Bose® modeler® 6 5 tutorial by naino

Section 1 Bose速 Modeler速 Software Tutorial

Chapter 1: An Overview of the Modeler Software Interface Chapter 2: Basic Modeling Chapter 3: More Modeling Concepts Chapter 4: Placing Listeners and Placing Loudspeakers Chapter 5: Predicting Sound

Bose速 Modeler速 6.5 Software Tutorial

Chapter 1: An Overview of the Modeler Software Interface Welcome to the Bose Modeler software tutorial. The purpose of the tutorial is to guide you through the major features of the Bose Modeler software program. Although it can take many hours to master every feature, you will have a solid foundation of numerous concepts after finishing the tutorial. It should be noted that we assume you have a strong background in sound system design. The purpose of the tutorial is to teach you the basics of how to use Modeler software; it does not cover sound system design concepts and techniques. In this Chapter, you will be given a broad overview of the main windows and functions in the software interface using a sample model. You will then learn the basics of how to model, some more advanced modeling concepts, and how to place listeners and loudspeakers in a model. Finally, you will use Modeler software to generate acoustic predictions.

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

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Opening the sample model To familiarize yourself with the Modeler software interface, you will work with a sample model of a church. Follow these steps to load the sample project and model, located on the Modeler software installation CD: 1.

Launch Windows Explorer and navigate to the installation CD directory.

Copy the folder titled “Tutorial” from the CD to your desktop and close Windows Explorer.

Launch Modeler software by clicking Start > All Programs > Bose Modeler 6.5.

Click File > Open Project...

In the Look in: drop-down menu, choose your desktop.

Open the Tutorial folder, then open the First Street Church folder.

Open the file named First Street Church.pjt •

You will see this in the Project window:

Figure 1.1 - First Street Church project in Project window

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

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

Your screen should look like this:

Figure 1.2 - Modeler software windows

The Modeler software interface centers around four main windows:

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

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

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

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

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

Figure 1.3 - Design 1 model

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

Figure 1.4 - View toolbar

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The Data, Detail, and Project windows can quickly be toggled between show and hide mode:

Figure 1.5 - Window toggle buttons

Try toggling these windows between show and hide mode by clicking on the buttons shown in Figure 1.5. Tip: You can hide the Data and Detail windows when creating a model to increase the size of the Modeling window.

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

Figure 1.6 - View buttons

Plan View:

Is a “birds-eye view” of the model, or what you might see when looking at the floor plan of a building.

Elevation View:

Allows you to see the model as though you were standing on the ground in front of it. The height, or elevation, of parts of the model is apparent in this view.

Section View:

Displays the model as though you were standing on the ground beside it.

Isometric Views:

Display the model from two different preset viewing angles that are between the three major axes, allowing you to see the model in perspective.

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

Figure 1.7 - Zoom tools

Try using these different functions: Zoom:

Select the Zoom tool and click on an area of your model to zoom in on it. To zoom out, hold down Ctrl and then click.

Zoom to Rectangle:

To use Zoom to Rectangle simply select the tool, then click in your model and hold down the mouse button while dragging down in a diagonal motion to form a rectangle around the region that you want to zoom in on.

Zoom to Fit:

The Zoom to Fit tool provides an easy way to zoom in or out so that the entire model fits in the window. Simply click on the button and the model view will be adjusted accordingly.

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

Figure 1.8 - Rotate View and Pan tools

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Try using the Rotate View and Pan tools: Rotate View:

Select the Rotate View tool by clicking on it. Click in the modeling window and hold down the mouse button while you drag the pointer around the window.

Pan:

Select the Pan tool by clicking on it. Click in the modeling window and hold down the mouse button to drag the model to a different view.

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

Figure 1.9 - Camera View button

Figure 1.10 - Camera View, wing menu button

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

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

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Move forward or backward:

Roll the scroll-wheel on your mouse: up moves forward, down moves backward.

Adjust camera yaw (rotation):

Hold Shift, then roll the scroll-wheel on your mouse: up rotates left, down rotates right.

Adjust camera pitch:

Press Ctrl, then roll the scroll-wheel on your mouse to adjust the camera’s pitch: up rotates the camera upwards, down rotates the camera downwards.

Adjust lens focal length (zoom):

Press Shift + Ctrl, then roll the scroll-wheel on your mouse to adjust the camera’s focal length: up zooms in, down zooms out.

Move along the Z-axis:

Left-click on your mouse and hold: roll the scroll-wheel forward to move up, roll the scroll-wheel backward to move down

If you do not have a scroll-wheel mouse, use the arrow keys on your keyboard to move the camera around the model. The view from the camera in the negative X direction looks like Figure 1.11 (color shades may look different on your monitor). From the camera’s starting position, hold Shift and scroll up to see this view:

Figure 1.11 - Viewing the model in Camera View

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

Figure 1.12 - Simulation tab

Click on the Surfaces tab in the Detail window:

Figure 1.13 - Surfaces tab

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

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Click on the Loudspeakers tab in the Detail window:

Figure 1.14 - Loudspeakers tab

You can see properties of the loudspeakers in your model using the Loudspeakers tab. As you click on individual rows, the corresponding loudspeaker and its aiming hitpoint are highlighted and selected in the model. Click on the Listeners tab in the Detail window:

Figure 1.15 - Listeners tab

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

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Figure 1.16 - Listener location

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

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

The Properties tab shows additional information about the surface that you selected.

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You can also view properties for loudspeakers and listeners: Loudspeaker:

Select a loudspeaker in the Loudspeakers tab and then view its properties by clicking on the Properties tab.

Listener:

Select a listener in the Listeners tab and then view its properties by clicking on the Properties tab.

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

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

Figure 1.18 - EQ Graph view

Hdrm slider:

The amount of headroom available for all selected loudspeakers (dB). When the slider is at the bottom of the window there is 50 dB of headroom available. When the slider is at the top of the window there is 0 dB of headroom available.

EQ curve sliders:

Adjust the equalization of the selected loudspeaker or loudspeakers by sliding the gray boxes up or down.

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Tip: Headroom and EQ sliders for multiple loudspeakers maintain relative gain by default. Hold down the Shift key to snap sliders together.

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

Figure 1.19 - EQ Grid view

Gain:

The gain applied to the loudspeaker. Gain values must be between -50.00 and 50.00.

Tap:

Allows the sound system designer to determine how much power a 70/100 V loudspeaker will receive. The available tap settings match the capabilities of the chosen loudspeaker in Watts.

Pwr In:

The Power applied to the loudspeaker, limited to the actual power handling of the loudspeaker. This includes the gain and any impact of the equalization of the speaker.

31...16 k:

The numbers across the top of the grid are the octave bands (either in 1 octave or 1/3 octave levels).

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

Figure 1.20 - Right-click menu

Application Preferences...:

Open the Application Preferences dialog box.

Model Settings...:

Open the Model Settings dialog box.

Show:

Select to hide/unhide the Detail window.

Float:

Undock the Detail window to locate it anywhere on the screen. You can hold the Ctrl key when moving the window to prevent it from automatically docking.

Copy Graph:

Copy the graph in the EQ tab to paste into another application.

EQ Graph:

Display Equalizer graph in EQ tab.

EQ Grid:

Display Equalizer grid in EQ tab.

Zero Equalizer:

Return all EQ curve sliders to 0.

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Apply House Curve:

Modeler software adjusts the EQ to make the average room-response (Direct or Direct + Reverberant) meet a target response or “house curve”. The house curve is defined in the Acoustics tab of the detail window.

Max. Gain:

Place the sound system at maximum gain. The gain is increased on all loudspeakers until the first loudspeaker reaches its power handling limit.

Select Speakers...:

Open the Select Speakers dialog box to choose a loudspeaker or loudspeakers by Cluster, Zone, Tier and Index. The EQ curve is displayed for the selected loudspeaker or loudspeakers.

Select Active Speakers:

Automatically select all loudspeakers that have a Status of “On”.

Select Increment:

Specify the increment by which the EQ curve sliders can be moved, in dB.

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

Figure 1.21 - Acoustics tab

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Make the following changes. Here you can specify conditions that affect the room acoustics. 1.

Enter 22 (°C) in the Temperature field.

Enter 60 (%) in the Humidity field.

Click on the Open tab under Background Noise (top-right of window) see Figure 1.22, select NCB 40. Click on OK.

Figure 1.22 - Background Noise database window

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

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Figure 1.23 - Map toolbar

Follow these steps to generate a Direct Field coverage map: 1.

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

Figure 1.24 - Enable D2R∆STIc Engine button

Click the Direct button on the Map toolbar.

Figure 1.25 - Direct button

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Modeler software calculates and displays the Direct Field sound coverage map in your model. Notice that the coverage map is displayed in a new tab in the Direct modeling window:

Figure 1.26 - Direct Field coverage map

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

Figure 1.27 - Statistics tab

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In the Statistics tab, we see a histogram of the Sound Pressure Levels in the model. The horizontal axis shows the sound pressure level, and the vertical axis shows normalized frequency of occurrence. This is used to determine how even the coverage data is throughout the coverage map. Generating and evaluating acoustic predictions, will be covered in depth, later in this tutorial. This completes the overview of the Modeler software interface. Close the model by clicking on the X in the upper right-hand corner of the Modeling window (you do not need to save the model). Close the project by choosing File > Close Project. You should now have an idea of the basic layout of Modeler software, as well as some of the basic functions, tools, and windows used in the program. This knowledge will be built upon in the following chapters, as you learn the basics of modeling, placing listeners and loudspeakers, and generating acoustic predictions.

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Chapter 2: Basic Modeling In addition to providing powerful acoustic prediction capabilities, Modeler software includes tools for constructing three dimensional structures. This chapter will introduce the basics of modeling by guiding you through the process of creating a new project, setting preferences, and modeling a simple L-shaped room.

Creating a new project Modeler software uses the project structure to organize your work environment. A project can contain multiple models. For example, a project might contain models of different rooms in the same building, or a project might contain multiple versions of the same room, each with different sound system designs. Before getting started, you must generate a new project and a new model. Follow these steps to create a new project and model: 1.

Launch Modeler software by choosing Start > All Programs > Bose Modeler 6.5.

Click on File > New Project.

Name the new project “Headquarters” and navigate to an appropriate folder to save the project in, or just choose the desktop. Click Save.

When prompted by the New Project window to create a new model or open an existing one, choose New.

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

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Adjusting Model Settings You have the ability to specify how the features will behave. Note that after you create a new project or model as you progress along within your design, the Model Settings window opens automatically. Follow these steps to set the preferences for creating the L-shaped boardroom: 1.

If Model Settings is not already displayed: Click Edit > Model Settings. The Model Settings dialog box opens with the Drawing/Saving tab selected by default.

Figure 2.1 - Drawing/Saving tab

Most functions have keyboard shortcuts. For a full list of keyboard shortcuts, see the Keyboard Shortcuts card that is shipped with Modeler software. To show Model Settings simply click Ctrl+R.

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

Under Room Attributes (in the top-right corner), place a checkmark next to Snap to Vertex. The vertices of each surface will now be highlighted in the model.

•

Under Room Attributes (in the top-right corner), place a checkmark to enable Room Snap Grid, enter 1.0 m in the field. The vertices of each surface will now be highlighted in the model.

See the table below for an explanation of the fields in the Drawing/ Saving tab. Units:

Select the displayed unit of measure.

Selection:

Click on the types of object to be selected using the Select tool.

File Contents:

The File Contents features allow you to control what data is saved with your model.

Room Attributes:

Set the options to snap to the nearest Vertex or grid subdivision. Set the Room View Grid as a visual aid.

Cluster Attributes:

Set the options to snap to the nearest grid subdivision and angular increment.

Curved Surface Attributes:

The angular increment that is used to draw the curve. At each angular increment, a new surface is created, so the angular increment dictates how many flat surfaces are used to simulate the curved surface.

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

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Figure 2.2 - Display tab

See the table below for an explanation of the fields in the Display tab. Aiming:

Check the loudspeakers.

Camera:

Check the camera.

Cluster:

Set the origin of a cluster.

Listener:

Check the listeners.

RT60:

Set the origin of RT60 source.

Map:

Check the coverage maps.

Drawing Aids:

Check which drawing aids are displayed.

Rulers or Axis Indicators. Axis Indicators display the orientation of the three major axis.

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Surface Type:

Check which surface types are to be displayed. Surfaces are not removed from the model and will still be considered in all calculations, but are no longer visible in the model.

Surface:

Check Vertex, to provide red 3D crosshairs on surface vertices.

When finished, click OK.

The Name Model window will automatically appear. 4.

Name your new model, and click OK.

Figure 2.3 - Name Model window

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

Click Edit > Application Preferences (or Ctrl+E). The Application Preferences dialog box opens with the General tab selected by default.

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Figure 2.4 - Application Preferences, General tab

Make the following change: •

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

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

Click OK to close the Application Preferences dialog box.

Note: As soon as you click on OK, the current Application Settings are applied to all models.

Various direct keystrokes will be mentioned throughout the tutorial. For a full list of keyboard shortcuts, see the Keyboard Shortcuts card that is shipped with Modeler software.

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

Figure 2.5 - Material Database button

The Material Database window opens.

Figure 2.6 - Material Database window

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

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Creating a materials list The list of folders on the left side of the window is similar to Windows Explorer. To create a list of materials for your project, drag the material from a folder on the left, to the Material list on the right side of the window. Follow these steps to add new materials to the Material list: 1.

Click the plus (+) sign next to the Floors folder to open it, then click on Carpet – heavy on concrete and drag it into the right side of the window. The material and its absorption coefficient information is added to the Material list.

Tip: Materials are listed in alphabetical order inside each folder.

Add the following additional materials to the Material list: •

From the Ceilings Reflective folder, add Plaster on Lath 1" thick.

•

From the Walls Reflective folder, add Brick-Bare.

Close the Material Database by clicking on OK. The three materials that you added will now be available when you build the model.

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

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

Figure 2.7 - L-shaped Boardroom model

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

Figure 2.8 - Axis indicator

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Figure 2.9 - Cartesian coordinate system

In Plan View, the Z axis is oriented straight up toward your point of view, so it is not visible.

Creating the floor surface The first step in building the model is to create the floor surface. Follow these steps to create the boardroom floor: 1.

Select the Draw Polygonal Surface tool in the Draw toolbar.

Figure 2.10 - Draw Polygonal Surface tool

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This is the surface you will create:

Figure 2.11 - The floor surface

Move the drawing crosshairs to x: - 10.0 y: 10.0 z: 0.0, then click. Note: Before you click to begin drawing a surface, the coordinates at the cursor display its location relative to the origin.

Figure 2.12 - Before clicking

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Once you click to start drawing a shape, the coordinates at the cursor reset to 0 and display distances relative to your last click. At each click, the coordinates reset to x: 0.0 y: 0.0 z: 0.0.

Figure 2.13 - After clicking

Move the cross-hair cursor and click at the following locations to outline the floor surface shown in Figure 2.11. Note that at each click, the coordinates at the mouse pointer reset to x: 0.0 y: 0.0 z: 0.0. •

Click at x:

0.0

•

Click at x: 20.0

•

Click at x:

y: 10.0

•

Click at x: - 10.0

•

Click at x:

y: 10.0

•

Click at x: - 10.0 y: 0.0 (which is the red dot indicating the starting point)

0.0 0.0

y:- 20.0 0.0 0.0

(at the origin)

Tip: If you make a mistake while creating a shape, press Esc (or Shift + Esc) to cancel your work.

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

Figure 2.14 - Shape Properties bar

Enter the following properties for this shape: •

Leave 0 m as the surface height to establish the floor, or ground level at Z = 0.

•

Select Carpet - heavy on concrete as the surface material.

Note: It is recommended that you select the appropriate material type when you enter properties for the first vertex. Although you could assign a different material type at each vertex of your shape, Modeler software will use the material chosen at the final vertex as the material for the entire surface.

•

Select Floor as the surface type.

•

Select Unoccupied and Specular, with this being a large smooth area.

•

Click Next five times, leaving the same properties for each vertex.

•

Click Finish to complete the shape.

Click the Save button to save your work.

Figure 2.15 - Save button

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Creating the walls Next, you will create walls on each side of the floor surface. Follow these steps to create the first wall of the room: 1.

Select the Draw Wall Surface tool in the Draw toolbar.

Figure 2.16 - Draw Wall Surface tool

This is the first wall you will draw:

Figure 2.17 - First wall

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

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

Figure 2.18 - Wall Properties bar

Enter the following data for this wall surface:

1st bottom corner:

Leave 0 m in the Bottom field because the bottom of the wall meets the floor at zero. Select Brick - Bare as the surface material. Leave the surface type as Wall1. Leave Unoccupied and Specular as is.

2nd bottom corner:

Click Next and leave the same values for the second bottom corner.

1st top corner:

Click Next, leave 3 m in the Top field and leave the other values the same.

2nd top corner:

Click Next, leave the values the same and click Finish. The first wall is created in your model.

Click the Save button to save your work, or press Ctrl + S.

Follow these steps to create the second wall surface: 1.

Make sure Draw Wall Surface tool is still selected.

This is the second wall you will draw:

Figure 2.19 - Second wall

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

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

Confirm that the following values are entered (you should not have to change any values): 1st bottom corner:

Leave 0 m in the Bottom field. Leave Brick - Bare as the surface material. Leave the surface type as Wall1. Leave Unoccupied and Specular as is.

2nd bottom corner:

Click Next and leave the same values for the second bottom corner.

1st top corner:

Click Next, leave 3 m in the Top field and leave the other values the same.

2nd top corner:

Click Next, leave the values the same and click Finish. The second wall is created in your model.

Click the Save button to save your work.

You now have created two of the six walls for the room model. To ensure that everything lines up, look at the model from a different perspective. Click on the Rotate View tool, and then click and drag in the Modeling window to view your model from different perspectives.

Figure 2.20 - Rotate View tool

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At this point, the model should look like this:

Figure 2.21 - Model with two walls in rotate view

The remaining walls will be built in the same manner as the first two, and will have the same material and surface type properties. Follow these steps to build the third wall in the L-shaped room: 1.

Switch back to Plan View by clicking the Plan View button, or use the direct key shortcut: press the H key. (See information about Direct Keys, on page 27).

Figure 2.22 - Plan View button

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Select the Draw Wall Surface tool.

This is the third wall you will draw:

Figure 2.23 - Third wall

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

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

Confirm that the following values are entered (you should not have to change any values):

1st bottom corner:

Leave 0 m in the Bottom field. Leave Brick - Bare as the surface material. Leave the surface type as Wall1. Leave Unoccupied and Specular as is.

2nd bottom corner:

Click Next and leave the same values for the second bottom corner.

1st top corner:

Click Next, leave 3 m in the Top field and leave the other values the same.

2nd top corner:

Click Next, leave the values the same and click Finish. The third wall is created in your model.

Click the Save button to save your work.

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Follow these steps to build the fourth wall in the L-shaped room: 1.

Make sure Draw Wall Surface tool is still selected.

This is the fourth wall you will draw:

Figure 2.24 - Fourth wall

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

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

Leave all the same data for these walls as for the first three. Notice that you will only be required to click on the Next button 3 times and then the Finish button as Modeler software defaults all setting based on the last wall surface you drew. Click the Save button to save your work.

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Follow these steps to build the fifth wall in the L-shaped room: 1.

Make sure Draw Wall Surface tool is still selected.

This is the fifth wall you will draw:

Figure 2.25 - Fifth wall

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

Move the cross-hair cursor to x: - 20.0 y: 0.0 and click. The Wall Properties bar opens.

Leave all the same data for these walls as for the first four. Notice that you will only be required to click on the Next button three times and then the Finish button as Modeler software defaults all setting based on the last wall surface you drew. Click the Save button to save your work.

The sixth and final wall connects the fifth wall with the first wall that you drew.

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This is the sixth and final wall you will draw:

Figure 2.26 - Sixth wall

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

Figure 2.27 - Model with completed walls

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Using the Extrude Walls tool In this section, you will learn how to model the same structure using the Extrude Walls tool. The process that you used in the previous section to build the floor and walls of the L-shaped room is an important lesson in basic modeling. You will now learn how to quickly and easily achieve the same results. Follow these steps to build the walls and ceiling of the L-shaped room using the Extrude Walls tool: 1.

Delete the walls that you previously created: Select them in the Surfaces tab in the Detail window, then press the Delete key:

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

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

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Select the floor surface by clicking on it in the Surfaces tab in the Detail window. The surface is highlighted in blue in the modeling window, indicating that it is selected:

Figure 2.29 - Floor surface, selected

Select the Extrude Walls tool in the Draw toolbar.

Figure 2.30 - Extrude Walls tool

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The Extrude Walls dialog box opens:

Figure 2.31 - Extrude Walls dialog box

The Extrude Walls tool adds walls to the outer perimeter of the selected surface, with the option to also add a ceiling. You can specify how high you want the walls to be in the Height field in the Extrude Walls dialog box. Because the L-shaped room model has 3 meter walls, leave the default value of 3 m in the Height field.

In the Surface Material drop-down menu, leave Brick - Bare as the surface material for the walls. Leave the default Surface Type (Wall1).

To add a ceiling, place a checkmark next to Add Ceiling.

Figure 2.32 - Adding a ceiling

Select Plaster on Lath 1" thick as the surface material, and leave Ceiling1 as the surface type.

Click OK. The walls and ceiling are extruded from the floor surface.

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Use the Rotate View tool to look at the model in perspective. The finished room model looks like this:

Figure 2.33 - Finished room model

Click the Save button to save your work.

Close the Boardroom model by clicking on the X in the upper right-hand corner of the Modeling window. Close the Headquarters project by choosing File > Close Project.

You are now familiar with how to build a basic model, including setting preferences and assembling a material list using the Materials Database. Proceed to Chapter 3: More Modeling Concepts, on page 49, to continue learning about the features of Modeler software. Note: When using the Extrude tool, the Reflection and Audience properties must be set manually by adjusting each surface’s properties in the Surface tab.

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Chapter 3: More Modeling Concepts If you completed Chapter 2: Basic Modeling, then you have a basic understanding of how to create surfaces in Modeler software. In this chapter, you will learn more advanced concepts. Using the First Street Church project, you will be guided through the process of creating the last two missing surfaces of a nearly complete model of the church. Then you will learn to set surface colors and view the structure in Camera View.

Open a model Follow these steps to open the nearly complete church model: 1.

Click File > Open Project...

In the Look in: drop-down menu, click on the desktop (see Opening the sample model, on page 4, if you did not complete Chapter 1).

Open the Tutorial folder, then open the First Street Church folder.

Open the file named First Street Church.pjt

In the Project window, double-click on the Design 3 model.

After the Design 3 model opens, close the Project window.

The Design 3 model looks like this:

Figure 3.1 - Design 3 model

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

Figure 3.2 - Rotate View tool

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

Figure 3.3 - Missing surfaces in the model

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Creating a missing surface The Insert Face tool can be used to create a surface by defining the outer boundaries of the surface. Follow these steps to create the missing square wall section using the Insert Face tool: 1.

Rotate the view using the Rotate View tool until it matches Figure 3.4. Define the shape of the new surface by clicking on the vertices that outline the missing wall section. Notice that a vertex will highlight in green when the crosshair cursor is moved over it.

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

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Select the Insert Face tool in the Draw toolbar.

Figure 3.5 - Insert Face tool

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

Tip: If you make a mistake while creating a shape, press Esc (or Shift + Esc) to cancel your work.

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

Figure 3.6 - Insert Face properties box

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

Figure 3.7 - New wall surface

Click the Save button to save your work.

Creating a conical ceiling surface To finish the model, follow these steps to create the conical ceiling surface: 1.

Switch to Plan View by clicking on the Plan View button in the View toolbar. You will be creating a ceiling surface on the larger rounded alcove of the church (in the positive X direction).

Select the Draw Conical Surfaces tool.

Figure 3.8 - Draw Conical Surfaces tool, with wing menu

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Define the shape as follows:

Figure 3.9 - Creating the conical ceiling surface

•

Click at x: 12.0 y: 0.0 z: 0.0.

•

Move the cursor in the positive Y direction until the radius is 6 m and click.

•

Rotate the cursor clockwise until the angle is -180.0° and click.

•

Move the cross-hair in towards your starting point until the second radius is equal to 0 m and click.

When you finish the surface, the Shape Properties bar appears at the top of the window. Enter the following properties for this shape. •

Enter 4 m for Elevation 1 (Z1), since the bottom of this ceiling meets the rounded wall at Z1 = 4 meters.

•

Choose Mineral Board 5/8" ceiling tile as the surface material.

•

Select Ceiling 2 as the surface type.

•

Leave Unoccupied and Specular as is.

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Figure 3.10 - Shape properties bar (Z1)

•

Click Next and set Elevation 2 (Z2) to 11 m to place the point of the conical roof section just below the peak of the church ceiling.

Figure 3.11 - Shape properties bar (Z2)

• 4.

Click Finish. The conical ceiling is created over the church alcove.

Click the Save button to save your work.

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

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

Figure 3.12 - Drawing/Saving tab

Make the following changes in the Drawing/Saving tab:

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

Tip: Rather than going to the Model Settings, simply click on the Wing Menu next to the Draw Conical Surfaces tool, and enter a value of 30°.

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Examples of different angular increments:

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

Figure 3.14 - A similar cylindrical wall created with an angular increment of 5°.

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The conical ceiling should look like this:

Figure 3.15 - New conical ceiling surface

You now have completed the church structure. For an in-depth workshop on creating this church model from the beginning, please see Chapter 6: Modeling Workshop.

Working with Camera View The Camera View feature in Modeler software allows you to view the model as though you are looking through a camera that can be placed anywhere inside or outside of the model. This is useful for: • • •

Gaining perspective of your model. Delivering a presentations. Ensuring that your model is closed and complete.

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Using Camera View Select the Camera View tool in the View toolbar.

Figure 3.16 - Camera View tool

The Modeling window changes to a view of the model through the camera inside the church. The default camera position is at the origin (x: 0.0 y: 0.0 z: 0.0) facing in the positive Y direction, at a height of Z = 1.5 m. It is possible to move the camera into other positions using the following methods: Keyboard + mouse scroll-wheel commands:

If you have a mouse with a scroll-wheel, you can use your keyboard and mouse to manipulate the camera.

The Properties tab:

Click the Properties tab while in Camera View. Adjust the different properties and notice the result in the Modeling window.

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

Keyboard arrow commands:

Use the 4 arrows on your keyboard to move the camera in the X - Y plane.

Select tool:

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

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The chart below outlines how to control the camera using a scroll-wheel mouse. You must place your mouse over the Modeling window for these commands to work. Move forward or backward:

Roll the scroll-wheel on your mouse: Up moves forward, down moves backward.

Adjust camera yaw (rotation):

Hold Shift, then roll the scroll-wheel on your mouse: Up rotates left, down rotates right.

Adjust camera pitch:

Press Ctrl, then roll the scroll-wheel on your mouse to adjust the camera’s pitch: Up rotates the camera upwards and down rotates the camera downwards.

Adjust lens focal length (zoom):

Press Shift + Ctrl then roll the scroll-wheel on your mouse to adjust the camera’s focal length: Up zooms in, down zooms out.

Move along the Z-axis:

Left-click on your mouse and hold: Roll the scroll-wheel forward to move up, roll the scroll-wheel backward to move down.

Setting surface colors Modeler software provides the ability to add color to the surfaces in your model in order to represent the actual colors of the materials used in the room. The colors will then be displayed in the camera view. Each surface type in Modeler software is assigned the color white by default. You can assign a color to each material type, and all surfaces with that material type will display in the selected color in camera view. Tip: To deselect items such as surfaces, use the Esc (or SHIFT+Esc) command.

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Follow these steps to assign new colors to surfaces: 1.

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

Figure 3.17 - Surfaces tab

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

Figure 3.18 - Color dialog box

•

Choose a shade of dark red and the selected color appears in the Color window.

•

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

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

Repeat the same process for each surface material, and assign the following colors: Carpet - heavy on concrete:

Dark gray

Concrete Block - Painted:

Black

Mineral Board 5/8’ ceiling tile:

Off white

Pews - Wooden:

Brown

Click the Save button to save your work.

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

Figure 3.19 - Camera view with colors

Close the Design 3 model by clicking on the X in the upper right-hand corner of the Modeling window. Close the First Street Church project by choosing File > Close Project and proceed to Chapter 4: Placing Listeners and Placing Loudspeakers. Chapter 4 will cover placing listeners and loudspeakers in a model, which is required to enable acoustic prediction data.

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Chapter 4: Placing Listeners and Placing Loudspeakers Objects in your model This chapter covers placing listeners and loudspeakers in a room model. The lessons in this chapter use the completed church model that can be found on the Modeler software installation CD. Follow these steps to open the completed church model: 1.

Click File > Open Project...

In the Look in: drop-down menu click on the desktop (see Opening the sample model, on page 4 if you did not complete Chapter 1).

Open the Tutorial folder, then open the First Street Church folder.

Open the file named First Street Church.pjt

In the Project window, double-click on the Design 2 model.

Figure 4.1 - Design 2 model

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

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Note: Listener locations can be added to Floor and Seating type surfaces.

Follow these steps to add a listener location to the model: 1.

Select the Place Listener tool in the Draw toolbar.

Figure 4.2 - Place Listener tool

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

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

Figure 4.3 - A listener location

Click on the Selection tool.

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

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Adjust the direction the listener is facing by dragging the blue yaw arrow in the listener circle. Click near the tip of the arrow and drag it around the circle. The listener should face in the direction that a listener would face in the venue.

Figure 4.4 - Adjust the yaw of a listener

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

Figure 4.5 - Ear Height column in Listeners tab

The typical Ear Height default is at 1 m.

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

Figure 4.6 - Listeners placed in model

Click the Save button to save your work.

Note: Typical ear height: Seated: 3 ft (1 m) Standing: 6 ft (2 m)

Note: Use the Place Listener wing menu to show/hide listener Identifiers and Wireframes.

Tip: To deselect items such as listeners, use the Esc (or SHIFT+Esc) command.

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

Loudspeaker Database window

Figure 4.7 - Loudspeaker Database window

For detailed information about the Loudspeaker Database, see Chapter 9: Loudspeakers, on page 219.

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

Placing loudspeakers within a model Follow these steps to place loudspeakers in your model: Chapter 4: Placing Listeners and Placing Loudspeakers

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Select the Place Loudspeaker tool in the Loudspeaker toolbar:

Figure 4.8 - Place Loudspeakers tool

Click at x: - 12.0 y: 0.0 z: 0.0 in the Design 2 model and the Place Loudspeaker window opens:

Figure 4.9 - Place Loudspeaker window

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

Click on Bose 502速B in the Bass folder, which is a loudspeaker for low frequency sound.

Enter a Z Coordinate (height) of 6 m.

Tip: You can get to the Loudspeaker Database simply by clicking on the Database button in the Place Loudspeaker dialog box. Once you close the database window, you will be returned to the Place Loudspeaker window.

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Click OK. The Place Loudspeaker window closes and a loudspeaker graphic appears in the model.

Figure 4.10 - Loudspeaker graphic

The numbers at the loudspeaker graphic refer to the Cluster, Zone, Tier and Index of this loudspeaker:

Figure 4.11 - Loudspeaker identifier numbers

Cluster:

Cluster number is assigned automatically by Modeler software based on the Cluster Radius of 3 m.

Zone:

Group multiple clusters of loudspeakers by assigning them a zone number.

Tier:

Group loudspeakers that are in the same row by assigning a tier number.

Index:

The unique identifier number for the selected surface.

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

Place another loudspeaker 1 m in the positive Y direction from

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

Select a Bose 402®-II Biamp loudspeaker.

Figure 4.12 - Place Loudspeaker window

•

Make sure the Z Coordinate is set to 6 m so that this speaker is at the same height as the Bose 502®B loudspeaker.

Click OK. Your second loudspeaker is placed adjacent to the first one.

Note: Use the Place Loudspeakers wing menu to show/hide Hitpoints, Wireframes, Identifiers and Cluster Origin.

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10. Place another Bose 402®-II Biamp loudspeaker at x: - 12.0 y: - 1.0, leaving the height at 6 m. These three loudspeakers now comprise Cluster 1.

Figure 4.13 - Cluster 1

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

Select a Bose 502®B loudspeaker. Leave 6 m in the Z Coordinate field, then click OK. Notice that the new loudspeaker has been assigned the identifier 2.1.1.1.

Figure 4.14 - Loudspeaker Identifier

This loudspeaker defines the location of a new cluster, Cluster 2. 12. Add two Bose 402®-II Biamp loudspeakers on either side of the second Bose 502®B loudspeaker as you did for Cluster 1. Place

one at x: 2.0 y: 1.0 and the other at x: 2.0 y: - 1.0 (leave the Z coordinate at 6 m for each one).

13. Click the Save button to save your work.

Tip: To deselect items such as loudspeakers, use the Esc (or SHIFT+Esc) command.

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Tip: Cluster 2 can also be created by duplicating Cluster 1. Select all loudspeakers in Cluster 1 and choose Edit > Copy, then choose Edit > Paste. Use the Select tool to drag the new cluster into position in the model.

When complete, your model should look this:

Figure 4.15 - Model with placed loudspeakers

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

Select Cluster: 1 from the Cluster drop-down list in the Loudspeaker toolbar.

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

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This limits your view to only the loudspeakers in the cluster. A blue square called the cluster origin, marks the point on which the cluster is centered.

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

Although it is possible to zoom in on the model in the Modeling window to see loudspeaker clusters, this is a quick way to isolate one cluster for more precise adjustments. Note that the tools in the View toolbar perform the same functions while in a cluster view (Plan View, Elevation View, Zoom in/out, Rotate View). Tip: You may want to turn off the loudspeaker identifiers to get a better view of the cluster layout. This can be done using the Loudspeaker wing menu.

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

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

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

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

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

Figure 4.19 - Speaker aiming

Follow these steps to aim your cluster: 1.

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

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Click on the Select button in the Draw toolbar:

Figure 4.20 - Select tool

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

Click the Properties tab in the Detail window.

Scroll down until you see the Yaw° field and enter a value of 30. The loudspeaker will now be aimed with a 30° yaw.

Figure 4.21 - Yaw field in the Properties tab

Figure 4.22 - A yaw of 30°

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

Properties tab, enter a yaw of - 30°.

Figure 4.23 - A yaw of -30°

Click the Save button to save your work.

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

Select Cluster 2 in the Cluster drop-down list.

Select the Bose 402®-II Biamp loudspeaker located at y: 1.0 and in the Properties tab enter a yaw of 30°.

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

and in the Properties tab enter a yaw of - 30°. Click the Save button to save your work.

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The clusters should now both look like this:

Figure 4.24 - Loudspeakers with yaw adjusted

Click the Save button to save your work.

Adjusting the pitch of loudspeakers in a cluster The pitch of the loudspeakers can be adjusted in a similar manner as yaw. Follow these steps to set the pitch of the Bose 402速-II loudspeakers: 1.

Switch to Cluster 1 view in the Loudspeaker toolbar.

Select Elevation View in the View toolbar so that it is easier to see the change in pitch of the loudspeakers.

Click the Loudspeakers tab in the Detail window.

Figure 4.25 - Loudspeakers tab

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Select one of the Bose 402®-II loudspeakers in the list and enter

- 35° (negative indicates downward) in the Pitch field. You will have to scroll to the right in the Loudspeakers tab in order to see the Pitch field.

Figure 4.26 - A pitch of -35°

Select the other Bose 402®-II Biamp loudspeaker and enter a pitch of - 35°.

Figure 4.27 - A pitch of -35°

Click the Save button to save your work.

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

Switch to Cluster 2 view in the Loudspeaker toolbar.

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

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

Figure 4.28 - Setting the pitch

Click the Save button to save your work.

Each cluster should now look like this:

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

You have successfully added and positioned your loudspeakers. To verify that your model is complete and accurate, it is suggested that you compare it to a completed model that is provided in the First Street Church project. Follow these steps to open the completed model: 1.

Show the Project window and double-click on the Design 1 model to open it.

Compare the two models (your Design 2 model and the master Design 1 model). They should be identical.

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The complete church model looks like this:

Figure 4.30 - Design 1 church model, plan view

Figure 4.31 - Design 1 church model, rotate view

Close the Design 2 model by clicking on the X in the upper right-hand corner of the Modeling window. Close the First Street Church project by choosing File > Close Project. Note: Modeler software has more sophisticated ways to create special arrays of loudspeakers, and to look at and evaluate their acoustic performance. For example, with the array functionality, you can create a 4 box endfire array and steer it with a few clicks of the button. This is covered in Chapter 10: Advanced Topics, on page 243.

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Chapter 5: Predicting Sound The primary function of Modeler software is to design a sound system by observing predictions about the quality of sound in your room. After you have created a model and placed listeners and loudspeakers, you can take advantage of the powerful acoustic simulation capabilities of Modeler software. Modeler software has numerous features that provide insight into the quality of sound in your model. Coverage maps are an easy way to visually evaluate the sound, while other tabs and tools provide additional visual and quantitative data. This chapter provides an overview of how to use and interpret this data. The examples in this chapter use the First Street Church project that you copied from the installation CD to your desktop in Chapter 1. Follow these steps to open the Design 1 church model: 1.

Click File > Open Project...

In the Look in: drop-down menu click on the desktop (see Opening the sample model, on page 4, if you did not complete Chapter 1).

Open the Tutorial folder, then open the First Street Church folder.

Open the file named First Street Church.pjt.

In the Project window, double-click on the Design 1 model.

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

Click on the Acoustics tab in the Detail window:

Figure 5.1 - Acoustics tab

This window contains the following: Temperature:

The ambient temperature in the room.

Humidity:

The humidity in the room.

Occupancy:

The number of people in the room.

House Curve:

A pre-determined target room-response curve.

Background Noise:

The background noise in the room.

RT60:

The room’s reverberation time: based on the amount of time it takes for a sound pressure in a room to decay by 60 dB.

Tip: The humidity can have a significant impact on the absorption of sound at high frequencies. The impact is largest at low to medium humidities, with a peak around 20%.

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

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For this model, we will set the first three parameters as follows: Temperature:

22 oC

Humidity:

40%

Occupancy:

0 (We start by looking at the sound system when the room is empty).

Setting the Background Noise Selecting the curve We will now set the Background Noise: 1.

Click on the Background Noise Open button.

Figure 5.2 - Background Noise, Open button

The following window appears:

Figure 5.3 - Background Noise window

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

In this window, you can either use one of the predefined noise curves, or if you have actual measurements from the space, simply create your own noise files. Click on a few of the different noise files to get familiar with the format. You can duplicate files, rename them and delete some of them. Note: The standard files (NCB - Balanced Noise Criteriaa) and RC (Room Criteriaa) are predefined and locked. They cannot be changed unless you duplicate them first..

a. See American National Standard Criteria for Evaluation Room Noise ANSI S12.2-1995 (ASA 115-1995).

Creating your own Background Noise For this example, we have measured the actual background noise in a room. We will now create a custom noise file with this data: 1.

Click on the New Noise Curve button (or select New from the File menu).

Figure 5.4 - New Noise Curve button

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

Figure 5.5 - Adding a New Noise Curve

The file appears at the route of the acoustics data folder: 3.

Select the Noise_Church file by clicking on it.

Figure 5.6 - New Noise Curve file

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

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

Select 1 octave band for the bandwidth.

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

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Enter the numbers as follows:

Figure 5.8 - Added numbers for New Noise Curve file

We now have entered the background noise. 6.

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

Figure 5.9 - Noise_Church in Background Noise field

Tip: To clear a previously selected background noise file: •

Simply replace it with another background noise file.

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

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

Click on the House Curve Open button.

Figure 5.10 - House Curve, Open button

The following window appears:

Figure 5.11 - House Curve window

This window works similarly to the Background Noise window. Click around to get familiar with the functionality.

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Select the curve labelled Flat_w_4k_knee, which is flat to 4 kHz, and then rolls off by 3 dB per octave band.

Figure 5.12 - House Curve

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

Figure 5.13 - Acoustics tab, showing House Curve name

For information on Matching RT60, see Matching reverberation times, on page 283 of the Advanced Topics chapter.

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Setting the occupancy level Finally we will set the occupancy level of the environment. 1.

In the Occupancy section, click the radio button next to Percent Full.

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

Tip: To specify the occupancy conditions of the room, at least one surface must be designated as occupied. If you find the Percent Full field grayed out in the Acoustics dialog box, follow these steps to designate the seating surfaces as Occupied:

•

Click the Surfaces tab in the Detail window.

•

Right-click in the window and go to Sort > By Type.

•

Find the Seating1 surfaces and in the Audience column, change the value to Occupied for each surface.

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

Figure 5.14 - Acoustics tab, occupancy conditions

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Note: By adding people to the model, you have changed the rooms reverberation time. Therefore, the current reverberation time predicted by Modeler is different from what has been measured. Hence, in the RT60 data window, the two curves will be different.

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

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Hiding surfaces Now that we have set the room acoustics parametrics, we will prepare the model for calculations. When you view data in Modeler software, you may find that some surfaces in the model prevent you from seeing the data clearly. For example, ceiling surfaces, while necessary for acoustical consideration, do not need to be visible while displaying acoustic predictions. Modeler software provides you with the ability to hide these surfaces using the Model Settings dialog box. Follow these steps to hide surfaces: 1.

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

Click the Display tab.

Under Surface Type, click the check boxes next to Wall1, Wall2, Ceiling1 and Ceiling2 to remove the checkmarks.

Click OK.

Figure 5.15 - Hiding Surfaces using the Display tab

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

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

Figure 5.16 - Grid toggle button

This is what your model should now look like:

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

Before moving on to the next section, undo the steps we took in this section (re-select Wall1, Wall2, Ceiling1, Ceiling2 in Model Settings. Turn the Room View Grid back on).

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

Direct Field coverage map This section describes how to generate the Direct Field coverage map. Direct Field coverage is all of the sound energy arriving at the listening area directly from the loudspeakers, without consideration for reflections and reverberation. Viewing Direct Field coverage Follow these steps to view the Direct Field coverage map for your model: 1.

Switch to Plan View and click the Enable D2R∆STIc Engine button in the Map toolbar:

Figure 5.18 - Enable D2R∆STIc Engine button

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Click the Direct button in the Map toolbar.

Figure 5.19 - Direct button

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

Modeler software generates the Direct Field coverage map, which looks like this:

Figure 5.20 - Direct Field coverage map

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

Figure 5.21 - Simulation tab

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

Frequency:

The frequency or range of frequencies at which the coverage map displays sound pressure levels. Select individual center frequencies, or a frequency band (1 - 4 kHz or 31 Hz - 16 kHz).

Resolution:

The level of detail for your coverage map. Lower values provide finer resolution but longer computation times. Higher values provide coarser resolution with faster computation times.

Bandwidth:

The width in octaves of the frequency range displayed in the coverage map. The selected frequency lies in the middle of this band. (Not applicable when displaying 1 - 4 kHz or 31 Hz - 16 kHz).

Data:

The calculation method used for the simulation. Power Sum calculates sound pressure without regard to phase interactions between sound sources. Cross-Power Sum takes into account the interference effects between sound sources.

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Offset:

Changing the offset shifts the color scale of the map legend. In the case of an SPL “hot spot” in front of a loudspeaker that is preventing the display of lower SPLs in other areas of the map, use the offset feature to more clearly display coverage in the areas of lower SPL.

Scale:

Absolute displays the map legend in actual dB SPL values while Relative displays the SPL values relative to the highest reading.

Surfaces:

Toggle these checkboxes to specify which surfaces in your model display acoustic prediction data. Normally, coverage is viewed on surfaces that are occupied by listeners (seating and floor surfaces – note that you can input the map height for these surfaces).

Views:

Select Maps to view maps – choose All to view maps for all selected surfaces or choose Custom Areas to view maps for Custom Areas drawn on selected surfaces. Select Listeners to view and calculate for listeners placed on selected surfaces.

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

First, click on the Draw Custom Areas tool wing menu and make sure that Seating 1 is selected. This ensures that we can create a map on Seating1.

Figure 5.22 - Draw Custom Areas tool

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

Select the model tab.

Click on the Draw Custom Areas tool.

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Create a polygonal surface similar to what is shown below (when you have finished drawing the Custom Area, the object will automatically be selected and highlighted in blue).

Figure 5.23 - Polygon Custom Area

Select the Direct model tab.

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

Figure 5.24 - Selected coverage map

Click on All (under Views) in the Simulation tab to return back to the original coverage map on the entire Seating 1 area.

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Note: To display a Map that was created using the Draw Custom Areas tool, three things need to be checked:

The surface types you are mapping (Floor, Seating1, etc.)

The Maps checkbox.

The Custom Areas radio button.

For the Map we just created to be shown, the following 3 items need to be checked.

Note: The Draw Custom Areas tool works on all mapping functions in Direct, Direct plus Reverberant, and Speech.

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

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Direct plus Reverberant coverage map This section describes how to generate the Direct plus Reverberant coverage map. Modeler software provides data on the overall loudness and frequency response of a system by calculating the Direct Field sound energy combined with reflected sound energy. This prediction is displayed in the Direct plus Reverberant coverage map. Viewing the Direct plus Reverberant coverage map Follow these steps to view Direct plus Reverberant coverage: 1.

Make sure the D2R∆STIc engine is still on.

Figure 5.25 - Enable D2R∆STIc Engine button

Click the Direct + Reverberant button on the Map Toolbar.

Figure 5.26 - Direct+Reverberant button

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The D2Râ&#x2C6;&#x2020;STIc engine will compute the Direct plus Reverberant coverage and display it in your model:

Figure 5.27 - Direct plus Reverberant coverage map

Simulation parameters for the Direct plus Reverberant coverage map can be adjusted in the Simulation tab.

Speech Intelligibility coverage map This section demonstrates how to set acoustic properties, and generate and display speech intelligibility predictions in your model. Viewing the Speech Intelligibility coverage map To generate the Speech Intelligibility coverage map, click the Speech Intelligibility button on the Map toolbar.

Figure 5.28 - Speech Intelligibility button

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Modeler software generates the STI (Speech Transition Index) coverage map:

Figure 5.29 - STI coverage map

While viewing your STI coverage map, notice that in the Simulation tab, the Algorithm drop-down has three different options: STI (1998), STI (2003) and STIPA (2003).

Figure 5.30 - Algorithm drop-down menu

This version of Modeler supports the following STI based algorithms: IEC 60268-16:1998, IEC 60268-16:2003 and STI-PA (according to IEC 60268-16:2003).

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

Figure 5.31 - Data drop-down menu

Note: When Speech Intelligibility prediction is set to show PB or %ALcons, the histogram will still show the STI histogram.

Finally, once the STI 2003 is selected as the data, then you can choose between male and female voice. You can select the voice in the source drop-down menu. Note: Modeler now includes the STI specification from 2003, IEC 60268-16:2003. This includes a drop-down to select male or female voice as the input.

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

Figure 5.32 - Coverage in Simulation tab

Tip: The data in the Simulation tab changes based on which map you are displaying.

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

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

106

Type of data

Characteristics

Displayed in these tabs:

Location dependent data:

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

Time Resp.

Room response data:

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

Statistics

Room acoustics data:

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

RT60

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Freq Resp. MTF

SPL

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The Time Response tab This section describes how to generate time-arrival data in the Time Resp. tab and how to use the Time Resp. tab to set loudspeaker delays. Generate time-arrival data Data in the Time Resp. tab is location dependent, and therefore can only be seen when the Sample tool is placed in your coverage map. The Sample tool allows you to specify an exact location from which to generate acoustic prediction data. Follow these steps to use the Sample tool to generate time-arrival data: 1.

Make sure that the D2R∆STIc engine has been enabled, and that the Direct, Direct + Reverberant, and Speech Intelligibility coverage maps have been turned on.

Select the Sample tool in the Draw toolbar.

Figure 5.33 - Sample tool

Click in the Speech Intelligibility coverage map to place the Sample tool. Time-arrival data for that location will populate in the Time Resp. tab.

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

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Figure 5.34 - Frequency band warning

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

Direct arrivals from the sound source.

Green pins:

First order reflections. They have reflected off of one surface.

Blue pins:

Second order reflections. They are arriving at the sample point after reflecting off of two surfaces.

Yellow line:

Reverberant Field Envelope Function (RFEF), which shows the build-up and decay of reverberant energy in the room.

Figure 5.35 - Time Resp. tab

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

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

Figure 5.36 - Time Resp. tab, first pin highlighted

Set loudspeaker delays The Time Resp. tab can be used to set loudspeaker delays. In a decentralized sound system, the signal to certain loudspeakers can be delayed by a fraction of a second to ensure proper signal localization. Follow these steps to use the Time Resp. tab to set loudspeaker delays: 1.

Select the Direct tab in the Modeling window.

Place the Sample tool in the model to the right of Cluster 2, as shown in Figure 5.37:

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

Loudspeaker delays are set using direct arrival information. When the Sample tool is placed in the Direct Field coverage map, the Time Resp. tab shows only the direct sound arrivals (red pins). 3.

Scroll through the arrival pins in the Time Resp. tab and take note of which arrivals come from which cluster.

Figure 5.38 - Matching arrivals with clusters

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As you can see in Figure 5.38, sound is arriving at the Sample tool location from Cluster 2 first (notice the selected pin and its corresponding trace on the coverage map). Humans localize sound based on the first arrival that they hear. Cluster 1 is closest to where a talker or music presentation would be located, so the audience should hear their first sound arrivals from Cluster 1, not Cluster 2. Because listeners in the back of the church are closer to Cluster 2, sound from these loudspeakers would normally reach them first. To prevent this, a signal delay should be set on the loudspeakers in Cluster 2 so that all listeners in the church receive sound from Cluster 1 first.

Click the Loudspeakers tab in the Detail window and scroll to the right until you can see the Delay column.

Enter a delay of 45 (ms) for the three loudspeakers in Cluster 2.

Notice that the time-arrivals in the Time Resp. tab have changed, and the first sound arriving at the Sample tool location is now from Cluster 1.

Figure 5.39 - After a delay of 45 (ms) is set, sound arrives from Cluster 1 first

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The Frequency Response tab The Freq. Resp. tab displays dB SPL on the vertical axis, and the frequency spectrum on the horizontal axis. The frequency response at a specific location in the coverage map can be displayed by placing the Sample tool at the desired location. Follow these steps to display a frequency response: 1.

Click the Freq. Resp. tab.

Select the Sample tool in the Draw toolbar.

Click inside the Speech Intelligibility coverage map in the Modeling window. Notice that data appears in the Freq. Resp. tab.

Drag the sample tool around the model. Because frequency response is position-dependent, the data changes as you change the location of the Sample tool.

Drag the Sample tool over each of the listener locations in the model. The Sample tool snaps to the listener location when you drag the tool near a listener. As you make changes to your sound system, these listener locations allow you to return to a specific and consistent location in the model to evaluate acoustic prediction.

Figure 5.40 - Freq. Resp. tab

Note: You can change the smoothing of the frequency response curve by right-clicking in the Freq. Resp. tab and choosing a different octave value. Lower values produce finer resolution.

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

Select the Speech tab in the Modeling window to display the Speech Intelligibility coverage map.

Click the MTF tab in the Data window.

Figure 5.41 - MTF tab

Note: You can copy a graph or the data into Excel by right-clicking in the graph window and selecting either Copy Graph or Copy Data.

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Here are some beginning guidelines for understanding the MTF data: Background Noise:

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

Figure 5.42 - A reduced MTF due to Background Noise

Reverberation:

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

Figure 5.43 - A downward sloping MTF caused by reverberation

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Late-arriving reflections:

Have the effect of putting a notch in the MTF. The later the reflection, the lower the modulation frequency at which the notch occurs.

Figure 5.44 - A notched MTF caused by late reflections

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

f =

1 2 × ∆t

where

∆t is the time difference between the two arrivals causing the echo. If you see a dip at 5 Hz, look at 2 arrivals spaced by roughly

1 2 × 5Hz

or 100 ms.

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The Statistics tab The Statistics tab is a histogram that indicates how even the coverage data is in a given coverage map. Specifically, the Statistics tab is a plot of the normalized frequency of occurrence of a particular sound pressure level or STI number (depending on what you are evaluating) versus the sound pressure level or STI number. This tab also provides the standard deviation from the average. 1.

Select Direct Field map

Select 1-4 kHz in the frequency drop-down menu.

Figure 5.45 is the Statistics tab for the Direct Field coverage (at 1-4 kHz) of our sample model. The mean SPL and standard deviation are displayed below the graph in the Status Bar. In the example, the mean is 69.9 and the standard deviation is 1.8 dB. 95% of the samples fall within +/-2 standard deviations, so in this situation 95% of the samples would fall within the range: 66.3-73.5 dB SPL.

Figure 5.45 - Statistics tab

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

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

Figure 5.46 - SPL tab

The SPL tab displays the mean SPL, standard deviation, and average total SPL in the status bar below the graph. Note: The shaded bandwidth region can be dragged across the frequency spectrum to display Sound Pressure Levels at different frequencies in the Direct or Direct plus Reverberant coverage maps.

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

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

Figure 5.47 - The RT60 source

Follow these steps to reposition the RT60 source: 1.

Select the RT60 source in your model by clicking on it with the Select tool. It will highlight in red when selected.

There are 2 ways to position the RT60 source once it has been selected: •

Drag the purple sphere to the proper location in your room, or

•

Click on the Properties tab in the Detail window and enter the desired X, Y and Z coordinated for the RT60 source. In this case enter X= -12.0, Y= 0.0, and Z= 5.0.

Note: To show the measured RT60, right-click in the graph window and select Measured Reverberation Time.

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

Figure 5.48 - RT60 tab

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

Changing surfaces and RT60 The RT60 (or reverberation time) of the room depends heavily on the surface materials in your room model. Follow these steps to see how changing surface materials affects the RT60 curve: 1.

Click the RT60 tab to display RT60 data.

Click the Surfaces tab (in the Data window).

Right-click in the window and confirm Sort > By Number.

Select the surface at the top of the list (Pews - Wooden).

Click the drop-down menu in the Material column and change the surface to Carpet - heavy on concrete.

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Figure 5.49 - Choosing a different material for a surface

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

Figure 5.50 - Mouse arrow changes to double arrow pointer

Copy this value to other rows by clicking and dragging the double arrow downward until all surfaces are highlighted.

Figure 5.51 - Copying value to all other cells

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

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

Figure 5.52 - RT60 curve before change in surface material

Figure 5.53 - RT60 curve after change in surface material

This demonstrates how reflective and absorptive properties of the room affect the RT60 curve.

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

Figure 5.54 - Reverberant decay curve before changing surface material

Figure 5.55 - Reverberant decay curve after changing surface material

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

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Follow these steps to adjust the equalization: 1.

Select the EQ tab.

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

Figure 5.56 - Select Speakers

To select all speakers, make sure that any is selected in each of the four columns, then click OK. The line of EQ values and the Gain values appear in the EQ tab. The EQ is flat by default. Tip: A quick way to select all active loudspeakers is to right click in the EQ tab and choose Select Active Speakers (or press the F4 key).

Figure 5.57 - EQ tab with all active loudspeakers selected

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To adjust the EQ values, click and drag the gray boxes up or down, or shift and click. Each gray box is positioned at a different frequency.

Figure 5.58 - Dragging a slider to change the equalization

You can adjust loudspeaker gain in the same fashion by dragging the gray box in the Headroom (Hdrm) slider up or down. Tip: When multiple speakers are selected, dragging will change the gain while maintaining the relative level differences. Shift + drag will adjust all gains to the same level.

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

Figure 5.59 - EQ Grid

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As you make changes in the EQ tab, observe how the adjustments affect the Sound Pressure Level curve in the SPL tab. When adjusting equalization in the EQ tab, keep these points in mind: •

You can alter the sensitivity of the adjustments you make to the EQ and gain by right-clicking in the EQ tab and changing the Select Increment setting. Lower dB settings will allow finer adjustments, or you can select None to turn the grid sensitivity off.

•

Right-click in the EQ tab and select Apply House Curve to apply the house curve to your EQ settings. Make sure the D2R∆STIc engine is turned on, and Direct, Direct plus Reverberant, or STI tab is selected. A house curve is a predetermined room-response setting that is used when a particular frequency response is desired in your model. The EQ curve is automatically adjusted to produce the house curve response. The house curve is specified in the House Curve window in the Acoustics tab.

For more information on preferences in Modeler software, see: Window and Right-Click Menu Reference, on page 353.

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

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