequency response of the system is the ability of the system to reproduce the entire audible frequency spectrum of 20 Hz to 20 kHz without any signal discolouration. A wider frequency response with good linearity would result in a better sounding system, important for foreground music applications such as music playback or vocal performances.


The frequency response of the system depends on every equipment in the entire audio chain: the input sources, signal management equipments, power amplifiers and loudspeakers. Other factors that affect the frequency response of the system includes the program material, boundary effect caused by loudspeaker placed near to walls and interaction between loudspeakers. The spectrum for speech is approximately 100 Hz to 8 kHz and intelligibility is mostly concentrated in the 2 kHz to 4 kHz band. Thus, the system must be able to minimally reproduce the above frequencies for speech intelligibility. The frequency response of the loudspeakers selected for an application should also be taken into consideration. When designing a system, the steps that should be followed are; 1.) Identify the application of the sound system for the area (Paging, BGM, FGM etc.) 2.) Check the Frequency Response requirements for the specific Sound Class (see Sound Classification). 3.) Select the loudspeaker that is able to achieve the desired Frequency Response. For example if an area has been identified for a Class A sound which requires a Frequency Response of 20Hz to 20kHz, as shown in the example below, solely using ceiling speakers would not provide an overall frequency response of 20Hz to 20kHz. In order to reinforce the lower frequencies, a subwoofer unit is to be specified into the design to complement the ceiling speakers.

Ceiling loudspeaker

65Hz

20kHz

Ceiling speakers alone are unable to cover the lower end frequency response required for a Class A sound. At best, evenly plotted ceiling speakers are capable of producing a Class B sound requirements.

36

Subwoofer

20Hz

285Hz

Sub-woofers are designed to supplement the ceiling speakers and cover the lower end frequencies namely; 20Hz - 285Hz.

Overall System Response

20Hz

20kHz

Coupled together, both types of speaker provide a full frequency response suitable for a Class A sound application.

Section

E

Introduction to Section E

This section aims to provide the design engineer with an overview of the PA System industry and its current trends. With an understanding of the technologies available and the general direction of the industry, a PA system can be effectively designed to leverage on technology effectively and not solely for the sake of being ‘high tech’.

Advancement in the PA System Industry


37

Advancement In The PA System Industry The chart below aims to provide an overview of the Public address system design levels and the medium of transmissions that are applicable to it. The chart depicts the 2 main Signal Management domain available which is the analogue or digital domain. This has been discuss in detail in Section B and generally depending on the Design Level, it can be identified whether the signals are managed using traditional analogue technology or digital technology.

Section

Medium of Transmission identifies the various methods of transmission of audio and data between the components of a system. There are 3 main Medium of Transmission Categories which are Copper, Network Audio and Fibre Optics.

E Signal Management


Analogue

Digital

Medium of Transmission Copper

Network Audio TCP/IP

Proprietary Networks

Fibre Optic Multimode

Single Mode

Analogue and Digital Systems via Copper Cable Transmission Public Address systems using copper cables as its mode of transmission can be divided into 2 main categories namely, systems running in the analogue domain and systems running in the digital domain. Systems running on copper cable are widely used in most applications till today and will continue to serve the industry for the years to come as it is readily available and easy to install.

Analogue Systems

These systems are based on an analogue signal management to conduct the priority switching and pre-amplification of all the input sources. The Design Level 2 system below is an example of such a system.

analogue signal management Paging

Paging Microphone Paging Console Communication Panel

Paging

BGM

Programmable Preamplifier BGM


Power Amplifier

As shown above, the system receives audio signals from the input sources and based on an analogue switching mechanism routes the signal to the audio amplifiers. Analogue systems have a huge disadvantage when simultaneous audio output are required to the various zones in a building as cabling tremendously increases and audio routing becomes more complicated.

Advantages

- Ease of operation for small to medium scale projects. - Cost effective.

Limitations

- Limited simultaneous broadcast capability.

38

Digital Systems

Section

Similar to analogue systems, digital systems are connected via copper cables as well, however all the audio signals are converted into the digital domain for signal management. The diagram below depicts a Design Level 4 digital system. As shown in the diagram the digital signal manager is capable of routing various audio signals to different zones in the application simultaneously. This is accomplished with a digital audio matrix bus, allowing for simultaneous paging as well as differing background music to various zones.

E

Zone amplifiers 1000 0010 1010 1000

0101 1001 0101 0111 Zone amplifiers

Matrix Remote Microphone Digital Matrix Sound Management System


Zone amplifiers



Zone amplifiers

Power Amplifier




digital signal management

The digital matrix is suitable for projects such as office towers, stadiums, hotels, shopping malls and all forms of commercial projects that requires a centralize system within a building that complies with building fire regulations and safety standard.

Advantages

- Capable of simultaneous broadcast allowing to cater to most commercial projects and high-rise buildings. - Digital signal management allows for flexibility in configuring various applications - Complies to building safety standards and regulations for safety and evacuation sound systems such as; EN 60849, IEC 60849, CP 25, SANS 60849, etc.

Limitations

- Systems spread over a wide area requiring multiple simultaneous background music broadcast incurs a high cabling cost.

39

Advancement In The PA System Industry Digital Systems via Network Audio Transmission

Section

Network Audio is a method of transporting audio and data in the digital domain from either one point to another point (Unicast) or from one point to many points (Multicast). These systems are mainly connected to the network via CAT5e cable as its main physical medium of transport. A Network system is particularly useful for applications where a large number of input sources are required to be transmitted to multiple locations simultaneously. Network PA Systems are divided into 2 main groups of systems based on the protocol they utilize.

E

As shown in the chart, systems either run on TCP/IP Protocol or proprietary Network Audio protocols.


TCP/IP Protocol TCP/IP is a standard protocol utilized by the Internet and Local Area Networks (LAN). A Network PA System running on TCP/IP protocol would be able to route digital audio through a standard Ethernet-switched LAN accordingly. A typical TCP/IP Network PA would generally consist of the following components;

Modem Matrix Remote Microphone

Modem

Network Power Amplifier

INTERNET

Zone1

Ethernet switch Network Signal Manager Network Power Amplifier Zone2

Digital Source Player Network Power Amplifier Zone3 Digital Source Player

Source selector & volume control panel Ethernet switch

Network Microphone @ remote location

PC Station - PC Paging - Configuration & Monitoring

Office Workstation

Legend: CAT5e Cable running TCP/IP Protocol Copper cable with analogue signals

As shown in the diagram above, a Network PA System works by converting the analogue audio signals into the digital domain and routing it to the individual amplifiers located throughout the project via the LAN. These routing is based on the IP address assigned to the packets. Utilizing the TCP/IP packet protocol also allows the audio data signals to be routed via the internet. In order to reuse the existing infrastructure of data network, Virtual LAN (VLAN) technology is recommended to categorize appropriate collision domain in separating current data network from the newly attached audio network. Once the digital audio signals are received by the network amplifiers, they are then converted back to analogue and amplified to cater for the 100V line analogue speakers attached to it. The system can also feature remote source selectors and volume controls enabling the end user to change the music sources to the zones when needed. While there are cost saving advantages for applications spread out over a wide area, however sharing the LAN resources for transferring audio data for the PA System as well as data from the PC terminals on the LAN exposes the Network PA System to lag due to network latency especially during peak usage. These latencies and lags due to high network traffic are a huge disadvantage, especially during an emergency where critical announcements are to be made. Also during an emergency, a network failure could prove more disastrous than a mere failure to retrieve one’s email.

Advantages -

Cost effective solution for applications spread over a wide area. Multiple audio broadcast solution Flexible for re-configuring Ease of monitoring online

Disadvantage 40

- Does not comply with any building safety regulations - System integrity greatly depends on the LAN and the IT Server that it is connected to, - Subjected to lag and network latency due to heavy network traffic, which may not be tolerable during emergencies

Proprietary Networks

Network Signal Manager with Proprietary network encoder module Digital Source Player

Network Power Amplifier Proprietary network decoder

Proprietary network decoder


Network Power Amplifier

Source selector & volume control panel

Ethernet switch

Network Microphone @ remote location

PC Station - PC Paging - Configuration & Monitoring

Proprietary network encoder

Legend: CAT5e Cable running proprietary Protocol Copper cable with analogue signals


Ethernet switch


E

Example of some of the proprietary Audio Network protocols available in the market are Cobranet and EtherSound. Without running TCP/IP protocol, these Audio Networks are unable to travel through routers and are therefore limited to use on a LAN.

Section

An alternative to the TCP/IP protocol are the proprietary network systems. These are systems that consist of a combination of software, hardware and proprietary protocols for delivery of the digital audio packets. These systems are designed for better efficiency and lowlatency digital audio over a standard Ethernet network. These system usually require a dedicated LAN network separated from the data and computer LAN infrastructure.

While being flexible and easy to deploy, Audio Networks often have very high hardware cost for the devices that encode and decode the proprietary protocols. Also even with running a dedicated LAN for the PA system, audio networks are still prone to latency during transmission which may cause a decrease in audio quality due to the lost of discarded data. Further delays are also introduce when converting back and forth from analogue to digital over the LAN, for a live saving announcements where real-time announcements are imperative, these delays can be unacceptable.

Advantages -

Multiple non-emergency audio broadcast solution for decentralized solutions (ie: Audio Visual projects). Flexible for re-configuring. Ease of monitoring online. Cost savings on laying copper cabling although minimal.

Disadvantage

- Limited by a network’s distribution constrain, ie; CobraNet and most proprietary audio networks are limited to a maximum length of 700m through 6 network switcher hops. - High cost of procuring the proprietary network protocol encoder and decoders. - The installation maybe be subjected to very costly proprietary cable requirements. - Not comply with any building safety regulations. - System integrity greatly depends on the LAN and the IT Server that it is connected to. - Subjected to lag and network latency due to heavy network traffic. - Not suitable for building PA system applications.

41

Advancement In The PA System Industry Analogue and Digital Systems via Fibre-optic Transmission

Section

Fiber-optic transmission allows for long distance audio and control signals transmission. This usually involves a transceiver that converts the analogue audio to digital format and transmits to another transceiver. There is a common misconception that fiber optics are always better regardless of the application, to the extend that systems that requires inter-equipment fiber-optic cabling are preferred. It is even possible to connect analogue systems via fibre-optics utilizing transceivers that accept analogue audio inputs.

E

Fiber-optic transmission are usually applicable for connecting ‘local systems’ between buildings, Mixed Developments that are spread over a wide area and where cross building paging is required. For high-rise applications, where all equipment are housed in a common area, fiber-optics becomes an unnecessary cost factor as its doesn’t serve its purpose of long distance transmission. There are 2 main categories of fibre optics namely Multimode and Single mode fibre-optics. Multimode fiber is best designed for shorter transmission distances and is suited for use in LAN systems and connecting ‘local systems’ between buildings with a distance between 2-4km apart. Single-mode fiber is best designed for longer transmission distances, making it suitable for long-distance integration of up to 20km.

Multimode Fibre-optic 2 ~ 4km 1


Digital Signal Manager

2

3

4

1

2

3

4

Multimode Fibre-optic Transceiver

Multimode Fibre-optic Transceiver





Main Campus

Sub-campus

The example depicts a multi-campus university application, whereby a Multimode fibre-optic solution can be used to integrate the campuses together for cross paging during an emergency. Singlemode Fibre-optic up to 20km 1

2

3

4

Singlemode Fibre-optic Transceiver 1



2

3

4


Singlemode Fibre-optic transceiver Matrix Remote Microphone


Sub-station 1

1

Main Terminal

Singlemode Fibre-optic up to 20km

2

3

4

Singlemode Fibre-optic transceiver



Sub-station 2 The example depicts a railway transport application. With the all the substation being a significant distance away from each other, a Singlemode Fibre-optic solution would be able to integrate the systems together. This form of integration allows the main terminal to provide paging and automatic messages to the sub-stations.

Advantages

- No loss at fibre-optic transmission over long distance. - Solution for long distance system integration only.

Disadvantage

42

-

High cost of laying fibre-optic cable. Some may require proprietary fibre-optic cable with special connectors that is costly. For Multimode fibre-optic the furthers distances maybe limited to 4km before costly boosters are required. Equipment and cable for Singlemode fibre-optic applications are very costly. Not suitable for highrise building applications where equipments are to be centralized in a main control room.

PAGE INTENTIONALLY RIGHT BLANK


Section

F

Introduction to Section F

Component Selection Guide

Component Selection Guide This section provides an easy overview of the various components required for each of the design levels. Having decided and designed the PA System in accordance to any one of the design levels, the design engineer can refer to this section to start selecting the appropriate equipment and components. The various equipments are listed in an overall guide at the end of the section. This guide would serve to ensure that all components from source equipment to output equipment are compatible with one another for each of the design level.

45 35

Microphone Selection Guide

Priority Activation (via Pin 5 at Output Terminal)

Remote Zone Selection / Nos. of Zones

Built-In Chime / Type of Chime

Section

F Component Selection Guide

Sensitivity

Signal Type

(with recommended cable size)

ME 1

- 72 dB

Unbalanced

20 m

Yes

No

No

MH 1a

- 76 dB

Unbalanced

20 m

No

No

No

MH 2a

- 73 dB

Unbalanced

20 m

No

No

No

MP 1

- 55 dB

Balanced

80 m

Yes

No

No

MC 1

- 50 dB

Balanced

80 m

Yes

No

Yes / 4-tone Ascending & Decending On / Off Switch

MC 2

0 dB

Balanced

1.2 km

Yes

No

Yes / 4-tone Ascending & Decending On / Off Switch

Yes / 4-tone Ascending On / Off Switch

MR 102

0 dB

Balanced

1.2 km

Yes

Yes / 20

MS 201

0 dB

Balanced

1.2 km

Yes

Yes / 10

MS 202

46

Max Cable Distance

0 dB

Balanced

1.2 km

Yes

Yes / 20

Yes / 4-types (4-tone / 2-tone / Gong / Siren) On / Off Switch


MS 204

0 dB

Balanced

1.2 km

Yes

Yes / 40


MS 210

0 dB

Balanced

1.2 km

Yes

Yes / 100


Power Amplifier Selection Guide (1) Power (W) required rated at 100V line

1 ~ 24W

25 ~ 48W

49 ~ 96W

96 ~ 192W

193 ~ 288W

289 ~ 384W

(2) Line Impedence (Ω)

10k ~ 417Ω

416 ~ 208Ω

207 ~ 104Ω

103 ~ 52Ω

51 ~ 35Ω

34 ~ 26Ω

Model

Section

MA 103

F

MA 106 MA 112


PB 106 PB 112 PB 124 PB 136

PA 406 PA 412 PA 224 PA 148

Priority Input (for Emergency Overriding) Yes

No

Automatic Changeover (to Stanby Amplifier) Yes

No

Fault Detection Method ASM 01 (Amplifier Not Applicable Supervisory Unit)

LA 08 (Integrated Supervisory Unit)

AC 08 (Amplifier Changeover Unit)

Model MA 103 MA 106 MA 112

PB 106 PB 112 PB 124 PB 136

PA 406 PA 412 PA 224 PA 148

47

Line Super visory Selection Guide

Section


DM 10 Line Monitoring Unit

SL 04 Line Supervisory Unit

SL 08 Line Supervisory Unit

LA 08 Integrated Supervisory Unit

10 Zones

4 Zones

8 Zones

8 Zones

DC Monitoring

Impedance Measurement



Requires a DC Filter Capacitor at Every Loudspeaker

Yes

No

No

No

Requires an End of Line Resistor at Every Zone

Yes

No

No

No

High

Low

Low

Low

No

Yes

Yes

Yes

No

Yes

Yes

Yes

No

Yes

Yes

Yes

No

Yes

Yes

Yes

No

Yes

Yes

Yes

No

Yes

Yes

Yes

No

No

No

Yes

Nos. of Zones Monitored per Unit Method of Monitoring

The capacitor functions as a DC filter to block the DC monitoring signal to the line matching transformer of the loudspeaker unit

The end-of-line resistor is part of the voltage divider circuit required by the DC monitoring method to monitor the loudspeaker lines

Possibility of Installation Errors Installation errors identified includes loudspeaker installation that by-passes the DC filter capacitor, not placing the resistor at the end of the lines or none at all, difficulty of tracing the loudspeaker which does not have a DC filter capacitor and not observing a single trunk line wiring topology for DC monitoring method

Ability to Detect Faults at Branched Loudspeaker Lines Loudspeaker Lines Fault monitoring of the entire loudspeaker circuit is important that all areas covered by the PA system is ready for emergency broadcast

Ability ot Detect Faults Beyond Audio Attenuator Fault detection beyond the audio attenuator is imperative for a fail-safe system that ensures that the integrity of the loudspeaker lines at all times

Provides Individual Signal for every Type of Fault to Central Monitoring System Modular Architecture

Modular Architecture enables the user to change only the faulty modules without affecting the others

Reduces Installation Time

Shorter Installation Time enables the installer to reduce errors due to fatigue and more time to ensure the integrity of the system

Built-In Power Supply

A built-in power supply does not require an additional power supply unit for operation

Built-In Amplifier Changeover

Both Line Supervisory and Amplifier Changeover is integrated into a single unit to reduce interconnection and cabling. 48

DC Monitoring Power Amplifier Pre Amplifier DM 10 Line Monitoring Unit

However this conventional method has numerous limitations as listed below;

Ceiling Loudspeaker

2.) Requires installed.

an

End-of-line

resistor

3.) Does not allow branching of the speaker lines. As such the wiring process would have to be carefully monitored to ensure that no wiring branch-off are created. End-of-line Resistor

4.) Does not allow monitoring beyond audio attenuators.


Power Amplifier


DC Blocking Capacitor

F

1.) DC blocking capacitors are required to be installed on every individual speaker. Failure to do so would result in the speaker being damaged.

Section

The DC Method of monitoring is a conventional and cost effective method of monitoring the speaker line using a DC voltage referencing technique.

Power Amplifier Pre Amplifier

Pre Amplifier

SL 04 / SL 08 Line Supervisory unit

LA 08 Integrated Supervisory Unit

Audio Attenuator

The impedance method of monitoring the speaker lines are technologically superior to the DC Method. The impedance method allows for branching of the speakers and does not require DC blocking capacitors or the End-of-Line resistor to be installed. The units are also capable of monitoring beyond audio attenuators. As for the Integrated Supervisory Unit, it goes beyond line monitoring and incorporates amplifier monitoring and changeover facilities. This provides a total monitoring solution that is easily configured and setup.

49

Loudspeaker Selection Guide Ambient Noise Ceiling Height From Coverage Area (dB) Floor (m) per Loudspeaker

Applications

30~45

Ceiling Loudspeaker

46~60

61~75

Loudspeaker Spacing

2.5~3.0 3.0~3.5

Areas with low ceiling and low ambient noise (Office Area, Washroom, Corridor)

Section

Screw Mounted Ceiling Loudspeaker

CE 531M

F

Screw Mounted Ceiling Loudspeaker with Mesh

CE 532



CE 532M

Spring Mounted Ceiling Loudspeaker with Mesh

CE 561

Screw Mounted Ceiling Loudspeaker

CE 561M

Screw Mounted Ceiling Loudspeaker with Mesh

4 m2 ~ 11 m2

2 m ~ 3.4 m

4 m2 ~ 8 m2

2 m ~ 2.8 m

4 m2 ~ 11 m2

2 m ~ 3.4 m

4m ~8m

2 m ~ 2.8 m

4 m2 ~ 11 m2

2 m ~ 3.4 m

4m ~8m

2 m ~ 2.8 m

4 m2 ~ 11 m2

2 m ~ 3.4 m

4m ~8m

2 m ~ 2.8 m

4 m2 ~ 11 m2

2 m ~ 3.4 m

3W

4 m2 ~ 8 m2

2 m ~ 2.8 m

6W

8 m2 ~ 11 m2

2.8 m ~ 3.4 m

4 m2 ~ 11 m2

2 m ~ 3.4 m

4 m2 ~ 8 m2

2 m ~ 2.8 m

1.5W 3W 1.5W 3W 1.5W


1.5W 3W

Spring Mounted Ceiling Loudspeaker with Mesh

1.5W 3W

1.5W 3W

Splashproof Ceiling Loudspeaker

CS 562E

Splashproof Ceiling Loudspeaker with Enclosure

CS 562M

Splashproof Ceiling Loudspeaker with Mesh

CS 562ME

Splashproof Ceiling Loudspeaker with Mesh and Enclosure

CM 361

2

8 m ~ 11 m

2.8 m ~ 3.4 m

4 m2 ~ 11 m2

2 m ~ 3.4 m

4 m2 ~ 8 m2

2 m ~ 2.8 m

2

2

4 m2 ~ 11 m2

2 m ~ 3.4 m

4m ~8m

2 m ~ 2.8 m

8 m2 ~ 11 m2

2.8 m ~ 3.4 m

4 m2 ~ 11 m2

2 m ~ 3.4 m

4 m2 ~ 8 m2

2 m ~ 2.8 m

6W

8 m2 ~ 11 m2

2.8 m ~ 3.4 m

1.5W

4 m2 ~ 11 m2

2 m ~ 3.4 m

3W

4 m2 ~ 8 m2

2 m ~ 2.8 m

6W

8 m ~ 11 m

2.8 m ~ 3.4 m

1.5W

4 m2 ~ 11 m2

2 m ~ 3.4 m

3W

4m ~8m

2 m ~ 2.8 m

6W

8 m2 ~ 11 m2

2.8 m ~ 3.4 m

1.5W

4 m2 ~ 11 m2

2 m ~ 3.4 m

3W

4 m2 ~ 8 m2

2 m ~ 2.8 m

6W

8 m ~ 11 m

2.8 m ~ 3.4 m

1.5W

4 m2 ~ 11 m2

2 m ~ 3.4 m

1.5W 3W

1.5W 3W

2

2

2

2

2

2

2

2

2

2

3W

4m ~8m

2 m ~ 2.8 m

6W

8 m2 ~ 11 m2

2.8 m ~ 3.4 m

1.5W

4 m2 ~ 11 m2

2 m ~ 3.4 m

135mm Metal Grille Spring Mounted Ceiling Loudspeaker

50

2

2.8 m ~ 3.4 m


CM 461

2

8 m ~ 11 m

6W CS 562

2

1.5W

6W CE 562M

2

3W

6W CE 562

2

Not Recommended For Distance > 4.5m

CE 531

2

2

3W

4m ~8m

2 m ~ 2.8 m

6W

8 m2 ~ 11 m2

2.8 m ~ 3.4 m

2

2

Ambient Noise Ceiling Height From Coverage Area (dB) Floor (m) per Loudspeaker

Applications

30~45

CM 611

4 m2 ~ 8 m2

2 m ~ 2.8 m

10W

8 m ~ 31 m

2.8 m ~ 5.6 m

2.5W

4 m2 ~ 31 m2

2 m ~ 5.6 m

5W

4 m2 ~ 8 m2

2 m ~ 2.8 m

10W

8 m ~ 31 m

2.8 m ~ 5.6 m

2

2

2

30~45

46~60

61~75

Loudspeaker Spacing

F

Ambient Noise Ceiling Height From Coverage Area (dB) per Loudspeaker Floor (m) 2.5~4.0 4.0~5.5 5.5~7.5

Areas with high ceiling Areas which requires better speech & music clarity (Conference & Meeting 2.5W

4 m2 ~ 48 m2

2 m ~ 6.9 m

5W

2

18 m ~ 31 m

4.2 m ~ 5.6 m

10W

31 m2 ~ 48 m2

5.6 m ~ 6.9 m

Coverage Area per Loudspeaker

Loudspeaker Spacing

4 m2 ~ 12 m2

2 m ~ 3.5 m

4 m2 ~ 12 m2

2 m ~ 3.5 m

2

Ambient Noise (dB)

Applications

30~45

46~60

61~75

Distance from Listener (m) 1.0~2.0 2.0~3.0

Surface Mounted Wall Loudspeaker

Not Recommended For Distance > 4.5m

Areas where no ceiling board is available for ceiling loudspeaker mounting.(Staircases & Corridors) 1W WM 561 2W 4W 6W WM 562

Wooden Wall Mounted Loudspeaker

1W 2W 4W 6W

WM 662

Wooden Wall Mounted Loudspeaker

1W 2W 4W 6W

WM 862

Surface Mounted Wall Loudspeaker

1W 2W

4m ~8m

2 m ~ 2.8 m

8 m2 ~ 12 m2

2.8 m ~ 3.5 m

4 m2 ~ 12 m2

2 m ~ 3.5 m

4 m ~ 12 m

2 m ~ 3.5 m

4 m2 ~ 8 m2

2 m ~ 2.8 m

8 m ~ 12 m

2.8 m ~ 3.5 m

2

4 m ~ 12 m

2 m ~ 3.5 m

4 m2 ~ 12 m2

2 m ~ 3.5 m

2

2

2

2

2

2

2

4m ~8m

2 m ~ 2.8 m

8 m2 ~ 12 m2

2.8 m ~ 3.5 m

4 m2 ~ 12 m2

2 m ~ 3.5 m

2

2

4 m ~ 12 m

2 m ~ 3.5 m

4W

4 m2 ~ 8 m2

2 m ~ 2.8 m

6W

8 m ~ 12 m Coverage Area per Loudspeaker

2.8 m ~ 3.5 m Loudspeaker Spacing

1.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

2.5W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

5W

49 m ~ 133 m

10W 5W

147 m ~ 300 m 21 m2 ~ 300 m2

12.1 m ~ 17.3 m

7.5W

21 m2 ~ 133 m2

4.6 m ~ 11.5 m

10W

147 m ~ 300 m

12.1 m ~ 17.3 m

15W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

Open areas where subjected to heat & moisture.

2

2

Ambient Noise (dB)

Applications

2

30~50

51~70

71~90

Distance from Listener (m) 3~5

2


(Lobby, Foyer, Reception)

Room, Ballroom)

Paging Horn Loudspeaker

2

Section

2 m ~ 5.6 m

5W

Applications

Wall Mounted Loudspeaker

2.5~3.0 3.0~4.5 4.5~5.5

4 m2 ~ 31 m2


CX 811 265mm Metal Grille Spring Mounted Coaxial Ceiling Loudspeaker

61~75

2.5W


CM 811

46~60

Loudspeaker Spacing

5.5~10 10.5~15

(car park, assembly ground, field, outdoor theme park)

RH 061

10W Aluminium Paging Horn Loudspeaker

RH 085


RH 103


2

2

2

2

2

2

7 m ~ 11.5 m 4.6 m ~ 17.3 m

5W

2

21 m ~ 300 m

4.6 m ~ 17.3 m

7.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

15W

21 m ~ 41 m

4.6 m ~ 6.4 m

30W

49 m2 ~ 133 m2

7 m ~ 11.5 m

2

2

2

51

Loudspeaker Selection Guide Ambient Noise (dB)

Applications

30~45

Aluminium Column Loudspeaker

46~60

61~75



Loudspeaker Spacing

5.5~10 10.5~15

Areas which require sound projection (Conference Room, Large Hall, Warehouse)

Section

Walled areas with elevated ambient noise (Canteen, Assembly Hall)

VA 450

F

VA 415 VA 430

15W Aluminium Column Loudspeaker


VA 430


VA 415

VA 450


3.8W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

7.8W

21 m ~ 300 m

4.6 m ~ 17.3 m

15W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

7.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

15W

21 m ~ 41 m

4.6 m ~ 6.4 m

30W

49 m2 ~ 133 m2

7 m ~ 11.5 m

12.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

25W

21 m2 ~ 133 m2

4.6 m ~ 11.5 m

50W

147 m2 ~ 300 m2

12.1 m ~ 17.3 m

2

2

Ambient Noise (dB)

Applications

30~45

Wooden Column Loudspeaker

2

46~60

61~75


2


Loudspeaker Spacing

5.5~10 10.5~15


Walled areas with elevated ambient noise VW 650

(Canteen, Assembly Hall)

VW 515

VW 530

15W Wooden Column Loudspeaker

VW 515 VW 530


VW 650


3.8W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

7.5W

21 m ~ 300 m

4.6 m ~ 17.3 m

15W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

7.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

15W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

30W

49 m ~ 133 m

7 m ~ 11.5 m

12.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

12.5W

LR 126

2

2

2

21 m ~ 41 m

4.6 m ~ 6.4 m

25W

49 m2 ~ 133 m2

7 m ~ 11.5 m

50W

147 m2 ~ 300 m2

12.1 m ~ 17.3 m

2

Ambient Noise (dB)

Applications Line Array Loudspeaker

2

30~45

46~60

61~75


2


Loudspeaker Spacing

5.5~10 10.5~15


Walled areas with elevated ambient noise (Canteen, Assembly Hall)

LR 063

LR 063

30W Passive Line Array

LR 126

60W Passive Line Array

52

7.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

15W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

30W

2

49 m ~ 133 m

7 m ~ 11.5 m

15W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

30W

21 m2 ~ 133 m2

4.6 m ~ 11.5 m

60W

147 m ~ 300 m

12.1 m ~ 17.3 m

2

2

2

Ambient Noise (dB)

Applications

30~45

2-Way Foreground Loudspeaker

46~60

61~75

Distance from Listener (m)

3~5

5.5~10 10.5~15


Loudspeaker Spacing

Areas which require high speech & music clarity. (meeting room, foyer, lounge)

2-Way Foreground Loudspeker

2-Way Foreground Loudspeker

4.6 m ~ 17.3 m

7.5W

21 m ~ 300 m

4.6 m ~ 17.3 m

15W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

7.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

15W

21 m ~ 41 m

4.6 m ~ 6.4 m

30W

49 m2 ~ 133 m2

7 m ~ 11.5 m

2

2

Ambient Noise (dB)

Applications

30~50

Sound Reinforcement Loudspeaker

2

51~70

71~90

Distance from Listener (m)

3~5

5.5~10 10.5~15

2


Loudspeaker Spacing

Areas which require high SPL, accurate sound projection and clarity for speech & music application. (Ballroom, Assembly Hall, Entertainment Outlets, Places of Worship)

F8

2-Way Full Range SR Loudspeaker

F 10


F 12


12.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

12.5W

21 m2 ~ 41 m2

4.6 m ~ 6.4 m

25W

49 m ~ 133 m

7 m ~ 11.5 m

50W

147 m2 ~ 300 m2

12.1 m ~ 17.3 m

12.5W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

25W

21 m ~ 133 m

4.6 m ~ 11.5 m

50W

147 m2 ~ 300 m2

12.1 m ~ 17.3 m

25W

21 m2 ~ 300 m2

4.6 m ~ 17.3 m

50W

21 m ~ 300 m

4.6 m ~ 17.3 m

75W

21 m ~ 133 m

2

2

2

2

2

2

2 2


21 m2 ~ 300 m2

F

FG 530

3.8W

Section

FG 415

4.6 m ~ 11.5 m

53

Product References Table Systemstage

Input Sources

&

Preamplifier & Systemstage Signal Management

Systemstage

Power Amplifiers

MC 1 Chime Microphone

Section

MH 1a Hand-held Microphone

F

MP 1 Paging Microphone


MH 2a Hand-held Microphone

MA 103 MA 106 MA 112

MC 2 Desktop Microphone

Mixer Amplifier

ME 1 Emergency Microphone




PB 106 MS 201 10-Zone Remote Paging Console

MS 202 20-Zone Remote Paging Console

PB 112 PB 124

XP 138 Programmable Amplifier

PB 136 MS 204 40-Zone Remote Paging Console


XP 138CM Chime Module

PB Series Audio Power Amplifier

MR 102 20-Zone Remote Microphone MX 102 20-Zone Remote Microphone Extension Unit

PA 406 PA 412 PA 224 PA 148

CP 102 Communication Panel CP 102EM Communication Panel Extension Module

DS 201 Single-Channel Digital Player

DS 201R Single-Channel Digital Recorder

DS 202 Dual-Channel Digital Player

54 24

DS 202R Dual-Channel Digital Recorder

PA Series 4 X 60W Audio Power Amplifier

Systemstage

Contol & Monitoring

CE 561 Screw Mounted Ceiling Loudspeaker

CE 562 Spring Mounted Ceiling Loudspeaker

AT 30 30 W Audio Attenuator

CE 561M Screw Mounted Ceiling Loudspeaker with Mesh

CE 562M Spring Mounted Ceiling Loudspeaker with Mesh

CM 361 Metal Grille Ceiling Loudspeaker



CM 461E Metal Grille Ceiling Loudspeaker with Back Enclosure





CS 562 Splashproof Ceiling Loudspeaker

CS 562M Splashproof Ceiling Loudspeaker with Mesh

CS 562E Splashproof Ceiling Loudspeaker with Enclosure

CX 811 Metal Grille 2-Way Coaxial Ceiling Loudspeaker

CX 811E Metal Grille 2-Way Coaxial Ceiling Loudspeaker with Back Enclosure

LS 10A Speaker Line Selector With All Call Function

LS 10 Speaker Line Selector AT 05 5 W Audio Attenuator AT 75 75 W Audio Attenuator

AT 30 30 W Audio Attenuator AT 120 120 W Audio Attenuator

SA 05 Automatic Changeover Unit

CS 562ME Splashproof Ceiling Loudspeaker with Mesh and Enclosure WB 661 Bidirectional Wall Mount Loudspeaker WM 562 Wooden Wall Mount Loudspeaker

WM 561W ABS Wall Mount Loudspeaker (White)

WM 561B ABS Wall Mount Loudspeaker (Black)

WM 662 Wooden Wall Mount Loudspeaker




F


Section


LS 10 Speaker Line Selector


Loudspeaker




Systemstage

ASM 01B Amplifier Supervisory Module

AM 10 Amplifier Monitoring Unit

PT 085 8-Channel Program Timer

VA 415 VA 430 VA 450 VA Series Aluminium Column Loudspeaker



VW 515 VW 530 VW 650 VW Series Wooden Loudspeaker Column

LR 063 LR 126 LR Series Line Array Loudspeaker

RH 061 10W Aluminium Paging Horn Loudspeaker



FG 415 2 way Foreground Loudspeaker

FG 530W 2 way Foreground Loudspeaker (White)

FG 530B 2 way Foreground Loudspeaker (Black)

F 8 / F 8W 2 way Full Range SR Loudspeaker


LA 08 Line Supervisory Unit

SL 08 8-Zone Line Supervisory Unit


SU 650 Subwoofer System


F 12s 2 way Full Range Stage Monitor

Recommended Spring-Mounted Ceiling Loudspeaker CE 532 / CE 532M CE 562 / CE 562M CM Series CX 811 / CX 811E

55


Input Sources

Preamplifier & Systemstage Signal Management

Systemstage

Power Amplifiers

ME 1 Emergency Microphone

Section








MS 210 100-Zone Remote Paging Console MR 102 20-Zone Remote Microphone MX 102 20-Zone Remote Microphone Extension Unit

CP 102 Communication Panel

XM 10A Modular Mixer Enclosure XM 92A Power Supply Module 240Vac XM 11A Single Space Blank Panel XM 12A Double Space Blak Panel XM 31A ME 1 Receptacle Module

XM 51A Source Selector Module

XM 32A Microphone Preamplifier Module (-60 dBV)

XM 52A Parallel Source Selector Module

XM 33A Microphone Preamplifier Module (0 dBV)

XM 61A Emergency Tone Generator Module

PB 106

XM 62A Chime Generator Module

PB 124

XM 34A Mono Preamplifier Module XM 35A Stereo Combining Preamplifier Module

PB 136 XM 71A Line Amplifier Module

PA 406 PA 412 FT 810T Single Channel Fibre Optic Transmitter

FT 810R Single Channel Fibre Optic Receiver

FT 811T Single Channel Fibre Optic Transmitter (with RS 485)

FT 811R Single Channel Fibre Optic Receiver (with RS 485)

FT 820T 2 Channel Fibre Optic Transmitter

FT 820R 2 Channel Fibre Optic Receiver

FT 821T 2 Channel Fibre Optic Transmitter (with RS 485)

FT 821R 2 Channel Fibre Optic Receiver (with RS 485)



FT 841T 4 Channel Fibre Optic Transmitter (with RS 485)

FT 841R 4 Channel Fibre Optic Receiver (with RS 485)



56 24



XM 41A Extension Module

CP 102EM Communication Panel Extension Module


PB 112

PA 224 PA 148 PA Series 4 X 60W Audio Power Amplifier

Systemstage

Systemstage

Contol & Monitoring

Loudspeaker


























CS 562ME Splashproof Ceiling Loudspeaker with Mesh and Enclosure

WB 661 Bidirectional Wall Mount Loudspeaker








F


Section








LR Series Line Array Loudspeaker









AT 30 30 W Audio Attenuator SU 650 Subwoofer System AT 75 75 W Audio Attenuator


LR 063 LR 126



Recommended Spring-Mounted Ceiling Loudspeaker CE 532 / CE 532M CE 562 / CE 562M CM Series CX 811 / CX 811E

57


Input Sources

Systemstage

Section

F

iX 101 PA Matrix Main Frame with Single CPC


iX 194 Analogue Handheld Microphone

iX 151 Emergency Microphone

iX 103 PA Matrix Extension Frame



iX 153 PA Matrix Remote Control Sensor Panel (RCSP) iX 154 PA Matrix Remote Multipurpose Relay Panel (RMRP)

iX 155 PA Matrix Internet Connectivity Panel (ICP)

eX 801 Single CPC Main Frame

eX 803 Extension Frame

eX 863 40-Zone Emergency Microphone

eX 865 10-Zone Remote Microphone eX 866 20-Zone Remote Microphone

eX 868 120-Zone Remote Microphone

iX 193 Blank Facial

iX 121 PA Matrix Central Processing Card I (CPC I) iX 182 240 Vac Power Supply

iX 111 PA Matrix Control Manager iX 112 Matrix Control Manager with Internet Connectivity Features

Power Amplifiers

iX 122 PA Matrix Central Processing Card 2 (CPC II) iX 123 Extension Card

iX 132 Audio Input Card (AIC)

FT 810T Single Channel Fibre Optic Transmitter


PB 112

FT 811T Single Channel Fibre Optic Transmitter (with RS 485)

FT 811R Single Channel Fibre Optic Receiver (with RS 485)

PB 136



PB 124


PA 406 PA 412



FT 841R FT 841T 4 Channel Fibre Optic 4 Channel Fibre Optic Transmitter (with RS 485) Receiver (with RS 485) eX 842 Control Output Card eX 881 Power Supply Inlet Card

eX 831 Auxiliary Input Card

eX 833 Internal BGM Source and Message Card

eX 832 Auxiliary Input and Message Card

eX 834 Microphone Input Card

eX 841 Control Input Card eX 811 Control Manager

Systemstage

PB 106

eX 824 Extension Frame Extension Card

eX 867 40-Zone Remote Microphone

58

iX 136 PA Matrix Audio Output Card (AOC)

eX 823 Main Frame Extension Card



iX 143 PA Matrix Multipurpose Relay Card (MRC)

FT 821R FT 821T 2 Channel Fibre Optic 2 Channel Fibre Optic Transmitter (with RS 485) Receiver (with RS 485)



iX 133 PA Matrix Remote Microphone Input Card (RIC)

iX 142 PA Matrix Control Sensor Card (CSC) iX 102 PA Matrix Main Frame with Dual CPC



eX 821B Central Processing Card

PA 224 PA 148


Systemstage

Systemstage

Control Monitoring






















CS 562ME Splashproof Ceiling Loudspeaker with Mesh and Enclosure WB 661 Bidirectional Wall Mount Loudspeaker










F



Section


Loudspeaker



LR 063 LR 126

SL 08 8-Zone Line Supervisory Unit VA Series Aluminium Column Loudspeaker

SL 04 4-Zone Line Supervisory Unit AT 05 5 W Audio Attenuator

VW Series Wooden Loudspeaker Column









AT 30 30 W Audio Attenuator SU 65 Subwoofer System AT 75 75 W Audio Attenuator




Recommended Spring-Mounted Ceiling Loudspeaker F 12s 2 way Full Range Stage Monitor

CE 532 / CE 532M CE 562 / CE 562M CM Series CX 811 / CX 811E

59


Input Sources

Systemstage


Section

iX 101 PA Matrix Main Frame with Single CPC

F

iX 102 PA Matrix Main Frame with Dual CPC


iX 103 PA Matrix Extension Frame iX 121E EES Matrix Central Processing Card I (CPC I) iX 122 PA Matrix Central Processing Card 2 (CPC II) iX 194 Analogue Handheld Microphone

iX 123 Extension Card

iX 132 Audio Input Card (AIC)

iX 151 Emergency Microphone

iX 133 PA Matrix Remote Microphone Input Card (RIC) iX 136 PA Matrix Audio Output Card (AOC)



iX 142 PA Matrix Control Sensor Card (CSC) iX 143 PA Matrix Multipurpose Relay Card (MRC) iX 193 Blank Facial


iX 112E EES Matrix Control Manager with Internet Connectivity Features

iX 182 240 Vac Power Supply

iX 153 PA Matrix Remote Control Sensor Panel (RCSP)

iX 154 PA Matrix Remote Multipurpose Relay Panel (RMRP)

60

PB 112 PB 124

PB 136

iX 156E Manual Mode Zone Selection Panel (With All Call Function) PB Series Audio Power Amplifier iX 157E Manual Mode Zone Selection Panel

PA 406 PA 412 PA 224

iX 158E Emergency Alert Panel

iX 159E Mimic Panel Interface


(with RS 485)

(with RS 485)









(with RS 485)

PB 106

iX 155 PA Matrix Internet Connectivity Panel (ICP)

FT 811T FT 811R Single Channel Fibre Optic Transmitter Single Channel Fibre Optic Receiver

(with RS 485)

Power Amplifiers

iX 111E EES Matrix Control Manager

DS 202 Dual-Channel Digital Player FT 810T Single Channel Fibre Optic Transmitter

Systemstage

(with RS 485)

(with RS 485)

PA 148


Systemstage

Systemstage

Contol & Monitoring






















CS 562ME Splashproof Ceiling Loudspeaker with Mesh and Enclosure WB 661 Bidirectional Wall Mount Loudspeaker










F



Section


Loudspeaker















AT 30 30 W Audio Attenuator SU 650 Subwoofer System




Recommended Spring-Mounted Ceiling Loudspeaker



LR 063 LR 126


CE 532 / CE 532M CE 562 / CE 562M CM Series CX 811 / CX 811E

61


Section

G Design Template

Design Template Introduction to Section G

In specifying a PA System design, a properly documented schematic will help to reduce the ambiguity of the design. This section shows the design engineer basic ways on how to document the schematic from design levels 1-5. These design templates together with the various schematic symbols used are also available in the CD provided with this book.

63

Design Template -

Section

G Design Template - Design Level 1

Mic1

Handheld Mic (MH 1a)

Aux1 Digital Source Player (DS 201)

EQUIPMENT RACK LAYOUT:

Digital Source Player 1

2

3

4

5

6

7

8

9

Line Selector

10 ALL CALL

REMOTE OVERRIDE

SPEAKER LINE SELECTOR

LS 10A

ON

MIC 1

MIC 2

MIC 3

AUX 1

AUX 2

AUX 3

BASS

TREBLE

20

50

80

100%

CLIP

MASTER

Mixer Amplifier

POWER

0

10

0

10

0

10

0

10

0

10

0

10

-10

0

-10

0

0

10

120W MIXER AMPLIFIER MA 112

FUSE 2A F

US E

POWER

O AC

SHORT

I

BATT IN F

POWER SUPPLY UNIT PS 05

64

Mic2

US E

FUSE 6A

OFF

ON

Regulated Power Supply

120W Mixer Amplifier (MA 112)

OF F

Desktop Paging Mic (MP 1)

Section

3 nos. CM 361 @ 3W

2 nos. FG 530 @ 15W

2 nos. CM 361 @ 3W

2 nos. CM 361 @ 3W

3 nos. CM 361 @ 3W

3 nos. CM 361 @ 3W LEGEND: 3 nos. CM 361 @ 3W

Ceiling Speaker

Emergency Mic With Push Button

Coaxial Ceiling

Handheld Mic

OFF

1 no. Regulated 24 Vdc Power Supply (PS 05)

Paging Console

Horn Speaker

Radio Tuner

AM/FM

Cassette Deck DISC

50

70

100

25

141

0

VOLUME

V% 1

2

3

4

5

6

CHANNEL SELECT

8

9

10

Amp. Monitoring Emergency Panel

NOTES:

Amp. Changeover

All loudspeakers c/w 100 V / 70 V audio line matching transformer All ceiling loudspeaker shall be spring mounted


All audio cable shall be two core screened cables All loudspeaker cable shall be minimally 18 AWG twisted pair in uPVC conduit

7

FGM Speaker

CD Player Digital Source

AMPLIFIER MONITORING UNIT AM 10

Box Speaker


Speaker Line Selector with ALL CALL (LS 10A)

10 nos. CM 361 @ 3W

Column Speaker Power Amplifier Multichannel Power Amplifier Audio Attenuator

SYSTEM : MIXER AMPLIFIER PA SYSTEM PROJECT :

Designed By Date Drawing No

AEX-DWG-0105-DL1-1

Page No

1 of 1

65

Design Template -

50

70

100

25

141

VOLUME

0

V% 1

2

3

4

5

6

7

8

9

10

CHANNEL SELECT


1 no. Amplifier Monitoring Unit (Monitors up to 10 amplifiers only) (AM 10) Priority

Section

480W Power Amplifier (PA 148)


1A Emergency Handheld Mic, ME 1

Signal from fire alarm system

Programmable Preamplifier XP 138

Paging Console Remote Paging Mic (MS 204) @ Reception Counter Communication Panel & Extendsion Module (CP 102 & CP 102EM)

1B


Digital Source Player (DS 201) 3A

TAPE

Cassette Deck (By Others)

DISC

3B

CD Player (By Others)


480W Power Amplifier (PA 148) STANDBY 4 nos. 25A Power Supply Unit (PS 30)


Cassette Deck CD Player

Digital Source Player Programmable Preamplifier POWER

PRIORITY

CHIME SIGNAL

LED 1

LED 2

LED 3

LED 4

EXT 1

ERROR

CHIME GAIN

PC 1

PC 2

PC 3

PC 4

EXT 2

Paging Console Communication Panel

COMMUNICATION PANEL CP 102

1

2

3

4

5

6

7

8

9

10

1

2

3

4

5

6

7

8

9

10

1

2

3

4

5

6

7

8

9

10

1

2

3

4

5

6

7

8

9

10

ALL CALL REMOTE OVERRIDE


LS 10A

Line Selector

REMOTE OVERRIDE


LS 10A

REMOTE OVERRIDE


LS 10A

REMOTE OVERRIDE


LS 10A

Regulated Power Supply FUSE 2A F

US E

POWER

O AC

SHORT

OFF

I

BATT IN FU

ON

S E

FUSE 6A


Amplifier Supervisory Unit 50

70

100

25

141

VOLUME

0

V% 1

2

3

4

5

6

7

8

9

10


CHANNEL SELECT


PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

Duty Power Amplifier

PROTECT

PRIORITY

PROGRAM

PRIORITY

PROTECT

Duty Amplifier / Standby Power Amplifier

Power Supply Unit

66 46

Program

2A

1 no. Regulated 24 Vdc Power Supply (PS 05)

1 nos. Amplifier Changeover Unit (AC 08)

9 nos. CM 361 @ 3W

L1A

Section

1 nos. CM 361 @ 3W 2 nos. FG 530 @ 15W

L2 - L2A

5 nos. CM 361 @ 3W 5 nos. FG 530 @ 15W

L3 - L3A

5 nos. CM 361 @ 3W 5 nos. FG 530 @ 15W

L4 - L4A

4 nos. CM 361 @ 3W 5 nos. FG 530 @ 15W

L5

18 nos. CM 361 @ 3W

L6

5 nos. CM 361 @ 3W

L25

5 nos. CM 361 @ 3W

L26

5 nos. CM 361 @ 3W

L32 L34 L36

LEGEND:

5 nos. CM 361 @ 3W

Paging Console

Ceiling Speaker

5 nos. CM 361 @ 3W


Coaxial Ceiling

5 nos. CM 361 @ 3W OFF

Handheld Mic

Horn Speaker

Radio Tuner

AM/FM

Cassette Deck DISC

50

70

100

25

141

0

VOLUME

V% 1

2

3

4

5

6

CHANNEL SELECT

8

9

10


NOTES:

Amp. Changeover




7

FGM Speaker



Box Speaker


1 no. Speaker Line Selector with ALL CALL (LS 10A) + 3 nos Speaker Line Selector (LS 10)

L1


SYSTEM : PROGRAMMABLE PREAMPLIFIER PA SYSTEM PROJECT :


AEX-DWG-0105-DL2-1

Page No

1 of 1

67

Design Template -

50

70

100

25

141

VOLUME

0

V% 1

2

3

4

5

6

7

8

9

10

CHANNEL SELECT


1 no. Amplifier Monitoring Unit (Monitors up to 10 amplifiers only) (AM 10)

XM 10A Modular Mixer Enclosure (c/w Power Supply Unit )

Section

Emergency Handheld Paging Microphone (ME 1)

Priority ME 1 Receptacle Panel (XM 31A)

Microphone Pre-Amp (XM 32A)

Line Output Emergency Module Tone Generator (XM 71A) (XM 61A)


Program 20 Zone Remote Paging Microphone (MS 202)

Paging Console Communication Panel (CP 102)

Isolated Microphone Pre-Amp (XM 33A)

2 x 240W Power Amplifier (PA 224)

Line Output Module (XM 71A)

Digital Source Player (DS 201) DISC

Source Selector Module (XM 51A)


Stereo Combining Pre-Amplfier Module (XM 35A) 2 x 240W Power Amplifier (PA 224)

AM/FM

Tuner (By Others)

1 no. Regulated 24Vdc Power Supply

4 nos. 25A Power Supply Unit (PS 30)

(PS 05)


2 x 240W Power Amplifier (PA 224) STANDBY w. ASM 01B 1 no. Integrated Supervisory Unit (LA 08)


50

70

100

25

141


VOLUME

0

V% 1

2

3

4

5

6

7

8

9

10

CHANNEL SELECT


XM 92A

XM 31A

XM 32A

MIC IN FUSE

FUSE

BATT IN DC 1.5A

OUTPUT DC 1.5A

XM 71A

XM 61A

IN USE

XM 51A

PUSH TO TALK

GAIN LEVEL

100

ALARM LEVEL

0

%

BASS

100

SOURCE SELECTOR

2

0

3

XM 12A

XM 71A TREBLE

IN USE

MUTING

Modular Mixer

0

4 5

1

10

XM 33A

IN USE

%

BASS

MIC

0

POWER

XM 35A

TREBLE

ALARM

10

0

POWER

10

0

10

0

10

PRIORITY

CHIME SIGNAL

LED 1

LED 2

LED 3

LED 4

EXT 1

ERROR

CHIME GAIN

PC 1

PC 2

PC 3

PC 4

EXT 2

Paging Console Communication Panel Line Selector

COMMUNICATION PANEL CP 102

1

2

3

4

5

6

7

8

9

10

ALL CALL REMOTE OVERRIDE


LS 10A

CD Player Tuner

Digital Source Player FUSE 2A F

U SE

POWER

O AC

SHORT

I

BATT IN F


US E

OFF

ON


FUSE 6A



Unregulated Power Supply

68 48

Section

1 no. Integrated Supervisory Unit (LA 08)

20 nos. CM 361 @ 3W 8 nos. FG 530 @ 15W

20 nos. CM 361 @ 3W 20 nos. CM 361 @ 3W 6 nos. FG 530 @ 15W

8 nos. VW 530 @ 30W

50 nos. CM 361 @ 3W

66 nos. CM 361 @ 3W

60 nos. CM 361 @ 3W

LEGEND: Paging Console

Ceiling Speaker


Coaxial Ceiling

OFF

Handheld Mic

Horn Speaker

Radio Tuner

AM/FM

Cassette Deck DISC

50

70

100

25

141

0

VOLUME

V% 1

2

3

4

5

6

CHANNEL SELECT

8

9

10


NOTES:

Amp. Changeover




7

FGM Speaker



Box Speaker


1 no. 10 Zones Line Selector with All Call (LS 10A)

20 nos. RH 5915 @ 10W


SYSTEM : MODULAR MIXER PA SYSTEM PROJECT :


AEX-DWG-0105-DL3-1

Page No

1 of 1

69

Design Template -

50

70

100

25

141

VOLUME

0

V% 1

2

3

4

5

6

7

8

9

10

CHANNEL SELECT


Internet Connectivity Panel (iX 155)

4 nos. Amplifier Monitoring Unit

Modem

AO 2

B2

AO 3

B1

AO 4

AI 2

AI 3

AM/FM

eX 831

Tuner (By Others) DISC

AI 4


P2

AO 6

P3

Zone P3 to P13

AO 5

AO 16

P13


2 x 240W Power Amplifier (PA 224) 480W Power Amplifier (PA 148)


eX 836

AI 1

AO 17

P11

AO 18

P11

Back of House

AO 19 eX 836

Build-In Dual Channel Digital Source Player

6 Nos. eX 836

P1

eX 833


eX 836

RI 2 Remote Microphone (eX 868) @ Reception Counter

MICROPROCESSOR BASED DIGITAL MATRIX SYSTEM WITH MINIMUM 8 AUDIO BUS (eX 801 + eX 803)

Section

Remote Microphone (eX 861) @ FCC

B2

Back of House

11 nos. PA 148

eX 836

AO 1 RI 1

480W Power Amplifier (PA 148) 480W Power Amplifier (PA 148)

L10 480W Power Amplifier (PA 148)

AO 20


Back of House

480W Power Amplifier (PA 148) 480W Power Amplifier (PA 148) L10

Control In, CS 1 to CS 29

Control In, CS 30 to CS 32 (3 Spare)

eX 836

 

2 Nos. eX 841

Signal from fire alarm system

AO 21

480W Power Amplifier (PA 148) L11

AO 22 Back of House

eX 836

L11

AO 23 Mezz

70


L11 2 x 240W Power Amplifier (PA 224)

50 nos. CE 562M @ 2W

Section

23 nos. WM 561 @ 2W 5 nos. RH 061 @ 10W 10 nos. RH 061 @ 10W

24 nos. CE 562M @ 1.5W 35 nos. CM 361 @ 3W

12 nos. RH 061 @ 10W 5 nos. CM 361 @ 3W 27 nos. RH 061 @ 10W 5 nos. CM 361 @ 3W

5 nos. CM 361 @ 3W

LEGEND:

24 nos. RH 061 @ 10W

Paging Console

Ceiling Speaker

128 nos. CM 361 @ 3W


Coaxial Ceiling

24 nos. FG 530 @ 15W

Handheld Mic

OFF


27 nos. RH 061 @ 10W

Horn Speaker

Radio Tuner

AM/FM

24 nos. FG 530 @ 15W

Cassette Deck DISC

24 nos. FG 530 @ 15W

50

70

100

25

141

0

VOLUME

V% 1

2

3

4

5

6

CHANNEL SELECT


7

8

9

10


13 nos. CE 562M @ 1.5W 65 nos. CE 562M @ 1.5W

Amp. Changeover

7 nos. FG 530 @ 15W


7 nos. FG 530 @ 15W

FGM Speaker


18 nos. FG 530 @ 15W

Box Speaker


6 nos. RH 061 @ 10W


SYSTEM : DIGITAL MATRIX PA SYSTEM

7 nos. FG 530 @ 15W

PROJECT : 64 nos. CL 562M @ 1.5W

128 nos. CE 562M @ 1.5W

Designed By Date

88 nos. CE 562M @ 1.5W

Continued on Page 2

Drawing No

AEX-DWG-0105-DL4-1

Page No

1 of 2

71

Connected to AM 10 (Page 1)

Design Template -

eX 836 eX 836


eX 836


MICROPROCESSOR BASED DIGITAL MATRIX SYSTEM WITH MINIMUM 8 AUDIO BUS (eX 801 + eX 803) ~ Continued

Section


(Spare) 4 x 60W Power Amplifier (PA 406)

5 nos. 480W Power Amplifier (PA 145) STANDBY w. ASM 01B

5 nos. Integrated Supervisory Unit (LA 08)


PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PROGRAM

Tuner

Internet Connectivity Panel

PROGRAM

FUSE 2A F

US E

POWER

O AC

SHORT


OFF

I

BATT IN FU


S E

FUSE 6A

ON

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PRIORITY

Duty Power Amplifier PROGRAM

PROTECT

PRIORITY

PROGRAM

PRIORITY

72

PROTECT

PRIORITY

Power Supply Unit


PROTECT

PRIORITY

PROTECT


PRIORITY

CD Player


PROGRAM

PROTECT

PROGRAM

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROTECT

PROTECT

PRIORITY

PROGRAM

PRIORITY

PROGRAM

1

1

PROGRAM

PRIORITY

PROTECT

PROTECT

PRIORITY

PROTECT


PROTECT

PRIORITY


PROGRAM

eMatrix System

25 nos. FG 530 @ 15W

Section


4 nos. CE 562M @ 1.5W 32 nos. CE 562M @ 1.5W

F

32 nos. CE 562M @ 1.5W

LEGEND:


1 no. 5A Power Supply Unit

Paging Console

Ceiling Speaker


Coaxial Ceiling

Handheld Mic

Horn Speaker

Radio Tuner Cassette Deck

FGM Speaker

CD Player

Continuation from Page 1

Digital Source Amp. Monitoring Emergency Panel

NOTES:

Amp. Changeover




Box Speaker

Design Template - Design Level 4

3 nos. FG 530 @ 15W


SYSTEM : DIGITAL MATRIX PA SYSTEM

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PRIORITY

PROTECT


PROJECT :


AEX-DWG-0105-DL4-1

Page No

2 of 2

73

Design Template -

50

70

100

25

141

0

VOLUME

V% 1

2

3

4

5

6

7

8

9

10

CHANNEL SELECT


Internet Connectivity Panel (iX 155)

4 nos. Amplifier Monitoring Unit (Monitors up to 10 Amplifiers only) (AM 10)

Modem

Section

Remote Paging Console (iX 151) @ FCC

AO 2

RI 2

AO 3


Remote Paging Console (iX 151) @ Reception Counter

B2 Back of House

B2

B1


RI 3

RI 4

AO 5

P2

AO 6

P3

Digital Message for EES Auto Evacuation

AI 1

Evacuation Messages 2 Ch Digital Source Player (DS 202)

AI 2 AI 3

Special Messages 2 Ch Digital Source Player (DS 202)

AI 4

AI 5

2 Channel Digital Source Player for BGM (DS 202)

AI 6

MICROPROCESSOR BASED DIGITAL MATRIX SYSTEM WITH EES (IX 101E)

Analog ALL CALL Mic (iX 194)

AO 16

AO 17

AO 18

AO 19

P13

P12

P12 Back of House

L10

AI 7

AM/FM

Tuner (By Others) (Spare)

AI 8


Control signal from addressable fire alarm system

AO 20

AO 21


Zone P3 to P13

(Spare)

AO 4

1 nos Manual Zone Selector (with All Call iX 156E + 3 nos. Manual Zone Selector (iX 157E)

Remote Paging Console (iX 151) @ GM Room

P1

11 nos. PB 136

AO 1 RI 1


480W Power Amplifier (PA 148) 480W Power Amplifier (PA 148) 480W Power Amplifier (PA 148) 480W Power Amplifier (PA 148) 480W Power Amplifier (PA 148) 480W Power Amplifier (PA 148)

L10

Back of House


L11


Emergency Panel (iX 158E)

{ Control Out, MR 1 to MR 3 Control In, CS 35 to CS 48

(14 Spare) (13 Spare)

AO 23 Control Out, MR 4 to MR 16

74

AO 22

L11 Back of House

L11 Mezz


50 nos. CE 562M @ 1.5W

Section

23 nos. WM 561 @ 2W 5 nos. RH 061 @ 10W 10 nos. RH 061 @ 10W

24 nos. CE 562M @ 1.5W 35 nos. CM 361 @ 3W

12 nos. RH 061 @ 10W 5 nos. CM 361 @ 3W 27 nos. RH 061 @ 10W

27 nos. RH 061 @ 10W 5 nos. CM 361 @ 3W

LEGEND:

24 nos. RH 061 @ 10W

128 nos. CM 361 @ 3W

Paging Console

Ceiling Speaker


Coaxial Ceiling

Handheld Mic

OFF


5 nos. CM 361 @ 3W

24 nos. FG 530 @ 15W

Cassette Deck

24 nos. FG 530 @ 15W

Digital Source

24 nos. FG 530 @ 15W 50

70

Amp. Monitoring

100

25

141

0

VOLUME

V% 1

2

3

4

5

6

7

8

9

10

CHANNEL SELECT


18 nos. FG 530 @ 15W

Emergency Panel

13 nos. CE 562M @ 1.5W

Amp. Changeover

65 nos. CE 562M @ 1.5W


7 nos. FG 530 @ 15W

7 nos. FG 530 @ 15W

FGM Speaker

CD Player

DISC

7 nos. FG 530 @ 15W

Horn Speaker

Radio Tuner

AM/FM

Box Speaker


6 nos. RH 061 @ 10W


SYSTEM : EARLY EVACUATION MANAGEMENT SYSTEM PROJECT :

64 nos. CE 562M @ 1.5W

128 nos. CE 562M @ 1.5W

88 nos. CE 562M @ 1.5W


AEX-DWG-0105-DL5-1

Page No

1 of 2

Continued on Page 2

75

AO 25

AO 26


AO 27

L12

L12 B

L13

L14

AO 28

L14 B

AO 29

L15

(3 Spares)

AO 30 to AO 32


1 nos Manual Zone Selector (with All Call iX 156E + 3 nos. Manual Zone Selector (iX 157E) ~ Continued.

Section

MICROPROCESSOR BASED DIGITAL MATRIX SYSTEM WITH EES (IX 101E) ~ Continued.

AO 24

Connected to AM 10 (Page 1)

Design Template -



5 nos. 460W Power Amplifier (PA 146) STANDBY


PROTECT

PRIORITY

PROGRAM

PROTECT

Tuner

Emergency Panel All Call Manual Line Selector Manual Line Selector

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

Internet Connectivity Panel

PROGRAM

PRIORITY

Duty Power Supply Integrated Supervisory Unit


76



PRIORITY

CD Player


PROGRAM

PROTECT

PROGRAM

PRIORITY

PROGRAM PROGRAM

PROTECT

PROTECT PRIORITY

PRIORITY

PROGRAM PROGRAM

PROTECT

PROTECT PRIORITY

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROTECT

PROTECT

PRIORITY

PROGRAM

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PROTECT

PRIORITY

PROGRAM

PRIORITY

PROTECT

PROTECT

PRIORITY

PROGRAM

PROTECT

PROGRAM

PRIORITY

PROTECT


PROGRAM


PROTECT

PRIORITY


PROGRAM

eMatrix System



25 nos. FG 530 @ 15W

1 nos. FG 530 @ 15W

32 nos. CE 562M @ 1.5W

32 nos. CE 562M @ 1.5W

3 nos. FG 530 @ 15W

12 nos. CM 361 @ 3W

13 nos. CM 361 @ 3W

16 nos. CM 361 @ 3W

LEGEND:

1 no. 5A Power Supply Unit

(PS05)

Paging Console

Ceiling Speaker


Coaxial Ceiling

Handheld Mic

OFF


Horn Speaker

Radio Tuner

Continuation from Page 1

Cassette Deck DISC

50

70

100

25

141

0

VOLUME

V% 1

2

3

4

5

6

CHANNEL SELECT

8

9

10


NOTES:

Amp. Changeover




7

FGM Speaker



Box Speaker



Section

4 nos. CE 562M @ 1.5W


SYSTEM : EARLY EVACUATION MANAGEMENT SYSTEM PROJECT :


AEX-DWG-0105-DL5-1

Page No

2 of 2

77

Estimating Equipment Rack Space Requirement This section provides a guide for design engineers to estimate the space required by the Public Address equipment based on the project’s build up area. 3. Estimating total power requirement

Public address system equipment would typically be rack mounted into standard 19” equipment racks. These racks are usually standard in their width but may vary in terms of rack heights. The following calculations will be based on a 42U equipment rack size, shown below;

Based on the projects’ build up area, it is possible to estimate the required power to accommodate the loudspeakers. This can be achieved by using the Power (W) to Area (m²) ratio index. Most projects will have a Power to Area ratio index of 0.12W/m². However apartments and residences buildings typically have a lower index of 0.06W/m².

G Design Template - Estimating Equipment Rack Space Requirement

This index basically denotes the amount of amplification power required for every 1m² of floor space. Aprox. 2100mm

Example: A project with a build up area of 50’000m² will generally require 6000W worth of speakers to provide adequate SPL coverage as shown in the calculation below; Aprox. 800mm

Aprox. 600mm

0.12W/m² x 50000m² = 6000W

2. Identify floor space required

4. Rack quantity Estimation Guide

Based on the standard 42U rack, the actual floor space required in the equipment room can be estimated. This floor space should take into account working space at the back of the rack for future maintenance and servicing.

Once the power requirement has been estimated, the total number of racks required can be calculated using the Power (W) to 42U Rack Ratio Index of 3000W/Rack.

Minimally it is recommended that 1m working space be allocated as shown in the diagram below;

1000 mm Working Space

Section

1. Identify Typical 42U Rack Space Size

1000mm Working Space



Input Sources Signal Manager Control & Monitoring Rack

Example: Continuing from the previous calculations for required amplification power, the total number of racks can be obtained as shown below; 6000W 3000W/Rack

42U Equipment Rack 600 x 2100 x 800 (W x H x D)

Power Amplifier Racks

Battery Backup & Emergency Power Supply Rack

Apart from the racks to house the amplifiers, the following racks should also be allocated as below; 1 nos. rack for the Input sources, signal management and control & monitoring equipment. 1 nos. rack for the Battery backup & emergency power supply. Thus total racks required are 4 nos. 42U Racks.

Typical control room floorplan Summary For quick estimates, the design engineer could also use the quick referencing factors below;

All Projects (Hotel, Shopping Mall, Office and all other commercial buildings): Total Build-up area (m2)

x

1 25000

(Amplifiers Racks)

+ 1 rack (Source, Signal Management, Control & Monitoring Racks)

+ 1 rack (Emergency Power Supply Racks)

Only Applicable to Condominiums & Residences Building: Total Build-up area (m2 ) (Amplifiers Racks)

78

= 2 nos. 42U Rack

x

1 50000

+ 1 rack (Source, Signal Management, Control & Monitoring Racks)

+ 1 rack (Emergency Power Supply Racks)

Section

Introduction to Section H

H Installation Guide

Installation Guide This section discusses the various issues that should be considered during the installation process. The section provides guide on cable specifications, ensuring that cables with the right specifications are used as well as basic tests that should be conducted on the system upon completion.

79

Installation Guide Installationguide

Cable Specification

There are a few types of cable being used in a PA system. They are: 1.1. Low-level audio signal cable

Installationguide

Conduit & Trunking Specification

2.1. Rule of thumb to allow 30% to 40% free space clearance. There should be 30% to 40% free space allowance in the conduit and trunking as shown in the diagram below:

Examples are microphone cables, music signal cables, digital message cables, etc. These cables transmit audio signals in the microwatts or milliwatts region.

30 - 40%

3/4”

These signals are prone to both electrostatics and electromagnetic interference. Shielding will help to reduce or eliminate electrostatics interference while balanced signals will cancel the electromagnetic field induced.

Section


Cables recommended: Belden 8641 - 24 AWG Belden 8761 - 22 AWG Belden 8762 - 20 AWG Belden 8760 - 18 AWG

Shielded Shielded Shielded Shielded

Twisted Twisted Twisted Twisted

Pair Pair Pair Pair

30 - 40%

2”

1.2. High-level audio signal cable Example is loudspeaker cable This cable transmits hundreds of watts of audio signal.

2.2. Guides for installation:

Signal loss along the cable due to cable resistance. The thicker the cable, the lesser the signal loss.

From riser to loudspeaker – conduit is to be used

For proper cable gauge selection, refer to chart below:

No electrical power lines share the same trunking or conduit with the PA system cabling.

Maximum allowable line lengths, in metres, for 5% line loss Size

30W

60W

120W

240W

360W

20 AWG

233

116

58

29

19

18 AWG

367

183

91

45

30

16 AWG

583

291

145

72

48

14 AWG

930

465

232

116

77

12 AWG

1485

742

371

185

123

Information extracted from National Bureau of Standards Coper Wire Tables - Handbook 100.

Maximum allowable line lengths, in metres, for 10% line loss Size

30W

60W

120W

240W

360W

20 AWG

466

233

116

58

38

18 AWG

734

367

183

91

61

16 AWG

1167

583

291

145

97

14 AWG

1860

930

465

232

155

12 AWG

2970

1485

742

371

247

Information extracted from National Bureau of Standards Coper Wire Tables - Handbook 100.

1.3. Communication and control cable Examples are data communication cable, control cable, etc. These cables transmit data & control signals in the microwatts or milliwatts region. These signals are prone to both electrostatic and electromagnetic interference. Shielding will help to reduce or eliminate electrostatic interference. It is recommended that the communication and control cables are laid separately from the power lines and high level audio signal cable.

80

2”

From Fire control center to riser – trunking is to be used

Installationguide

Testing & Commissioning

The Testing & Commissioning guide aims to provide a systematic methodology for inspecting a PA system prior to handover. The methodology is divided into 4 sub-categories namely; 3.1 3.2 3.3 3.4 3.5

Cable Continuity Test Cable Impedance Check Installation Check Functionality Check Sound Pressure Level (SPL) Check

These 4 tests highlight the required data to be recorded and compiled, providing a means of ensuring a successful handover.

Step 1: “From Control Room To Riser” In order to conduct the test, the system should be shorted at the riser and measured at the amplifier, as shown below.

Equipment used to perform this test is the Multimeter

The Continuity Test is carried out in 2 steps. Step 1: From Control Room to Riser Step 2: From Riser to 1st loudspeaker point

Step 2: “From Riser to 1st Loudspeaker Point” In order to conduct this test. Disconnect the amplifiers at the riser and probe the loudspeaker line as shown below.

Continuity Test Step 1

Step 2 Riser

Riser

PA 2

ZONE 1


Riser

Section

3.1. Cable Continuity Test This is a test to check for any breaks on the loudspeaker line.

* Please refer to the diagrams opposite for a more detailed description.

The contractor will fill in a Continuity Test Table as shown on Chart 3.1

Chart 3.1 Cable Continuity Test Table Circuit Ref.

From

1.1

PA2

1.2

RISER

Checked by,

To RISER

Cable Type

Continuity Pass / Fail

Reading Ohms

Short to Earth

Remarks

Speaker Cable

PASS

3.2

No

OK

1st Speaker Speaker Cable ZONE 1

PASS

4.0

No

OK

Verified by,

81


Testing & Commisioning

3.2. Cable Impedance Test This is a test to ensure that the load connected to the amplifier is appropriate, as any load larger than the specified amplifier’s maximum output would damage it. Step 1: “From Power Amplifier to Riser”

Equipment used to perform this test is the Impedance Meter

To conduct this test, disconnect the speakers at the rise and short the amplifiers output there.

Impedance Test is carried out in 2 steps. Step 1: Check line impedance from power amplifier output to riser Step 2: After installation of all loudspeaker, check loudspeaker load impedance from the riser

Riser

Continuity Test

Section

Step 1

Step 2: “Loudspeaker Load to Riser” To conduct this test: with the speaker line disconnected from the amplifier at the riser probe the points shown.


Riser

PA 2

ZONE 1

Riser

* Please refer to the diagrams opposite for a more detailed description.

The contractor will fill in a Impedance Test Table as shown on Chart 3.2

Chart 3.2 Fill in a Cable Impedance Test Table Project Speaker Zone

T&C

Theoretical Total Loudspeaker Cable Total Power (W) Impedance Impedance Impedance (Ohms) (Ohms) (Ohms)

Z-3

Checked by,

82

Step 2

198

50.5

3

53.5

Acceptable tolerance %

Measured Impedence (Ohms)

Diff. %

Pass / Fail

Remarks

3.9

PASS

OK

Step 1 + Step 2

5

55.5

Verified by,

Installationguide


3.3. Installation Check This is a check to ensure that the installed equipment and loudspeakers are visually checked for proper installation practices. The following are some of the check points that should be taken into consideration when performing the installation check.

Chart 3.3 Fill in a Installation Check Table Check

Pass/Fail

1.1

The interconnection wires at the equipment racks are properly terminated with suitable connectors and clearly labeled.

1.2

Remarks OK

The incoming loudspeaker lines are properly terminated with suitable terminal blocks, cable lugs and clearly labeled.

Pass

OK

1.3

The cabling at the equipment racks do not obstruct troubleshooting & maintenance of the system.

Pass

OK

1.4

Perforated panels are installed in between powers amplifiers and power supply units at the front of the equipment rack for heat ventilation.

Pass

OK

1.5

There is no obstruction at the ventilation holes and at the ventilation fans of the equipment and the equipment racks.

Pass

OK

1.6

There are no objects placed on top of the equipments or equipment racks that may drop into the equipment.

Pass

OK

1.7

The ambient temperature is maintained during the operation of the equipment as recommended by the manufacturer and sufficient ventilation of the area is provided where the equipment racks are located.

Pass

OK

1.8

Equipment tray / rack runner are used to support the weight of heavy equipments on the racks.

Pass

OK

1.9

Voltage regulators, surge arrestors and lightning protectors are installed (if deemed necessary).

Pass

OK

1.10

The loudspeakers are safely and correctly installed and terminated.

Pass

OK

1.11

The loudspeakers are correctly positioned (location, firing direction & angle of tilt) as per construction drawing.

Pass

OK

Checked by,


Pass

Section

Item

Verified by,

83



3.4. Functionality Check This is a check to ensure Individual equipment and loudspeakers are inspected for its functionality during normal operation, during emergency operation and during mains power failure. The functionality tests are designed to check all stages of the PA system from Input sources all the way to the loudspeakers. Below is a sample of some of the main test that should be conducted on the system.

Chart 3.4 Fill in a Functionality Check Table Item

Section

1.1


1.2

1.3

Check

Pass/Fail

Input Source - Microphone Unit

Pass

- Testing of the ALL CALL & RESET function. Upon triggering of ALL CALL, all PA Zones shall be selected. Upon triggering of RESET, all selected zones shall be deselected.

Pass

- Testing of the preannouncement chime.

Pass

- Testing of the paging function and clarity of announcement.

Pass

- Testing of the analogue ALL CALL microphone

Pass

- Testing of the zone selection of every individual zone and grouped zones. There shall be visual indicators to display the selected zones.

- Testing of the priority function (Emergency announcement overrides normal aging. Paging overrides background music).

Pass

- Testing of SIREN function prior to emergency announcement (if applicable).

Pass

- Testing of emergency prerecorded messages playback upon receiving the trigger signal during emergency (if applicable).

Pass

- Checking of the output level of the equipment to achieve 0 dB (1V).

Pass

Power Amplifier

Pass

- Checking of the operation of the power amplifiers during switchover to emergency supply (24Vdc battery bank, Uninterruptible Power Supply etc.).

Pass

- Simulation of amplifier fault by switching off the amplifier and monitoring the changeover of the amplifier to the standby amplifier. An audible warning shall be emitted by the unit and visual indication shall display the changeover status.

Audio Attenuator

- The Emergency Overriding function is checked by providing a 24Vdc activation signal to the unit while the level selector is set to OFF. The sound output shall switch to maximum level during emergency override.

OK Pass

Pass OK Pass

Pass

OK

Pass

OK

Secondary Power Supply

- The system is tested for functionality of the system in event of an emergency during mains power failure. Mains power failure shall be simulated by turning off the mains power to the equipment rack. The system shall immediately be ready for use after the switchover to the secondary power supply. Checked by,

84

Pass

Loudspeakers

- All the loudspeakers installed are checked for functionality and producing the sufficient sound pressure level. The system should be checked if there is any presence of audible distortion. 1.7

OK

Amplifier Changeover Unit

- Aural inspection of the attenuation function at the audio attenuator by switching the unit to various level position while monitoring the output from the loudspeaker(s).

1.6

OK

Pass

- Checking of the audio output for any audible distortion via the monitor speaker at the Amplifier Monitoring Unit.

- Simulation of fault to the standby amplifier by switching off the power to the standby amplifier. An audible warning shall be emitted by the unit and visual indication shall display the status of the standby amplifier. (Only if the standby amplifier is monitored). 1.5

OK


- Checking of the output level of the unit to obtain the desired SPL using the Amplifier Monitoring Unit (AM 10).

1.4

Remarks

Verified by,

Installationguide


3.5. Sound Pressure Level (SPL) Test SPL refers to the ‘loudness’ of the loudspeaker plotted. SPL check is carried out using a calibrated SPL Meter set at the suitable test range of 50 ~ 100 dB. Sound weighing is set at AWeighted to simulate the human listening characteristics. A windscreen is used to prevent pickup of wind noise. During measurement, the microphone of the SPL meter is placed at the hearing level at arm length with the microphone at upright position. An average SPL value is recorded when the reading at the meter stabilizes. SPL readings are recorded at multiple positions at the intended listening area and an average value taken.

SPL Meter

SPL Test Method

SPL Meter

Listening Level

Guide

SPL Test Table as shown on Chart 3.3

Chart 3.5 SPL Test Table No. 1

Listening Level 1.5m

Checked by,

Section Installation Guide H Installation

SPL refers to the ‘loudness’ of loudspeaker plotted.

Public Area

Corridor

87dB

88dB

Room with V. Control 87dB

Remarks OK

Verified by,

85


Common Challenges faced during installation

Below are a few common problems a contractor will face during installation if they did not pay extra attention onto the matters: 4.1. No sound After connecting and terminating every single connector on the system, and the contractor still find there is no audio signal output from the system, or the output audio signal is intermittently disrupted with silent, this could be due to one of the following:

4.4 Interference Ground Loops Ground loops are formed when more than one earth connection to a system is available resulting in a potential difference between grounding points. If for example both mixer and power amplifiers are earthed at different points, an earth loop can be formed via the cable shielding as shown in the diagram below. This can be avoided by lifting the cable shield at one end.

Section

Wrong Termination Wrong termination can be caused by wrong labeling on the cables.


Poor Termination Poor termination was mainly due to the following two reasons: Cold solder Loose connection

Diagram 1 : Earth loop caused by multiple Earth points Mixer

Amplifier Signal cable shield

4.2. Audio signal too soft When the contractor find the audio signal is far too softer than it suppose to be, one of the following problems may be the cause. Equipment signal level and impedance mismatch One of the most likely reasons was due to the different brands used within a same system. Different brands of equipment carry different signal level and impedance. Hence it is advisable to use only one brand of PA equipment for the entire system, where these parameters for products coming from the same manufacturer would have been matched. Incompatibility of models chosen. Even the products are from the same manufacturer, the signal level and impedance mismatch could happen when design engineer choose the models from another series of products to be used in a different series of products. Cable Impedance Mismatch. This could be due to too many cable joints in a loudspeaker line that cause the discrepancy between the calculated impedance and the actual measured impedance. This will overdrive the power amplifier and put it under heavy stress loads. Eventually, the amplifier will sustain damage. Partial Short to Ground This could be due to mishandling of cables that cause the cables PVC jackets torn. The exposed copper may be shorted to a metal conduit or trunking that would result in a partial short.

Earthloop Earth

Earth

Disconnecting cable shield at one end prevents ground loop current from flowing

Mixer

Amplifier

Earthloop Earth

Earth

The difference increases with physical distances between outlets and between two outlets on different branch circuits. The use of ground isolators such as an audio isolation transformer breaks the noise current path. Never break the ground loop by disconnecting the safety ground. An exposed loudspeaker line shorted to earth will also cause an earth loop, thus generating a hum in the system as shown in the diagram below.

Diagram 2 : Earth loop caused by Earth leak via loudspeaker 4.3. Grounding There are mainly two reasons for proper & adequate grounding : Electrical Safety Grounding the chassis of the audio device to earth will divert any current leakage that can be potentially hazardous to the ground. An ELCB (Earth Leakage Circuit Breaker) may be used to disconnect mains supply to the power outlets when a residual current is detected on the earth point. To Reduce External Noise Pickup To Reduce External Noise Pickup – Proper grounding prevents pickup of noise that is transmitted magnetically mainly from motors & ac power transformers. Proper shielding prevents pickup of noise that is transmitted capacitively (in forms of radio waves or static from motors and lighting dimmers). Thus, the use of high quality shielded audio signal cables for line level cabling and also housing all line level equipment in a metal equipment rack which is properly grounded provides protection against these interferences. Keeping the cables short and cables that carry the same signal level as close together while keeping cables of different types as far apart as possible and all audio cables away from the ac power cables will help reduce noise pickup.

86

Amplifier

Earthloop

Earth

Earth

To test for earth loop, it is recommended to disconnect the units from each other. Each of the units casing should then be tested against a ‘good earth’ source for connectivity. Power Line Noise The power line normally consists of a broad spectrum of harmonics and noise in addition to the pure sine wave voltage. Noise is created by power supplies in electronics equipment, fluorescent lights, triac light dimmers and loads that creates sparking such as switches, relays and brush type motors. These tiny current causes hum, buzz, pops and other symptoms when it couples into the audio signal path. To reduce pickup of this noise, filters are installed on the dimmer circuit and is best loaded to the rated output for the filter circuit to work properly. Ensuring the lighting circuits are properly grounded and using a different ac circuit will also help.

Radio Breakthrough Interference Public address system maybe affected by radio transmission, in the case of radio stations or CB transmitter broadcasting over the legal output power. The result of this radio interference is a pickup of occasional music and speech. An area prone to this type of interference is the microphone cables which often acts as an aerial to these unwanted radio frequencies which are then passed into the preamplifier of the system.

Hum and Noise One of the most baffling problems faced in a Public Address System is the reproduction of electrical humming or high frequencies noise in the system. There are a few areas one should look into solving this problem: The poor quality and incompatibility of the equipment used within a system. The output of the sub-quality equipment may generate this unwanted hum due to its poor isolation of its electrical signal and its audio signal. Poor source/microphone cable termination.

Positioning of input equipment near mains transformers.

4.5 Signal Distortion The source of distortion in the audio path can be from the following locations:

The basic surge arrestors work by diverting the extra voltage to Ground or Earth via a metal oxide variable resistor or MOV. However it is important to note that a strong surge is capable of burning-out most MOVs, thus it is equally important to install surge arrestors with light (LED) indicators of their functionality.

4.7 Lightning Protection For Public Address systems, even if surge protectors were employed at all mains power outlets, the system may still be prone to damaging surges from other sources. The most common source is the 100V speaker line that runs throughout the building. These lines can also conduct high voltage especially if the building is struck by lightning. Thus for full protection to the PA System the should be coupled with lightning arrestors which are identical and work on the same concept to surge arrestors.

Guide

Poor system grounding and shielding protection.

Common causes of surge voltage in buildings are sudden simultaneous operation of high power electrical equipment such as air-conditioning, elevators and escalators. A sharp demand for electricity will evidently cause a voltage spike or surge. Thus it is recommended that Public Address Systems be fitted with surge arrestors as a means of protection.

Section Installation Guide H Installation

The simplest remedy is an input by-pass capacitor of around 0.015uF connected across each microphone socket. Ensuring that long microphone cables are balanced and shielded by electrical steel conduit greatly reduces the risk of this interference. It must be ensured that these metal conduits are well earthed for optimal protection. However some public address system equipment comes ready with built-in radio rejection circuitry which eliminates the problem altogether.

4.6 Surge Protection Surges in power are due to a transient rise in voltage from the power supply above the designated level. Surge arrestors or surge suppressors offer protection to any electronic system.

An important point to note when connecting lightning arrestors are, some lightning arrestors comes with built-in high frequency filters. Meaning high frequencies in the range of 20 kHz and above are ‘sunk’ to earth. This may affect the public address system, if a 20 kHz pilot tone signal is used to monitor the loudspeaker lines.

Pre-recorded Material Poor quality material will, in the end, be reproduced poorly as it is, no matter how good the system is. Ensuring a good source of material would be the primary step of obtaining a good sound reproduction. Preamplifier Impedance mismatch of the source and preamplifier input may cause signal clipping which results in a distorted signal, ready to be further amplified and reproduced by the loudspeaker. Ensure that the input sensitivity of the preamplifier is switched to match the output level of the source. Power amplifier Again, ensure that the output level of the preamplifier matches the input of the power amplifier to ensure optimum performance of the power amplifiers. A signal too low will result in the power amplifier not being able to drive its loads to the maximum capacity while a signal too high will either constantly or during program peaks, clip. Loudspeaker High impedance loudspeakers do have a certain protection from being overdriven due to its audio matching transformer which is designed to deliver a fixed power to the transducer. Ensure that the output voltage of the power amplifiers do not exceed the rated voltage. It is important that during design stage, the correct type of loudspeaker and power rating is selected as there is a tendency to increase the output voltage of the power amplifiers to compensate for the low SPL levels during operation. Driving a high impedance loudspeaker exceeding its rated voltage will cause over excursion of the transducer and operate out of its normal operating region, and not forgetting, overloading the power amplifier that too causes distortion.

87


Maintenance

Purpose for maintenance is to prolong equipment life-span. The following are a few steps involved during a yearly or half-yearly maintenance routine check: 5.1. Emergency Performance Test This test is to ensure the integrity of the emergency evacuation equipment Microphone Check To perform the functionality test on the microphone that includes zone selection, zone group selection, function keys activation, etc.

Section

Dual CPC Check (for iX 102 and iX 102E ONLY) To simulate the Master CPC fault and verify on the Slave CPC automatic switch over.


Power Amplifier Changeover Check To simulate fault on the one of the duty amplifier (by switching OFF), and confirm on the automatic changeover to the standby amplifier. Loudspeaker Line Condition Check To simulate a loudspeaker line faults (Open, Short or Ground Leak), and verify on status display on the line monitoring units. Internet Connectivity Check (for use with iX 155 ONLY) To simulate a fault on the matrix system and check on emails sent via the iX 155.

5.2. Connectivity Check The connectivity check is to be carried out because: On-going renovation may have removed some loudspeakers and from the speaker cables and the speaker cable may have not been connected back. This check is to make sure all the speaker cables are in good condition. Any circuit or zoning modification may have altered the speaker cabling connection. Hence connectivity check is crucial to ensure all cables are connected well to the main system.

5.3. Impedance Check Due to the above two reason, the impedance of the entire speaker cable need to be re-confirmed again.

5.4. Equipment Cleaning Having the equipment locked inside a rack will not keep the equipment from dust. A routine yearly or half-yearly equipment cleaning is important. This is because the dust accumulated inside the equipment will trap moisture. This trapped moisture will eventually oxidized the electronic components on the equipment circuit board. This will cause the performance of the component to deteriorate and hence may start to give intermittent problems to the system.

88

Section

Introduction to Section I

Mixer Amplifier PA System

90

Programmable Preamplifier PA System

94

Modular Mixer PA System

99

Digital Matrix PA System

105

Early Evacuation PA System

111

I PA System - Overall System Specifications

PA System Overall System Specifications

89

PA System Overall System Specifications Applicable to

- Mixer Amplifier PA System Specifications Benefits


Section

I PA System Overall System Specification - Design Level 1

1.0 General

1.0 General

This section specifies the minimum acceptable standard of quality and the minimum acceptable function to be performed for the Public Address (PA) System. The PA System shall be able to conduct general paging and background Music (BGM) broadcast at different priority level. The work covered in this section shall include the design, supply, delivery, installation, wiring, connecting, final testing and commissioning with a 12 months warranty against manufacturer’s defect.

The PA system is being used as a tool for performing public announcements and providing background music.

The Public Address (PA) System equipment shall be of one single brand, except the music source equipment.

The single brand requirement will ease the project coordination, commissioning and after sales and maintenance service. It will also avoid any problems arise from equipment signal levels and impedance mismatch in the case of different brands.

The Public Address (PA) System manufacturer shall be of ISO9001:2000 certified. All PA System equipment shall be designed to withstand a tropical, high humidity climate.

The ISO9001:2000 Certification will guarantee the product quality with consistency.

2.0 Signal Management and Amplifier– Mixer Amplifier

2.0 Signal Management and Amplifier– Mixer Amplifier

The PA system shall be a 6-input mixer amplifier with sufficient power to drive the entire speaker load.

The 6-input mixer amplifier is the typical PA system mixer amplifier requirement. The 6 inputs consist of inputs for different microphones (for receptionist, manager, etc.) and BGM sources.

(BGM)

Input 1

Input 2

Mixer Amplifier Input 3

Input 4

2 more spare inputs

90

Paging

PA System Overall System Specifications Technical Specifications

Specifications Benefits

The mixer amplifier shall have 3 microphone level inputs (-55dB) and 3 line level inputs (-20dB). The unit shall have voice activated muting function which enable microphone input 1 to override other inputs. The unit shall have individual gain controls for every input and a master volume control with Treble and Bass control.

The voice activated muting function allows the first microphone to automatically mute other signals in the mixer amplifier, which are deemed lower in priority. Top Priority

2nd Priority

3rd Priority

Activated

Muted

Muted

The unit shall be powered by mains supply of 240Vac, 50 Hz or 110 Vac, 60 Hz or a DC backup supply of Regulated 24 Vdc.

The DC backup is important in any case of power outages, the system will be required to conduct paging especially during emergency.

3.0 Zone Separation

3.0 Zone Separation

Zone Separation shall be done using the zone selectors. Zone selection shall be done through the zone selector buttons. If remote microphones were used, the remote microphone zone selection shall override the zone selection done on the panel buttons.

Zone separation will facilitate the paging signal management. Paging need not have to be broadcast to all zones if it is unnecessary.

4.0 Loudspeakers Selection and Monitoring


The loudspeakers shall be wired in zones as required by the building management.

The loudspeaker zones are dependent on the fire evacuation zoning management.

The position of the loudspeakers is such that sound pressure level (SPL) in each zone shall be evenly distributed. The total SPL shall be +10dB above the Ambient Noise. The SPL variation shall not be more than 3dB difference.

Evenly distributed loudspeaker layout will provide an even SPL to the system. +10dB above Ambient Noise means the system will be loud enough to be heard by the occupants. Less than 3dB SPL variation means the occupants will experience no variation in loudness when standing below or he strand away from the speaker.

Ambient Noise Ambient Noise + 10dB


adjustable

Section

The Treble and Bass tone control for the unit allow better control of the audio frequency adjustment and an overall volume control allows an overall adjustment in volume of the system.

91



Speech intelligibility shall have a Speech Transmission Index (STI) of greater than 0.5.

The STI refers to the clarity of the system announcement. The greater the index, the better the system intelligibility.The greater the better. A system can be loud but not intelligible. It is very much dependent on the type of speaker chosen and quantity of speaker allocated in the provided acoustic environment. Hence, this is one important index one should monitor.

Noisy

Section

I PA System Overall System Specification - Design Level 1 92

The ceiling loudspeakers used shall be spring mounted.

Clear

A spring mounted design ceiling loudspeaker ease the installation procedure. And it doesn’t involve any screw, we don’t have to worry about the rusty screws problem due to a prolonged exposure time to moisture environment. Besides, it also facilitates the future maintenance job where springmounted ceiling loudspeaker simplifies the loudspeaker cabling check and etc.

Spring Mount

All staircases shall have a box loudspeaker for each level. All these box loudspeakers in the staircase shall be grouped as an independent zone.

For background music reproduction, the loudspeakers chosen shall cover the entire music frequency spectrum. For foreground music reproduction, the loudspeakers chosen shall be 2-way full-range high impedance foreground music loudspeakers.

Grouping all the box loudspeakers in a staircase as one independent zone is necessary as these speakers belong to a common open area. Confusion will arise to a person who is travelling in a staircase if these box loudspeakers were to grouped according to their floors where different floors might have different BGM or announcement concurrently. This single grouping of staircase’s speakers also meets the requirement for the emergency evacuation method, where a single message will be played throughout the entire stairway to guide the evacuating occupants accordingly.

For outdoor application, the loudspeakers chosen shall be weatherproof aluminium column loudspeakers or weatherproof-treated ABS foreground music loudspeakers.

Weatherproof treated loudspeakers are essential for outdoor installation,as they should be able to withstand prolonged exposure to rain, heat and UV.

Audio attenuators shall be place strategically in the building. The audio attenuators chosen shall be equipped with built-in relay emergency overriding feature. The audio attenuators shall be controlled by a 6 level continuous rotary switch, with attenuation in steps of –6dB. It shall be able to be both flush and surface mounted to the wall (with optional back box) without any visible mounting screws.

The continuous rotary switch design ease the volume adjustment for users whenever they need to switch from the maximum to the minimum (or vice versa) of the attenuation level in one rotary direction only.



Loudspeaker line supervisory feature shall be incorporated in the amplifier monitoring device as one unit solution.

Incorporation of both features of amplifier monitoring and speaker line supervisory into one device solution will lower the entire system cost eventually and minimize rack space required during installation.

The supervisory feature shall utilize line impedance measurement method to monitor the loudspeaker lines.

The Line Impedance Measurement method of monitoring will do away with the DC blocking capacitors installed on every speakers and End-of-Line (EOL) resistor, hence eliminating the filtering of the lower frequencies by the DC blocking capacitors and improving the frequency response of the loudspeaker unit. It allows loudspeaker lines branching, monitoring loudspeakers installed beyond audio attenuators and will isolate faulty loudspeaker line from the power amplifier in the event of a loudspeaker line short.

EOL Resistor

AC Monitoring

5.0 Power Supplies and Racks


All primary power supplies for the system shall be mains 240Vac; 50Hz, and connected to the building essential power lines in the event of mains power shut down. It shall automatically switch over to 24 Vdc in case of mains power failure before the essential power line’s generator starts to supply power. The standby battery supply shall provide sufficient power and enable the fully loaded system, announcement at the maximum level, to continue operating without interruption for a minimum duration of 1/2 hour should mains power fail.

In the event of power failure or a fire, when the mains supply is disrupted, there will be no supply to the equipment. The standby battery backup supply will provide a source of secondary power supply.

All equipment shall be mounted into a 19” EIA Standard equipment rack except microphone console, volume controls and loudspeaker. All equipment, switchers, etc. shall be clearly labeled for easy identification. All equipment supplied shall be maintenance free, high quality, up-to-date and elegant in design. The design concept and layout shall be such that the operation be failsafe and easy to operate.


DC Monitoring

Section


93


- Programmable Preamplifier PA System Specifications Benefits


Section


1.0 General

1.0 General


PA System is being used as a tool for performing public announcements and providing background music.


The single brand requirement will ease the project coordination, commissioning and after sales and maintenance service. It will also avoid any problems arise from equipment signal levels and impedance mismatch in the case of different brand equipment.

The Public Address (PA) System manufacturer shall be of ISO9001:2000 certified. All PA System equipment shall be tropicalised to withstand tropical, high humidity climate.


2.0 Signal Management – Programmable Preamplifier

2.0 Signal Management – Programmable Preamplifier

The PA system shall consist of a programmable preamplifier. The programmable preamplifier shall be able to accept up to a total of 8 audio signal inputs.

The 8-input preamplifier is the typical PA System preamplifier requirement. The 8 inputs consist of inputs for different microphones (for receptionist, manager, supervisor, telephone operator, etc.) and BGM sources.

(BGM)

Input 1

Input 2

Input 3

Power Amp. Programmable Preamplifier

Input 4

4 more spare inputs

94

Paging



The inputs of the preamplifier shall be grouped into 3 different groups. Group 1 shall accept up to 3 Balanced inputs with selectable input level between –2dBV and –62dBV; Group 2 shall accept up to 3 Balanced inputs with selectable input level between –2dBV and –62dBV and Group 3 shall accept up to 2 Unbalanced inputs at selectable input level between –2dBV and –22dBV. Individual inputs shall have an independent gain control located at the front facial panel. The unit shall include priority control with Group 1 having the highest priority followed by Group 2 and Group 3 being the lowest in priority.

Inputs with user selectable input level allow user to use a wide range of microphones, be it a short distance handheld microphone or a long distance desktop paging console. Input grouping will allow a better management of all the input signals with different priority levels. Group 1 – usually used for top priority microphones and signals like firemen microphones, pre-recorded emergency messages, etc. Group 2 – usually used for general paging microphones and general signals like reception microphone, operator microphone, pre-recorded greeting messages for shopping complexes, etc. Group 3 – usually used for the BGM.

Group 1

Group 2

Group 3

The unit shall feature a master Treble and Bass control before the audio signals are being output.

The Treble and Bass tone control for the unit allow better control of the audio frequency adjustment during commissioning.

The unit shall also feature an emergency line out with dry contact activation for priority channel activation. The unit shall provide 2 other line outputs for better signal management. The output level shall be set at 0 dBV for audio amplification through an external power amplifier. The unit shall feature a REC output for external audio recording.

The emergency line out is the highest priority signal. It will provide a dry contact activation for any external activation like volume control overriding, etc. The other 2 line outputs separates the microphone paging signals from the BGM signals from Group 3. This will allow the user to configure an uninterrupted BGM and paging system using only a single preamplifier. The REC output is useful for external recording equipment.

The unit shall be able to accommodate a Chime module. The chime module shall be able to generate 5 different chime tones (user selectable) and one emergency tone.

The optional chime module is used to compensate microphones without a built-in chime.

The unit shall be powered by mains supply of 240Vac, 50 Hz or 110 Vac, 60 Hz or a DC backup supply of Regulated 24 Vdc.

The DC backup is important in the case of any power outages, the system will be required to conduct paging especially during emergencies.

3.0 Power Amplifiers


Sufficient numbers of power amplifiers with 20% headroom shall be provided to drive all the loudspeakers to the maximum level without overloading. The power amplifiers shall be powered by mains 240Vac, 50Hz or by external DC power supply supplying at 28Vdc. They shall accept a secondary power supply of 24Vdc backup battery array.

The power amplifier headroom allows any fluctuation in line impedance that may draw more power than the actual loudspeaker load from the power amplifier. This headroom will also allow room for any future expansion. To be able to connect to backup battery array is to ensure uninterrupted operation even in the event of mains power failure.

A failsafe system for these power amplifiers shall perform continuous fault monitoring on each power amplifier unit. The power amplifiers shall have greater than 12% backup capability. It shall instantly route the input and output signals of a faulty amplifier (of similar or higher power) into the signal lines of the standby power amplifier automatically within 1s without any human intervention. At the same time, the automatic amplifier changeover unit shall sound a buzzer to alert maintenance personnel to attend to the situation. The amplifier monitoring device shall incorporate line supervisory function to monitor loudspeaker lines for SHORT, OPEN and GND Leak. The unit shall isolate the loudspeaker line from the power amplifier if a SHORT is detected.

To have greater than 12% backup capacity means at least 8 duty amplifiers to be backup by 1 backup amplifier. The continuous fault monitoring and automatic changeover within 1s in the event of amplifier fault is imperative to warrant a fail-safe system. With the amplifier faulty buzzer going on in the control room, the faulty amplifier should be attended immediately.


adjustable

Section

priority decreases

95


Section




A Monitor Panel shall be incorporated in the main equipment rack with a selector switch, a volume control, a loudspeaker, and a VU meter to monitor the output of the power amplifiers.

For monitoring purpose, one need not have to go to every floor to listen to the amplifier level. Amplifiers’ levels can be monitored audibly and visually via the Monitor Panel installed into the amplifier rack.

4.0 Zone Separation

4.0 Zone Separation


Zone separation will facilitate the paging signal management. Paging need not have to broadcast to all zones if it is unnecessary.





The position of the loudspeakers is such that the sound pressure level (SPL) in each zone shall be evenly distributed. The total SPL shall be +10dB above the Ambient Noise. The SPL variation shall not be more than 3dB difference.

Evenly distributed loudspeaker layout will provide an even SPL to the system. +10dB above Ambient Noise means the system will be loud enough to be heard by the occupants. Less than 3dB SPL variation means the occupants will experience no variation in loudness when he stand below the speaker or he stand away from the speaker. Ambient Noise Ambient Noise + 10dB

The speech intelligibility shall have a Speech Transmission Index (STI) of greater than 0.5.

The STI refers to the clarity of the system announcement. The greater the index, the better the system intelligibility. A system can be loud but not intelligible. It is very much dependent on the type of speaker chosen and quantity of speaker allocated in the provided acoustic environment. Hence, this is one important index one should monitor.



Clear

Noisy


All staircases shall have a box loudspeaker for each level. All these box loudspeakers in the staircase shall be grouped as an independent zone. For background music reproduction, the loudspeakers chosen shall cover the entire music frequency spectrum. For foreground music reproduction, the loudspeakers chosen shall be 2-way full-range high impedance foreground music loudspeakers.


For outdoor applications, the loudspeakers chosen shall be weatherproof aluminium column loudspeakers or weatherproof-treated ABS foreground music loudspeakers.

Weatherproof treated loudspeaker is essential for outdoor installation, as they should be able to withstand prolonged exposure to rain, heat and UV.

Audio attenuators shall be placed strategically in the building. The audio attenuators chosen shall be equipped with a built-in relay emergency overriding feature. The audio attenuators shall be controlled by a 6 level continuous rotary switch, with attenuation in steps of –6dB. It shall be able to be both flush and surface mounted to the wall (with optional back box) without any visible mounting screws.







Spring Mount

Section

A spring mounted design ceiling loudspeaker ease the installation procedure. And it doesn’t involve any screw, we don’t have to worry about the rusty screws problem due to a prolonged exposure time to moisture environment. Besides, it also facilitates the future maintenance job where spring-mounted ceiling loudspeaker simplifies the loudspeaker cabling check and etc.

97



Specifications Benefits DC Blocking Capacitor

EOL Resistor

DC Monitoring

AC Monitoring

Section








- Modular Mixer PA System Specifications Benefits

Technical Specifications 1.0 General

1.0 General


The PA System is used as a tool for broadcasting public announcements and providing background music.



The Public Address (PA) System manufacturer shall be of ISO9001:2000 certified. All the PA system equipment shall be tropicalised to withstand tropical, high humidity climate.


2.0 Signal Management – Modular Mixer

2.0 Signal Management – Modular Mixer

The PA System shall be a modular mixer design. All electronic boards shall be inserted from the front for easy servicing. The modular mixer system shall be backed by a backplane PCB inside the modular frame. There shall be no jumper cutting required in order to configure the system.

Modular system allows flexibility in system design. Users are required to install the modules of their needs only. The front access module cards allow maintenance personnel to remove and install module cards from the front without going to the back of the rack, hence simplify the servicing efforts. The backplane PCB allows users to remove and install module cards as and when they want without worrying on any jumpers being cut on the frame. Hence this facilitates any system re-configuration.

The system shall include the following programming functions:

These programming functions are for the reasons stated below: 1. TOP Priority – A module set to TOP priority will cut-off all signals generated from modules placed to its left. Hence it is required for top priority microphone or firemen microphone preamplifier module setting.

block signal from mic 1 & 2


TOP Priority First-In-First-Out (FIFO) Priority CASCADE Priority Speech Filter Chime Activation Chime Selection Priority Channel Trigger Mic Enable Automatic Mute

Paging

Section

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

(BGM)

Mic 3 Mic 1

Mic 2

Mic 3 (Top Priority)

99

PA System Overall System Specifications Specifications Benefits


2. FIFO Priority – Modules set to this priority will adhere to the FIFO rule, thus it is suitable to be used for microphones of same priority. Mic 1 (FIFO set)

Come 1st

Mic 2 (FIFO set) Come 2nd Mic 3 (FIFO set)

Mic 1

Come 3rd

3. CASCADE Priority – Modules set to this priority will cause modules of the same priority setting on the left to mute. This is commonly configured for establishments that requires different priority microphones like factories and hotels.

Section

left

right

Mic 3 Mic 1 (Cascade set)

Mic 2 Mic 3 on Paging on Paging (Cascade set) (Cascade set)


4. Speech Filter – This setting will improve speech articulation by filtering lower frequency components in the speech spectrum. This is usually set for microphones dedicated for a male paging. 5. Chime Activation - This provides triggering signal to an external chime device. This is commonly used when the system required triggering any melody player and etc. 6. Chime Selection – There are different chimes built into the Chime Generator Module, this setting allows users to choose different chimes for different microphones in the system. 7. Priority Channel Trigger – This signal will be sent through the Line Amplifier Module for external priority trigger. This is required to trigger the priority channel of the power amplifiers. 8. Mic Enable – This setting allows microphones without activation switch to be used with the system. 9. Automatic Mute – This function is required for the BGM preamplifier modules where higher priority module will mute the lower priority module’s signal. These programming functions shall be user settable through switch setting on the module cards.

This is the option for user to choose which are the functions user requires.

The system shall have a frequency response of 20Hz to 20kHz.

A 20Hz to 20kHz frequency response guarantees a full audio spectrum to be amplified by the modular mixer system.

The system shall comprise of module as follow: 1. Emergency microphone receptacle module 2. Microphone level preamplifier module 3. Line level preamplifier module 4. Mono preamplifier module 5. Stereo combining preamplifier module 6. Source selector module 7. Parallel source selector module 8. Emergency tone generator module 9. Chime generator module 10. Line amplifier module 11. Extension module

These module choices allow users to select the right module for the right application.

All the modules are user selectable and shall be compatible with each other. 100

center


Depending on the module selected the system shall be able to accept both microphone level as well as line level microphone inputs. The system shall have no limit to the number of microphone to be connected to the system. Individual microphone shall be pre-amplified by an individual preamplifier module. Individual microphone module shall have a gain adjust knob locate at the front of the module. The microphone modules shall accept a Balanced audio signal. Each microphone preamplifier module shall be able to be activated by an external trigger.

There are different types of microphone with different mic level. Microphones for short distance application and long distance application have different microphone output levels and impedance. Hence it is imperative to have different microphone preamplifier modules to cater for these different levels and impedance.

For Background Music broadcast, the system shall accept either MONO or STEREO music input depending on the modules selected. The music preamplifier modules shall have user selectable multiple input levels depending on the music source used. The modular mixer shall have both the individual or parallel source selector options for the user to select Background Music source to be broadcast through the system.

BGM sources (AM / FM Tuner, CD Player and Cassette Player) are commonly equipped with L&R output channels. It is important to properly combine both the L&R channels electronically in order to get the full music component for BGM broadcast.

R Channel

rich music

Stereo Combine

The modular mixer shall have emergency tone generator for siren, yelp or buzzer. The tone duration and level shall be adjustable by the user. User shall be able to choose one of these emergency tones to preceed an emergency announcement to comply with the International Standard IEC 60849.

The emergency tone of 4s to 10s preceeding an announcement is in compliance with the IEC 60849 International Standard for Sound System for Emergency.

Siren

The modular mixer system shall have a chime module that generates 6 different chimes depending on the user choice. This chime module shall be programmed to sound a chime before and after an announcement.

The chime module is required when using together with a microphone without a built-in chime. This chime module allows user to assign different chime to different microphone installed onto the system.

The modular system shall have a line amplifier module that combines all signals in the system and pre-amplify them to a level that is compatible to the power amplifiers and match the impedance of the power amplifier. This module shall have both Treble and Bass tone control knobs located on the front facial of the panel. The module shall have a calibrated VU meter consists of LEDs indicating signal level and signal clip.

The line amplifier module is the one that gather all signals within the modular mixer frame before output it to the power amplifiers. The line amplifier VU meter and tone controls allow user to commission the system more effectively.

Should the system need more card slots than one frame, the system shall have an Extension Module to transfer all signals on the backplane PCB to the second frame.

Extension module is to ease the transfer of all signals within the frame to the second frame.

The unused module slots shall be covered by blank panels.

It is important to cover all the unused module slots with the blank panels for both protection and aesthetic reason.

The system shall be able to be powered by a power supply module that accepting mains supply of 240Vac, 50 Hz or 110 Vac, 60 Hz or a DC backup supply of Regulated 24 Vdc.

The DC backup is important in any case of power outage, the system will be required to conduct paging especially during emergency.


L Channel

Section


101



Section







To have greater than 12% backup capacity means at least 8 duty amplifiers to be backup by 1 backup amplifier. The continuous fault monitoring and automatic changeover within 1s in the event of amplifier fault is imperative to warrant a fail-safe system. With the amplifier faulty buzzer going on in the control room, the faulty amplifier should be attended immediately. Duty Amp. Duty Amp. Duty Amp. Duty Amp.

Backup Amp.

Duty Amp. 20% Backup Duty Amp. Duty Amp. Duty Amp.

A Monitor Panel shall be incorporated in the main equipment rack along with a selector switch, a volume control, a loudspeaker, and a VU meter to monitor the output of all power amplifiers.


4.0 Zone Separation

4.0 Zone Separation


Zone separation will facilitate the paging signal management. Paging need not have to broadcast to all zones if it is unnecessary.







102





Noise


Clear



For background music reproduction, the loudspeakers chosen shall cover the entire music frequency spectrum. For foreground music reproduction, the loudspeakers chosen shall be 2-way full-range high impedance foreground music loudspeakers. For outdoor applications, the loudspeakers chosen shall be weatherproof aluminium column loudspeakers or weatherproof-treated ABS foreground music loudspeakers.


Audio attenuators shall be place strategically in the building. The audio attenuators chosen shall be equipped with a built-in relay emergency overriding feature. The audio attenuators shall be controlled by a 6 level continuous rotary switch, with attenuation in steps of –6dB. It shall be able to be both flush and surface mounted to the wall (with optional back box) without any visible mounting screws.



Spring Mount

Section


103







Section



EOL Resistor

DC Monitoring

AC Monitoring







- Digital Matrix PA System Specifications Benefits


1.0 General

This section specifies the minimum acceptable standard of quality and the minimum acceptable function to be performed for the Public Address (PA) System. The PA system shall be able to conduct general paging and background Music (BGM) broadcast at different priority level. The work covered in this section shall include the design, supply, delivery, installation, wiring, connecting, final testing and commissioning with a 12 months warranty against manufacturer’s defect.

PA system is being used as a tool for performing public announcement and providing background music. At a small premium over the cost of a conventional PA system, the additional early evacuation feature is easily justified.



The Public Address (PA) System manufacturer shall be of ISO9001:2000 certified. All the PA system equipment shall be designed to withstand a tropical, high humidity climate.


2.0 Signal Management – Digital Matrix


The PA System shall be of PA Digital Matrix System to conduct simultaneous multiple paging to designated zones. This Digital Matrix System shall operate in at least 16 bit, 48kHz sampling, CD quality, Analog to Digital (ADC) and Digital to Analog (DAC) conversion rate.

PA digital matrix system is the only system that allows multiple messages broadcast simultaneously. A digital matrix will allow multiple audio signals to be managed digitally and hence losslessly. A CD quality sound system is of utmost important in high class establishment like Hotels and Exhibition Centers, where the occupants enjoy its superb BGM quality.

The PA digital matrix system shall be able to handle at least 8 x 8 full audio matrix with minimum 8 audio buses, and expandable up to a maximum of 20 x 60 full audio matrix for a medium scale matrix system, and a 32 x 128 full audio matrix for a full scale matrix system.

8 x 8 full audio matrix means that all the 8 audio inputs can be broadcast to any of the 8 audio output channels simultaneously. 8 audio buses means allowing 8 audio sources to be broadcast at the same time. The matrix shall have room for future expansion and be able to be extended to a 20 x 60 full audio matrix for a medium scale matrix and 32 x 128 full audio matrix for a large scale matrix system.

The PA digital matrix shall be able to operate as a normal PA system that broadcast different Background Music (BGM) to different designated zones simultaneously. This system shall provide at least 4 different BGM signals broadcast to different speaker zones simultaneously. The 4 simultaneous BGM shall have room for future BGM system expansion.

This is important for big establishment like hotel or shopping complexes where different BGM is required at different zones at the same time to provide different psycho-acoustic experience to the customers. Different BGM to be broadcast to different areas of the building relaxes the customers as they enter and some cases enhance the productivity of the employees within the building.

The PA digital matrix system shall be able to manage at least 4 remote microphones and expandable up to 8 remote microphones inputs (for medium scale matrix system) or 32 remote microphone inputs (for large scale matrix system) with programmable priority. The remote microphone shall be able to page independently to any zones in the entire building individually or collectively.

The 4 remote microphones independent paging means all 4 microphones paging can be in use at the same time. In fact, microphones are the most common signal source in most PA system especially in high occupancy establishment like hotels, shopping complexes, airports etc. to make announcement as well as to conduct manned evacuation.

(BGM)

Paging

Section




The PA digital matrix shall be able to handle different microphone paging broadcast to different designated zones simultaneously. This PA matrix shall be able to handle up to 4 simultaneous paging (for medium scale matrix) and 32 simultaneous paging (for large scale matrix) at any one time.

This is important for buildings like airports, factories, offices, and any other establishment that requires multiple microphones paging. . Hence it is imperative to have a matrix that can handle all microphone at its full input capacity and all microphones shall be able to do independent paging at all time. Mic 4

Mic 1

Mic 3

Mic 2 Concurrent

Mic 1

Mic 3 Mic 4

Section


Mic 2

The higher priority microphones shall be able to override the signals and microphones of lower priority automatically upon activation. The BGM shall be muted when paging and resume automatically after paging.

When microphone of higher priority selected a zone that is already occupied by a lower priority signals (be it BGM or lower priority microphone), the higher priority microphone paging will be able to override it, because the priority microphone paging is deemed to have more important paging than the others. After the microphone paging, the selected zones will resume the BGM broadcast automatically.

In the case of zones clash, a Microphone Queue Management system shall be apply to handle the system queuing operation. This Microphone Queue Management System shall incorporate an audio and visual notification to the operators upon availability of the zones selected.

Microphone Queue Management feature allows microphones of same priority level to go on queue based on fist-come-first-serve basis. The microphone operators will be notified via the microphone LCD and a buzzer upon the availability of the zones selected. The operator need not have to re-enter the zones again when comes his turn to page.

Mic Queue

(Applies Only to Medium Scale Matrix System) The matrix system remote microphone should be incorporated with optional features of password protection, volume control over zones and change of BGM routing patterns.

The microphone password protection feature would minimize the possibility of misuse of the device, such as paging broadcast by unauthorized personnel. Allowing the function keys of the microphone to be programmed to control zones volume as well as changing the routing patterns would ease the operation and control over the system as the authorized personnel need not to be in the control rooms to perform such adjustment. It allows immediate response to be carried out when required.

It shall have a top priority Firemen Microphone that overrides all microphones in the building. Its announcement shall precede with an attention-drawing siren for 4s to 10s to comply with IEC 60849. It shall be located at the Fire Control Room.

This top priority will override all microphones in the building. This microphone should only be used by the firemen. The attention-drawing siren precede an announcement is the IEC 60849 Standards for Sound System for Emergency Purpose.

It shall accept up to a maximum of 128 control sensor inputs and 188 multipurpose relay outputs (for medium scale matrix system), and of 128 control sensor inputs and 256 multipurpose relay outputs (for large scale matrix system).

The control sensor input channels allow external control signal to control the matrix system, e.g. Addressable Fire Alarm System. Any fire alarm triggered from the any fire alarm zone/s or floor/s will be feedback to matrix and an automatic digital message will be broadcast to the respective zone/s or floor/s (if the matrix was programmed to do such). The multipurpose relay outputs channels allow matrix system to control any external equipment or system, like evacuation strobe lights etc.

This system shall have a built-in Time Scheduler that will automatically trigger events as programmed. The time scheduler shall have up to at least 560 time blocks/programs per week.

When come to operation on routine programs, the built-in Time Scheduler is the timetable that one can program into the matrix and let it perform those routine programs automatically without any human intervention.



Auto Route

The modularity of matrix design allows greater flexibility in terms of future upgrading and expansion. Should any card fail, modular system allows the faulty card to be unplugged from the frame and replace with a new one. This will keep the system running and minimize the system down time.

The system shall be able to be configured and monitored through a PC. The configuration software shall be userfriendly Windows-based and incorporated with a Configuration Wizard to guide the user throughout the system configuration procedure. The software shall allow configuration and monitoring of the system.

The PC configuration is friendlier in terms of configuration and monitoring. It operates on a common Window platform that most of the user familiar with. Its Configuration Wizard is most useful for beginner when he first configure the system. By following through the steps guided by the wizard, one can configure the entire matrix system in no time. Let me help ..

It shall be equipped with at least 2-Level password protection. 10 user-definable passwords shall be available in each level.

First level password allows users to monitor and view the system operation status. The second level password allows users to change system configuration. Each level of password allows 10 different users to define their personal password. Besides protecting the system from unauthorized tempering, it is also for management to monitor who has entered the system and who did the last system configuration modification.

The matrix system shall be able to support Dual CPU redundancy option and shall be able to perform system diagnosis automatically.

Any frequently used system will require certain degree of fail-safe redundancy. A highly used PA system in establishment like airports, exhibition halls, etc. will need a dual redundancy requirement. The Dual CPU redundancy is an option for this purpose. System self-diagnosis allows the system to monitor its own operating condition.


The Matrix System shall be modular in design and all electronic boards shall be inserted from the rear.

Section

Auto Route

Speaks the same ..

107


Section




The system shall have a simulation function to facilitate the Testing & Commissioning (T&C) procedure.

The simulation function is to simplify the T&C chore by having the system run its full Time Scheduler function at one go.

The system shall be able to connect to the Internet via an optional Internet Connectivity Panel. This is to enable the user to monitor the status of the matrix system and upload new configuration settings from a remote online PC. Besides, the system shall be able to send emails up to 5 designated addresses upon any fault detected.

Internet connectivity will allows building owners to monitor the condition of its PA system operation. This will also allow authorized contractors to monitor and change configuration remotely. Any faults detected upon system diagnosis can be sent through emails to 5 different parties for action. The 5 different parties could be: a. Service Department Head b. Building owner c. Consultants d. System Integrator e. Contract Maintenance companies

The PA digital matrix system shall be able to upgrade to Early Evacuation System (EES) to conduct concerted evacuation during emergency by changing the Central Processing Card with the EES software.

By having the PA digital matrix to upgrade to EES, is to allow the building owners and the fire authority to program the people evacuation steps as it was planned and confirmed based on the building evacuation plan discussed even before the Certificate of Fitness was issued.

The system shall be able to be powered by mains supply of 240Vac, 50 Hz or 110 Vac, 60 Hz or a UPS backup supply of 24 Vdc.

Besides the AC mains, the system needs to be in operation especially in the event of emergency. Hence, any failure of power supply to the system should be prevented.






To have greater than 12% backup capacity means at least 8 duty amplifiers to be backup by 1 backup amplifier. The continuous fault monitoring and automatic changeover within 1s in the event of amplifier fault is imperative to warrant a fail-safe system. With the amplifier faulty buzzer going on in the control room, the faulty amplifier should be attended immediately. Duty Amp. Duty Amp. Duty Amp. Backup Amp.

Duty Amp. Duty Amp. 20% Backup Duty Amp. Duty Amp. Duty Amp.

The status of the automatic changeover unit shall feedback to the Matrix System for fault reporting.

This is for total system monitoring.









The position of the loudspeakers is such that the sound pressure level (SPL) in each zone shall be evenly distributed. The total SPL shall be +10dB above the Ambient Noise. The SPL variation shall not be more than 3dB difference.


Clear

Noise



Spring Mount

For background music reproduction, the loudspeakers chosen shall cover the entire music frequency spectrum. For foreground music reproduction, the loudspeakers chosen shall be 2-way full-range high impedance foreground music loudspeakers.







Section


109


Audio attenuators shall be place strategically in the building. The audio attenuators chosen shall be equipped with built-in relay emergency overriding feature. The audio attenuators shall be controlled by a 6 levels continuous rotary switch, with attenuation in steps of –6dB. It shall be able to be both flush and surface mounted to the wall (with optional back box) without any visible mounting screws.






Section




EOL Resistor

DC Monitoring

AC Monitoring

The status of the loudspeaker line supervisory unit shall be feedback to the Matrix System for fault reporting.






All equipment shall be mounted into a 19” EIA Standard equipment rack except microphone console, volume controls and loudspeaker. All equipment, switchers, etc. shall be clearly labeled for easy identification. All equipment supplied shall be maintenance free, high quality, upto-date and elegant in design. The design concept and layout shall be such that the operation be failsafe and easy to operate.


- Early Evacuation PA System Specifications Benefits


1.0 General

This section specifies the minimum acceptable standard of quality and the minimum acceptable function to be performed for the Public Address (PA) System. The PA system shall be able to conduct voice evacuation, general paging and background Music (BGM) broadcast at different priority level. The work covered in this section shall include the design, supply, delivery, installation, wiring, connecting, final testing and commissioning with a 12 months warranty against manufacturer’s defect.

PA system is increasingly being taken advantage of as a tool for providing concerted early evacuation in the event of an emergency besides its traditional roles in performing public announcement and providing background music. At a small premium over the cost of a conventional PA system, the additional early evacuation feature is easily justified.

(BGM)

Paging

EES

The Public Address (PA) System manufacturer shall be of ISO9001:2000 certified. All the PA system equipment shall be tropicalised to withstand tropical, high humidity climate.




The PA system shall be of PA digital matrix system to conduct simultaneous multiple paging to designated zones. This digital matrix system shall operate in at least 16 bit, 48kHz sampling, CD quality, Analog to Digital (ADC) and Digital to Analog (DAC) conversion rate.

PA digital matrix system is the only system that allows multiple messages broadcast simultaneously. A digital matrix will allow multiple audio signals to be managed digitally and hence losslessly. A CD quality sound system is of utmost important in high class establishment like Hotels and Exhibition Centers, where the occupants enjoy its superb BGM quality.

The PA digital matrix system shall be able to handle at least 8 x 8 full audio matrix with minimum 8 audio buses, and expandable up to a maximum of 20 x 60 full audio matrix for a medium scale matrix system, and a 32 x 128 full audio matrix for a full scale matrix system.

8 x 8 full audio matrix means that all the 8 audio inputs can be broadcast to any of the 8 audio output channels simultaneously. 8 audio buses means allowing 8 audio sources to be broadcast at the same time. The matrix shall have room for future expansion and be able to be extended to a 20 x 60 full audio matrix for a medium scale matrix and 32 x 128 full audio matrix for a large scale matrix system.

The PA digital matrix shall be able to operate as a normal PA system that broadcast different Background Music (BGM) to different designated zones simultaneously. This system shall provide at least 4 different BGM signals broadcast to different speaker zones simultaneously. The 4 simultaneous BGM shall have room for future BGM system expansion.

This is important for big establishment like hotel or shopping complexes where different BGM is required at different zones at the same time to provide different psycho-acoustic experience to the customers. Different BGM to be broadcast to different areas of the building relaxes the customers as they enter and some cases enhance the productivity of the employees within the building.

The PA digital matrix system shall be able to manage at least 4 remote microphones and expandable up to 8 remote microphones inputs (for medium scale matrix system) or 32 remote microphone inputs (for large scale matrix system) with programmable priority. The remote microphone shall be able to page independently to any zones in the entire building individually or collectively.

The 4 remote microphones independent paging means all 4 microphones paging can be in use at the same time. In fact, microphones are the most common signal source in most PA system especially in high occupancy establishment like hotels, shopping complexes, airports etc. to make announcement as well as to conduct manned evacuation.



Section


111



The PA digital matrix shall be able to handle different microphone paging broadcast to different designated zones simultaneously. This PA matrix shall be able to handle up to 4 simultaneous paging (for medium scale matrix) and 32 simultaneous paging (for large scale matrix) at any one time.

This is important for buildings like airports, factories, offices, and any other establishment that requires multiple microphones paging. Hence it is imperative to have a matrix that can handle all microphone at its full input capacity and all microphones shall be able to do independent paging at all time. Mic 1

Mic 4

Mic 2 Mic 3

Mic 3 Concurrent

Mic 1

Mic 4 Mic 2

Section


The higher priority microphones shall be able to override the signals and microphones of lower priority automatically upon activation. The BGM shall be muted when paging and resume automatically after paging.

When microphone of higher priority selected a zone that is already occupied by a lower priority signals (be it BGM or lower priority microphone), the higher priority microphone paging will be able to override it, because the priority microphone paging is deemed to have more important paging than the others. After the microphone paging, the selected zones will resume the BGM broadcast automatically.

In the case of zones clash, a Microphone Queue Management system shall be apply to handle the system queuing operation. This Microphone Queue Management System shall incorporate an audio and visual notification to the operators upon availability of the zones selected.

Microphone Queue Management feature allows microphones of same priority level to go on queue based on fist-come-first-serve basis. The microphone operators will be notified via the microphone LCD and a buzzer upon the availability of the zones selected. The operator need not have to re-enter the zones again when comes his turn to page.

(Applies Only to Medium Scale Matrix System) The matrix system remote microphone should be incorporated with optional features of password protection, volume control over zones and change of BGM routing patterns.

Mic Queue

The microphone password protection feature would minimize the possibility of misuse of the device, such as paging broadcast by unauthorized personnel. Allowing the function keys of the microphone to be programmed to control zones volume as well as changing the routing patterns would ease the operation and control over the system as the authorized personnel need not to be in the control rooms to perform such adjustment. It allows immediate response to be carried out when required.

It shall have a top priority Firemen Microphone that overrides all microphones in the building. Its announcement shall precede with an attention-drawing siren for 4s to 10s to comply with IEC 60849. It shall be located at the Fire Control Room.

This top priority will override all microphones in the building. This microphone should only be used by the firemen. The attention-drawing siren precede an announcement is the IEC 60849 Standards for Sound System for Emergency Purpose.

It shall accept up to a maximum of 128 control sensor inputs and 188 multipurpose relay outputs (for medium scale matrix system), and of 128 control sensor inputs and 256 multipurpose relay outputs (for large scale matrix system).

The control sensor input channels allow external control signal to control the matrix system, e.g. Addressable Fire Alarm System. Any fire alarm triggered from the any fire alarm zone/s or floor/s will be feedback to matrix and an automatic digital message will be broadcast to the respective zone/s or floor/s (if the matrix was programmed to do such). The multipurpose relay outputs channels allow matrix system to control any external equipment or system, like evacuation strobe lights etc.

This system shall have a built-in Time Scheduler that will automatically trigger events as programmed. The time scheduler shall have up to at least 560 time blocks/programs per week.

When come to operation on routine programs, the built-in Time Scheduler is the timetable that one can program into the matrix and let it perform those routine programs automatically without any human intervention.



Auto Route

The modularity of matrix design allows greater flexibility in terms of future upgrading and expansion. Should any card fail, modular system allows the faulty card to be unplugged from the frame and replace with a new one. This will keep the system running and minimize the system down time.

The system shall be able to be configured and monitored through a PC. The configuration software shall be userfriendly Windows-based and incorporated with a Configuration Wizard to guide the user throughout the system configuration procedure. The software shall allow configuration and monitoring of the system.

The PC configuration is friendlier in terms of configuration and monitoring. It operates on a common Window platform that most of the user familiar with. Its Configuration Wizard is most useful for beginner when he first configure the system. By following through the steps guided by the wizard, one can configure the entire matrix system in no time. Let me help ..

It shall be equipped with at least 2-Level password protection. 10 user-definable passwords shall be available in each level.

First level password allows users to monitor and view the system operation status. The second level password allows users to change system configuration. Each level of password allows 10 different users to define their personal password. Besides protecting the system from unauthorized tempering, it is also for management to monitor who has entered the system and who did the last system configuration modification.

The Matrix System shall be able to support Dual CPU redundancy option and shall be able to perform system diagnosis automatically.

Any frequently used system will require certain degree of fail-safe redundancy. A highly used PA system in establishment like airports, exhibition halls, etc. will need a dual redundancy requirement. The Dual CPU redundancy is the only efficient option for this purpose. System self-diagnosis allows the system to monitor its own operating condition.


The Matrix System shall be modular in design and all electronic boards shall be inserted from the rear.

Section

Auto Route

Speaks the same ..

113



The system shall have a simulation function to facilitate the Testing & Commissioning (T&C) procedure.

The simulation function is to simplify the T&C chore by having the system run its full Time Scheduler function at one go.

The system shall be able to connect to the Internet via an optional Internet Connectivity Panel. This is to enable the user to monitor the status of the matrix system and upload new configuration settings from a remote online PC. Besides, the system shall be able to send emails up to 5 designated addresses upon any fault detected.

Internet connectivity will allow building owners to monitor the condition of its PA system operation. This will also allow authorized contractors to monitor and change configuration remotely. Any faults detected upon system diagnosis can be sent through emails to 5 different parties for action. The 5 different parties could be: a. Service Department Head b. Building owner c. Consultants d. System Integrator e. Contract Maintenance companies

Section I PA System Overall 公共广播系统整体系统说明—设计等级4

System Specification - Design Level 5 114

The PA digital matrix system shall be also an Early Evacuation System (EES) to conduct concerted evacuation during emergency. The EES matrix system shall be able to be programmed to perform the Early Evacuation Steps during evacuation. The EES evacuation shall have a minimum of 6 different pre-recorded evacuation messages to be broadcast to different evacuation zones simultaneously, namely Evacuation Message 1, Evacuation Message 2, Warning Message, Staircase Message, Outdoor Message and Special Message. The messages shall be expandable up to at least 8 different messages. Once programmed, the EES matrix shall be able to perform those evacuation patterns and steps automatically.

By having the PA digital matrix to perform EES, is to allow the building owners and the fire authority to program the people evacuation steps as it was planned and confirmed based on the building evacuation plan discussed even before the Certificate of Fitness was issued. The EES conducts evacuation systematically and automatically before the arrival of the firemen by having several pre-recorded evacuations messages to be broadcast to different evacuating zone simultaneously. The 6 different types of messages are: a. Evacuation Message 1 – to inform the hazardous floor on the nature of the threat and the evacuation routes. b. Evacuation Message 2 – to inform the adjacent floors on the alternative evacuation routes to avoid any congestion with the hazardous floor/s. c. Warning Message – to put the building occupants in other floors on alert and to standby for further instruction. d. Staircase Message – to calm the evacuating occupants on the staircase / escape routes not to push and rush to the exit. e. Outdoor Message – to make announcement to the assembling crowd at the refuge area. f. Special Message – to make announcement to the pedestrians and anyone that crowd around the building to give way to the evacuating occupants

Special Message

Evacuation Message 1 Evacuation Message 2 Warning Message



This EES Matrix System shall be able to carry out both Phased Evacuation and Optimal Evacuation in response to different types of threats generated within the building or outside the building that is going to impose any kind of danger to the building occupants. Besides the Fire Hazard within the building, it shall be able to have another 10 different triggering to carry out different evacuation steps in response to different types of threat / hazard accordingly. The Phased Evacuation of EES shall be able to integrate with the Addressable Fire Alarm system.

Phased Evacuation is the evacuation steps carried out originate from certain evacuating zone/s, e.g. fire. Optimal Evacuation is evacuation steps to evacuate the most people within the shortest possible time. Both these evacuation steps can be programmed in response to any internal or external threats that may put the life of the building occupants in peril. Fire Hazard will be one hazard that should be programmed into all building PA system. Besides this, they’re another 10 different types of threat to be able to program into the EES. The examples are: a. Bomb Threat Evacuation b. Earthquake Evacuation c. Air Raid Evacuation d. Tsunami Evacuation. e. Evacuation Drill. f. Etc.

Section

Optimal Evacuation

The EES Matrix System shall be able to run in two modes: Automatic Evacuation Mode & Manual Evacuation Mode.

The Automatic Evacuation Mode allows the EES to launch the concerted evacuation steps automatically before the firemen arrival. The Manual Evacuation Mode allows firemen to take over the evacuation procedures and make announcement manually.

During the automatic evacuation mode, all the BGM and remote microphones are barred from broadcasting and paging except remote microphones with highest priority.

This is in compliance with the IEC 60849 standards on Sound Systems for Emergency Purpose.

The EES Matrix System shall have its independent confirmation procedure to confirm on the real emergency from any false alarm. Besides the confirmation mechanism, it shall have an alternative option of time-out mechanism to launch the evacuation steps if no one confirms the fire alarm trigger signal.

This independent confirmation mechanism is to avoid any false alarm triggered by the Fire Alarm panel. The time-out mechanism is to ensure the safety of the building occupant by directly launching the evacuation steps without taking any chance.

The evacuation steps shall be floor-by-floor or group-bygroup depending on the building requirement.

This flexibility will accommodate all types of evacuation plan and scheme, in all types of building.

The evacuation shall be carried out in minimally 5 different patterns and 5 different steps. The evacuation patterns steps and intervals shall be user programmable.

The different evacuation steps and patterns allow more flexibility and more concerted way of evacuation.

As for the Manual Evacuation Mode, the system shall be able to link to the Fireman Emergency Panel and to the mimic panel to facilitate the fireman manual evacuation. The Firemen Emergency Panel shall be in Red in color with a Firemen handheld microphone. This microphone activation shall precede with a Siren. The mimic panel shall depict the zones that the Evacuation Messages have been broadcast and the zones that are still listening to the Warning Message.

Both these panels are typical fire command panel that is familiar to all firemen. The firemen need not have to learn and operate the matrix system in order to conduct manual evacuation. The red Firemen Emergency Panel is coupled with a handheld firemen paging microphone, a big Firemen Mode button, a red emergency light for visual indication, an All-call button, etc. A preannouncement Siren requirement is in compliance with the IEC 60849 Standards.


Phased Evacuation

115


Section




The EES Matrix System shall have manual zone selector panels to allow firemen to perform selective announcement. These zone selector panels shall show visually the zones that have listened to the Evacuation Message and zones that are still listening to the Warning Message.

In the event where firemen found paging to all zones at once is impractical, zone selector panels here are for firemen to select the zone that he wants to page to. The visual indication on the zone selector panel will facilitate the firemen evacuation procedures by telling the firemen which zones have already been evacuated automatically and which zones have not.

The EES shall be able to store an extra 500 evacuation logs.

This evacuation event logging is useful when carrying out any post mortem analysis on the event. Records like when did the fire alarm send signal to the EES, when did firemen take over the evacuation from automatic mode, etc.

The EES Matrix System shall be able to be powered by mains supply of 240 Vac, 50 Hz or 110 Vac, 60 Hz or a UPS backup supply of 24 Vdc.

Besides the AC mains, the system needs to be in operation especially in the event of emergency. Hence, any failure of power supply to the system should be prevented.






To have greater than 12% backup capacity means at least 8 duty amplifiers to be backup by 1 backup amplifier. The continuous fault monitoring and automatic changeover within 1s in the event of amplifier fault is imperative to warrant a fail-safe system. With the amplifier faulty buzzer going on in the control room, the faulty amplifier should be attended immediately. Duty Amp. Duty Amp. Duty Amp. Backup Amp.

Duty Amp. Duty Amp. Duty Amp.

20% Backup

Duty Amp. Duty Amp.

The status of the automatic changeover unit shall be feedback to the EES matrix system for fault reporting.









Evenly distributed loudspeaker layout will provide an even SPL to the system. +10dB above Ambient Noise means the system will be loud enough to be heard by the occupants. Less than 3dB SPL variation means the occupants will experience no variation in loudness when he stand below the speaker or he stand away from the speaker.


Specifications Benefits Ambient Noise Ambient Noise + 10dB




Spring Mount

All staircases shall have a box loudspeaker for each level. All these box loudspeakers in the staircase shall be grouped as an independent zone. For background music reproduction, the loudspeakers chosen shall cover the entire music frequency spectrum. For foreground music reproduction, the loudspeakers chosen shall be 2-way full-range high impedance foreground music loudspeakers.




Audio attenuators shall be place strategically in the building. The audio attenuators chosen shall be equipped with built-in relay emergency overriding feature. The audio attenuators shall be controlled by a 6 levels continuous rotary switch, with attenuation in steps of –6dB. It shall be able to be both flush and surface mounted to the wall (with optional back box) without any visible mounting screws.

The continuous rotary switch design eases the volume adjustment for users whenever they need to switch from the maximum to the minimum (or vice versa) of the attenuation level in one rotary direction only.



Clear

Section

Noisy

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Section


EOL Resistor

DC Monitoring


AC Monitoring

The status of the loudspeaker line supervisory unit shall be feedback to the EES matrix system for fault reporting.






All equipment shall be mounted into a 19” EIA Standard equipment rack except microphone console, volume controls and loudspeaker. All equipment, switchers, etc. shall be clearly labeled for easy identification. All equipment supplied shall be maintenance free, high quality, upto-date and elegant in design. The design concept and layout shall be such that the operation be failsafe and easy to operate.

PA System - Glossary

Acoustic: Having to do with sound; principally used for buildings. The overall sound properties of something. Amplifier: An electrical circuit in which a signal is modified to make it more suitable to drive following equipment. Balanced lines: A three wire system used with mono signals to help cut down on the external interference from electrical equipment when using long cable runs. Bass: The lower end of the audio spectrum. Cabinet: The enclosure in which a loudspeaker is mounted.

Compatibility: The ability of one particular system of signal processing to be used with apparatus designed from another system.

Distortion: Any alterations to a signal other than in amplitude or frequency response introduced by equipment. These alterations normally consist of the addition of harmonics of the original signal not intended to be there and frequently not musically related to it. Driver: A term for the electromechanical element in a loud-speaker. Echo: Fast repetition of an audio signal either once or several times, but with an audible gap between each repetition. EES – (Early Evacuation System): Early evacuation systems are designed to conduct fully automated concerted evacuations prior to the arrival of the emergency response team. EES should provide adequate messages with the following key elements;

Graphical User Interface: Commonly referred to by the abbreviation "GUI", a graphical user interface is a method of interacting with a computer or program through visual perception and manipulation of images on a screen. Hum: Spurious signal injected into, or picked up by, electronic equipment from the local mains supply.

Loudspeaker: The apparatus that turns electrical signals back into audible ones. Matrix system: A system is classified as a matrix system if it is able to route multiple inputs to multiple outputs simultaneously. This includes simultaneous paging to different zones as well as differing background music to various zones. Yet a matrix system would not be physically confined to a particular ‘pattern’ and users should be able to change the routing patterns easily. Muting: Simply the turning off of a signal. Noise: Random electrical signals that exist in all circuits. Noise usually sounds like a quiet hiss. It cannot be removed entirely since it is produced by anything electrical, but its effects can be minimized by good engineering design. The signal-to-noise ratio of an amplifier is a mark of how well this has been done and should be a large figure in decibels.

Inform the occupants what has happened. Inform the occupants what they should do. This should be specific to zones and areas relative to the emergency.

Pilot tone: Oscillation of known frequency and amplitude used to test or set up audio equipment.

Inform the occupants why they should do it.

Polar response: The sensitivity of a microphone to sounds coming to it from different directions.

Enclosure: The box, and its detail design, in which a loudspeaker is mounted.

Programmable preamplifier: An amplifier which normalizes different input signals as well as providing some form of priority management between all the inputs. Sensitivity: The input voltage required to drive an amplifier to maximum output. Short circuit: Zero resistance.

Input sources: Refers to equipment that provides audio input into the public address system. Common input source equipment are microphones, CD Players and Digital Source Players.

Open circuit: A break in a circuit so that there is no complete path for the current to take.

Efficiency: Usually of loudspeakers. The acoustical power output compared to the electrical power input expressed as a percentage.

Preamplifier: An amplifier which normalizes different input signals and allows tonal changes, etc., to be made to them.

Signal management: Equipment that manages all the various audio input signals, for example routing background music to user designated zones and routing announcements only to required zones. Signal-to-noise ratio: The ratio of the normal output signal to the noise output with zero signal. These ratios are normally measured in decibels. Speakers: Abbreviation for loudspeakers. Tone controls: The controls on a preamplifier that adjust its frequency response. Transformer: A piece of apparatus that changes the voltage and current amplitudes of a signal without altering its power. Transformers are used among other things to produce low voltage from mains efficiently, in order to provide power supplies suited to transistors. A transformer will operate only with a/c.

PA System - Glossary

Decibel(dB): Logarithmic measurement of sound pressure.

Gain: The relationship between the input signal and the output signal of an amplifier or system, measured in power. volts or amps.

Public address system: Refers to a system that provides communication in public areas. Typical applications include making announcements, summoning personnel or declaring states of emergency.

Glossary

Coaxial cable: A cable consisting of two conductors, one as a wire and one as a tube, both sharing the same axis. The tube is usually used as an electrical screen for the wire within it.

Frequency response: The range from the lowest to the highest frequency a system is capable of reproducing with equal amplification.

Unbalanced lines: A two wire system of audio connection. Not recommended for microphones or for long cable runs. VU meter: Volume unit meter. A cheaper form of meter for showing audio signal amplitudes. It is not logarithmic and so does not really indicate how loud a signal is; it also has a slow response so that fast transient signals are ignored. Volume: The overall perceived amplitude of a sound. Watt: The unit of power in electricity, it is the product of voltage and current.

Power amplifier: An amplifier which takes a low-level signal and increases it to a suitable level that it is able to drive a loud-speaker.

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An accompanying CD is also available with this book to aid in the public address system design steps. The CD contains;

Accompanying Book 1 CD

Product technical specifications. Standard Public Address System tender documents. Standard Design Templates. AEX System Design Aid - a calculator tool for the estimation of: (i) Cable requirements (ii) Speaker placement (iii) Equipment rack space requirements

www.aexsystem.com

ES - 06 - 011 Technical Alterations Reserved

PA System Design Fundamentals (Book 1)

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