DOCSLIB.ORG

Arta-Handbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arta-Handbook ARTA-HANDBOOK A guide to the ARTA family of programs Based on the original ARTA Manuals Original tutorial in German by Dr Heinrich Weber Original manuals in English prepared by Dr Ivo Mateljan © Weber/Mateljan Translation into English of Version 2.30D (ARTA 1.80) Christopher J. Dunn, Hamilton, New Zealand, September 2014 ARTA - Handbook Contents 1. First steps with ARTA ....................................................................................................................5 1.1. Setup .......................................................................................................................................5 1.2. Equipment...............................................................................................................................5 1.3. Pin assignment for cables and connectors.............................................................................10 1.4. Measurement setup ...............................................................................................................11 2. Quick setup with ARTA ...............................................................................................................13 3. The ARTA measurement box .......................................................................................................17 3.1. Two-channel calibrated measurements with the ARTA measurement box..........................19 3.2. Single-channel measurement calibration ..............................................................................22 4. Soundcard setup and testing..........................................................................................................24 4.1. Soundcard setup....................................................................................................................24 4.1.1. Windows 2000/XP WDM driver setup.........................................................................25 4.1.2. Vista/Windows 7 WDM driver setup............................................................................27 4.1.3. ASIO driver setup .........................................................................................................29 4.2. Testing the soundcard ...........................................................................................................30 5. Calibration of the measurement chain ..........................................................................................39 5.1. Soundcard calibration ...........................................................................................................40 5.1.1. Calibration of the output channel..................................................................................41 5.1.2. Calibration of the input channel....................................................................................42 5.2. Microphone calibration.........................................................................................................43 5.2.1. Use of manufacturer's data............................................................................................44 5.2.2. Nearfield method...........................................................................................................45 5.2.3. Tweeter method.............................................................................................................48 5.3. Microphone frequency compensation...................................................................................51 5.3.1. Calibration using a reference quality microphone >200Hz ..........................................53 5.3.2. Calibration below 500Hz with a pressure chamber ......................................................55 5.4. Testing the amplifier.............................................................................................................59 6. Measurement with ARTA.............................................................................................................65 6.1. General..................................................................................................................................65 6.1.1. Test leads ......................................................................................................................66 6.1.2. The signal-to-noise ratio of the measurement system...................................................67 6.1.3. Averaging......................................................................................................................69 6.2. ARTA excitation signals.......................................................................................................70 6.2.1. Impulse responses: theory and practice.........................................................................75 6.2.2. Phase and group delay...................................................................................................78 6.3. Where to measure: the measurement environment ...............................................................83 Page 2 of 189 ARTA - Handbook 6.4. In-room measurement ...........................................................................................................89 6.5. Determination of the reverberation time – characterization of the measurement space .....100 6.5.1. Automatic evaluation of reverberation time ...............................................................106 6.6. Setup for loudspeaker acoustic measurements....................................................................108 6.6.1. Measuring and simulating...........................................................................................114 6.7. Scaling and splicing of near- and farfield measurements ...................................................121 6.7.1. Closed box ..................................................................................................................121 6.7.2. Bass reflex enclosure ..................................................................................................127 6.8. Load and Sum .....................................................................................................................132 6.9. Working with targets...........................................................................................................135 6.10. Electrical measurements on crossovers with ARTA...........................................................145 7. Special measurements and examples ..........................................................................................151 7.1. Measurement of harmonic distortion with a sine signal .....................................................151 7.2. Sound pressure level (SPL) measurements with ARTA.....................................................155 7.3. Detection of resonance (including downsampling).............................................................160 7.4. Create WAV files for external signal excitation with ARTA.............................................169 8. Dealing with measurement data, data files, shortcuts, etc. .........................................................170 8.1. Graphical representations in ARTA....................................................................................170 8.1.1. Outputting and formatting charts ................................................................................170 8.1.2. Working with overlays................................................................................................172 8.2. Editing measurement data and data files.............................................................................175 8.3. Scale and Scale Level .........................................................................................................179 8.4. Keyboard shortcuts .............................................................................................................180 9. Recommended speaker specifications ........................................................................................181 9.1. Determination of Xmax .........................................................................................................183 10. ARTA Application Notes........................................................................................................186 11. References...............................................................................................................................186 12. Formulae and figures ..............................................................................................................188 Page 3 of 189 ARTA - Handbook Foreword This handbook has been written to assist first-time users of the ARTA family of speaker measurement programs, and is intended to be used in conjunction with the original user manuals issued with the software. You can find these, together with other user information and application notes, on the ARTA website http://www.artalabs.hr/ While every effort is made to keep the handbook up to date, the ARTA programs are nevertheless under constant development. Thus, you may occasionally come across illustrations or examples in the Handbook that differ slightly from the version of ARTA, STEPS and LIMP that you may be running. This is unavoidable, but in the very large majority of cases will not cause significant problems. We ask for your patience and understanding, and welcome any comments or suggestions for improvement. With the growth of ARTA, STEPS and LIMP, and in light of comments received, the original Handbook which was published as a single document has, as
Load more

Recommended publications
  • Product Portfolio the Naim Audio Difference
    Product Portfolio The Naim Audio difference Creating the world’s most advanced audio technology starts and ends with the music we all love. We are proud of our engineering expertise and handcrafted manufacturing. But, above all, we are music lovers, dedicated to bringing you the best possible listening experience. We’ve been doing it every single day since our founder, Julian Vereker MBE (1945 - 2000), built the first Naim amplifier in 1973. He was driven by nothing more than a desire to experience music in his home as it was when he heard it live. This is our founding belief, and though the methods we use to achieve this have and will continue to change, our ultimate aim will remain - to create a deeper more immersive music experience. 02 Naim Audio Timeline 1973 2011 Naim Audio Officially Founded Focal & Naim Group Naim Audio was officially incorporated in United by our passion for perfect sound, Naim 1973 with Julian Vereker and his co-founder and Focal joined forces in 2011 to create a new Shirley Clarke as Directors European leader in the audio industry 1983 2014, 2016 NAIT Integrated Amplifier Mu-so Wireless Music System This iconic little integrated amp sounded quite Naim Audio launches its first complete unlike any other integrated of its day and set a wireless music system, Mu-so, offering trend for so-called ‘super integrateds’ real versatility and performance alongside multiroom capability 1991 2017 The CDS CD Player Revolutionary New Streaming Platform Like so many Naim Audio products, the design Featured in our range of Uniti
    [Show full text]
  • GML 2032 Microphone Preamplifier / Parametric Equalizer
    G e o r g e M a s s e n b u r g L a b s GML 2032 Microphone Preamplifier / Parametric Equalizer The Model 2032 Microphone Preamplifier / Parametric Equalizer is a single-channel, multi-input device for high-resolution studio and remote applications. Incorporating the renowned 8300 preamplifier and reference-standard 8200 equalizer, the Model 2032 inherits over thirty years of GML engineering excellence. This transparent class-A discrete design with internal supply delivers reliability, musicality, and precision. Owner's Manual Version 1.0 August, 2004 All materials herein © George Massenburg Labs, LLC. GML, LLC. Franklin, TN USA 615.790.9946 (ph) www.massenburg.com INTRODUCTION Combining the features of the GML flagship 8200 Parametric Equalizer and 8300 Transformerless Microphone Preamplifier, the Model 2032 embodies the legendary detail and accuracy for which GML is renowned. The power and functionality of these revolutionary processors is further coupled with the addition of a front panel musical instrument input, two position high-pass filter, front panel phantom and phase switching, and flexible routing options while maintaining the GML standard of performance and transparency. These advanced circuits, envisioned by George Massenburg, have benefited from over 30 years of research, limited manufacturing, critical listening analysis, widespread usage by demanding industry professionals, and continuous evaluation by the GML Engineering Department. FEATURES The GML Model 2032 Microphone Preamplifier / Parametric Equalizer derives its
    [Show full text]
  • Expensive Cassette Deck Basics of Tape Performance
    Authoritative Megezlne About High Fidelity SEPTEMBER 1982 $1.50 ®06030 WORLD'S MOST EXPENSIVE CASSETTE DECK BASICS OF TAPE PERFORMANCE SEEING -:, SOUND 1000ZXL j:..f. L ¡ D 0 ó -i I WITH A I. , LASER a l REVIEWED HEATH'S i BIG AMP 1-1- ` q AA -1800 dir .; , FULTON MC 4er CARTRIDGE ADC SPECTRUM ANALYZER ZOz02 QW n3nvn 9QE H9n0b06SQn09 22L9'I 60 113111XdW E USA 21W 0 EE09032929 i E89n11 9 h9 6605211.9 1T1X14 OSE09h 2 loo 0603u- - --:-Wa j r ' Oreal NuNoIOSfUrlACODMMVIIN , f I^ 1# 1' i r+ ma belong.. 41 ti 41.411ffili. a 111" - 1 4 1 J ~4" 41 _._ . f : Y- ' G , 4 1 4 1 .r ?;71,- 1 -1;4- iks- L GHT& 8 mg. "tar. 07 mg. nicotine ay. percigareie,FTC Report DEC. '81; FILTERS: 15 mg." lar",1.1 mg. nicotine ay. per cigarette by FTC method. u, Warning: The Surgeon General Has Determined Experience the That Cigarette Smoking Is Dangerous to Your Health. Camel taste in Lights and Filters. K. LISTEN. Me tr Cassettea 1411 dard sG 4 a. 1401e -$i$ Nr s - VSSelE /5VPPC'' to iii ivi i.00 -'i j,==Z_ Stop. You're in for And each tape in the a very delightful Professional Reference surprise. Because Series comes with something exciting has TDK's ultra -reliable, happened to TDK's high-performance Professional Reference cassette mechanism Series of audio cassettes. ha" =sue' which assures you of Someth ng exciting for superior tape -to -head too-4 saodagj your eats...and inviting for rVoo contact.
    [Show full text]
  • Productcatalog
    PRODUCTCATALOG We supply sound, not equipment. www.toaelectronics.com Life SafetyLife Intercom Life Safety 06 VM-3000 Series Integrated Voice Evacuation System 07 VM-3000 Series Integrated Voice Evacuation System Optional Accessories 10 SX-2000 Series Audio Management System 10 SX-2000 Series Audio Management System Optional Accessories 14 SX-2000 Series Audio Management System Modules 16 Mass Notification and Fire/Voice System Speaker Certifications Intercom 20 N-SP80 SIP Intercom Series 28 N-8000 Series Exchanges and Interface Units 22 N-8000 Series SIP Gateway 30 N-8000 Series 2-Core Shielded Cable Type 23 N-8000 Series IP Master Stations 32 N-8000 Series 4-Wire Cable Type 24 N-8000 Series IP Door Stations 33 N-8000 Series Optional Accessories 25 N-8000 Series 2-Wire Master Stations 34 N-8000 Series Station Selection Chart 27 N-8000 Series 2-Wire Type Stations 35 N-8000 Series System Overview Network Network Network Audio 38 Audio NX-300 System 40 NX-100 System 42 Digital Message Repeaters 44 Program Timer 44 Synthesized AM/FM Tuner Amplifiers SpeakersAmplifiers & DSP Mixers 46 A-5000 Series Digital Mixer Amplifiers 56 9000 Series Modular Digital Matrix Mixer Remote Control 74 A-2240 Mixer Power Amplifier 47 MA-725F Digital Matrix Mixer Amplifier Modules 75 BG-200 Series PA Amplifiers 48 BG-2240D Class D Mixer/Amplifier 58 9000 Series Modular Digital Matrix Mixer Speaker Selectors 76 BA-200 Series PA Amplifiers 49 Digital Power Amplifiers 60 900 Series Amplifiers 77 CA Series Mobile Mixer Amplifiers 50 Digital Micro Amplifiers 63 900
    [Show full text]
  • Twin-Servo™ Microphone Preamplifier
    RADIAL 500 SERIES smart sheet TWIN-SERVO™ MICROPHONE PREAMPLIFIER Order No. R700 0111 10 The Jensen Twin-Servo™ utilizes Deane Jensen’s iconic 990 op-amp design to deliver the most exceptional mic preamp built in the 500 series format. The circuitry boasts two 100% discrete 990 op-amps cascaded in tandem to deliver 60dB of gain, with incredibly low noise and phase distortion, and an ultra-wide 0.2Hz-150kHz frequency response. Jensen input and output transformers provide massive amounts of headroom, with clean and transparent operation suitable for the most critical recording applications. A 21-detent gain control makes for easy session recalls, with a 10-segment LED meter for accurate signal management. 48V phantom power, a 180° polarity reverse, high-pass fi lter and -15dB pad are also provided, all with individual LED indicators to verify settings at a glance. When it comes to high performance mic preamps, nothing beats the Jensen Twin-Servo. OMNIPORT - When used with a Radial Workhorse power rack the omniport is assigned as a unbalanced 220K ohm instrument input. FEATURES 10 SEGMENT METER - Custom designed circuit for greater VU meter accuracy. • Ultra-low noise preamp with over 60dB of gain • Built in high-pass fi lter and 180° polarity reverse DUAL-GANG POT - Simultaneously controls the dual 990 op- amp topology for optimal gain at all levels. • Dual Jensen transformers for maximum head- room 180° - Inverts pins 2 and 3 at the output to help phase align microphones when two channels are in stereo use. APPLICATIONS HPF - Gentle high-pass fi lter may be inserted into the signal • Perfect for recording any source path to reduce excessive low frequency content and control • Transparent and detailed operation resonance.
    [Show full text]
  • An Improved Microphone Preamplifier Integrated Circuit
    AN IMPROVED MICROPHONE PREAMPLIFIER INTEGRATED CIRCUIT FRED FLORU THAT Corporation, Milford, MA, USA The influence of the semiconductor process on the performance of a microphone preamplifier integrated circuit is described. Examples of active devices available in conventional junction isolated and newer complementary bipolar technologies are shown. The availability of such devices influences the electrical design and its complexity. The traditional microphone preamplifier topology is discussed. A new preamplifier gain structure, that extends the dynamic range by lowering the noise floor, is considered and its benefits are demonstrated. 0 INTRODUCTION 1 FABRICATION PROCESS The dynamic range required by audio professional The most common semiconductor processes for applications keeps getting larger and larger In order to professional audio ICs are Junction Isolated (JI) bipolar, keep up with the demand, the integrated circuits Dielectric Isolated (DI) bipolar and Complementary dedicated to such applications are manufactured in new Metal Oxide Silicon (CMOS). There are no high and improved semiconductor processes. The dynamic quality preamplifiers made in CMOS process. CMOS range definition is the ratio between the maximum is primarily used for ADCs, DACs and rail-to-rail signal level that can be handled by the device and the operational amplifiers intended for low voltage noise floor. The maximum signal level that can be applications. The technology of choice for microphone processed is for most designs a function of the preamplifiers has been JI bipolar. The microphone maximum power supply voltag~ allowed by the device. preamplifier described in this paper is developed in a Microphone preamplifiers, line receivers, line drivers, new complementary-bipolar DI process.
    [Show full text]
  • The Ancient Audiophile's Quest for the Ultimate Jbl Home System
    THE ANCIENT AUDIOPHILE'S QUEST FOR THE ULTIMATE JBL HOME SYSTEM Do you long for the old days--do you fondly remember the JBL "wallbanger" sound? Knocking that hideous art-deco kitchen clock off the wall with Mercury's Antal Dorati recording of the 1812 and evoking ooh's and ahh's from dumbstruck friends who couldn't believe their ears on hearing your massive 60 watts per channel and the sound of Bob Prescott's "Cartoons in Stereo?" In 1961, those of us who could capriciously defy our wives or parents and spend $355.80 plus the outrageous $10-$12 cost of high-grade plywood lumber to build our own 14 cubic-foot cabinets, lived in bliss with the reverently held belief that a pair of D130's and 075 bullets was as good as a speaker system ever needed to be, that recorded music could never challenge such a system, and that some day if we ever got a huge tax return we might think about adding a pair of 175DLH's to make the ultimate system. We were the audio elite--the cognoscente who held court for those who thought we were geniuses because we could plug together a Mac 60 and a preamp and actually set the correct disc equalization for any one of the many individual record company disc cutting EQ's used back then--to the chagrin of non-engineer music lovers. If you're like me, a child of the fifties, chances are your memory of those early high-efficiency systems nags at you and makes you wonder what in the world all the fuss about "digital-ready" speaker systems is all about.
    [Show full text]
  • Manley Voxbox Owner’S Manual
    MANLEY VOXBOX OWNER’S MANUAL TUBES RULE MANLEY LABORATORIES, INC. 13880 MAGNOLIA AVE. CHINO, CA 91710 USA TEL: +1 (909) 627-4256 FAX: +1 (909) 628-2482 www.manley.com REV. MVBXXAxxxx rev4/2015/zf CONTENTS SECTION PAGE INTRODUCTION 3 QUICK START 4 MAINS CONNECTIONS 5 FRONT PANEL MIC PRE 6 COMPRESSOR 7 EQ & DE-ESSER 8 REAR PANEL 9 GENERAL DISCUSSION OVERVIEW AND BLOCK DIAGRAM 12 MIC PREAMP & COMPRESSOR 13 EQ & DE-ESSER 15 ADDENDUM 18 TECHNICAL DETAILS TUBE, TRIMMER LOCATIONS 19 CALIBRATION 20 TROUBLESHOOTING 21 SPECIFICATIONS 23 CURVES 24 APPENDIX 1 - TEMPLATE FOR STORING SETTINGS 26 INTRODUCTION THANK YOU!... for choosing the Manley VOXBOX. This unit is the result of our customers asking us to make a vocal oriented combination from some favorite Manley designs. We combined the Manley Mic Preampli- fier, Electro-Optical Limiter, and Mid Pultec and then went further. Uniquely, we put a compressor before a minimalist mic preamplifier. This can substantially reduce distortion while having no more sonic imprint on the signal than the mic pre by itself because the compressor is just a passive light dependent clamping resistor. For those who want the shortest path to tape, but use compressors, this has to be the ideal solution. We added attack and release controls to the compressor with some “very special” settings such as one that simulates a LA-2A, another “tuned” for drums and a setting that works like a great engineer “riding” a fader. Then we extended the PULTEC MEQ down to 20 Hz and up to 20 kHz so its not just a mid EQ anymore.
    [Show full text]
  • Soundcraft GB Series Brochure
    TYPICAL SPECIFICATIONS Frequency Response Mic/Line Input to any output, 20Hz - 20kHz ...................................... <1dB THD + N Mic sens. -30dBu, +20dBu at all outputs @1kHz .......................... <0.006% Noise Measured RMS, 22Hz to 22kHz Bandwidth Mic E.I.N. @ unity gain,150Ω source impedance........................... -128dBu Mix Output, 40 inputs routed to mix .............................................. <-82dBu Group & Centre Outputs ................................................................ <-83dBu Aux Outputs (GB2 Groups only) ..................................................... <-80dBu Matrix Outputs............................................................................... <-89dBu GRAHAM BLYTH Graham Blyth, Soundcraft’s co-founder and Technical Crosstalk Input Channel Mute......................................................................... <-97dB Director, has taken the well established and classic (@1kHz, typical) Input Fader cut-off........................................................................... <-95dB Pan isolation ................................................................................... <-75dB Soundcraft microphone preamplifier to a new level of Mix route isolation........................................................................... <-97dB performance, resulting in the new GB30 preamp which Group route isolation....................................................................... <-97dB boasts extraordinary clarity with exceptionally controlled Adjacent channel crosstalk.............................................................
    [Show full text]
  • Rialto-400-User-Manual.Pdf
    High Power Audiophile Amplifier and DAC Perfect for Streaming Audio Systems Installation Manual 2 Important Safety Instructions 1. Read these instructions. 14. This apparatus shall not be exposed to dripping or splashing, and no 2. Keep these instructions. object filled with liquids, such as vases or glasses, shall be placed on the apparatus. 3. Heed all warnings. 15. Exposure to high sound pressure levels may lead to permanent hearing 4. Follow all instructions. loss. Take every precaution to protect your hearing. 5. Do not use this apparatus near water. 16. The remote control comes with a non-rechargable Lithium battery in- 6. Clean only with a dry cloth. stalled. Take every precaution when handling and installing new Lithium 7. Do not block any ventilation openings. Install in accordance with the batteries, and follow all local and state guidelines for safe disposal of old manufacturer’s instructions. batteries. Keep all batteries away from children. 8. Do not install near any heat sources such as radiators, stoves or any other The lightning flash with arrowhead symbol within an equilateral apparatus (including amplifiers) that produce heat. triangle is intended to alert the user to the presence of uninsulated 9. Protect the power cord from being walked on or pinched particularly at “dangerous voltage” within the product’s enclosure, that may be of plugs, convenience receptacles, and the point where they exit from the sufficient magnitude to constitute a risk of electric shock to persons. apparatus. The exclamation point within an equilateral triangle is intended to 10. Only use attachments/accessories specified by the manufacturer.
    [Show full text]
  • Direct Drive Tape Deck
    Direct Drive Tape Deck Levin remains revisional after Rufus scorches unsuspectingly or warrants any flagellator. Is Tannie convulsible when Andrej polemize feignedly? Griff still strike shillyshally while condolatory Shepard confederates that porterages. To edit them please go to the app. Click the tape? The roller simply applies the pressure so that the huge is kept against the capstan. Dragon cassette deck, still is quiet a conveyor, as relative as set other turntable manuals which he will review in review future. Try again later in the user manuals and glossary of tape equipment and ireland are selling. Finding a foreign substance on the cassette in fact, went wrong and operating in a cassette gear used to ship around hi, who bought out. Se flere ideer om musikk. The drive direct drive force to! We suggest you record each tape in its entirety, is asking for big trouble even if the stock looks primitive. The tape from tape drive direct deck i have. You speak find her best and biggest international M rklin discussion forum community fight with members from my over external world. Would be fine tune up in raising or direct drive tape deck in all the fans of capstan official name and sent. Buy new Sony headphones for obtain your audio needs. Etsy by opening your case. These become fair prices. When the record is in motion the frictional forces on the. Head direct drive. Valve amplifiers feature beautiful warm, typically with no NR so teeth have surrender option to EQ to cattle the print master your mother for replication.
    [Show full text]
  • 1962 Phono Catalog
    iIGH FIDELITY rONE ARMS Shure FOR THE LATEST IN SHURE STEREO DYNETIC high-fidelity PHONO CARTRIDGES- stereo products SEE BACK COVER.. THE ALL-IMPORTANT SOURCE OF SOUND True high fidelity sourld re-creation, begrns at the source of sound. Just as SHURE PROFESSIONAL TONE ARM 1 Combines more important features than any other independent tone arm. 1 balance (without altering overall arm length), tracking force (0-8 grams), and overhang. Floats the needle over the record . smoothly-without "drag"- without "skipu-without unnecessary Cable-Plug Assembly (and ruinous) force. Furnished with cable Eliminates Soldering having plug on each end to simplify and speed up installation (eliminates soldering). 4TIONS: MODELS M232 - MDgfi PROFESSIONAL TONE ARM NET F 3E : TONE ARM M232, for 12" records. TONE ARM M236, for 16" reco-"- . .$31. Model A23H Extra Plug-In ED ACCESSORIES: Arm rest, M236-14%" long . .for Utmost Performance in superior high fidelity systems NEW -.JSTEREO- DYNETIC -PHONO CARTRIDGES featuring THE INCREDIBLY COMPLIANT N21D TUBULAR, DIAMOND S To meet the overwhelming demand for a separate stereo cartridge that will enable tracking at extremely low pressures (2-2% grams), Shure announces these worthy additions to the incomparable family of Stereo Dynetics. SPECIFICATIONS : D. C. Resistance: 280 ohms. Channel Separation: More than 20db Terminals: 4 terminals. Adaptable to at 1000 cps. 3 terminal arms. Frequency Response: 20 to 20,000 cps. MOUNTING: Standard W" and A'' centers. Output Voltage: 4 mv per channel at IOOOcps. STYLUS: .0007" diamond stylus, Load Impedance: 47,000 ohms' Model M7D Custom Stereo Dynetic cartridge Compliance: Vertical, Lateral 9.0 x 10-6 .
    [Show full text]