Updated 12/16/2014
Table of Contents 1. Introduction 2. Menu Features 2.1. File Menu 2.2. Edit Menu 2.3. View Menu 2.4. Network Menu 2.5. Options Menu 2.6. Tools Menu 2.7. Help Menu 3. Getting Around Resolution 3.1. Array View Window 3.2. Venue View Window 3.3. Project Explorer Window 3.4. Properties Window 3.5. Surfaces 3.6. Frequency Response Window 4. Network Configuration View 4.1. Adaptive Systems Network 4.1.1. The Private Network 4.1.2. The DHCP Network 4.1.3. The Dante Controller 4.2. Going Online 4.3.
4.8.2. Meters Tab 4.8.3. Maintenance Tab 4.8.4. Temp Log Tab 4.8.5. Impedance Log Tab 4.8.6. Error Log Tab 4.8.7. Acoustic Measurements Tab 4.8.8. Adaptive Healing 5. Entering 3D Audience Areas 5.1. Modeling Basics 5.2. Surfaces 5.3. Options for Adding a New Surface 5.4. Adding a Balcony 5.5. Front of House Position 5.6. Adding a Stage 5.7. Adding Sides 5.8. Adding Corners 6. Working with Arrays 6.1. Adding an Array - Launching the Array Assistant 6.1.1. Array Settings 6.1.2. Coverage Goals 6.2.
7. Appendix 7.1. Anya Voicing’s 7.2. Exporting from Resolution into EASE 7.3. Upgrading Firmware on Adaptive Modules 7.4.
Section 1 - Introduction EAW Resolution™ 2 is a tool to assist sound system designers and engineers to select, configure, and implement EAW loudspeaker products. Resolution™ 2 predicts direct sound pressure level (SPL) in a ‘virtual’ venue. Signal processing can be applied in software, and the resulting frequency response calculated for ‘virtual microphones’ throughout the model.
Section 2 - Menu Features 2.1 File Menu A Resolution File contains venue and loudspeaker information. The following options are available from the ‘File’ drop-down menu: New - Creates a new Resolution File (clears all data in the current model). Open - Opens a Resolution (.eawresolution format) File. Save - Saves the current settings to currently open Resolution File. Save As… - Saves the current settings to a Resolution File under a new name. Import - Used to place previously-saved .eawvenue or .
Free View - Changes the Venue View screen to 3D view that can be rotated with the mouse. Side View - Changes the Venue View screen to show X and Z axis view. Top View - Changes the Venue View screen to show X and Y axis view Array View Window - Toggles visibility of “Array View” window, which displays physical configuration of array in section view. Project Explorer Window - Toggles visibility of “Project Explorer” window, which catalogs all loudspeaker and venue elements within the file.
2.4 Network Menu Connect - Poll network for all available devices. Refresh Network - Refreshes network connection on all available devices Disconnect - Discontinue network polling and disconnect from any connected network devices. 2.5 Options Menu Temperature and Humidity - Set the Temperature and Humidity of your venue. Changing these values will modify air absorption characteristics, and therefore resultant SPL on venue surfaces.
Note: ALWAYS READ AND ABIDE BY ALL RIGGING-RELATED WARNINGS AND INDICATIONS, INCLUDING USER MANUAL(S) AND PRODUCT-RELATED INSTRUCTIONS AND LABELS. FAILURE TO DO SO MAY RESULT IN INJURY OR DEATH. SI Units - All measurements are shown using the metric system US Units - All measurements are shown using the US system. Max SPL - SPL is measured as a maximum output per passband of a loudspeaker.
Keyboard Shortcuts - Allows user to confirm and/or modify keyboard shortcuts, or restore defaults. 2.7 Help Menu Help - Displays this help file. About - Displays the version of the software.
Section 3 - Getting Around Resolution Resolution is segmented into four major sections or “panes”: Array View Venue View Project Explorer Properties Note: The relative size of each pane can be easily adjusted by dragging the borders between panes. 3.1 The Array View Window Pane Overview The Array View is located on the left side of the main Resolution window.
depending on which unit system is selected) can be viewed by hovering the mouse over it. NOTE: It is the user’s responsibility to ensure that rigging above the flybar (also referred to as “above the hook”) is suitable for suspension of the stated loads. Several other features of the Array View are called out in the image below.
3.2 The Venue View Window The Venue View provides a visual representation of the loudspeaker arrays, venue geometry, and sound pressure level (SPL) mapping for a given system. Resolution can display this information in three different ways. Top View SPL is mapped onto each surface as viewed from directly above (“in plan”). In this mode, it is possible to zoom in or out, as well as scroll horizontally (in both the X- and Y-axis) by simply clicking and dragging.
Free View SPL is mapped onto each surface area, viewed in 3D. Users can manipulate the exact vantage point by using the mouse in combination with keyboard. In this mode, it is possible to zoom in or out, as well as to ‘orbit’ a center point in 3D by clicking and dragging. By holding the “Shift” key while clicking and dragging, this point can be shifted around the X-Y (horizontal) plane.
Main Toolbar A toolbar is also provided at the top of the window, allowing a number of Venue Window functions to be quickly accessed: Switch to Design View (currently selected) Toggle SPL On/Off Switch to Network View SPL (mic only) Add an Array Select Free View mode Clear All Mics Select Side View mode Unsolo All Arrays Select Top View mode Hide All Surfaces Zoom Out Lock Floors & Arrays Zoom In Reset View File and Edit Toolbar Two optional toolbars are available allowing access to additional q
3.3 The Project Explorer Window The Project Explorer Window provides a summary of all audience areas and EAW loudspeakers in the current model. Project Explorer Window Hierarchy This pane utilizes a tree organizational structure to allow the user to select which details are visible at any given time.
‘Pop Out’ Window Project Explorer Window Buttons Close Window Surface/ Venue List Loudspeaker/ Array List When the window is ‘popped out’, it can be placed anywhere on the screen. In addition to clicking on the button, users can also simply drag the window to a different location on the screen. The window can be ‘popped in’ or docked by dropping it into the ribbon on either side of the Venue window.
Load a Venue Preset - Allows the user to drop a preconfigured and saved venue preset into the model. Useful for when the venue remains the same but arrays will differ from show to show. Files are identified as .eawvenue extensions Save Venue Preset - If the current model is a venue that the user will frequent, the room can be saved independently as a venue file in the software and recalled at any time. Venue files do not include any array data.
Clone Arrays - Duplicate the current array and mirror or offset it. Launch Processing - Opens the processing window for the current array or module (depending on which Launch Processor button is selected). Allows access to Greyboxes, rear switch settings, parametric equalization, delay, gain, and highpass/low-pass parameters. If online with an Adaptive System, these functions are implemented in real time.
In almost all cases, these functions duplicate those provided by the icons directly to the right of Project Explorer items. The exception to this is as follows: Insert item above/below - Adds an item above or below the currently-selected array item. This may be a flybar, adapter bar, subwoofer, or line array module depending on the type of item currently selected. 3.4 The Properties Window The Properties area is divided into two columns. On the left is the property and on the right is the value.
Display Mode - Select the range of frequencies that will be plotted within the SPL map. Frequency - If 1/3 octave, 1 octave, or 3 octave range is selected, the user must select an appropriate frequency to be mapped. 3.5 Surfaces Once surfaces have been added to the venue, the actual dimensions and conditions of the surface will be adjusted in the properties pane. Clicking in the value column on the right side of the window will allow editing of the surface parameters.
Seated - The audience ear height is defined as 3.5 feet (approx. 1 meter) above the surface. Standing - The audience ear height is defined as 5 feet (1.5 meters) above the floor surface. Custom - Any custom value can be entered into the field. Hidden - Checking the “hidden” box will make the surface opaque and remove it from the SPL calculations. The surface will still be included in Array Wizard calculations -- if you wish to remove it from these calculations, delete it from the model.
3.6 The Frequency Response Window Resolution offers the capability of displaying the calculated frequency response at one or more locations in a venue - called ‘virtual microphones’ - representing the direct sound (without the effect of room acoustics) at that location. Additionally, it is possible to store these measurements, modify the model, and then compare to new measurements.
When “Show Snapshots” is selected, an additional pane is displayed: This pane adds the ability to store each microphone, give it a label and toggle visibility. To store a snapshot, single-click the lower right-hand corner microphone you wish to store, and then click Capture. Alternately, simply click Capture All to store all virtual microphones. The default label for each will then be “mic @”, followed by the (X,Y,Z) coordinate of the virtual microphone.
To export a CSV file containing the frequency response data, right click on the Frequency Response window and select Export to CSV. This will copy all frequency response data into a .CSV file which can be saves for analysis in third party programs such as excel.
Section 4 - The Network Configuration View The Network Configuration window provides control and monitoring of all Adaptive loudspeakers in the currently loaded Venue. All other loudspeakers (self-powered and passive) will be represented, but the current version of Resolution only supports control and monitoring of Adaptive products. This mode can also display the Array View, Project Explorer and Properties windows in addition to the list of Online Devices and the Arrays and Loudspeakers area.
Auto Identify Enabling the Auto Identify button will trigger the white LED indicator on an Adaptive Module or modules in an array to turn on when selected in the Online Devices list or in the currently assigned Anya/Otto arrays in the Venue window. Selecting a single Adaptive Module will turn the LED on that one module, selecting an array will turn on all the LEDS in that array.
number of modules included in the system. These switches do not include a DHCP server. Each Anya module includes an Audinate Dante Network Interface Card (NIC). If the module does not detect a DHCP server on the network, then all modules will default to the Private Network range of IP addresses and each module will select a unique IP address from the following ranges: Primary Network (in redundant networks) and non-redundant networks o IP Address Range: 169.254.###.### o Subnet Mask: 255.255.0.
4.1.2 The DHCP Network You may find it useful to add a network switch to your FOH position (two switches or a switch with redundancy for redundant networks) to connect your Dante enabled mixing console or outboard Dante on-ramp and your control and monitoring computer running Resolution 2. This can be particularly useful if it has an 802.11n wireless router allowing you to use a remote desktop app on a tablet or another notebook computer to make system adjustments from anywhere in the venue.
clicking Network on the Menu bar and selecting Connect. Resolution 2 will then search for any Anya devices on the network and displays them in the Online Devices list. This list will include your computer running Resolution 2. Anya Module Green indicates module assigned to modeled array and properly connected. Anya Module Orange indicates module out of sync with the Resolution model. Anya Module Black indicates module appears on the network but has not been assigned to any array in the model.
4.3 Assigning Physical Arrays/Modules to Modeled Arrays/Modules **EAW’s recommended best practice for Adaptive systems is to create your venue in the Design View and determine the optimum arrays needed to provide the coverage you will need prior to assembling, flying, energizing and connecting to the system. This will ensure you know how the Arrays will need to be configured.
A question mark indicates that no physical module has been associated with the module in the model. A Yellow box indicates a module that has gone offline. A Red box indicates a module previously assigned that was not found upon reconnecting to the Network. A box that occasionally flashes Green indicates the module is successfully communicating with Resolution.
4.4 Managing Arrays Once a physical Array has been associated with a modeled Array, the individual modules listed in the Array will be graphically arranged in Columns and a small square “indicator light” for each module. These indicators will periodically flash green to confirm that Resolution 2 has established active communications with each Anya module.
Right clicking an Adaptive module in an Array will open a menu with options to Insert Item Above, Insert Item Below, Unassign, or Remove Array Item.
4.5 Assigning Inputs Inputs may be assigned by double-clicking the name of an Array. This opens the Input Configuration dialog box where you can select how you will feed audio to the Anya System. Following are the available options based on the Mode you select Mode Master Dante Source Dante Channel None N/A N/A N/A Analog Select which physical Module is receiving the analog audio signal N/A N/A AES L Select which physical Module is receiving the AES/EBU audio signal (left AES channel).
4.6 Selecting Analog or AES Input Checking the On-ramp box tells the Adaptive Module to transmit the incoming analog or AES-EBU audio signal over the Dante network. Select which input you wish to use, Analog, AES L or AES R, then select which physical Adaptive module will receive the signal. All other modules in the Array will be automatically configured to receive the Dante audio signal from the transmitting module. No further input assignments are required for that Array.
4.7 Selecting the Net or Net Aux Input Un-check the On-ramp checkbox and select which Dante Network you want to use, Net Main or Net Aux, then select which Dante channel you want the Array to receive. This may be an Adaptive module transmitting an Analog or AES input or other Dante on-ramp source such as your Dante equipped digital mixing console. All other Adaptive modules in that Array will automatically be configured to receive the Dante audio signal from that source.
4.8 Adaptive Systems Diagnostics Window Any connected Adaptive module may be monitored and managed by doubleclicking the individual modules in each Array. This opens the Diagnostics window for the selected module shown below: 4.8.1 The Overview Tab The Diagnostics window opens to the Overview tab.
4.8.2 The Meters Tab The Meters tab displays the levels of each amplifier channel in real-time along with a Gain Reduction meter to indicate any system limiting. The meter is scaled in a “VU” format to emulate traditional analog metering. 4.8.3 The Maintenance Tab The Maintenance tab displays the current Amplifier Temperature (in SI or US units based on the settings in Resolution 2 Options), calculated Impedance, Amp Protect status and Amp Status for each amplifier channel in the module.
4.8.4 The Temp Log Tab The Temp Log tab displays a log of operating temperature of each amplifier channel over the previous 24 hours of run time with a Timestamp for each entry in the log. Temperature will be displayed in C even when US units is selected. This tab includes Fetch button to refresh the log Export button to export the log to a text file Import button to allow an exported file to be read.
4.8.6 The Error Log Tab The Error Log tab displays a log of any errors reported over the previous 24 hours of run time with a Timestamp for each entry in the log. This tab includes Fetch button to refresh the log Export button to export the log to a text file Import button to allow an exported file to be read. The Export and Import buttons are provided primarily to help EAW Support, Service and Engineering troubleshoot problems should they arise in the future.
4.8.7 The Acoustic Measurements Tab The Acoustic Measurements tab provides the Adaptive self-diagnostics functions. The window lists all the transducers with Solo, Sweep select box and Progress status for each transducer along with Calibrate, Measure and Cancel buttons. As with any dual FFT measurement system, performing Calibration and diagnostic Measurements should only be performed in a relatively quiet space. Excessive ambient noise can cause measurement errors and inconsistencies.
measurements in the future. Total time to complete the process for all transducers in an Anya module will be about 5 minutes. *Note: The noise burst stimulus will sound like a “popping” noise due to the extremely short duration. This is normal and should not be interpreted as any fault in the system. Measure Measure allows you to perform diagnostics to check the health of the Anya module.
In the event that a fault is detected within a specific module due to either an amplifier or transducer failure, Resolution gives the user the ability to exclude the faulty cells from the parameter calculation, optimizing the system for this condition. To heal around the failures, select Yes, exclude and recalculate, or select Ignore to proceed without adaptive healing.
Section 5 - Entering 3D Audience Areas Familiarize yourself with Resolution’s features by going over Section 3 - Getting Around Resolution before starting to model your venue. 5.1 Modeling Basics When you first open Resolution, you will be met with a very basic venue setup. This is a starting reference which will show a single, small surface and the Front of House mix position. Because we are working in 3D, it will be important to understand and remember the axis you will be working with.
your overall design result. Left-click and hold on the Front of House position to freely position it around the listening surface. Editing Surfaces As you hover your mouse over a surface, you will notice rectangular blocks that become visible on each side of the surface and squares that become visible on each corner. These blocks allow you to grab and alter the dimension of the surface.
The origin of the model is important to understand as it will have an effect on the flow of work. The direction you choose to take will impact where the origin lies. If you are only concerned with what’s happening in front of the arrays, you can simplify the build by starting your model at the origin. You may also use the origin to show the center of the room and build around that origin 360 degrees OR you can leave the origin with the arrays and still build behind it.
There are two options to choose from to determine what your surface is representing: The actual structure of the building (concrete or wood surfacing) The heads of the people in the audience (listening area). This option is much more advisable because the structure is not what we are concerned about when focusing loudspeakers. Our concerns lie with the impact to the listeners in the audience. For quick reference, a seated audience is roughly 3.5’ (1.
4. The next cell down is the Rotation Angle. In our simple model we will not need to rotate the surface, but in complex models this can be very handy especially when designing curved areas like the back of an arena. 5. Finally, there are two boxes that can either be checked or unchecked: Hidden - This is used when you want to omit the surface from SPL calculations. As an example, maybe you are only interested in viewing the main surface of a venue and there is a balcony in the way.
1. To add a surface from scratch, select the icon to the right of Venue in the Project Explorer pane. This will add a surface with the stating coordinates (0,0,0) in your Venue View. To save time, you could also right-click anywhere in the Venue View and select Add Surface. This will create a surface with the starting point located at where you right-clicked. You can then alter the properties of this new surface in the Properties pane, as we have done for the previous surface. 2.
X - Where will the balcony face begin along the X Axis? (enter 100’) Y - Where will the balcony face center along the Y-Axis? (leave at 0) Z - How high will the balcony be at its front edge on the Z-Axis? (enter 25’). Note that the offset in the Z axis is based on height of the previous surface. Since we raised our main surface on the Z axis by 3.5’, the cloned surface will also be increased by a further 3.5 feet to whatever value we enter. If we enter 25’, the balcony will raise 28.5’.
Now we can see a relatively basic venue setup comprised of two surfaces: a main surface and a balcony. These surfaces are representing the heads of the people so when we focus loudspeakers in the area, we know how the audience will receive the acoustical information. 5.5 Front of House Position One item that we should also consider altering is the position of the Front of House.
5.6 Adding a Stage 1. Start by adding a new surface to the model. This time to add a surface we will use the Add surface option in the Project Explorer window next to Venue. Simply hit the + button a new, generic surface will be added to the model. We will have to manually enter in the data for this surface and since we are using it to build a stage, some negative values will be used. 2. 3. 4. Once the surface is created, it automatically highlights and its parameters are shown in the Properties pane.
A typical stage Width is usually around 40’ in width so let’s enter that as our width. Hiding the stage from the SPL calculations is optional but locking the stage once it has been properly defined is a very good idea to prevent accidental changes to it. If all of the surfaces that you have created are locked, you can now freely rotate the model without any fear of accidentally dragging surfaces out of position or changing their dimensions. 5.
2. Next, we want to include a raked seating area at the back of the house to represent bleachers. In the Project Explorer in the venue area click on the green + button to create a new surface. The new surface will be displayed with the default name so we want to change the name to North Rake in the Properties Pane. X, Y, Z - Since the first surface was 200’ in length, set the X origin of the raked surface to 200’. The Y origin can remain at 0 since we are going to remain centered.
3. Next create a new surface in the Project Explorer pane. To keep track of the surfaces in our model, let’s call this surface the “West Rake”. To simplify a few things, we are going to work this surface in the Properties pane from the bottom up. This is because the Rotation Angle is taken from the center point of the surface, so when adding a Rotation Angle, the starting coordinates change. It is best practice to add the Rotation Angle first so you do not have to enter the starting coordinates twice.
button. If you click that button, you will be greeted with the clone window. You could also right-click on the West Rake and select Clone surface Since we are only cloning the surface and not repositioning it, we are only worried about using either an X mirror or a Y mirror. The X mirror will create an exact but opposite version of the surface placed along the X axis. The Y mirror will do the same across the Y-Axis.
5.8 Adding Corners Now that we have added rakes to our basic venue, you will notice that there are gaps left open at the corners. We will need to create rotated surfaces to cover these areas. 1. Start by cloning the North Rake because it has similar dimensions to what we need for the corners. Remember that we only need to actually position one corner because we can clone it to the other side when we have the first one positioned correctly. Clone the North Rake to mirror the X-Axis.
3. To create the East Corner, just clone the West Corner and mirror it across the xaxis. You have now completed a model of your venue. If you have forgotten to Lock your surfaces along the way, simply select the icon in the toolbar to lock all of your surfaces at once so you can free rotate around your model without accidentally moving any of your surfaces.
Section 6 - Working With Arrays After audience areas are entered, the next step is to add loudspeakers to the model. This can be accomplished quickly and easily using the Array Assistant. The Assistant can be used to add point-source, line array or Adaptive systems to the model. 6.1 Adding an Array - Launching the Array Assistant Upon initial start of the software, there will not be any arrays added to the model.
6.1.1 Array Settings Page The purpose of the Array Assistant is to allow the complex software in Resolution to determine the proper placement and aiming of the selected loudspeaker(s) based on data inputted by the user. Before launching the Array Assistant, a complete model of the venue should have already been designed. The first page of the Array Assistant allows you to give the Array a name, define the compliment of loudspeakers you intend to use and information about its physical location.
Loudspeakers Determine if the array or loudspeaker will be ground stacked or flown. Select the product that will be used at the top of your array from the dropdown menu labeled Top. Only products that have been selected in the Inventory Manager will be visible in this dropdown menu. Select how many elements of that product are available to form an Array. This is a number that the software will draw from.
of the model representing a center cluster. Plus and minus measurements are used to place the array at its real separated distance. Aim Direction - If there will be a predetermined azimuth for the loudspeaker or array, enter that value here and the model will consider the aim angle when deploying the loudspeaker or array. Space Restrictions Min Trim - To properly calculate the placement of the array, the software needs to know how low the array or loudspeaker can be suspended.
Array Options Allow Non-Incremental Splays - You can select or deselect the use of “NonIncremental Splays”. Some designers adhere strictly to a “spiral-array” approach of deploying line arrays. This means that the angles between enclosures will always increase from top to bottom. Others will allow the angles of the array to adapt to match the contour of the audience. If you choose to create spiral arrays, you would deselect this feature. Allow Front Splays - Front splays may also be selected.
Coverage Goal The first slider named Coverage Goal effectively controls the trim height of the loudspeaker or array. By flying higher and tilting down more, we can provide a more even coverage of the SPL front to back of the venue. This is not always desirable as it does raise the array away from the front of the audience. Certain types of music such as heavy metal may actually prefer to have the array quite loud at the front. This feature is limited by the available height in the venue.
6.3 Differences between Line Arrays and Anya Arrays in the Assistant When Anya is selected as the loudspeaker type, the Coverage Goals dialogue is slightly different than with a mechanically-articulated line array. Array Options and Coverage are replaced with just Coverage. The user is able to define a horizontal coverage angle requirement, as well as “coverage start” and “coverage stop” distances (along the X-Y plane) for each Anya column individually.
6.4 Working with Otto in the Array Assistant When Otto is selected as the loudspeaker type, the Array Settings dialogues are slightly different than with a mechanically-articulated line array or Anya. Space Restrictions Min Trim - To properly calculate the placement of the array, the software needs to know how low the array or loudspeaker can be suspended. The minimum trim indicates how low above the surface the loudspeakers can be suspended.
Rejection Goal - On the second page of the Array Assistant for Otto, the ‘Coverage Goal’ and ‘SPL Requirement’ sliders function as they do with all other arrays. A third slider has been added which allows the user to input a desired ‘Rejection Goal’. The ‘Rejection Goal’ slider allows the user to choose ‘Max SPL’, ‘Max Rejection’ or points in between to achieve an appropriate balance between rejection and SPL depending on the application.
6.5 Working with Otto in the Properties Window The properties window for Otto is unique in that it includes a ‘Rejection Goal’ drop down menu. The Rejection Goal percentage mirrors the functionality of the rejection goal slider found on the Array Assistant page. Max SPL corresponds to a rejection goal of 0% whereas Max Rejection corresponds to a rejection goal of 100%.
6.6 Working with Otto in the Array View Window The Array View window for Otto allows the placement of additional columns by right clicking on a module and using the Insert Column dialogue box. Ground Stacked Otto Arrays Flown Otto Arrays Insert column - As with other arrays, items can be inserted above and below existing array items by right clicking on them in the Array View, or in the perspective view.
6.7 Going Online With Otto When going online with Otto, Resolution presents the user with an Array Orientation promt. This window asks the necessary questions to determine how the Otto array is physically oriented with respect to the audience surfaces defined in the Resolution model. Choose Orientation – Select the orientation based on how the arrays are positioned, either Ground Stack or Flown.
Orientation Details – The orientation details dialogue will determine how the array as a whole is oriented, using the bottom, front, house left module as a reference. Has modules to the right will orient the array such that other modules in the array placed to the right of the bottom, front, house left module, or along the (y) axis. Has modules behind will orient the array such that other modules in the array are placed behind the bottom, front, house left module, or along the (x) axis.
6.8 Find Me (Trilateration) Trilateration provides users with the ability to “map” a venue in 3D utilizing only two Anya arrays, a computer running both Resolution and Smaart, and a measurement microphone. To utilize this feature, the following is needed: Two Anya arrays (i.e. stage-left and stage-right). At least one array must have two or more modules. The relative locations of the arrays (height and width) relative to one another must be known. A computer running both Resolution 2 and Smaart 7.
Enter the exact name corresponding to the transfer function (TF) configured in Smaart: For “Column 1” and “Column 2”, define the two columns to be used for the measurement. These should not be columns within the same array. For the best accuracy, using widely-spaced columns is suggested (i.e. Column 1 is stage-left and Column 2 is stage-right). It is also recommended that the user select columns that are horizontally aimed at the microphone position. After this is complete, click “OK”.
Step 2 The following dialog will be displayed: This indicates that the entire Anya system has muted. The user should verify this by applying the stimulus source (noise) to the system. No noise should be audible from the system. This confirms communication with all modules. Click “OK”. Step 3 The following dialog will be displayed: This indicates that a single cell from one column has been unmuted.
The user should now turn off the noise source and restore the original mixer levels. Once “OK” is clicked, the entire Anya system will unmute and return to its state prior to using the Find Me function. To define an entire venue, the user may wish to repeat this process several times, moving the microphone to a new location within the audience area and repeating these steps. Audience areas may then be drawn connecting these virtual microphones to form coverage areas.
Section 7 - Appendix 7.1 Anya Voicing’s Just as multiple “voicings” or tonalities (in the form of color-coded Greyboxes) are offered with EAW Microwedge loudspeakers, Anya offers users the choice of a variety of different tunings to suit different musical styles and engineer tastes. Below, the target response and a brief explanation are provided for each voicing.
Grey Compared to White, the Grey voicing provides a 1 dB low-frequency boost with a gradual high-frequency roll-off, reaching 4 dB at 10 kHz. Blue The Blue voicing provides a more significant 2 dB low-frequency boost, coupled with the same high-frequency roll-off as Grey, but with 2 dB more mid-frequency attenuation from 700 Hz to 8,000 Hz. This voicing is most suitable for high-SPL performances with significant upper-mid content.
Sapphire The Sapphire voicing combines the low-frequency boost and high-frequency attenuation of Blue, but with the addition of additional very high-frequency emphasis above 10 kHz for additional “air” and clarity. This voicing is especially suitable for high-quality audio playback (without the need for supplemental equalization), and was the result of feedback from a number of touring audio engineers. Summary The following figure illustrates all four previously-discussed voicings.
7.2 Exporting from Resolution into EASE In Resolution, select the tab of the array you wish to export in the ‘Project Explorer’ window. Select ‘Export EASE file’ from the ‘File’ menu. Note that if more than one array exists in the Resolution model, it is critical to select the specific array you would like to export. If the ‘Venue’ tab is selected in the ‘Project Explorer’ window, the ‘Export EASE file’ option will be unavailable (greyed out).
Next, the user must import the .XHN file created by Resolution into EASE Speaker Base. Open Speaker Base, and select ‘Import ASCII’ from the ‘File’ menu. Next, select a location to save the new loudspeaker files. Speaker Base will select a default project folder, so it is suggested that the user select a more familiar location for the new loudspeaker data. To do this, click on ‘Change Destination Path For All Files’ and indicate the desired location. EASE will place a number of files in this directory.
In the dialogue box, select ‘Check Speaker’ so that the ‘Checked’ field indicates ‘Yes’. You may also enter a name for the loudspeaker model. Click ‘OK’. Next, EASE requires you to run calculations on the data. These are accessed via the ‘Speaker Data’ function in the ‘Edit’ menu. This dialogue box can also be accessed quickly by pressing the ‘F4’ keyboard key.
In the ‘Speaker Data’ dialogue box, perform the following functions in order: 1. Compute Cone 2. Compute Directivity a. You may be asked if you wish to do this for all bands. Click ‘Ok’. 3. Compute Efficiency a. You may again be asked if you wish to do this for all bands. Click ‘Ok’. 4. Apply, and click ‘Ok’. These functions ensure that the correct directivity and output data is included in the loudspeaker model.
Once done with this, the final step is to save the correctly formatted and calculated loudspeaker. Simply select ‘Save’ from the ‘File’ menu. Speaker Base will save the data as a .SPK file, and will also include several other files sharing the name but using different extensions (.spk, .fed, .ffc, .frd, .fvt, .fwm, and .lob). It is critical that all of these files are kept together.
other loudspeaker. Remember that the loudspeaker (representing your array) should be positioned in the model at the pick point, as indicated in Resolution. While any tilt will be included in the data exported from Resolution (the EASE object should be left at 0 degrees vertical), it will be necessary to horizontally aim the array within EASE as appropriate.
7.
Select the firmware file (.
Select the Anya modules you wish to upgrade (or select all): Select Upgrade Firmware: The upgrade is complete when the status indicates ‘Finished’. The status will return to ‘Ready’ about 30 seconds after it has finished.
7.4 Further Resolution Support Resources For further assistance in using Resolution 2, please contact the Application Support Group: Application Support Group Eastern Acoustic Works One Street Whitinsville, MA 01588 Tel: 508-234-6158 or 800-992-5013 http://www.eaw.com/contact asg@eaw.
