Punkt - linjekilde -

permorten

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Tommelfingerregel sier at lydtrykket faller med 6 db. pr. dobling av avstanden med point source, men 3 db pr. dobling med uendelig linjekilde.

Finnes det en kalkulator for mindre linjekilder f.eks 1,5 meter ? - ikke akkurat uendelig, kommer man langt nok unna blir 1,5 meter etterhvert punkt kilde

Altså størrelse på linjen / fall i db/ frekvens på gitt distanse ? blir er det noe med frekvens/ kilde lengde ? - men lytte avstand ?
 

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Det finnes en mengde info men nesten alt går på PA og frifelts prinsipper og målinger. Interessant tema. Jeg mener å ha lest at for å fungere som en linjekilde i typisk boligmiljø må lengden være min.1,6 m. men jeg kan ikke verifisere dette eller si noe om reduksjon i 3 dB gevinsten.


Pure line array theory is based on pure geometry and the thought experiment of the "free field" where sound is free to propagate free of environmental factors such as room reflections or temperature refraction.

In the free field, sound which has its origin at a point (a point source) will be propagated equally in all directions as a sphere. Since the surface area of a sphere = 4π r² where r is the radius, every doubling of the radius results in a four-fold increase in the sphere's surface area. The result of this is that the sound intensity quarters for every doubling of distance from the point source. Sound intensity is the acoustic power per unit area, and it decreases as the surface area increases since the acoustic power is spread over a greater area. The ratio between two acoustic pressures in deciBels is expressed by the equation dB = 20log(p1/p2), so for every doubling of distance from the point source p1 = 1 and p2 = 2, thus there is a sound pressure decrease of approximately 6 dB.

A line source is a hypothetical one-dimensional source of sound, as opposed to the dimensionless point source. As a line source propagates sound equally in all directions in the free field, the sound propagates in the shape of a cylinder rather than a sphere. Since the surface area of the curved surface of a cylinder = 2π r h, where r is the radius and h is the height, every doubling of the radius results in a doubling of the surface area, thus the sound intensity halves with each doubling of distance from the line source. Since p1 = 1 and p2 = 4 for every distance doubled, this results in a sound pressure decrease of approximately 3 dB.

In reality, dimensionless point sources and one-dimensional line sources cannot exist; however, calculations can be made based on these theoretical models for simplicity. Thus there is only a certain distance where a line source of a finite length will produce a sound pressure higher than an equally loud point source.

Interference pattern is the term applied to the dispersion pattern of a line array. It means that when you stack a number of loudspeakers vertically, the vertical dispersion angle decreases because the individual drivers are out of phase with each other at listening positions off-axis in the vertical plane. The taller the stack is, the narrower the vertical dispersion will be and the higher the sensitivity will be on-axis. A vertical array of drivers will have the same horizontal polar pattern as a single driver.

Other than the narrowing vertical coverage, the length of the array also plays a role in what wavelengths will be affected by this narrowing of dispersion. The longer the array, the lower frequency the pattern will control.[7] At frequencies below 100 Hz (wavelength of 11.3 ft) the line array which is less than approximately 3 meter long will start to become omnidirectional, so the system will not conform to line array theory across all frequencies.[11] Above about 400 Hz the driver cones themselves become directional, again violating the theory’s assumptions, and at high frequencies, many practical systems use directional waveguides whose behavior cannot be described using classical line array theory. In short, the geometry of real-world audio line arrays as used in public address systems can only be modeled approximately by line array theory, and only in the 100–400 Hz range.

High frequencies
Practical line array systems act as line sources only in the low- and mid- frequencies. For the high frequencies, some other method must be employed to attain directional characteristics that match those of the lows and mids. The most practical method for reinforcement systems is to use wave guides (horns) coupled to compression drivers. Each horn must have a very narrow vertical and a very wide horizontal dispersion.

Rather than using constructive and destructive interference, horns achieve directionality by reflecting sound into a specified coverage pattern. In a properly designed line array system, that pattern should closely match the low-frequency directional characteristic of the array. If the array's vertical dispersion is 60 degrees and there are 12 boxes, then each horn would need to have 5 degree vertical coverage. (Narrow vertical coverage has the benefit that it minimizes multiple arrivals, which would harm intelligibility.) If this is achieved, then the wave guide elements can be integrated into the line array and, with proper equalization and crossovers, the beam from the high frequencies and the constructive interference of the low frequencies can be made to align so that the resulting arrayed system provides consistent coverage.
 

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permorten

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Takk, dette var hva jeg søkte etter !
 

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Her er en formel som jeg har brukt til å regne på mine egne linjekilder.
I teorien så er bidraget "uendelig" om linjen er "uendelig" men i praksis så faller det av når man passerer en "normal" lengde på linjen:

 

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Linjekilder er interessante saker - skal lage meg et par som perfekt match til SLOB. Må bare finne de ultimate elementene for 150 - 2.500 Hz først.... Ikke enkelt.
 
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