Peecker sound As180 User manual

User’s Manual DOUBLE ARRAY series

SOUND REINFORCEMENT ACOUSTIC RESEARCHCONTROLLED RADIATION

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DOUBLE ARRAY USER’S MANUAL

DOUBLE ARRAY seriesUser’s Manual

SOUND REINFORCEMENT ACOUSTIC RESEARCHCONTROLLED RADIATION

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TABLE OF CONTENTS

1. PROJECT PHILOSOPHY pag. 3

2. A NEW CONCEPT OF SOUND pag. 3

3.THE PEECKER SOUND DOUBLE ARRAY pag. 4

4. A PRACTICAL EFFECT pag. 4

5. CERTIFICATIONS pag. 6

5.1 Measurements and tests on AS120 speaker

6. THE DOUBLE ARRAY SERIES INNOVATION PROCESS pag. 8

6.1 A market niche

6.2 “Music inside, silence outside”

6.3 Double Array series engineering

6.4 CAD 2D-drawing (exported in JPG)

6.5 CAD 3D-drawing (exported in JPG)

7. THE OPERATION SCHEDULE pag. 12

User’s Manual DOUBLE ARRAY series

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If we try to channel sound to the dance floor by means of horns positioned

inside or in front of the speakers, we will only make matters worse, as the

sound quality will deteriorate unacceptably.

2. A NEW CONCEPT OF SOUND

Looking at the polar diagrams of an individual speaker at low frequency,

we will see almost omnidirectional radiation (i.e. the same radiation in all

directions). However, a considerable reduction in sound dispersion at various

angles can be achieved simply by positioning four speakers in a line.

As we increase the number of speakers, the sound emission angle will

increasingly narrow.

Note the significant effect of eight sources set in a line in the drawing below.

It should be noted, however, that the effect achieved by narrowing the sound

beam will only occur along the axis on which the speakers are positioned,

while on the perpendicular axis no change will occur by doing this as

compared to using just a single transducer.

1 . PROJECT PHILOSOPHY

The main problem with sound reinforcement systems has always been

to concentrate sound where it is actually needed and lower it perceptibly

elsewhere.

Unfortunately, sound waves, by their very nature, are a serious hindrance

to the achievement of this goal since they tend to be fairly directional

at mid and high frequencies, while at low frequencies they remain

omnidirectional. This phenomenon becomes immediately apparent

when we move around any speaker. As we move away from the axis,

we will notice a progressive lowering of the sound of voices and solo

instruments, while the sound of the keyboard and electric bass guitar will

remain unchanged.

Even if we try to concentrate sound by aiming the speakers towards the

dance floor, or by suspending them from the ceiling, low frequencies

will still produce high decibel values at a considerable distance from the

dance floor, potentially causing serious problems of compliance with the

noise pollution regulations.

DANCE FLOOR

HORN LOADING

Dwg 1. Dispersion angle differences between standard horn-loaded speakers and line arrays (4 and 8 elements)

DOUBLE ARRAY seriesUser’s Manual

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3. THE PEECKER SOUND DOUBLE ARRAY

The Peecker Sound research engineers have designed an exclusive system

where loudspeakers are positioned on a double line, thereby reducing the

radiation along the two axes. This arrangement of transducers, called Double

Array (hence the name of the series), produces a sound beam with a strong

concentration along the axes perpendicular to the plane on which the

loudspeakers are positioned.

The invention refers to sound systems with controlled and delimited diffusion,

in which the many different sound sources, such as cone loudspeakers, are

arranged sometimes in double array formation (hence the name of the series

- Double Array), sometimes suitably spaced out from each other according

to pre-established and differentiated steps, with a level-plane, concave dome-

shaped, trunk-conical layout or according to some other configuration.

Such sources – the cone loudspeakers – are, preferably but not exclusively,

fixed to support trusses or rigging systems that can have reticular, panel or

continuous form and essentially delimit the sound reinforcement systems.

With the systems configured in this way, the cone loudspeakers are positioned

at the same distance from each other or at variable distances and in a specific

way according to the reduction of sound diffusion one is aiming to achieve

in the adjoining peripheral areas. With reference to the well-known physical

laws regarding the diffusion of sound waves in the air and the interference

phenomena occurring between the selfsame sound waves emitted by more

than one adjoining and/or combined source, it can be noted that, based on

the sources’ distance from each other, their direction and sound pressure, it is

possible to add, subtract, direct and/or alter their overall sound effect.

From these preliminary remarks, putting what can be gleaned from the

textbooks on Acoustical Physics in simple and intelligible language, we

can state that by aligning several sound sources, it is possible to alter

the dispersion angle of every sound source and achieve an overall

irradiation effect of the whole set that is narrower and more targeted

towards a desired direction.

The Double Array Series systems aim to exploit this principle in order to design

sound systems with controlled and delimited radiation with the following

requirements:

- sound sources (the cone loudspeakers) are fitted out on continuous panels or

are profiled on rigging systems or truss structures with level-plane, concave,

trunk-conical or different layouts, according to double arrays, namely several

essentially parallel line arrays;

- audio systems formed in this way can be used in wall applications for a

specifically and/or particularly oriented sound reinforcement, for overhead

or ceiling applications and for delimited sound diffusions.

Advantages achieved using sound systems with Double Array Series

loudspeakers essentially consist in obtaining:

•greatest sound intensity, available power being equal, in the area facing

the systems where sound reinforcement is asked;

•easiest intelligibility of acoustic signal in the area included in the cone/

cylinder of sound irradiation;

•extreme reduction of sound level in the zones adjoining the systems,

outside the cone of sound irradiation;

•maximum abatement of environmental noise pollution.

For instance, a 105 dB average intensity of sound emission, for standard

systems for public dance entertainment places (dance clubs, night clubs,

music pubs, etc.), corresponds to a noise value generically included

between 80 and 85 dB, in the zones surrounding the dance floor.

A peripheral sound decrease can be achieved, both around the floor

and in the surrounding zone, with a controlled and delimited diffusion

Double Array Series sound system, for example hanging from an about 3,5

m height ceiling over a dance floor, with a remaining noisiness included

between reasonably bearable 65 and 70 dB. In this way, the area of highest

acoustic power is only for dancing patrons.

4. A PRACTICAL EFFECT

Placing one Double Array speaker above a dance floor can result in

lowering the sound outside the floor from 10 to 30 dB!

This means that in a venue where the sound level with a standard system

is 105 dB on the floor and 80 dB in the perimeter outside the venue itself,

adopting a Double Array sound system can reduce the outside level to

just 60-70 dB.

Dwg 3. With Peecker Sound double array the sound beam gets thinner in both directions

Dwg 2. With a single line array (positioned on plane X) the sound beam is very narrow

in the horizontal direction, but it remains very wide in the vertical one

User’s Manual DOUBLE ARRAY series

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Manuale DOUBLE ARRAY SERIES

Double Array Series

30m 20m 10m

0m 30m

-20dB -17dB -13dB 0dB -20dB

AREA SONORIZZATA

DIFFUSORE TRADIZIONALE

Con un diffusore tradizionale, a 10 metri dal

centro della pista

la diminuzione del livello

sonoro è di soli -13

dB e a 30 metri si mantiene

a

-

20

dB.

30m 20m 10m

0m 30m

-30dB -26dB -22dB 0dB -30dB

AREA SONORIZZATA

AS120 CROSSFIRE

Con il rivoluzionario sistema AS120 CROSSFIRE, a

10 metri dal centro della pista, la dimin

uzione del

livello sonoro è già di -22 dB e a 30 metri

raggiunge

i

-

30

dB.

-15dB

-20dB

-25dB

-30dB

-20dB

30m 20m 10m 0m 30m

Manuale DOUBLE ARRAY SERIES

Double Array Series

30m 20m 10m

0m 30m

-20dB -17dB -13dB 0dB -20dB

AREA SONORIZZATA

DIFFUSORE TRADIZIONALE

Con un diffusore tradizionale, a 10 metri dal

centro della pista

la diminuzione del livello

sonoro è di soli -13

dB e a 30 metri si mantiene

a

-

20

dB.

30m 20m 10m

0m 30m

-30dB -26dB -22dB 0dB -30dB

AREA SONORIZZATA

AS120 CROSSFIRE

Con il rivoluzionario sistema AS120 CROSSFIRE, a

10 metri dal centro della pista, la dimin

uzione del

livello sonoro è già di -22 dB e a 30 metri

raggiunge

i

-

30

dB.

-15dB

-20dB

-25dB

-30dB

-20dB

30m 20m 10m 0m 30m

Manuale DOUBLE ARRAY SERIES

Double Array Series

30m 20m 10m

0m 30m

-20dB -17dB -13dB 0dB -20dB

AREA SONORIZZATA

DIFFUSORE TRADIZIONALE

Con un diffusore tradizionale, a 10 metri dal

centro della pista la diminuzione del livello

sonoro è di soli -13 dB e a 30 metri si mantiene

a

-

20

dB.

30m 20m 10m

0m 30m

-30dB -26dB -22dB 0dB -30dB

AREA SONORIZZATA

AS120 CROSSFIRE

Con il rivoluzionario sistema AS120 CROSSFIRE, a

10 metri dal centro della pista, la dimin

uzione del

livello sonoro è già di -22 dB e a 30 metri

raggiunge

i

-

30

dB.

-15dB

-20dB

-25dB

-30dB

-20dB

30m 20m 10m 0m 30m

Manuale DOUBLE ARRAY SERIES

Double Array Series

30m 20m 10m

0m 30m

-20dB -17dB -13dB 0dB -20dB

AREA SONORIZZATA

DIFFUSORE TRADIZIONALE

Con un diffusore tradizionale, a 10 metri dal

centro della pista

la diminuzione del livello

sonoro è di soli -13

dB e a 30 metri si mantiene

a

-

20

dB.

30m 20m 10m

0m 30m

-30dB -26dB -22dB 0dB -30dB

AREA SONORIZZATA

AS120 CROSSFIRE

Con il rivoluzionario sistema AS120 CROSSFIRE, a

10 metri dal centro della pista, la dimin

uzione del

livello sonoro è già di -22 dB e a 30 metri

raggiunge

i

-

30

dB.

-15dB

-20dB

-25dB

-30dB

-20dB

30m 20m 10m 0m 30m

With a standard loudspeaker system, the sound

level at 10 metres from the centre of the floor

drops by just -13 dB and at 30 metres by -20 dB.

STANDARD LOUDSPEAKER SYSTEM

SOUND COVERAGE

With the revolutionary AS120 Crossfire system,

the drop in sound level at 10 metres from the

centre of the floor is already -22 dB and at 30

metres can be as much as -30 dB.

SOUND COVERAGE

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0 m 3 m 6 m 12 m 20 m 30 m

105 dB

100 dB

95 dB

90 dB

85 dB

80 dB

75 dB

0 m 3 m 6 m 12 m 20 m 30 m

105 dB

100 dB

95 dB

90 dB

85 dB

80 dB

75 dB

0 m 3 m 6 m 12 m 20 m 30 m

105 dB

100 dB

95 dB

90 dB

85 dB

80 dB

75 dB

0 m 3 m 6 m 12 m 20 m 30 m

105 dB

100 dB

95 dB

90 dB

85 dB

80 dB

75 dB

5. CERTIFICATIONS

UNIVERSITY OF PARMA - DEPARTMENT OF INDUSTRIAL ENGINEERING

Testing was conducted according to the following two different methods:

1) measurement of the polar dispersion diagrams (directivity curves) in a

simulated free field, using a turntable and the MLSSA system of analysis;

2) measurement of the sound level spectrum produced at 1.5 metres from the

ground by the AS120 speaker mounted in operating position (suspended

at 3.5 metres from the reflecting floor and pointing downwards) along two

orthogonal directrices.

The first measurement makes it possible to quantify the speaker’s directive

emission properties: such data, for example, is required when using acoustics

simulation programs for indoor venues.

The second measurement, on the other hand, enabled experiments to be

carried out to verify the speaker’s behaviour in real-life operating conditions,

taking into account, among other things, the reflection of the floor.

The outcomes of these tests clearly show the outstanding ability of the AS120

Crossfire system to control acoustic energy in a well-defined area.

STUDIO ESA - FLORENCE

Testing was performed by installing an AS120 Crossfire speaker system

and a standard system in an outdoor dancing venue. In both cases under

investigation the speakers were suspended from the ceiling, 3.5 metres

above the ground, and testing was conducted at 1.5 metres from the

ground.

The investigation showed that the AS120 Crossfire system produced a

significantly greater reduction in sound pressure levels outside the dance

floor than the standard system.

CENTRO ACUSTICO DI PROGETTAZIONE AMBIENTALE (ACOUSTIC

CENTRE OF ENVIRONMENTAL DESIGN) - REGGIO EMILIA

The numerous tests conducted in the relevant environment clearly showed

that the AS120 Crossfire system has a greater ability to concentrate sound

emission than any other standard speaker.

5. 1 Measurements and tests on AS120 speaker

THE DOUBLE ARRAY SYSTEM IS COVERED BY

INTERNATIONAL PATENT No. 01280080

The above diagrams clearly illustrate the significant reduction in sound level that can be

achieved outside the floor by using the AS120 Crossfire system

instead of a traditional speaker.

Measurements by STUDIO ESA (Florence)

STANDARD LOUDSPEAKER SYSTEM

AS120 CROSSFIRE LOUDSPEAKER SYSTEM

A) Single AS120 speaker in the middle

of the floor;

Pmax (C) = 105 dB

Pfloor edges (B) = 90 dB

Pcorners (S) = 87 dB

Pmax (C) = 105 dB

Pfloor edges (B) = 97 dB

Pcorners (S) = 93 dB

Pmax (C) = 105 dB

Pfloor edges (B) = 98 dB

Pcorners (S) = 95 dB

B) Four AS120 speakers at 4 metres;

C) Four AS120 speakers at 6 metres;

HYPOTHETICAL FLOOR 10x10m (100 mq)

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We notice that four speakers produce a much more homogeneous sound

distribution across the floor. Placing the speakers at 6 metres from each other

reduces the difference from the centre to the edge of the floor from 15 dB to

just 7 dB.

Since four AS120 speakers are too many for a 100 m2floor, the same effect can

be achieved with AS60 speakers.

A) Spectrum measurement of the sound level produced at 1.5

metres from the ground by one AS120 speaker mounted in

operating position at a height of 3.5 metres from the reflecting

floor, pointing downwards.

B) Spectrum measurement of the sound level produced at 1.5

metres from the ground by four AS120 speakers mounted in

operating position, 4 metres from each other, at a height of 3.5

metres from the reflecting floor, pointing downwards.

C) Spectrum measurement of the sound level produced at 1.5

metres from the ground by four AS120 speakers mounted in

operating position, 6 metres from each other, at a height of 3.5

metres from the reflecting floor, pointing downwards.

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6. THE DOUBLE ARRAY SERIES INNOVATION PROCESS

6.1 A market niche

In early summer 1996, Peecker Sound counted more than 100 fixed

installations in Italy and abroad at different hangout spots including dance

halls, night clubs, lounges, bars, etc... In summer, these typical venues

offer visitors a thriving night-life and the possibility to dance and have

fun outdoors. So, as at the beginning of each new season these hotspots

reopened and Peecker Sound’s technicians and engineers were to provide

their usual, yearly Customer Service activities, they kept on struggling to

handle two thorny problems:

1) owners complaining about poor sound pressure levels around the dance

floor area with dissatisfaction of both the resident deejays spinning at the

club’s and of the paying visitors who were still used to the loudness of the

large audio systems installed at “indoor” winter spots;

2) steamed managers who were to handle an upset neighbourhood

relentlessly complaining about the loudness of the audio system causing

nuisance and annoyance to the people living nearby. The neighbourhood

was quite rightfully making appeal to the Italian Piece of Legisltion No. 477

on acoustic pollution (and the following enforcement acts) implemented in

October 1995 to control the maximum noise emission levels by establishing

mandatory values that were very restrictive for those playing music

efficiently.

This scenario had come to a critical level when the managers decided to

take the following compromise solutions to lessen the problems:

1. Installing short-throw, traditional, “forward firing” loudspeaker systems

that are with their axis parallel to the floor (see Fig. 1); this arrangement,

however, involved some inevitable phase shifts due to the different

acoustic paths of the sound reproduced by the loudspeakers, especially

in the mid-high range;

2. Giving up subwoofers for the reproduction of low-pitched audio

frequencies to deejays’ great disappointment;

3. After long consultancy studies, implementing acoustic barriers out of

insulating and sound absorbing material (i.e. Celenit, Eraclit, Calibell) to the

owners’ malcontent due to the high workmanship costs;

4. Setting up adequate loudspeaker system suspending/rigging structures

in highly soundabsorbing electro-acoustic materials (as for instance

reinforced concrete) to the dissatisfaction of the architects who felt these

structures were detrimental to the typical summer vocation of the clubs.

This is why our Top Management decided that a deep change was

required and a unique, fully innovative system had to be worked out in

order to clear all foregoing problems. Eventually, the solution came and

consisted of a controlled radiation system conceived to concentrate the

sound pattern within an extremely limited and restricted space.

By so doing, the Company Management aimed at designing a product

with a triple target:

- Number one: getting finally rid of all afore said conflicts and meet

with the expectations of a large number of peecker sound customers

(as numerous “summer hotspots” managers were also owners of

“traditional” indoor dancing rooms);

- Number two: accurately complying with the applicable, yet very strict

standards on acoustic pollution;

- Number three: hopefully acquiring a market share associated with the

new generation trend of dine&dance restaurants, hotels with an own

night club up to those cruising boats whose entertainment hall was

close to the cabins (although the latter was not in the original picture!).

We will read later how all three targets were reached and a product

(AS120 Crossfire) was developed and later contributed to consolidate

Peecker Sound ranking among the leading manufacturers in the field of

sound entertainment.

6.2 “Music inside, silence outside”

The final aim of this Peecker Sound project was to bring forth an audio

system with highly dynamical levels on the dance floor, medium levels

in the adjacent surrounding area and low Laeq (i.e. equivalent A-weighted

sound pressure level) on the club walls. While initially these systems

prevalently came into question for outdoor spots, they are presently

increasingly required also for indoor places in order to provide compliance

with most recent regulations enforcing very strict sound level limitations.

Everywhere in the world, all loudspeakers are constructed to provide a

fairly good sound directivity in the mid and high range frequencies (voices

and solo instruments), but nearly no directivity at all in the low frequency

range (from 20 through 500 Hz). Low sound frequencies radiate in any

direction without any apparently possible control. If you stand behind a

subwoofer, you would still hear the same basses at the same distance in

front. For this reason, the traditional sound systems for dance halls feature

a really small difference between sound levels on and off the dance floor

thus obliging the inspectors to decrease the volume. The longterm effects

of this intervention can turn to a real disaster with people no longer visiting

dancing clubs, because they miss the physical sound pleasure and discos

being deserted because of abiding the rules!

How the sound can be DIRECTED?

The only, very old method for controlling sound waves radiation is – as

usual – to design a sound guide of adequate size in front of the audio driver.

While all the experts know about acoustic horns, the concept of “adequate”

size makes it a bit more buzzing. In fact, if a good performance is achieved

at 1500 Hz with a 13 cm long horn with a 48 cm mouth, a similar device

performing at even 150 Hz only will be 10 times bigger than that!

Figure 2 above shows a dance floor with horn-loaded loudspeakers.

Figure 1. Layout scheme of forward firing loudspeakers

Figure 2. Layout of a traditional loudspeaker arrangement

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As one can see, the only way to send sound to the floor is to adjust the

horn devices by a suitable radiation angle “α” between normal at ground

and the loudspeaker centre of gravity. It may be hard to believe, but this

was the only method used to direct low sound frequencies to the dance

floor until short ago.

What about today? We presently offer Double Array Series (AS6 -

AS60 - AS120 - AS180): after many years of specifically focused research,

these loudspeakers have been tested on tens of different outdoors and

indoors installations in all European countries and actually brought forth

a revolution of the very sound texture concepts.

They provide a real absolute innovation in the field of acoustics because

they completely turn around the whole classical thinking of traditional

technicians.

The new concept consists of a double array of throughout same loud

speakers designed to shift the phase off the axis so to provoke at least

10 dB damping of sound variations in foreign areas while maintaining an

unaltered sound volume and feeling on the dance floor.

6

sperimentati in decine di diversi impianti all'aperto e al chiuso, brevettati in tutti i

paesi della comunità europea, questi particolari diffusori hanno rivoluzionato i

principi stessi della sonorizzazione.

Essi costituiscono un'autentica innovazione assoluta per il mondo

dell'acustica, poiché sconvolgono i classici parametri di riferimento su cui si

basa il modo stesso di ragionare dei tecnici tradizionali.

Il principio è quello di un doppio array di altoparlanti uguali, capaci di creare

sfasamenti fuori asse, tali da attenuare di almeno 10 dB la variazione sonora

nelle aree non interessate, mantenendo inalterati i suoni e le sensazioni in

pista.

Fig. 3 La serie Double Array

6.3 Double Array Series engineering

The company’s Management, having accurately detailed the requirements

of this market niche, called a project-meeting to launch the engineering

of an innovative system suitable to orient and concentrate sound

radiation to the dancing floor, without causing any annoyance outside

and keeping well within the strict limitations established by the applicable

law provisions (as already explained above).

At that time, the company’s Top Management grasped at once that such

a hard engineering and design process could never be carried out and

successfully completed by sticking to the traditional design concepts that

had been applied so far. This prompted the company to involve in the

project a variety of different parties from inside and outside the company

to collaborate and give their contribution at all main steps of the design

process from the early definition of the product specifications.

After exchanging views with the Engineering Department, the company’s

Management decided that for the first time in its life, Peecker Sound would

have led and supported the design, the engineering and the production

of a new system by a project-wise approach instead of assigning the design

and production tooling tasks to the Engineering Department as it always

happened before. All parties who normally acted in production cycles

needed to be involved and collaborate (including company’s functions that

would normally not interact with a product design project, raw material and

component suppliers up to final customers).

The die was cast: the corporate Top Management took immediate action

at company’s internal levels by means of direct, informal contacts and a

staff motivation action aimed at raising awareness for the new product. On

company’s external levels, the Management set off to drag in the project

team some outstanding actors selected among the most representative

and influent suppliers and customers.

So the Company’s Management immediately set about shortly defining all

organization and logistic details:

1) It was resolved that the new sound texture project had to have its own

venue and for this reason a 250 sqm area was made available at the premises

in Reggio Emilia where all project-dedicated equipment would be installed

and where the prototypes would be assembled and tested;

2) Responsible staff members out of all corporate functions were selected

and assigned to project execution, while G. Gandolfi (R&D Division) was

appointed as project leader with the task of supervising the works and

informing the Management about the progress of the project by means of

periodical meetings;

3) It was established that all corporate functions, whose part of staff was

assigned to the new project, would rearrange themselves so that they would

not longer need to distract the transferred people from the mission of the

new project (which was possible thanks to the proximity of the locations);

4) Contacts were taken with the most representative suppliers and customers

in order to “recruit” them into the project: suppliers promptly turned out

quite ready to collaborate with the new system design (some of them had

even already considered similar projects within their companies). Attracting

and sensibilizing customers was indeed a more difficult task and one can

really say that this particular mission succeeded just because of the nearly

intimate management relationship with the most “important” customers;

5) A maximum project deadline (12 months) was established;

6) After a consultation with the financial managers and diverse meetings

with field operators (banks and investment companies), a maximum

project budget (1.5 billion “old” Lira) was allocated in compliance with the

company’s resources.

In summary, the project team was made up of:

• the entire corporate Engineering Department;

• all staff of corporate R&D Department;

• three members out of the corporate Sales Division;

• two internal Production members;

• one engineer and two technicians of the corporate Electronics Department;

• two of the best people in the internal Carpentry Department;

• one person from each Supplier of: a) raw materials, b) components (horns,

loudspeakers,..), c) grids and suspension systems

• two members of the corporate Management of two of the most prestigious

clubs already equipped with a peecker sound audio system.

Moreover, the President of the Sound Corporation group, Mr. Gianni Toschi,

took personally part to the first project workshops attended by internal and

external participants listed below.

Figure 3. The Double Array series

Corporate Management

System Design

R&D Department

Engineering

Department

Suppliers

Sales Area

Representative

Customers Carpentry

Department

Production

Department

Electronics

Department

Product

Specications

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Here below is a brief description of the design steps and the contributions of

the various parties involved in the project:

• After the first meetings, it was decided to “release” the customers, because

they already extensively outlined the problem in terms of relationships both

with the neighbourhood and with the inspectors (USL agencies) checking

on noise emissions. Moreover they all eagerly, already accepted to host and

install a zero series of the new product;

• Of course the R&D Department extensively joined the Engineering

Department throughout the entire design project and its contribution

turned out very conclusive in the selection of the raw materials and above

all in the implementation of controlled-radiation, double-array sound

reinforcement system (an absolute innovation at that time, as the actual

state-of-art in the reference field only accounted for single arrays!);

• On the contrary, the contribution of the suppliers continued over a longer

period of time and led to the following conclusions.

For indoor loudspeakers (by CIARE S.r.l.): standard components out of the

actual catalogue would have been used.

For tweeter horns (by B&C SPEAKERS S.p.A.): bespoke parts and components

would have been designed for the new product by means of a special

dedicated injection and stamping line.

For protection grids (by NUOVA LAMM): new custom-made grids would

have been designed in accordance with CAD drawings of the new product.

For the packaging (by TITAN): the project management approved an

inhouse make due to the expensive price offered by the supplier.

• A very crucial task was performed by the carpenters in terms of scraps

management and selection of the original raw material: marine plywood

(a renown, very light and waterproof material largely used in the navy field)

was selected and it was decided that the size of the speaker central element

(see below) was to be exactly the same as one half of the original raw panel

size (so to avoid any complicated and costly nesting of the wood shapes!);

• The staff from the Electronics Department was immediately asked by the

project team to develop a dedicated electronic controller for the new-born

speaker.

As a matter of fact, it became progressively clear since the very first work

hours that it would have been impossible to accurately reproduce the entire

music range (from 30 to 18,000 Hz) for every possible volume level.

The plan was to design a totally new active crossover that eventually turned

out to be our DP 60-120;

12

◊l’apporto degli operatori della falegnameria fu decisivo per quanto

riguarda la gestione degli sfridi e per la scelta del materiale grezzo di partenza:

si decise di utilizzare del multistrato marino (noto per le sue doti di leggerezza e

impermeabilità, viene spesso impiegato nelle imbarcazioni) e si stabilì, inoltre,

che la dimensione dell’elemento centrale del diffusore (vedi dopo) sarebbe

stata pari esattamente alla metà del pannello iniziale di materiale grezzo

(evitando così un elaborato e costoso processo di nesting delle sagome di

legno!);

◊lo staff proveniente dalla Divisione Elettronica venne subito chiamato in

causa dai membri del team di progetto perché si sentiva l’esigenza di realizzare

un controller elettronico dedicato al diffusore nascente.

Infatti, fin dalle prime ore di lavoro sul progetto, si era andata delineando

l’impossibilità di riprodurre fedelmente tutta la gamma musicale (da 30 a 18000

Hz) per ogni possibile livello di volume.

Si sarebbe progettato ex novo un crossover attivo: il futuro DP 60/120;

Fig. 4 Il processore DP 60/120

• The production technicians, instructed by the Engineering Department,

decided that a dedicated line would be installed at the premises in Reggio

Emilia where the new product would be assembled.

It was decided that no additional production machineries would be

required, except for electric parts and fabrication tools as for instance

drills, screwdrivers, etc… The same production technicians agreed with

the carpenters on the correct position of holes on the speaker in order to

rapidly achieve an ergonomic placement of electric cables;

• Finally, the sales manager from the Sales Area extensively

cooperated with the Design Engineers to provide the lowest

possible fabrication costs and to outline an attractive speaker look.

In the framework of this collaboration, it was decided that the

speaker was to be equipped with some strobe lights in the corner

elements without active music components (this was the only

suggestion accepted by the project staff among several ones made

by the marketing experts!).

13

◊i tecnologi di produzione, su suggerimento della Divisione Progettazione,

decisero che l’impianto di Reggio Emilia avrebbe ospitato una linea dedicata

per l’assemblaggio del nuovo prodotto.

Si decise, inoltre, che non sarebbe stato necessario un aumento dei macchinari

di produzione, se non in termini di minuteria elettrica ed utensileria di

fabbricazione come trapani, avvitatori, etc… Gli stessi tecnologi di produzione si

accordarono con gli operatori della falegnameria per un corretto

posizionamento dei fori del diffusore al fine di ottenere un rapido ed ergonomico

posizionamento dei cavi elettrici;

◊infine, i sales manager dell’Area Commerciale si prodigarono con gli

ingegneri della Progettazione per contenere il più possibile i costi della

fabbricazione e per tracciare le linee estetiche del diffusore: proprio grazie a

questa partecipazione si decise che il diffusore sarebbe stato provvisto, negli

elementi angolari sprovvisti di componenti musicalmente attivi, di alcune luci

stroboscopiche (fu l’unica proposta che venne approvata dallo staff di progetto,

fra le tantissime formulate dagli esperti di marketing!).

Fig. 5 Schizzo del diffusore nascente

At the end of the design process (that lasted approximately 6 months and

therefore 6 months well ahead of the expected deadline!) the following

specifications had been outlined:

To great satisfaction of the Corporate Management, the first prototype

was ready one month only after defining of the technical specifications

and it proved quite positive although the following modifications were

decided:

1 Using shorter PVC tubing for playing bass chords;

2 Changing the corners of the tetrahedral elements;

3 Redefining the cutting frequencies of the passive crossover.

After saving the modifications in the product folder, the required

production tooling was implemented, the final details were defined and

the part list was laid out including all outsourced parts.

The first zero series was released after production tooling (8 months after

project start-up!) and was installed in a famous club in the district

of Modena. The zero-series obtained immediate customers’ favour.

However, it was decided to hold-on with final production as the Corporate

Management first wanted to apply and obtain both Quality Certification

and Patent (finally awarded only 15 months after application) in order

to prevent copies or reverse engineering problems (which nevertheless

occurred after the large scale success of the Double Array speakers!).

Figure 4. DP 60/120 processor

Figure 5. Sketch of the new speaker

Project team Decisions made Specs/Processes

Engineering Dept.

Management of the

project team

System design

R & D Raw material

and array system

/

Production Dept. Dedicated series Series tooling

Electronics Dedicated controller Totally new design

Carpentry

Chassis - 125x125 cm

No tooling

Grids supplier

Dedicated grids

Design from CAD

drawings

Components supplier

Catalogue components

/

Enclosure supplier

Too expensive packaging

“Make” decision

Marketing

Product look and lights Lights addition

Customers

Availability of the

zero-series

/

User’s Manual DOUBLE ARRAY series

SOUND REINFORCEMENT ACOUSTIC RESEARCHCONTROLLED RADIATION

11

Central element

with the speakers Tetrahedral

element with

the lights

Prism for tweeter

accommodation

Ceiling or

suspension

structure

Further collaboration with the University of Parma provided measurement

of the polar dispersion diagrams and plotting of the speaker directivity

curves. In course of an additional collaboration with Studio di Ingegneria

ESA in Florence, measurement of the sound level was performed at 3.5 m

above floor on various installation types with one or more AS120 speakers

for different sizes of an assumed dance floor area (please see par. 5).

As a conclusion, after only 15 months from starting of the operations, the

project staff had come to the final configuration of the speaker, obtained

an international patent (No. 01280080, registered at EPO, European Patent

Office) and launched a mass production of what would have later been

one of the biggest Peecker Sound successes with the sale and installation of

over 2,000 systems in the following five years.

Upon final validation of the production, after confirming the modifications

applied to the zero series, the decision was taken to manufacture the AS120

loudspeaker system with the following final configuration:

- One quadrangular central element accommodating 64 5”-cone loudspeakers

for low frequencies reproduction;

- Two prism elements accommodating the tweeters for mid-high frequencies;

- Two tetrahedral elements accommodating, on request, eventual strobe

lights to improve the overall look.

Figure 6. AS120 Crossfire acoustic loudspeaker system

DOUBLE ARRAY seriesUser’s Manual

SOUND REINFORCEMENT ACOUSTIC RESEARCHCONTROLLED RADIATION

12

19

4. Disegno CAD 2D (esportazione in JPG senza i tool del CAD)

5. Disegno CAD 3D (esportazione in JPG senza i tool del CAD)

19

4. Disegno CAD 2D (esportazione in JPG senza i tool del CAD)

5. Disegno CAD 3D (esportazione in JPG senza i tool del CAD)

6.4 CAD 2D–drawing (exported in JPG)

6.5 CAD 3D-drawing (exported in JPG)

User’s Manual DOUBLE ARRAY series

SOUND REINFORCEMENT ACOUSTIC RESEARCHCONTROLLED RADIATION

13

7. THE OPERATION SCHEDULE

Panel shearing of

row material PVC pipe shearing

Front of the cabinet

drilling Inside ‘cross’

riveting

Drilling and boring

of the side element

Pipe insertion

Bottom gluing

and riveting

Installation support

fastening

Insertion of inside

reinforcing frames

Drilling of ‘cross’

and cabinet’s bottom

for wiring

Front of the cabinet

gluing and riveting

Insertion of ‘pins’ Manufacturing of

‘cabinet corners’

Manufacturing of

grille frame

Honing/Puttying

VARNISHING

(to the next page)

CARPENTRY

Inside “cross”

riveting

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SOUND REINFORCEMENT ACOUSTIC RESEARCHCONTROLLED RADIATION

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18

ASSEMBLY

Arrangement of the electric

components

Arrangement of signal

cables and speakON

Passive crossover

manufacturing

Wadding insertion

Speaker electric wiring

Insertion of cone

loudspeakers

Fastening of grille frame

Protective grille and brand

fastening

Compressed air cleaning

Stroboscopic light insertion Assembly of corner elements

TESTING

QUALITY CONTROL

PACKING

SHIPMENT

Peecker Sound AS180 User manual

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