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Introduction....................................................................................
Section A
5 Stages in PA System............................................................................................
Section B
5 Design Levels in PA System...............................................................................
Section C
5 Design Considerations in PA System................................................................ 17
Section D
5 Design Steps of a PA System............................................................................. 23
Section E
Advancement in the PA System Industry............................................................. 37
Section F
Component Selection Guide...............................................................................
Microphone Selection Guide...................................................................................
Power Amplifier Selection Guide...........................................................................
Line Supervisory Selection Guide.........................................................................
Loudspeaker Selection Guide................................................................................
Product References Table
45
46
47
48
50
Section G
Design Template.....................................................................................................
Design Level 1...............................................................................................................
Design Level 2...............................................................................................................
Design Level 3...............................................................................................................
Design Level 4...............................................................................................................
Design Level 5...............................................................................................................
Estimating Equipment Rack Space Requirement...........................................
63
64
66
68
70
74
78
Page
Section H
Installation Guide....................................................................................................................
Cable Specification................................................................................................................................
Conduit & Trunking Specification.....................................................................................................
Testing & Commissioning....................................................................................................................
Common Challenges Faced During Installation.........................................................................
Maintenance..............................................................................................................................................
79
80
80
81
86
88
Section I
PA System - Overall System Specifications...........................................................
89
Glossary
...................................................................................................................................................... 119
Introduction
Over the recent years, Public Address System has been evolving to cater for the many new demands in
managing the audio signal paths. These new demands are mainly to facilitate the operators of different
types of buildings and complexes to perform more complex simultaneous broadcasting of different
paging, digital announcements and background music. Moreover the increase in demand of the Public
Address System to serve as a life-saving and emergency evacuation system has also spurred innovations in these systems.
The purpose of this book is to simplify the complexity of the Public Address System that is now
commonly used. It also attempts to explain the easy-way on how to design Public Address System from
basic applications to the more complex ones.
Section A 5 System Stages in PA system
With all the sections mentioned above, we hope that this manual provides a comprehensive guide
for design engineers in designing and specifying PA Systems. For further design assistance, please
visit our website at www.aexsystem.com or contact your nearest AEX System representative.
AS 60849
BS EN 60849
IEC 60849
JGJ/T16-92
GB/T50314-2000
DIN EN 60849
SS CP 25
Section
A
5 Stages in PA System
5 Stages in PA System
Introduction to
Section A
Systemstage
The equipment in a typical PA System can always be categorized into 5 different stages.
The understanding of the purpose and function of each stage can provide the engineer
with a basis to start building a PA System.
The 5 stages of a PA System are:
Systemstage
Input Sources
Systemstage
Systemstage
Power Amplifier
Systemstage
Systemstage
Loudspeakers
The 5 System Stages outline the flow of data in a Public Address System from the Input
Sources, where information is received, to the Loudspeakers where information is
relayed to the listener.
Section
5 Stages in PA System
A
5 Stages in PA System
Systemstage
Input Sources
Systemstage
Preamplifier &
Signal Management
Emergency Microphone :
Emergency Handheld
Microphone
Mixer Amplifier
Paging Microphone :
Desktop
Microphone
Matrix Remote
Microphone
eMatrix
Programmable Preamplifier
Digital Matrix
Sound Management System
Remote Paging
Console
20-Zone Remote
Microphone
BGM Sources :
Tuner
Cassette Desk
CD Player
At Stage 2, the audio signals are received and amplified from the input
sources to a level suitable for the power amplifiers. This stage also manages
the input signals depending on their different priority levels. The equipment
required varies according to the number of inputs and outputs as well as
whether simultaneous broadcast is required.
Emergency Microphone
Used during emergencies for manned evacuation (Highest Priority)
Paging Microphone
Used for general paging and announcement (2nd Highest Priority)
Digital Source Player
Used for the playback of a selection of prerecorded digital
messages upon trigger (3rd Highest Priority)
Background Music (BGM) Sources
Examples are Digital Source Player, CD Player, Cassette Player and
Radio Tuner (Lowest Priority)
In a PA System, the Priority Control of the above sources are very
important. Therefore all input sources should be identified and
ranked in order of priority. This is to ensure that only the most
important information (i.e. emergency evacuation) is broadcasted
through the system when required.
Fibre Optic Transciever
This unit caters for the designing and implementation of long
distance solutions.
Section
Power
Amplifier
Systemstage
Control &
Monitoring
Systemstage
Loudspeaker
VOLUME
Mixer Amplifier
Spring Mounted
Ceiling Loudspeaker
Wall Mounted
Loudspeaker
Foreground Music
Loudspeaker
Foreground Music
Loudspeaker
Horn Loudspeaker
Bidirectional
Surface Mounted
Wall Loudspeaker
Aluminium Column
Loudspeaker
Wooden Column
Loudspeaker
5 Stages in PA System
Systemstage
Audio Atteunator
Sound Reinforcement
Loudspeaker
Line Array
Loudspeaker
STAGE 5 : Loudspeaker
During the power amplification stage, the preamplifier signal from stage 2 is amplified to a 100V line to
drive the loudspeakers. Public Address amplifiers
differ from the ordinary amplifier as they have one
additional input for the Priority signal to override
both Paging & BGM during emergencies. They can
also be powered by DC battery power in the event of
a power failure. Power amplifiers differ from each
other by output power capacity and type, such as:
Mixer Amplifier
This unit combines both the preamplifier & power
amplifier in one package.
Section
This section simplifies the design of PA System into 5 different Design Levels. These
levels range from a basic Plug & Play design (Design Level 1) to a more complex
digital system which encompasses Early Emergency Evacuation System with long
distance audio transmission over fibre-optic as an option (Design Level 5). The understanding of these 5 Design Levels can provide the design engineer an easier task to
choose a particular design level to suit his project at hand.
The main differences of these 5 Design Levels is in the signal management of the preamplifier stage.
The System Features, Technical Features and Applications will be discussed for each
level. The system levels mainly differ at the Preamplifier and Signal Management Stage.
Section
Design Level 1 systems are inherently standalone, desktop Public Address systems. With its combination of preamplifier and power
amplifier, the system is easy to configure and use. Applications for this systems are limited to small setups such as restaurants, small
retail outlets and small offices.
Characteristics of a Design Level 1 system are as below;
Applications :
F & B Outlets
Health & Fitness Clubs
Number of
Input Sources
Preamplifier &
Signal Management
Power Amplifier
Number of
Loudspeaker
Fixed
Analogue Signal
Management - Single
Audio Output
Fixed
Not Available
Limited
Retail Outlets
No Automated Evacuation
Capabilities
As shown in the table above, Design Level 1 systems have a fixed number of input sources as the preamp modules are built into the
equipment, thus it is not possible to add additional sources should they be required. Design Level 1 systems are based on analogue
technology with a single audio output and fixed amplification power rating. Having a fixed amplification power rating also limits the
number of loudspeakers that can be connected to the system.
Due to the small and simple nature of the system, Control & Monitoring equipment are limited or not required altogether. The example
below depicts a typical Design Level 1 system.
Input Sources
Loudspeaker
Desktop Microphone
Mixer Amplifier
CD Player
System Features
Simplicity Of Use
The combination of preamplifier and power amplifier gives the system
Plug & Play functionality.
Minimal Integration of Equipments
The connection of a loudspeaker line & microphone makes the PA
System ready for use.
Desktop Application
An equipment rack is not necessary for system setup.
Technical Features
Applications
Small Offices
10
Master Volume
Retail Outlets
Schools
Place of Worship
Small & Medium Scale
Offices
Preamplifier &
Signal Management
Power Amplifier
Number of
Loudspeaker
Fixed
Analogue signal
management - Dual
simultaneous audio output
Variable
Available
Unlimited
No automated evacuation
capabilities
As depicted above, the system still has a fixed number of input sources and is based on an analogue technology. Utilizing analogue
technology posses a limitation on the number of simultaneous outputs the system is capable of, Design Level 2 systems are usually
confined to 2 simultaneous audio outputs at once, catering for Background Music and Paging.
However with the preamplifier separated from the Power Amplifiers, this allows for a variable amplification power rating, where power
amplifiers can be added in accordance to the requirements. This feature thus allows the number of loudspeakers connected to the system
to be unlimited as amplifiers can always be added to accommodate additional loudspeakers. The example below depicts a typical Design
Level 2 system;
Input Sources
Preamplifier &
Signal Management
Power Amplifier
Loudspeaker
Applications :
Section
To compensate for the Design Level 1 systems fixed amplification power that is built as an all in one package, Design Level 2 systems are
based on a preamplifier unit separated from the power amplifiers. Design Level 2 systems are also capable of integrating with control and
monitoring equipment and are usually applied in small and medium scale offices, factories and schools among others.
Paging Microphone
Paging Console
Communication Panel
Paging
Line Selector
BGM
Programmable Preamplifier
BGM
Emergency Microphone
Power Amplifier
System Features
Technical Features
Applications
Schools
Places of Worship
Small & Medium scale Offices
Factories & Workshops
11
Section
Design Level 3 systems are based on a modular mixer Preamplifier & Signal Management. Unlike Design Level 2 systems, this allows
the system to have a variable number of input sources which can be increased or decreased to suit an application. With its flexibility in
being a modular system, Design Level 3 systems can be configured for multichannel input sources suiting applications such as hotels
and factories.
Applications :
Higher Learning
Institutions
Place of Worship
Office Buildings
Large Scale Factory
Preamplifier &
Signal Management
Power Amplifier
Number of
Loudspeaker
Variable based
on user
requirements
Analogue Signal
Management - Multiple Audio
input and output
Variable
Available
Unlimited
No automated evacuation
capabilities
Government Building
Supermarkets
Hotels
Public Transport
Stations
Shopping Mall
Museums
As depicted above, the system has a variable number of input sources. Similar to Design Level 2 systems, a Design Level 3 system is
based on an analogue technology. Due to its modularity, a system with multiple inputs and outputs can be configured.
Multiple audio inputs and outputs are suitable for applications that require different background music and even announcements to be
broadcasted to different zones. The system also allows for a variable amplification power rating, where power amplifiers can be added
in accordance to the requirements. However the Design Level 3 does not allow simultaneous paging of microphones.
The example below depicts a typical Design Level 3 system;
Input Sources
Preamplifier &
Signal Management
Power Amplifier
Loudspeaker
Program Timer
Paging
VOLUME
Paging
Line Selector
Paging Console
Communication Panel
BGM
Modular Mixer System
Emergency Microphone
BGM
Power Amplifier
System Features
Modular Architecture
Modularity provides the flexibility to configure the system to the needs
of the user without the extra cost of unused inputs or outputs. It also
allows for future expansion of additional inputs and outputs.
Configurable Into a Multi-Channel Preamplifier
This system provides the flexibility to add multiple input sources (more
than Design Level 2) which suit installations such as hotels and
factories.
Technical Features
Applications
Hotels
Place of Worship
Office Buildings
Shopping Mall
Museums
12
Government Building
Supermarkets
Intelligent High-Rise
Buildings
Exhibition &
Convention Centres
Hotels & Resorts
Number of
Input Sources
Preamplifier &
Signal Management
Power Amplifier
Number of
Loudspeaker
Variable based
on user
requirements
Programmable Digital Signal Management Multiple audio input and output with
simultaneous paging capabilities.
Variable
Available with
multi-system interfacing
Unlimited
As depicted above, a Design Level 4 system or more commonly referred to as a matrix system in the industry is based on a digital Preamplifier & Signal Management. The system works by converting all analogue input sources into the digital domain for management and routing
to their appropriate zones. This allows for simultaneous paging of multiple microphones at the same time to different zones.
Theme Parks
The system also allows integrating with other ELV systems such as Close Circuit Television (CCTV) systems, fire alarm panels and intrusion
alarm systems by providing control input as well as output trigger signals to externals systems.
Multi Campus
Universities
Sport Complexes
Public Transportation
Airport
Ferry Terminal
Railway Station
MRT
Input Sources
Preamplifier &
Signal Management
Power Amplifier
Control &
Monitoring
Loudspeaker
Mixed Developments
(Shopping Mall, Hotel,
Office)
Section
Applications :
Design Level 4 systems are based on digital signal Preamplifier & Signal Management. This allows for multiple simultaneous audio paging
& broadcast, controlled by software configuration. Running in the digital domain also allows a host of programmable functions such
automated operation with time scheduling, self-diagnostics and multi-system interfacing. Multi-system interfacing is essential in most
modern facilities as it allows all the Extra Low Voltage (ELV) systems ie; security systems, fire alarm systems, CCTV systems, etc. In a
building to be integrated providing better value to building owners. Applications for Design Level 4 systems are mixed developments,
intelligent high-rise buildings, hotels and shopping malls.
Department Stores
Zone amplifiers
Digital Matrix
Sound Management System
Matrix Remote Microphone
Integrated
Supervisory Unit
Zone amplifiers
(or)
Zone amplifiers
Analogue Handheld
Microphone
eMatrix
Zone amplifiers
Power Amplifier
Digital Source Player
Addressable Fire
Alarm System
System Features
Simultaneous Paging & Broadcast
The system allows multiple inputs with a combination of paging, BGM &
digitally prerecorded messages to be simultaneously broadcasted to a
maximum of 128 zones. The audio routing patterns can be modified at
any time through the use of an intuitive GUI.
Remote Zone Paging Up to 1.2 km
The system has Remote Microphone functionality which performs
remote zone paging away from the equipment rack. Digital communication reduces microphone cabling by 80%, thus reducing cabling cost.
Technical Features
Multi-System Interfacing
The system is able to interface with other building services such as fire
alarm, security, and management systems as well as a master clock to
ensure time synchronization.
Modular Architecture
Modularity provides the flexibility to configure the system to the needs
of the user without extra cost in unused inputs or outputs. It also allows
for future expansion of additional input sources, output zones, to
receive external triggers and provide control to other systems or
devices.
Windows Based GUI
A simple to use Windows based graphical user interface provides ease
of system configuration and monitoring with 2 levels of password
protection to prevent unauthorized access to the system.
Applications
Mixed Development
(Shopping Mall, Hotel, Office)
Sport Complexes
Public Transportation
Airport
Ferry Terminal
Railway Station
MRT
Theme Parks
Department Stores
13
Section
Applications :
Mixed Development
(Shopping Mall, Hotel,
Office)
Intelligent High-Rise
Buildings
Multi Complex
Manufacturing
Facilities
Design Level 5 systems are able to conduct fully automated evacuation procedures. Often referred to as Early Evacuation Systems (EES)
matrix in the industry, these systems are capable of providing voice instructions informing building occupants what to do during an
emergency depending on where they are relative to the threat.
Applications for Design Level 5 systems are mixed developments, intelligent high-rise buildings, hotels, shopping malls and wide spread
facilities.
Characteristics of a Design Level 5 system are shown below;
Number of
Input Sources
Preamplifier &
Signal Management
Power Amplifier
Number of
Loudspeaker
Variable based
on user
requirements
Programmable Digital Signal Management Multiple audio input and output with
simultaneous paging capabilities
Variable
Available
Unlimited
Exhibition &
Convention Centres
Hotels & Resorts
Theme Parks
Multi Campus
Universities
Under normal operating conditions the Design Level 5 system is very similar to a Design Level 4 in terms of its digital matrix capabilities.
Design Level 5 system also allows integration with other ELV systems such as Close Circuit Television (CCTV) systems, fire alarm panels
and intrusion alarm systems by providing input sensors as well as output trigger signals to externals systems. During an emergency, the
system will provide an automatic simultaneous voice assisted evacuation. These evacuation procedures are progressive in nature aimed
at managing the flow of human in the fire-escape.
The example below depicts a typical Design Level 5 system;
Input Sources
Preamplifier &
Signal Management
Control &
Monitoring
Power Amplifier
Loudspeaker
Zone amplifiers
Digital Matrix
Early Evacuation
Management System
Zone amplifiers
Analogue Handheld
Microphone
Zone amplifiers
DS 202
DS 202
Emergency Panel
Power Amplifier
Addressable Fire
Alarm System
System Features
Technical Features
Phased Evacuation
In the event of an internal hazard such as a fire, gas leak or bio-hazard, the
system is capable of conducting a phased evacuation. The evacuation
message will start from the source zone, and progressively be broadcast
to adjacent zones until the whole building is evacuated.
Time Scheduler
Optimum Evacuation
In the event of an external hazard such as bomb threat or collapse of an
adjacent building, the system is capable of evacuating building
occupants in an optimal manner to minimize evacuation time and
minimize casualties.
Automatic Simultaneous Voice Assisted Evacuation
This system achieves optimal evacuation by broadcasting multiple
simultaneous messages.
Manual Voice Assists Evacuation
The system displays the areas that have been automatically evacuated
and allows Firemen to conduct a manual evacuation of remaining areas
via microphone & line selector.
14
Applications
Mixed Development
(Shopping Mall, Hotel, Office)
Intelligent High-Rise Buildings
Multi Complex Manufacturing Facilities
Exhibition & Convention Centres
Hotels & Resorts
Theme Parks
Multi Campus Universities
Expandable based on
users requirement
Expandable based on
users requirement
Expandable based on
users requirement
Preamplifier
& Signal
Management
Unable to conduct
simultaneous paging
and BGM.
Supports expandable
inputs but limited to 2
outputs. Unable to
conduct simultaneous
paging.
Power Amplifier
Limited and
unexpandable.
Expandable in
accordance to
requirement.
Control &
Monitoring
Capable of interfacing
with some control and
monitoring equipment.
Conducts digital
self-diagnostics and
automatic response to
system faults.
System integrity is of
paramount importance,
system capable of dual
redundancy and also
reports diagnostic faults
via internet.
Loudspeaker
Loudspeakers capable
of a minimal level of
accepted clarity.
Better frequency
response loudspeakers
with bass supplements
for BGM.
Automated
Evacuation
Not Available
Capable of manually
conducted ALL CALL
voice evacuation.
Capable of simultaneous
digitally recorded
paging.
Input Source
Section
Applications
Hotels
3 Stars
4 Stars
5 Stars
Airports
Domestic/Small
International
Education Institution
Schools
Universities
Multi-campus Uni.
Hospitals
Small Scale
Large Multi-block
Sports Facilities
Indoor Stadium
Outdoor Stadium
Swimming Complex
Veledome
Apartments
Exhibition Centers
Military Facility/Camp
Shopping Complex
F&B Outlets
15
Section
Introduction to
Section C
Design
Consideration
Design
Consideration
Signal Management
Design
Consideration
Design
Consideration
Design
Consideration
Technology Involved
Design
Consideration
User Friendliness
17
Preamplifier &
Systemstage
Power
Amplifier
Systemstage
Control &
Monitoring
Systemstage
VOLUME
Loudspeaker
PA Zone
iX 151
PA Zone
iX 151
Integrated
Supervisory Unit
(LA 08)
iX 101
PA Zone
Cassette Desk
1
PA Zone
FT 811
DS 202
PC
Battery Changer
Fire Alarm
Battery
PA Zone
PA Zone
Building Management /
Information System
PA Zone
Intercom System
Security System
Design
Consideration
Signal Management
CD Player
Cassette Deck Player
AM / FM Tuner
When to broadcast the Pre-Recorded Broadcast options:
Continuous broadcasting
Automatic routine broadcast during the day
MD Player
Outdoor zones
Floor-by-floor zoning defines zone by floor. They are divided
based on the following:
One zone per floor
Sub-zone for rooms on the same floor
Staircase as a separate zone
- Fire Hazard
Early Evacuation for fire hazard and other building threats
- Bomb Threat
- Neighbouring Building on Fire
- Bomb Threat from Neighbouring Building
Input Sources
Preamplifier &
Signal
Management
Control &
Monitoring
Loudspeaker
Zone 1
Remote Paging
Console
CP 102
Power Amplifier
Section
20 nos.
CM 361 @ 3W
Paging
Line Selector
BGM
Power Amplifier
Cassette Deck
Zone 2
20 nos.
CM 361 @ 3W
Zone 3
25 nos.
CM 361 @ 3W
Zone 4
30 nos.
CM 361 @ 3W
priority levels
First in first serve priority
Microphone queuing
Paging management:
Input Sources
Preamplifier &
Signal
Management
Power Amplifier
Control &
Monitoring
Loudspeaker
Zone 1
Zone 1
20 nos.
CM 361 @ 3W
Power Amplifier
paging
Zone 2
Zone 2
BGM management:
1 BGM across all zones
Different BGM for different zones
Automatic BGM switching at different time of the day
Automatic BGM level at different time of the day
Communication between PA systems:
Paging stations from first PA system can page the second
PA system
Paging stations from first PA system can select specific
Power Amplifier
Matrix Remote
Microphone
Cassette Deck
Zone 3
Digital Matrix
Sound
Management System
Power Amplifier
Zone 4
20 nos.
CM 361 @ 3W
Line S upervisory Unit
Zone 3
25 nos.
CM 361 @ 3W
Zone 4
Power Amplifier
30 nos.
CM 361 @ 3W
19
Design
Consideration
System Monitoring
& Integrity
Design
Consideration
Integration with
other Systems
20
Design
Consideration
Technology
Involved
User Friendliness
5.1 Installation
This section refers to hardware installation. Easy to install hardware will
reduce unnecessary costs by minimising human error and installation
time. Below are a few examples of installation friendly features a
designer should consider:
A spring-mounted ceiling loudspeaker takes less installation time
than a screw-mounted ceiling loudspeaker.
Minimisation of remote microphone cabling decrease the
possibility of human installation error.
A Printed Circuit Board (PCB) backplane modular system that
eliminates all jumper cutting is always easier to install compared
to a hard-wired modular system.
5.2 Configuration
This section refers to the matrix software configuration. It is important
to have a user friendly Graphic User Interface (GUI) to simplify the
configuration steps. An intuitive configuration wizard will enable the
user to configure the system with minimal coaching.
Design
Consideration
Section
5.4 Maintenance
Design engineer should also consider future maintenance requirements
during the design stage. Here are a few basic pointers to follow:
Loudspeakers installed at a convenient height or location will
allow future service to be carried out with little difficulty.
Spring-mount ceiling loudspeakers are easier
compared to screw-mount ceiling loudspeakers.
to
service
Section
Designstep
Designstep
Designstep
Designstep
Designstep
Designstep
Each step would involve identifying requirements and equipment for each stage of the
PA System (discussed in Section A).
23
Designstep
Designstep
Designstep
10 nos. CM 361 @ 3W
20 nos. CM 361 @ 3W
Digital Matrix
Sound Management System
5 nos. FG 415 @ 23W
Analogue Handheld
Microphone
10 nos. FG 415 @ 23W
Power Amplifier
Addressable Fire
Alarm System
Designstep
Analogue Handheld
Microphone
Adressable Fire
Alarm System
24
Designstep
Section
Designstep
Designstep
20 nos. CM 361 @ 3W
Designstep
Section
10 nos. CM 361 @ 3W
Digital Matrix
Sound Management System
25
Section
Designstep
After plotting the loudspeaker and designing the signal management section, the design
engineer can calculate the power amplifier sizing, this determines the amount of power amplifiers needed for the system. It is always good practice to allow 15% to 20% headroom for all the
power amplifiers used. This headroom is to allow for any loudspeaker line loss and future
loudspeaker addition purpose.
Power Amplifier
All the power amplifiers shall be supported by a standby amplifier. Ideally, for every 5 duty
amplifiers one standby amplifier should be provided as a backup. The standby amplifier rating
shall follow the highest rating amplifier among the 5 duty amplifiers. Any faulty amplifier among
the five duty amplifiers should be switched to the standby amplifier. This can be accomplished
using the automatic amplifier changeover unit that switches both the input signal and 100V
output signal.
Amplifier sizing is greatly dependant on the number of speakers and the power tapping. Once
the speakers have been selected and plotted, the amplifier sizing can be calculated based on
the speaker quantity and power tapping.
7.5W
1.5W
Office
3W
Cafeteria
Common Area
Take the sample floor plan above. Assuming a functional area zoning, the following zones can
be identified;
Zone 1 - Office
Zone 2 - Common Area
Zone 3 - Cafeteria
Once the zones have been identified, depending on the design level selected (as discussed on
pg15) the amplifier sizing will be calculated. Both configurations will be discussed below
starting from the conventional method using line selectors and the matrix configuration ;
Conventional System Amplifier sizing
Step 1 : Identify the quantity and tapping of speakers in each zone and list them out as shown
below.
Step 2 : Because the system is split by line selectors, a single amplifier is typically used to
power all the zones collectively. In this case total power required:
75W = (18ceiling speakers x 1.5W) + (6ceiling speakers x 3W)
+ (4Foreground speakers x 7.5W)
Adding a 20% headroom to allow for a power tapping increase or having additional loudspeakers will equal to a requirement for 90W, thus a suitable amplifier sizing would be one capable
of catering for a 100.8W load, for example a 120W Amplifier unit.
26
Step 1 : Identify the quantity and tapping of speakers in each zone and list them out as shown
below.
Zone3, Cafeteria;
Step 2 : Because the system requires an individual amplifier for individual zones, the power
requirement of the individual zones will have to be calculated.
Zone 1
Zone 2
Zone 3
Adding 20% headroom to allow for a power tapping increase or having additional loudspeakers
will result in the following:
Zone 1
Zone 2
Zone 3
The matrix amplifier sizing is calculated based on an amplifier per zone sizing without the use
of speaker line selectors.
Section
Designstep
: 27 + 20% = 32.4W
: 18 + 20% = 21.6W
: 22.5 + 20% =27W
With the calculated power requirements, appropriate amplifiers can be allocated to the
individual zones.
60 W Amplifier
Zone3, Cafeteria;
60 W Amplifier
Designstep
After determining the power amplifiers needed, the design engineer will be required to
provide for the visual and aural monitoring of the power amplifiers. This consists of a VU
meter (visual monitoring) and built-in speaker (aural monitoring).
Loudspeaker line monitoring is another important aspect of control & monitoring. There are
two methods of monitoring a loudspeaker line, the DC method and the AC method. The
difference between these two methods is illustrated in Section F Line Supervisory Equipment
Selection Guide (page 48). The DC method loudspeaker line monitoring is more suitable for
small scale projects where the loudspeaker quantity per zone is less, while the AC method is
more suitable for high speaker quantity zones. Both these loudspeaker line monitoring
devices are to be placed between the amplifiers and the first loudspeaker of the zone.
For Design Level 4 or 5, the design engineer must also monitor the Matrix System which can
be accomplished via its event log. This event log can be transmitted over the Internet when
the optional Internet Connectivity Panel is used.
Finally, the design engineer would have to calculate the total power consumption of the entire
PA System based on the quantity of equipment used and design a suitable battery backup
system complete with an automatic battery charger.
27
Section
Designstep
There are 2 types of power requirement to be calculated for a PA System, namely the AC
Power Requirement and the DC Battery Supply which is used to provide the secondary
supply requirements.
AC Mains Power Requirements
It is important to determine the total system AC Mains power requirements to ensure that
adequate supply is rating are allocated.
The first step would be to identify all the equipments that require power supply from the AC
mains supply. Some equipments do not connect directly to the AC Mains but through a low
voltage DC Power Supply unit.
These information can be obtained from the equipments user manual or technical datasheet.
Technical Specifications
PB 106
PB 112
PB 124
PB 136
20 Hz to 20 kHz
20 Hz to 20 kHz
20 Hz to 20 kHz
20 Hz to 20 kHz
Optional Accessory
Connection Diagram
In the example above the PB 106 60W Power Amplifier consumes 200VA. Using the formula
for Power (VA), the current required for a single unit of amplifier can be calculated.
The example below is calculated based on a 240 Vac application.
P = VI
200 = 240 x I
I = 200/240
I = 0.833 Amperes
Once all the AC current of a single unit have been calculated, this can easily be multiplied by
the total number of similar amplifiers.
Technical Specifications
PB 106
PB 112
PB 124
PB 136
20 Hz to 20 kHz
20 Hz to 20 kHz
20 Hz to 20 kHz
20 Hz to 20 kHz
Optional Accessory
Connection Diagram
28
24 Vdc
P = VI
200 = 24 x I
I = 200/24
I = 8.33 Amperes
For the total DC current, multiply the DC current requirement of a single unit with the total
number of identical units and add the current requirements for all the other equipment would
The Backup Batteries are usually specified in Ampere Hours (aH). For example if battery
backup is only required for a single 60W amplifier for an hour. The battery specification should
read;
24Vdc, 8.33AH Battery backup.
This ensures that the battery is capable of supplying 24Vdc at 8.33A for an hour.
Using the formula for Power (VA), the current required for a single unit of amplifier can be
calculated as follows.
Section
Designstep
29
Section
Classification of Sound
It is important to classify sound to ensure that building owners are able to identify, distinguish and establish the quality of
sound in which to install into their building. While certain areas in a building might require good sound quality other areas
might just require a configuration capable of producing clear speech announcements.
The Classification of Sound provides a quantitative approach to defining sound quality and aid the design engineer in specifying suitable sound classes to suit the various areas in a project.
There are 4 classes of sound with each sound class consist of 4 main components, namely; Loudness, Sound Coverage,
Speech Intelligibility and Frequency Response.
CLASS A
CLASS B
CLASS C
CLASS D
+ 12 dB
+ 12 dB
+ 9 dB
+ 9 dB
Sound Coverage
< +/- 3 dB
< +/- 3 dB
3 dB ~ 6 dB
3 dB ~ 6 dB
RaSTI
0.60 ~ 0.74
0.60 ~ 0.74
0.45 ~ 0.59
0.45 ~ 0.59
20 Hz ~ 20 kHz
75 Hz ~ 18 kHz
85 Hz ~ 16 kHz
600 Hz ~ 10 kHz
Loudness
Freq Response
(minimally)
Class A Sound
Class A Sound provides music and speech reproduction of the highest quality. Countless research has shown that a top
quality sound is an integral part of customers' experience, with sound quality able to affect customers' perception of a
company's product and services.
Class A sound stresses on covering the whole frequency response curve sufficiently, usually utilizing subwoofers and high
quality tweeters to ensure crisp clear sound with a full enveloping bass response.
Class A sound applications: hotel main lobby, music halls, bars, restaurants, caf.
Class B Sound
Class B sound emphasizes on providing even coverage with good speech intelligibility. Class B sound configuration is still
able to re-produce an acceptable quality of background music, however less emphasis is placed on the low-end frequency
range.
Class B sound configurations are usually deployed in hotel corridors, shopping malls and transportation hubs.
Class C Sound
A Class C sound provides a balance between cost and sound quality. Providing adequate coverage with speech clarity and
sound pressure level appropriate for acceptable background music reproduction and clear announcements during emergencies.
Class C sound requires loudspeakers that are designed to reproduce the human voice spectrum and BGM. As there is less
emphasis placed on providing seamless coverage, there are cost saving benefits derived from deploying fewer speakers.
Class C sound configurations are usually deployed at areas along the path of human traffic such as stairwells, corridors,
washrooms and offices.
Class D Sound
Class D sound are suitable for areas where announcements are priority. Class D sound is not suitable for music reproduction.
Emphasis is instead placed on delivering a life saving announcement with sufficient speech clarity, intelligibility and loudness
to areas with high ambient noise.
Class D sound requires loudspeakers that are able to minimally reproduce the human voice frequency spectrum for only
announcement and evacuation. Placements of the loudspeakers minimally cover work areas such as back-of-house areas,
mechanical rooms and workshop.
30
1. Loudness
55
65
70
80
60
60
65
55
70
65
65
75
60
80
Home (Urban)
Bedroom
Living Room
Hospital
Audiometric Room
Operating Theatre, Single Bed Ward
Multi-bed Ward, Waiting Room
Corridor, Laboratory
Wash Room, Toilet, Kitchen
Staff Room, Recreation Room
Industrial
Warehouse, Garage
Workshop (Light Machineries)
Workshop (Heavy Machineries)
Learning Institution
Classroom, Lecture Theatre
Laboratory, Workshop
Corridor, Gymnasium, Cafeteria
In order for a public address broadcast to be audible to the listener, the SPL at the listening level should minimally
be 6 dB higher than ambient noise. For example, in an office area where the total ambient noise (incl. human noise,
air conditioning, office equipment, etc.) is 50 dB, the public address system shall be able to produce an SPL of 56
dB at listening level. The requirement for the SPL difference between ambient & produced sound signal can be 10
dB in cases where better sound quality is required ie. Conference Room, Hotel Ballroom or Lecture Theatre. Below
is a list of typical noise level found in some common public areas. The list provides only an approximate guide to the
system designer while keeping in mind that the value may be different from actual due to human and environmental
factors.
Section
45
50
40 - 45
50 - 55
55
55 - 60
55 - 65
50 - 60
40
50
55
60
50
55
60
75
65 - 70
65 - 75
70 - 85
45 - 55
55 - 60
55 - 65
60 - 65
70 - 80
55 - 60
65 - 75
31
Section
Public Buildings
Court Room
Assembly Hall
Library, Bank, Museum
Washroom, Toilet
Swimming Pool, Sports Arena
Garage, Car Park
Church
Shopping Mall
Walkway & Corridor
Retail & F&B Outlet
Car Park
Concourse Area
Stadium
Guest Entrance
Guest Foyer
45 - 50
50 - 55
55
55 - 65
45
45
50
55
60
75
45
55
60
75
75
50
55
55
65
70
- 50
60
70
80
90
60 - 65
65 - 70
55 - 60
60 - 70
60 - 75
Transportation Depot
Off Peak Period (no incoming transport)
Off Peak Period (with incoming transport)
Peak Period (no incoming transport)
Peak Period (with incoming transport)
32
50
55
60
65
55
65
65
75
Section
dB
-6
-9.5
-12
-14
-15.6
-16.9
10
11
12
13
14
15
-18
-19.1
-20
-22.3
-22.9
-23.5
-20.8 -21.6
dB drop over
= 20 log10 D
distance, D
90dB
1m
84dB
2m
(-6dB)
78dB
4m
(-12dB)
As the listener moves away from the loudspeaker, the SPL will drop and the audio would be perceived as getting softer and softer.
Power to the loudspeakers must be increased to compensate for the SPL drop to maintain teh required 10dB above ambient noise
level. The table below indicates the SPL drop over distance and is derived from the formula:
Speaker
at 1w
90dB
1m
Speaker
at 4W
96dB
1m
7.5
dB
+3
+6
+7.8
+8.8
10
11
12
13
+11
+11.8
78dB
4m
84dB
4m
+18.8
dB increase over
= 10 log10 P
power, P
33
Section
2. Sound Coverage
A good sound system design shall have an even coverage through out the intended listening area. Thus, ideally when the listener
walks in a same direction with the loudspeaker arrangement, away from the 1st loudspeaker towards the 2nd loudspeaker, the
difference in SPL shall not audible. As the human ear is difficult to perceive two different loudness if the difference in SPL is not more
than 3 dB, ideally, the design shall only have an SPL difference of 3 dB through out the intended listening area.
To achieve this criteria, the effective coverage angle of the loudspeaker to be used must be known. The effective coverage angle
would be the angle where the SPL drops by 6 dB measured off-axis. With that, the next loudspeaker is placed where the coverage
area intersects at the listening plane. The resultant of two sources of equal loudness at the intersection will increase the SPL by 3 dB,
thus making the on-axis & off-axis SPL difference only 3 dB.
60
1.155 dL
65
1.274 dL
70
1.4
75
1.535 dL
3. Speech Intelligibility
Speech Intelligibility is an index of measure for the ability of the listener to hear the vowels & consonants correctly in order
to identify the words and sentence structure. A sound system with sufficient SPL need not necessary be intelligible to the
listener, as occasionally we do face the scenario that it may be loud but not understandable to the listener.
Factors that affect intelligibility include:
The spectrum for speech is approximately 100 Hz 8 kHz and intelligibility is mostly concentrated in the 2 kHz and 4 kHz
band. Thus, the system must be able to minimally reproduce the above frequencies. Factors which affect the frequency
response of the system includes poor source (ie. microphone or digital message player) and loudspeaker quality, boundary
effect caused by loudspeaker placed near to walls and interaction between loudspeakers.
Loudspeaker Directivity
The use of loudspeakers with high directivity is important in highly reverberant areas to provide control of the coverage area,
avoiding excessive sound from reaching the walls and ceiling to minimise multiple reflection paths.
Sound reflections mask direct sound reaching the listener, thus affecting speech intelligibility in levels depending upon
reverberation time and the level of reverberant field.
34
dL
1.0s - 1.2s
1.2s - 1.5s
Good intelligibility should be achieved though loudspeaker type and location become important.
> 1.5s
1.7s
Limit for good intelligibility in large spaces (distributed systems) eg. shopping malls, airport terminals.
> 1.7s
Directional loudspeaker required. (Churches, multipurpose auditoriums and highly reflective spaces).
> 2s
Very careful design required. High quality directional loudspeaker required. Intelligibility may have
limitations. (Concert halls, churches, treated sports halls / arenas).
> 2.5s
Intelligibility will have limitations. Highly directional loudspeaker required. (Large churches, sports
halls, arenas, atriums, enclosed railway stations and transportation terminals).
> 4s
Highly directional loudspeakers required and located as close to the listener as possible. (Very large
churches, cathedrals, mosques, large and untreated atria, aircraft hangars, untreated enclosed ice
sports arenas / stadiums).
Reducing the distance between listener and loudspeaker reduces the sound energy that arrives at the unintended reflection
surfaces, causing less reflections and lower levels of reverberation.
Results
Excellence intelligibility should be obtained.
Section
RT 60
< 1s
These are some useful guidelines on how to improve the intelligibility of a sound system :
Provide a line-of-sight between the loudspeaker & listener.
Minimise the distance between the loudspeaker(s) & listener.
Ensure adequate system bandwidth (at least 250 Hz ~ 10 kHz).
Avoid frequency response anomalies and correct unavoidable peaks with appropriate equalization.
Avoid mounting loudspeakers at corners.
Avoid long path delays (> 45 ms)
Use directional loudspeakers in reverberant spaces.
Ensure that speech SNR is at least 6 dB (preferably > 10 dB)
Ensure a conducive place for microphone placement, away from noise & reflection paths, mounted vibration-free.
Below is a list of objective measures techniques for speech intelligibility:
One of the first assessment method developed to measure intelligibility in telephone communications, AI rates the effects of
noise on speech with range of 0 (no intelligibility) to 1 (100% intelligibility) by methods of calculation based on measurements
of the spectrum of the interfering noise and desired speech signal with the use of a real time spectrum analyzer.
This measurement technique, developed in the 1970s, is based on the calculation of the D/R (Direct to Reverberant) ratio. A
high D/R ratio represents good intelligibility. A %Alcons measurement begins with an impulse response, normally displayed
as a log-squared response or ETC (Energy Time Curve), and examines the ratio between early energy, late energy & noise.
A major limitation of this method is that it only uses the 2 kHz band where majority of loudspeaker systems directivity vary
with frequency, thus unable to determine the overall response of the system.
The most common measure is C50 which takes as its ratio the total energy occurring within the first 50 ms to the total sound
energy of the impulse response. A well defined scale has not been developed but a value of around +4 dB C50 would be
recommended for good intelligibility in an auditorium or a similarly large acoustic space. Limitations of this method includes
the lack of a defined scale, frequency limitations and does not take account of background noise.
STI was developed as a measurement method (in contrast of %Alcons developed primarily as a predictive technique) which
considers the source/room/listener as a transmission channel and measures the reduction in modulation depth of a special
test signal as it traverses the channel. STI takes account of both reverberation and noise effects when assessing intelligibility.
With the availability of signal processing equipments, it is possible to directly measure the modulation reduction from obtaining the impulse responses at various test signals and even amplitude modulation that occurs in natural speech, hence
compute the STI for speech or music.
35
The frequency response of the system is the ability of the system to reproduce the entire audible frequency spectrum of 20
Hz to 20 kHz without any signal discolouration. A wider frequency response with good linearity would result in a better sounding system, important for foreground music applications such as music playback or vocal performances.
The frequency response of the system depends on every equipment in the entire audio chain: the input sources, signal
management equipments, power amplifiers and loudspeakers. Other factors that affect the frequency response of the system
includes the program material, boundary effect caused by loudspeaker placed near to walls and interaction between
loudspeakers.
The spectrum for speech is approximately 100 Hz to 8 kHz and intelligibility is mostly concentrated in the 2 kHz to 4 kHz
band. Thus, the system must be able to minimally reproduce the above frequencies for speech intelligibility.
The frequency response of the loudspeakers selected for an application should also be taken into consideration. When
designing a system, the steps that should be followed are;
1.) Identify the application of the sound system for the area (Paging, BGM, FGM etc.)
2.) Check the Frequency Response requirements for the specific Sound Class (see Sound Classification).
3.) Select the loudspeaker that is able to achieve the desired Frequency Response.
For example if an area has been identified for a Class A sound which requires a Frequency Response of 20Hz to 20kHz, as
shown in the example below, solely using ceiling speakers would not provide an overall frequency response of 20Hz to
20kHz. In order to reinforce the lower frequencies, a subwoofer unit is to be specified into the design to complement the
ceiling speakers.
Ceiling loudspeaker
65Hz
20kHz
36
Subwoofer
20Hz
285Hz
20Hz
20kHz
Section
Introduction to
Section E
This section aims to provide the design engineer with an overview of the PA System
industry and its current trends. With an understanding of the technologies available and
the general direction of the industry, a PA system can be effectively designed to
leverage on technology effectively and not solely for the sake of being high tech.
37
Section
Medium of Transmission identifies the various methods of transmission of audio and data between the components of a system.
There are 3 main Medium of Transmission Categories which are Copper, Network Audio and Fibre Optics.
E
Signal Management
Analogue
Digital
Medium of Transmission
Copper
Network Audio
TCP/IP
Proprietary
Networks
Fibre Optic
Multimode
Single
Mode
Analogue Systems
These systems are based on an analogue signal management to conduct the priority switching and pre-amplification of all
the input sources. The Design Level 2 system below is an example of such a system.
Paging Microphone
Paging Console
Communication Panel
Paging
BGM
Programmable Preamplifier
BGM
Emergency Microphone
Power Amplifier
As shown above, the system receives audio signals from the input sources and based on an analogue switching mechanism
routes the signal to the audio amplifiers. Analogue systems have a huge disadvantage when simultaneous audio output are
required to the various zones in a building as cabling tremendously increases and audio routing becomes more complicated.
Advantages
Limitations
38
Digital Systems
Section
Similar to analogue systems, digital systems are connected via copper cables as well, however all the audio signals are converted into
the digital domain for signal management. The diagram below depicts a Design Level 4 digital system. As shown in the diagram the
digital signal manager is capable of routing various audio signals to different zones in the application simultaneously. This is accomplished with a digital audio matrix bus, allowing for simultaneous paging as well as differing background music to various zones.
Zone amplifiers
1000
0010
1010
1000
0101
1001
0101
0111
Zone amplifiers
Integrated
Supervisory Unit
Zone amplifiers
Analogue Handheld
Microphone
Zone amplifiers
Power Amplifier
The digital matrix is suitable for projects such as office towers, stadiums, hotels, shopping malls and all forms of commercial projects
that requires a centralize system within a building that complies with building fire regulations and safety standard.
Advantages
- Capable of simultaneous broadcast allowing to cater to most commercial projects and high-rise buildings.
- Digital signal management allows for flexibility in configuring various applications
- Complies to building safety standards and regulations for safety and evacuation sound systems such as; EN 60849, IEC 60849,
CP 25, SANS 60849, etc.
Limitations
- Systems spread over a wide area requiring multiple simultaneous background music broadcast incurs a high cabling cost.
39
Section
Network Audio is a method of transporting audio and data in the digital domain from either one point to another point (Unicast) or
from one point to many points (Multicast). These systems are mainly connected to the network via CAT5e cable as its main physical
medium of transport. A Network system is particularly useful for applications where a large number of input sources are required to
be transmitted to multiple locations simultaneously.
Network PA Systems are divided into 2 main groups of systems based on the protocol they utilize.
As shown in the chart, systems either run on TCP/IP Protocol or proprietary Network Audio protocols.
TCP/IP Protocol
TCP/IP is a standard protocol utilized by the Internet and Local Area Networks (LAN). A Network PA System running on
TCP/IP protocol would be able to route digital audio through a standard Ethernet-switched LAN accordingly. A typical
TCP/IP Network PA would generally consist of the following components;
Modem
Matrix Remote
Microphone
Modem
INTERNET
Zone1
Ethernet switch
Network Signal Manager
Network Power Amplifier
Zone2
Source selector
& volume control panel
Ethernet switch
Network Microphone
@ remote location
PC Station
- PC Paging
- Configuration
& Monitoring
Office Workstation
Legend:
CAT5e Cable running TCP/IP Protocol
Copper cable with analogue signals
As shown in the diagram above, a Network PA System works by converting the analogue audio signals into the digital
domain and routing it to the individual amplifiers located throughout the project via the LAN. These routing is based on the
IP address assigned to the packets. Utilizing the TCP/IP packet protocol also allows the audio data signals to be routed via
the internet. In order to reuse the existing infrastructure of data network, Virtual LAN (VLAN) technology is recommended to
categorize appropriate collision domain in separating current data network from the newly attached audio network.
Once the digital audio signals are received by the network amplifiers, they are then converted back to analogue and amplified to cater for the 100V line analogue speakers attached to it. The system can also feature remote source selectors and
volume controls enabling the end user to change the music sources to the zones when needed.
While there are cost saving advantages for applications spread out over a wide area, however sharing the LAN resources
for transferring audio data for the PA System as well as data from the PC terminals on the LAN exposes the Network PA
System to lag due to network latency especially during peak usage.
These latencies and lags due to high network traffic are a huge disadvantage, especially during an emergency where critical
announcements are to be made. Also during an emergency, a network failure could prove more disastrous than a mere
failure to retrieve ones email.
Advantages
-
Disadvantage
40
Proprietary Networks
Proprietary network
decoder
Source selector
& volume control panel
Ethernet switch
Network Microphone
@ remote location
PC Station
- PC Paging
- Configuration
& Monitoring
Proprietary network
encoder
Legend:
CAT5e Cable running proprietary Protocol
Copper cable with analogue signals
Ethernet switch
Example of some of the proprietary Audio Network protocols available in the market are Cobranet and EtherSound. Without running
TCP/IP protocol, these Audio Networks are unable to travel through routers and are therefore limited to use on a LAN.
Section
An alternative to the TCP/IP protocol are the proprietary network systems. These are systems that consist of a combination of software,
hardware and proprietary protocols for delivery of the digital audio packets. These systems are designed for better efficiency and lowlatency digital audio over a standard Ethernet network. These system usually require a dedicated LAN network separated from the data
and computer LAN infrastructure.
While being flexible and easy to deploy, Audio Networks often have very high hardware cost for the devices that encode and decode the
proprietary protocols. Also even with running a dedicated LAN for the PA system, audio networks are still prone to latency during
transmission which may cause a decrease in audio quality due to the lost of discarded data. Further delays are also introduce when
converting back and forth from analogue to digital over the LAN, for a live saving announcements where real-time announcements are
imperative, these delays can be unacceptable.
Advantages
-
Multiple non-emergency audio broadcast solution for decentralized solutions (ie: Audio Visual projects).
Flexible for re-configuring.
Ease of monitoring online.
Cost savings on laying copper cabling although minimal.
Disadvantage
- Limited by a networks distribution constrain, ie; CobraNet and most proprietary audio networks are limited to a maximum
length of 700m through 6 network switcher hops.
- High cost of procuring the proprietary network protocol encoder and decoders.
- The installation maybe be subjected to very costly proprietary cable requirements.
- Not comply with any building safety regulations.
- System integrity greatly depends on the LAN and the IT Server that it is connected to.
- Subjected to lag and network latency due to heavy network traffic.
- Not suitable for building PA system applications.
41
Section
Fiber-optic transmission allows for long distance audio and control signals transmission. This usually involves a transceiver that
converts the analogue audio to digital format and transmits to another transceiver. There is a common misconception that fiber optics
are always better regardless of the application, to the extend that systems that requires inter-equipment fiber-optic cabling are
preferred. It is even possible to connect analogue systems via fibre-optics utilizing transceivers that accept analogue audio inputs.
Fiber-optic transmission are usually applicable for connecting local systems between buildings, Mixed Developments that are
spread over a wide area and where cross building paging is required.
For high-rise applications, where all equipment are housed in a common area, fiber-optics becomes an unnecessary cost factor as
its doesnt serve its purpose of long distance transmission. There are 2 main categories of fibre optics namely Multimode and Single
mode fibre-optics.
Multimode fiber is best designed for shorter transmission distances and is suited for use in LAN systems and connecting local
systems between buildings with a distance between 2-4km apart. Single-mode fiber is best designed for longer transmission
distances, making it suitable for long-distance integration of up to 20km.
Multimode
Fibre-optic
2 ~ 4km
1
Matrix Remote
Microphone
Multimode
Fibre-optic Transceiver
Multimode
Fibre-optic Transceiver
Matrix Remote
Microphone
Main Campus
Sub-campus
The example depicts a multi-campus university application, whereby a Multimode fibre-optic solution can be used to
integrate the campuses together for cross paging during an emergency.
Singlemode
Fibre-optic
up to 20km
1
Singlemode
Fibre-optic Transceiver
1
Matrix Remote
Microphone
Singlemode
Fibre-optic transceiver
Matrix Remote
Microphone
Sub-station 1
Main Terminal
Singlemode
Fibre-optic
up to 20km
Singlemode
Fibre-optic transceiver
Matrix Remote
Microphone
Sub-station 2
The example depicts a railway transport application. With the all the substation being a significant distance away from each
other, a Singlemode Fibre-optic solution would be able to integrate the systems together. This form of integration allows the
main terminal to provide paging and automatic messages to the sub-stations.
Advantages
Disadvantage
42
Section
Introduction to
Section F
45
35
Priority Activation
(via Pin 5 at
Output Terminal)
Remote Zone
Selection /
Nos. of Zones
Built-In Chime /
Type of Chime
Section
F
Component Selection Guide
Sensitivity
Signal Type
(with recommended
cable size)
ME 1
- 72 dB
Unbalanced
20 m
Yes
No
No
MH 1a
- 76 dB
Unbalanced
20 m
No
No
No
MH 2a
- 73 dB
Unbalanced
20 m
No
No
No
MP 1
- 55 dB
Balanced
80 m
Yes
No
No
MC 1
- 50 dB
Balanced
80 m
Yes
No
MC 2
0 dB
Balanced
1.2 km
Yes
No
MR 102
0 dB
Balanced
1.2 km
Yes
Yes / 20
MS 201
0 dB
Balanced
1.2 km
Yes
Yes / 10
MS 202
46
Max Cable
Distance
0 dB
Balanced
1.2 km
Yes
Yes / 20
Yes / 4-types
(4-tone / 2-tone /
Gong / Siren)
On / Off Switch
Yes / 4-types
(4-tone / 2-tone /
Gong / Siren)
On / Off Switch
MS 204
0 dB
Balanced
1.2 km
Yes
Yes / 40
Yes / 4-types
(4-tone / 2-tone /
Gong / Siren)
On / Off Switch
MS 210
0 dB
Balanced
1.2 km
Yes
Yes / 100
Yes / 4-types
(4-tone / 2-tone /
Gong / Siren)
On / Off Switch
1 ~ 24W
25 ~ 48W
49 ~ 96W
96 ~ 192W
193 ~ 288W
289 ~ 384W
10k ~ 417
416 ~ 208
207 ~ 104
103 ~ 52
51 ~ 35
34 ~ 26
Model
Section
MA 103
MA 106
MA 112
PB 106
PB 112
PB 124
PB 136
PA 406
PA 412
PA 224
PA 148
Priority Input
(for Emergency
Overriding)
Yes
No
Automatic Changeover
(to Stanby
Amplifier)
Yes
No
LA 08
(Integrated
Supervisory
Unit)
AC 08
(Amplifier
Changeover
Unit)
Model
MA 103
MA 106
MA 112
PB 106
PB 112
PB 124
PB 136
PA 406
PA 412
PA 224
PA 148
47
Section
F
Component Selection Guide
DM 10
Line Monitoring Unit
SL 04
Line Supervisory Unit
SL 08
Line Supervisory Unit
LA 08
Integrated Supervisory
Unit
10 Zones
4 Zones
8 Zones
8 Zones
DC Monitoring
Impedance
Measurement
Impedance
Measurement
Impedance
Measurement
Yes
No
No
No
Yes
No
No
No
High
Low
Low
Low
No
Yes
Yes
Yes
No
Yes
Yes
Yes
No
Yes
Yes
Yes
No
Yes
Yes
Yes
No
Yes
Yes
Yes
No
Yes
Yes
Yes
No
No
No
Yes
DC Monitoring
Power Amplifier
Pre
Amplifier
DM 10
Line Monitoring Unit
Ceiling Loudspeaker
2.) Requires
installed.
an
End-of-line
resistor
Impedance Measurement
Power Amplifier
DC Blocking
Capacitor
Section
Power Amplifier
Pre
Amplifier
Pre
Amplifier
SL 04 / SL 08
Line Supervisory
unit
LA 08
Integrated
Supervisory
Unit
Audio
Attenuator
The impedance method of monitoring the speaker lines are technologically superior to the DC Method. The
impedance method allows for branching of the speakers and does not require DC blocking capacitors or the
End-of-Line resistor to be installed. The units are also capable of monitoring beyond audio attenuators.
As for the Integrated Supervisory Unit, it goes beyond line monitoring and incorporates amplifier monitoring and
changeover facilities. This provides a total monitoring solution that is easily configured and setup.
49
Applications
30~45
Ceiling Loudspeaker
46~60
61~75
Loudspeaker
Spacing
2.5~3.0 3.0~3.5
Section
CE 531M
CE 532
CE 532M
CE 561
CE 561M
4 m2 ~ 11 m2
2 m ~ 3.4 m
4 m2 ~ 8 m2
2 m ~ 2.8 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
4m ~8m
2 m ~ 2.8 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
4m ~8m
2 m ~ 2.8 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
4m ~8m
2 m ~ 2.8 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
3W
4 m2 ~ 8 m2
2 m ~ 2.8 m
6W
8 m2 ~ 11 m2
2.8 m ~ 3.4 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
4 m2 ~ 8 m2
2 m ~ 2.8 m
1.5W
3W
1.5W
3W
1.5W
1.5W
3W
1.5W
3W
1.5W
3W
Splashproof Ceiling
Loudspeaker
CS 562E
Splashproof Ceiling
Loudspeaker with Enclosure
CS 562M
Splashproof Ceiling
Loudspeaker with Mesh
CS 562ME
Splashproof Ceiling
Loudspeaker with Mesh
and Enclosure
CM 361
8 m ~ 11 m
2.8 m ~ 3.4 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
4 m2 ~ 8 m2
2 m ~ 2.8 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
4m ~8m
2 m ~ 2.8 m
8 m2 ~ 11 m2
2.8 m ~ 3.4 m
4 m2 ~ 11 m2
2 m ~ 3.4 m
4 m2 ~ 8 m2
2 m ~ 2.8 m
6W
8 m2 ~ 11 m2
2.8 m ~ 3.4 m
1.5W
4 m2 ~ 11 m2
2 m ~ 3.4 m
3W
4 m2 ~ 8 m2
2 m ~ 2.8 m
6W
8 m ~ 11 m
2.8 m ~ 3.4 m
1.5W
4 m2 ~ 11 m2
2 m ~ 3.4 m
3W
4m ~8m
2 m ~ 2.8 m
6W
8 m2 ~ 11 m2
2.8 m ~ 3.4 m
1.5W
4 m2 ~ 11 m2
2 m ~ 3.4 m
3W
4 m2 ~ 8 m2
2 m ~ 2.8 m
6W
8 m ~ 11 m
2.8 m ~ 3.4 m
1.5W
4 m2 ~ 11 m2
2 m ~ 3.4 m
1.5W
3W
1.5W
3W
3W
4m ~8m
2 m ~ 2.8 m
6W
8 m2 ~ 11 m2
2.8 m ~ 3.4 m
1.5W
4 m2 ~ 11 m2
2 m ~ 3.4 m
50
2.8 m ~ 3.4 m
CM 461
8 m ~ 11 m
6W
CS 562
1.5W
6W
CE 562M
3W
6W
CE 562
CE 531
3W
4m ~8m
2 m ~ 2.8 m
6W
8 m2 ~ 11 m2
2.8 m ~ 3.4 m
Applications
30~45
CM 611
4 m2 ~ 8 m2
2 m ~ 2.8 m
10W
8 m ~ 31 m
2.8 m ~ 5.6 m
2.5W
4 m2 ~ 31 m2
2 m ~ 5.6 m
5W
4 m2 ~ 8 m2
2 m ~ 2.8 m
10W
8 m ~ 31 m
2.8 m ~ 5.6 m
30~45
46~60
61~75
Loudspeaker
Spacing
4 m2 ~ 48 m2
2 m ~ 6.9 m
5W
18 m ~ 31 m
4.2 m ~ 5.6 m
10W
31 m2 ~ 48 m2
5.6 m ~ 6.9 m
Coverage Area
per Loudspeaker
Loudspeaker
Spacing
4 m2 ~ 12 m2
2 m ~ 3.5 m
4 m2 ~ 12 m2
2 m ~ 3.5 m
Ambient Noise
(dB)
Applications
30~45
46~60
61~75
Distance from
Listener (m)
1.0~2.0 2.0~3.0
1W
2W
4W
6W
WM 662
1W
2W
4W
6W
WM 862
1W
2W
4m ~8m
2 m ~ 2.8 m
8 m2 ~ 12 m2
2.8 m ~ 3.5 m
4 m2 ~ 12 m2
2 m ~ 3.5 m
4 m ~ 12 m
2 m ~ 3.5 m
4 m2 ~ 8 m2
2 m ~ 2.8 m
8 m ~ 12 m
2.8 m ~ 3.5 m
4 m ~ 12 m
2 m ~ 3.5 m
4 m2 ~ 12 m2
2 m ~ 3.5 m
4m ~8m
2 m ~ 2.8 m
8 m2 ~ 12 m2
2.8 m ~ 3.5 m
4 m2 ~ 12 m2
2 m ~ 3.5 m
4 m ~ 12 m
2 m ~ 3.5 m
4W
4 m2 ~ 8 m2
2 m ~ 2.8 m
6W
8 m ~ 12 m
Coverage Area
per Loudspeaker
2.8 m ~ 3.5 m
Loudspeaker
Spacing
1.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
2.5W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
5W
49 m ~ 133 m
10W
5W
147 m ~ 300 m
21 m2 ~ 300 m2
12.1 m ~ 17.3 m
7.5W
21 m2 ~ 133 m2
4.6 m ~ 11.5 m
10W
147 m ~ 300 m
12.1 m ~ 17.3 m
15W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
Ambient Noise
(dB)
Applications
30~50
51~70
71~90
Distance from
Listener (m)
3~5
Room, Ballroom)
Paging
Horn Loudspeaker
Section
2 m ~ 5.6 m
5W
Applications
Wall
Mounted Loudspeaker
4 m2 ~ 31 m2
CX 811
265mm Metal Grille Spring
Mounted Coaxial Ceiling
Loudspeaker
61~75
2.5W
CM 811
46~60
Loudspeaker
Spacing
5.5~10 10.5~15
RH 061
RH 085
RH 103
7 m ~ 11.5 m
4.6 m ~ 17.3 m
5W
21 m ~ 300 m
4.6 m ~ 17.3 m
7.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
15W
21 m ~ 41 m
4.6 m ~ 6.4 m
30W
49 m2 ~ 133 m2
7 m ~ 11.5 m
51
Applications
30~45
Aluminium Column
Loudspeaker
46~60
61~75
Distance from
Listener (m)
3~5
Coverage Area
per Loudspeaker
Loudspeaker
Spacing
5.5~10 10.5~15
Section
VA 450
VA 415
VA 430
VA 430
VA 415
VA 450
3.8W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
7.8W
21 m ~ 300 m
4.6 m ~ 17.3 m
15W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
7.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
15W
21 m ~ 41 m
4.6 m ~ 6.4 m
30W
49 m2 ~ 133 m2
7 m ~ 11.5 m
12.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
25W
21 m2 ~ 133 m2
4.6 m ~ 11.5 m
50W
147 m2 ~ 300 m2
12.1 m ~ 17.3 m
Ambient Noise
(dB)
Applications
30~45
Wooden Column
Loudspeaker
46~60
61~75
Distance from
Listener (m)
3~5
Coverage Area
per Loudspeaker
Loudspeaker
Spacing
5.5~10 10.5~15
VW 515
VW 530
VW 515
VW 530
VW 650
3.8W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
7.5W
21 m ~ 300 m
4.6 m ~ 17.3 m
15W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
7.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
15W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
30W
49 m ~ 133 m
7 m ~ 11.5 m
12.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
12.5W
LR 126
21 m ~ 41 m
4.6 m ~ 6.4 m
25W
49 m2 ~ 133 m2
7 m ~ 11.5 m
50W
147 m2 ~ 300 m2
12.1 m ~ 17.3 m
Ambient Noise
(dB)
Applications
Line Array
Loudspeaker
30~45
46~60
61~75
Distance from
Listener (m)
3~5
Coverage Area
per Loudspeaker
Loudspeaker
Spacing
5.5~10 10.5~15
LR 063
LR 063
LR 126
52
7.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
15W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
30W
49 m ~ 133 m
7 m ~ 11.5 m
15W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
30W
21 m2 ~ 133 m2
4.6 m ~ 11.5 m
60W
147 m ~ 300 m
12.1 m ~ 17.3 m
Ambient Noise
(dB)
Applications
30~45
2-Way Foreground
Loudspeaker
46~60
61~75
Distance from
Listener (m)
3~5
5.5~10 10.5~15
Coverage Area
per Loudspeaker
Loudspeaker
Spacing
2-Way Foreground
Loudspeker
2-Way Foreground
Loudspeker
4.6 m ~ 17.3 m
7.5W
21 m ~ 300 m
4.6 m ~ 17.3 m
15W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
7.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
15W
21 m ~ 41 m
4.6 m ~ 6.4 m
30W
49 m2 ~ 133 m2
7 m ~ 11.5 m
Ambient Noise
(dB)
Applications
30~50
Sound Reinforcement
Loudspeaker
51~70
71~90
Distance from
Listener (m)
3~5
5.5~10 10.5~15
Coverage Area
per Loudspeaker
Loudspeaker
Spacing
F8
F 10
F 12
12.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
12.5W
21 m2 ~ 41 m2
4.6 m ~ 6.4 m
25W
49 m ~ 133 m
7 m ~ 11.5 m
50W
147 m2 ~ 300 m2
12.1 m ~ 17.3 m
12.5W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
25W
21 m ~ 133 m
4.6 m ~ 11.5 m
50W
147 m2 ~ 300 m2
12.1 m ~ 17.3 m
25W
21 m2 ~ 300 m2
4.6 m ~ 17.3 m
50W
21 m ~ 300 m
4.6 m ~ 17.3 m
75W
21 m ~ 133 m
2
2
21 m2 ~ 300 m2
FG 530
3.8W
Section
FG 415
4.6 m ~ 11.5 m
53
Input Sources
&
Preamplifier &
Systemstage Signal Management
Systemstage
Power Amplifiers
MC 1
Chime
Microphone
Section
MH 1a
Hand-held Microphone
MP 1
Paging
Microphone
MH 2a
Hand-held Microphone
MA 103
MA 106
MA 112
MC 2
Desktop
Microphone
Mixer Amplifier
ME 1
Emergency Microphone
MC 1
Chime
Microphone
MC 2
Desktop
Microphone
MP 1
Paging
Microphone
PB 106
MS 201
10-Zone Remote
Paging Console
MS 202
20-Zone Remote
Paging Console
PB 112
PB 124
XP 138
Programmable Amplifier
PB 136
MS 204
40-Zone Remote
Paging Console
MS 210
100-Zone Remote
Paging Console
XP 138CM
Chime Module
PB Series
Audio Power Amplifier
MR 102
20-Zone Remote Microphone
MX 102
20-Zone Remote Microphone
Extension Unit
PA 406
PA 412
PA 224
PA 148
CP 102
Communication Panel
CP 102EM
Communication Panel
Extension Module
DS 201
Single-Channel Digital Player
DS 201R
Single-Channel Digital Recorder
DS 202
Dual-Channel Digital Player
54
24
DS 202R
Dual-Channel Digital Recorder
PA Series
4 X 60W Audio Power Amplifier
Systemstage
CE 561
Screw Mounted
Ceiling Loudspeaker
CE 562
Spring Mounted
Ceiling Loudspeaker
AT 30
30 W Audio
Attenuator
CE 561M
Screw Mounted
Ceiling Loudspeaker
with Mesh
CE 562M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CM 361
Metal Grille Ceiling
Loudspeaker
AT 120
120 W Audio
Attenuator
CM 461
Metal Grille Ceiling
Loudspeaker
CM 461E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 611
Metal Grille Ceiling
Loudspeaker
CM 611E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 811
Metal Grille Ceiling
Loudspeaker
CM 811E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CS 562
Splashproof Ceiling
Loudspeaker
CS 562M
Splashproof
Ceiling Loudspeaker
with Mesh
CS 562E
Splashproof Ceiling
Loudspeaker with
Enclosure
CX 811
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker
CX 811E
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker with
Back Enclosure
LS 10A
Speaker Line Selector With All Call Function
LS 10
Speaker Line Selector
AT 05
5 W Audio
Attenuator
AT 75
75 W Audio
Attenuator
AT 30
30 W Audio
Attenuator
AT 120
120 W Audio
Attenuator
SA 05
Automatic Changeover Unit
CS 562ME
Splashproof Ceiling
Loudspeaker with
Mesh and Enclosure
WB 661
Bidirectional Wall
Mount Loudspeaker
WM 562
Wooden Wall Mount
Loudspeaker
WM 561W
ABS Wall Mount
Loudspeaker (White)
WM 561B
ABS Wall Mount
Loudspeaker (Black)
WM 662
Wooden Wall Mount
Loudspeaker
WM 862
Wooden Wall Mount
Loudspeaker
CE 532M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CE 531M
Screw Mounted
Ceiling Loudspeaker
with Mesh
Section
CE 532
Spring Mounted
Ceiling Loudspeaker
LS 10
Speaker Line Selector
AT 75
75 W Audio
Attenuator
Loudspeaker
CE 531
Screw Mounted
Ceiling Loudspeaker
LS 10A
Speaker Line Selector With All Call Function
AT 05
5 W Audio
Attenuator
Systemstage
ASM 01B
Amplifier Supervisory Module
AM 10
Amplifier Monitoring Unit
PT 085
8-Channel Program Timer
VA 415
VA 430
VA 450
VA Series
Aluminium Column Loudspeaker
PT 165
16-Channel Program Timer
DM 10
Line Monitoring Unit
VW 515
VW 530
VW 650
VW Series
Wooden Loudspeaker Column
LR 063
LR 126
LR Series
Line Array Loudspeaker
RH 061
10W Aluminium Paging
Horn Loudspeaker
RH 085
15W Aluminium Paging
Horn Loudspeaker
RH 103
30W Aluminium Paging
Horn Loudspeaker
FG 415
2 way Foreground
Loudspeaker
FG 530W
2 way Foreground
Loudspeaker (White)
FG 530B
2 way Foreground
Loudspeaker (Black)
F 8 / F 8W
2 way Full Range
SR Loudspeaker
F 10 / F 10W
2 way Full Range
SR Loudspeaker
LA 08
Line Supervisory Unit
SL 08
8-Zone Line Supervisory Unit
SL 04
4-Zone Line Supervisory Unit
SU 650
Subwoofer System
F 12 / F 12W
2 way Full Range
SR Loudspeaker
F 12s
2 way Full Range
Stage Monitor
Recommended
Spring-Mounted
Ceiling Loudspeaker
CE 532 / CE 532M
CE 562 / CE 562M
CM Series
CX 811 / CX 811E
55
Input Sources
Preamplifier &
Systemstage Signal Management
Systemstage
Power Amplifiers
ME 1
Emergency Microphone
Section
MC 1
Chime Microphone
F
Component Selection Guide
MP 1
Paging Microphone
MC 2
Desktop Microphone
MS 201
10-Zone Remote Paging Console
MS 202
20-Zone Remote Paging Console
MS 204
40-Zone Remote Paging Console
MS 210
100-Zone Remote Paging Console
MR 102
20-Zone Remote Microphone
MX 102
20-Zone Remote Microphone
Extension Unit
CP 102
Communication Panel
XM 10A
Modular Mixer Enclosure
XM 92A
Power Supply Module 240Vac
XM 11A
Single Space Blank Panel
XM 12A
Double Space Blak Panel
XM 31A
ME 1 Receptacle
Module
XM 51A
Source Selector
Module
XM 32A
Microphone
Preamplifier Module
(-60 dBV)
XM 52A
Parallel Source
Selector Module
XM 33A
Microphone
Preamplifier Module
(0 dBV)
XM 61A
Emergency Tone
Generator Module
PB 106
XM 62A
Chime Generator
Module
PB 124
XM 34A
Mono Preamplifier
Module
XM 35A
Stereo Combining
Preamplifier Module
PB 136
XM 71A
Line Amplifier
Module
PA 406
PA 412
FT 810T
Single Channel Fibre
Optic Transmitter
FT 810R
Single Channel Fibre
Optic Receiver
FT 811T
Single Channel Fibre Optic
Transmitter (with RS 485)
FT 811R
Single Channel Fibre Optic
Receiver (with RS 485)
FT 820T
2 Channel Fibre Optic
Transmitter
FT 820R
2 Channel Fibre Optic
Receiver
FT 821T
2 Channel Fibre Optic
Transmitter (with RS 485)
FT 821R
2 Channel Fibre Optic
Receiver (with RS 485)
FT 840T
4 Channel Fibre Optic
Transmitter
FT 840R
4 Channel Fibre Optic
Receiver
FT 841T
4 Channel Fibre Optic
Transmitter (with RS 485)
FT 841R
4 Channel Fibre Optic
Receiver (with RS 485)
DS 201
Single-Channel Digital Player
DS 201R
Single-Channel Digital Recorder
56
24
DS 202R
Dual-Channel Digital Recorder
PB Series
Audio Power Amplifier
XM 41A
Extension Module
CP 102EM
Communication Panel
Extension Module
DS 202
Dual-Channel Digital Player
PB 112
PA 224
PA 148
PA Series
4 X 60W Audio Power Amplifier
Systemstage
Systemstage
Loudspeaker
CE 532M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CE 561
Screw Mounted
Ceiling Loudspeaker
CE 562
Spring Mounted
Ceiling Loudspeaker
CE 561M
Screw Mounted
Ceiling Loudspeaker
with Mesh
CE 562M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CM 361
Metal Grille Ceiling
Loudspeaker
AM 10
Amplifier Monitoring Unit
CM 461
Metal Grille Ceiling
Loudspeaker
CM 461E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 611
Metal Grille Ceiling
Loudspeaker
LS 10A
Speaker Line Selector With All Call Function
CM 611E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 811
Metal Grille Ceiling
Loudspeaker
CM 811E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CS 562
Splashproof Ceiling
Loudspeaker
CS 562M
Splashproof
Ceiling Loudspeaker
with Mesh
CS 562E
Splashproof Ceiling
Loudspeaker with
Enclosure
CX 811
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker
CX 811E
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker with
Back Enclosure
SA 05
Automatic Changeover Unit
ASM 01B
Amplifier Supervisory Module
LS 10
Speaker Line Selector
PT 085
8-Channel Program Timer
PT 165
16-Channel Program Timer
DM 10
Line Monitoring Unit
CS 562ME
Splashproof Ceiling
Loudspeaker with
Mesh and Enclosure
WB 661
Bidirectional Wall
Mount Loudspeaker
WM 562
Wooden Wall Mount
Loudspeaker
WM 561W
ABS Wall Mount
Loudspeaker (White)
WM 561B
ABS Wall Mount
Loudspeaker (Black)
WM 662
Wooden Wall Mount
Loudspeaker
WM 862
Wooden Wall Mount
Loudspeaker
CE 531M
Screw Mounted
Ceiling Loudspeaker
with Mesh
CE 532
Spring Mounted
Ceiling Loudspeaker
Section
CE 531
Screw Mounted
Ceiling Loudspeaker
LA 08
Line Supervisory Unit
SL 08
8-Zone Line Supervisory Unit
VA 415
VA 430
VA 450
VA Series
Aluminium Column Loudspeaker
SL 04
4-Zone Line Supervisory Unit
AT 05
5 W Audio Attenuator
VW 515
VW 530
VW 650
VW Series
Wooden Loudspeaker Column
LR Series
Line Array Loudspeaker
RH 061
10W Aluminium Paging
Horn Loudspeaker
RH 085
15W Aluminium Paging
Horn Loudspeaker
RH 103
30W Aluminium Paging
Horn Loudspeaker
FG 415
2 way Foreground
Loudspeaker
FG 530W
2 way Foreground
Loudspeaker (White)
FG 530B
2 way Foreground
Loudspeaker (Black)
F 8 / F 8W
2 way Full Range
SR Loudspeaker
F 10 / F 10W
2 way Full Range
SR Loudspeaker
AT 30
30 W Audio Attenuator
SU 650
Subwoofer System
AT 75
75 W Audio Attenuator
AT 120
120 W Audio Attenuator
LR 063
LR 126
F 12 / F 12W
2 way Full Range
SR Loudspeaker
F 12s
2 way Full Range
Stage Monitor
Recommended
Spring-Mounted
Ceiling Loudspeaker
CE 532 / CE 532M
CE 562 / CE 562M
CM Series
CX 811 / CX 811E
57
Input
Sources
Systemstage
Section
iX 101
PA Matrix Main Frame
with Single CPC
iX 194
Analogue Handheld
Microphone
iX 151
Emergency Microphone
iX 103
PA Matrix Extension
Frame
DS 201R
Single-Channel Digital Recorder
DS 202
Dual-Channel Digital Player
iX 153
PA Matrix Remote Control
Sensor Panel (RCSP)
iX 154
PA Matrix Remote
Multipurpose Relay
Panel (RMRP)
iX 155
PA Matrix Internet
Connectivity Panel
(ICP)
eX 801
Single CPC Main Frame
eX 803
Extension Frame
eX 863
40-Zone Emergency
Microphone
eX 865
10-Zone Remote Microphone
eX 866
20-Zone Remote Microphone
eX 868
120-Zone Remote
Microphone
iX 193
Blank Facial
iX 121
PA Matrix Central
Processing Card I
(CPC I)
iX 182
240 Vac Power
Supply
iX 111
PA Matrix Control
Manager
iX 112
Matrix Control
Manager with Internet
Connectivity Features
Power
Amplifiers
iX 122
PA Matrix Central
Processing Card 2
(CPC II)
iX 123
Extension Card
iX 132
Audio Input
Card (AIC)
FT 810T
Single Channel Fibre
Optic Transmitter
FT 810R
Single Channel Fibre
Optic Receiver
PB 112
FT 811T
Single Channel Fibre
Optic Transmitter
(with RS 485)
FT 811R
Single Channel Fibre
Optic Receiver
(with RS 485)
PB 136
FT 820T
2 Channel Fibre Optic
Transmitter
FT 820R
2 Channel Fibre
Optic Receiver
PB 124
PB Series
Audio Power Amplifier
PA 406
PA 412
FT 840T
4 Channel Fibre Optic
Transmitter
FT 840R
4 Channel Fibre Optic
Receiver
FT 841R
FT 841T
4 Channel Fibre Optic
4 Channel Fibre Optic
Transmitter (with RS 485) Receiver (with RS 485)
eX 842
Control Output
Card
eX 881
Power Supply
Inlet Card
eX 831
Auxiliary Input
Card
eX 833
Internal BGM
Source and
Message Card
eX 832
Auxiliary Input
and
Message Card
eX 834
Microphone
Input Card
eX 841
Control Input
Card
eX 811
Control Manager
Systemstage
PB 106
eX 824
Extension Frame
Extension Card
eX 867
40-Zone Remote Microphone
58
iX 136
PA Matrix Audio
Output Card (AOC)
eX 823
Main Frame
Extension Card
eX 862
20-Zone Emergency
Microphone
eX 864
120-Zone Emergency
Microphone
iX 143
PA Matrix
Multipurpose
Relay Card (MRC)
FT 821R
FT 821T
2 Channel Fibre Optic
2 Channel Fibre Optic
Transmitter (with RS 485) Receiver (with RS 485)
DS 202R
Dual-Channel Digital Recorder
eX 861
10-Zone Emergency
Microphone
iX 133
PA Matrix Remote
Microphone Input
Card (RIC)
iX 142
PA Matrix Control
Sensor Card (CSC)
iX 102
PA Matrix Main Frame
with Dual CPC
DS 201
Single-Channel Digital Player
Preamplifier &
Signal Management
eX 821B
Central
Processing
Card
PA 224
PA 148
PA Series
4 X 60W Audio Power Amplifier
Systemstage
Systemstage
Control Monitoring
SA 05
Automatic Changeover Unit
LS 10
Speaker Line Selector
PT 085
8-Channel Program Timer
CE 531M
Screw Mounted
Ceiling Loudspeaker
with Mesh
CE 532M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CE 561
Screw Mounted
Ceiling Loudspeaker
CE 562
Spring Mounted
Ceiling Loudspeaker
CE 561M
Screw Mounted
Ceiling Loudspeaker
with Mesh
CE 562M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CM 361
Metal Grille Ceiling
Loudspeaker
CM 461
Metal Grille Ceiling
Loudspeaker
CM 461E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 611
Metal Grille Ceiling
Loudspeaker
CM 611E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 811
Metal Grille Ceiling
Loudspeaker
CM 811E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CS 562
Splashproof Ceiling
Loudspeaker
CS 562M
Splashproof
Ceiling Loudspeaker
with Mesh
CS 562E
Splashproof Ceiling
Loudspeaker with
Enclosure
CX 811
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker
CX 811E
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker with
Back Enclosure
CS 562ME
Splashproof Ceiling
Loudspeaker with
Mesh and Enclosure
WB 661
Bidirectional Wall
Mount Loudspeaker
PT 165
16-Channel Program Timer
WM 562
Wooden Wall Mount
Loudspeaker
WM 561W
ABS Wall Mount
Loudspeaker (White)
WM 561B
ABS Wall Mount
Loudspeaker (Black)
WM 662
Wooden Wall Mount
Loudspeaker
WM 862
Wooden Wall Mount
Loudspeaker
LS 10A
Speaker Line Selector With All Call Function
CE 532
Spring Mounted
Ceiling Loudspeaker
AM 10
Amplifier Monitoring Unit
CE 531
Screw Mounted
Ceiling Loudspeaker
Section
ASM 01B
Amplifier Supervisory Module
Loudspeaker
DM 10
Line Monitoring Unit
LA 08
Line Supervisory Unit
LR 063
LR 126
SL 08
8-Zone Line Supervisory Unit
VA Series
Aluminium Column Loudspeaker
SL 04
4-Zone Line Supervisory Unit
AT 05
5 W Audio Attenuator
VW Series
Wooden Loudspeaker Column
RH 061
10W Aluminium Paging
Horn Loudspeaker
RH 085
15W Aluminium Paging
Horn Loudspeaker
RH 103
30W Aluminium Paging
Horn Loudspeaker
FG 415
2 way Foreground
Loudspeaker
FG 530W
2 way Foreground
Loudspeaker (White)
FG 530B
2 way Foreground
Loudspeaker (Black)
F 8 / F 8W
2 way Full Range
SR Loudspeaker
F 10 / F 10W
2 way Full Range
SR Loudspeaker
AT 30
30 W Audio Attenuator
SU 65
Subwoofer System
AT 75
75 W Audio Attenuator
AT 120
120 W Audio Attenuator
LR Series
Line Array Loudspeaker
F 12 / F 12W
2 way Full Range
SR Loudspeaker
Recommended
Spring-Mounted
Ceiling Loudspeaker
F 12s
2 way Full Range
Stage Monitor
CE 532 / CE 532M
CE 562 / CE 562M
CM Series
CX 811 / CX 811E
59
Input
Sources
Systemstage
Preamplifier &
Signal Management
Section
iX 101
PA Matrix Main Frame
with Single CPC
iX 102
PA Matrix Main Frame
with Dual CPC
iX 103
PA Matrix Extension
Frame
iX 121E
EES Matrix Central
Processing Card I (CPC I)
iX 122
PA Matrix Central Processing
Card 2 (CPC II)
iX 194
Analogue Handheld
Microphone
iX 123
Extension Card
iX 132
Audio Input Card (AIC)
iX 151
Emergency Microphone
iX 133
PA Matrix Remote
Microphone Input Card (RIC)
iX 136
PA Matrix Audio Output
Card (AOC)
DS 201
Single-Channel Digital Player
DS 201R
Single-Channel Digital Recorder
iX 142
PA Matrix Control Sensor
Card (CSC)
iX 143
PA Matrix Multipurpose
Relay Card (MRC)
iX 193
Blank Facial
DS 202R
Dual-Channel Digital Recorder
iX 112E
EES Matrix
Control Manager
with Internet
Connectivity
Features
iX 182
240 Vac Power
Supply
iX 153
PA Matrix Remote Control
Sensor Panel (RCSP)
iX 154
PA Matrix Remote Multipurpose
Relay Panel (RMRP)
60
PB 112
PB 124
PB 136
iX 156E
Manual Mode Zone Selection
Panel (With All Call Function)
PB Series
Audio Power Amplifier
iX 157E
Manual Mode Zone
Selection Panel
PA 406
PA 412
PA 224
iX 158E
Emergency Alert Panel
iX 159E
Mimic Panel Interface
FT 810R
Single Channel Fibre Optic Receiver
(with RS 485)
(with RS 485)
FT 820T
2 Channel Fibre Optic Transmitter
FT 820R
2 Channel Fibre Optic Receiver
FT 821T
2 Channel Fibre Optic Transmitter
FT 821R
2 Channel Fibre Optic Receiver
FT 840T
4 Channel Fibre Optic Transmitter
FT 840R
4 Channel Fibre Optic Receiver
FT 841T
4 Channel Fibre Optic Transmitter
FT 841R
4 Channel Fibre Optic Receiver
(with RS 485)
PB 106
iX 155
PA Matrix Internet Connectivity
Panel (ICP)
FT 811T
FT 811R
Single Channel Fibre Optic Transmitter Single Channel Fibre Optic Receiver
(with RS 485)
Power
Amplifiers
iX 111E
EES Matrix
Control Manager
DS 202
Dual-Channel Digital Player
FT 810T
Single Channel Fibre Optic Transmitter
Systemstage
(with RS 485)
(with RS 485)
PA 148
PA Series
4 X 60W Audio Power Amplifier
Systemstage
Systemstage
SA 05
Automatic Changeover Unit
LS 10
Speaker Line Selector
PT 085
8-Channel Program Timer
CE 531M
Screw Mounted
Ceiling Loudspeaker
with Mesh
CE 532M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CE 561
Screw Mounted
Ceiling Loudspeaker
CE 562
Spring Mounted
Ceiling Loudspeaker
CE 561M
Screw Mounted
Ceiling Loudspeaker
with Mesh
CE 562M
Spring Mounted
Ceiling Loudspeaker
with Mesh
CM 361
Metal Grille Ceiling
Loudspeaker
CM 461
Metal Grille Ceiling
Loudspeaker
CM 461E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 611
Metal Grille Ceiling
Loudspeaker
CM 611E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CM 811
Metal Grille Ceiling
Loudspeaker
CM 811E
Metal Grille Ceiling
Loudspeaker with
Back Enclosure
CS 562
Splashproof Ceiling
Loudspeaker
CS 562M
Splashproof
Ceiling Loudspeaker
with Mesh
CS 562E
Splashproof Ceiling
Loudspeaker with
Enclosure
CX 811
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker
CX 811E
Metal Grille 2-Way
Coaxial Ceiling
Loudspeaker with
Back Enclosure
CS 562ME
Splashproof Ceiling
Loudspeaker with
Mesh and Enclosure
WB 661
Bidirectional Wall
Mount Loudspeaker
WM 561W
ABS Wall Mount
Loudspeaker (White)
WM 561B
ABS Wall Mount
Loudspeaker (Black)
WM 562
Wooden Wall Mount
Loudspeaker
WM 662
Wooden Wall Mount
Loudspeaker
WM 862
Wooden Wall Mount
Loudspeaker
PT 165
16-Channel Program Timer
LS 10A
Speaker Line Selector With All Call Function
CE 532
Spring Mounted
Ceiling Loudspeaker
AM 10
Amplifier Monitoring Unit
CE 531
Screw Mounted
Ceiling Loudspeaker
Section
ASM 01B
Amplifier Supervisory Module
Loudspeaker
DM 10
Line Monitoring Unit
LA 08
Line Supervisory Unit
SL 08
8-Zone Line Supervisory Unit
VA 415
VA 430
VA 450
VA Series
Aluminium Column Loudspeaker
SL 04
4-Zone Line Supervisory Unit
AT 05
5 W Audio Attenuator
VW 515
VW 530
VW 650
VW Series
Wooden Loudspeaker Column
LR Series
Line Array Loudspeaker
RH 061
10W Aluminium Paging
Horn Loudspeaker
RH 085
15W Aluminium Paging
Horn Loudspeaker
RH 103
30W Aluminium Paging
Horn Loudspeaker
FG 415
2 way Foreground
Loudspeaker
FG 530W
2 way Foreground
Loudspeaker (White)
FG 530B
2 way Foreground
Loudspeaker (Black)
AT 30
30 W Audio Attenuator
SU 650
Subwoofer System
F 8 / F 8W
2 way Full Range
SR Loudspeaker
F 12 / F 12W
2 way Full Range
SR Loudspeaker
F 10 / F 10W
2 way Full Range
SR Loudspeaker
Recommended
Spring-Mounted
Ceiling Loudspeaker
AT 75
75 W Audio Attenuator
AT 120
120 W Audio Attenuator
LR 063
LR 126
F 12s
2 way Full Range
Stage Monitor
CE 532 / CE 532M
CE 562 / CE 562M
CM Series
CX 811 / CX 811E
61
Section
G Design Template
Design Template
Introduction to
Section G
63
Design Template -
Section
Mic1
Aux1
Digital Source Player (DS 201)
Line Selector
10
ALL CALL
REMOTE OVERRIDE
LS 10A
ON
MIC 1
MIC 2
MIC 3
AUX 1
AUX 2
AUX 3
BASS
TREBLE
20
50
80
100%
CLIP
MASTER
Mixer Amplifier
POWER
10
10
10
10
10
10
-10
-10
10
FUSE
2A
F
US E
POWER
O
AC
SHORT
BATT IN
F
64
Mic2
US E
FUSE
6A
OFF
ON
OF
F
Section
3 nos. CM 361 @ 3W
2 nos. CM 361 @ 3W
2 nos. CM 361 @ 3W
3 nos. CM 361 @ 3W
3 nos. CM 361 @ 3W
LEGEND:
3 nos. CM 361 @ 3W
Ceiling Speaker
Emergency Mic
With Push Button
Coaxial Ceiling
Handheld Mic
OFF
Paging Console
Horn Speaker
Radio Tuner
AM/FM
Cassette Deck
DISC
50
70
100
25
141
VOLUME
V%
1
CHANNEL SELECT
10
Amp. Monitoring
Emergency Panel
NOTES:
Amp. Changeover
Regulated Power
Supply
FGM Speaker
CD Player
Digital Source
Box Speaker
10 nos. CM 361 @ 3W
Column Speaker
Power Amplifier
Multichannel
Power Amplifier
Audio Attenuator
SYSTEM :
MIXER AMPLIFIER PA SYSTEM
PROJECT :
Designed By
Date
Drawing No
AEX-DWG-0105-DL1-1
Page No
1 of 1
65
Design Template -
50
70
100
25
141
VOLUME
V%
1
10
CHANNEL SELECT
Section
1A
Emergency Handheld Mic, ME 1
Signal from
fire alarm system
Programmable Preamplifier
XP 138
Paging Console
Remote Paging Mic (MS 204)
@ Reception Counter
Communication Panel
& Extendsion Module
(CP 102 & CP 102EM)
1B
TAPE
Cassette Deck
(By Others)
DISC
3B
CD Player
(By Others)
Cassette Deck
CD Player
PRIORITY
CHIME SIGNAL
LED 1
LED 2
LED 3
LED 4
EXT 1
ERROR
CHIME GAIN
PC 1
PC 2
PC 3
PC 4
EXT 2
10
10
10
10
ALL CALL
REMOTE OVERRIDE
LS 10A
Line Selector
REMOTE OVERRIDE
LS 10A
REMOTE OVERRIDE
LS 10A
REMOTE OVERRIDE
LS 10A
US E
POWER
O
AC
SHORT
OFF
BATT IN
FU
ON
S E
FUSE
6A
70
100
25
141
VOLUME
V%
1
10
CHANNEL SELECT
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PRIORITY
PROTECT
66
46
Program
2A
9 nos. CM 361 @ 3W
L1A
Section
1 nos. CM 361 @ 3W
2 nos. FG 530 @ 15W
L2 - L2A
5 nos. CM 361 @ 3W
5 nos. FG 530 @ 15W
L3 - L3A
5 nos. CM 361 @ 3W
5 nos. FG 530 @ 15W
L4 - L4A
4 nos. CM 361 @ 3W
5 nos. FG 530 @ 15W
L5
18 nos. CM 361 @ 3W
L6
5 nos. CM 361 @ 3W
L25
5 nos. CM 361 @ 3W
L26
5 nos. CM 361 @ 3W
L32
L34
L36
LEGEND:
5 nos. CM 361 @ 3W
Paging Console
Ceiling Speaker
5 nos. CM 361 @ 3W
Emergency Mic
With Push Button
Coaxial Ceiling
5 nos. CM 361 @ 3W
OFF
Handheld Mic
Horn Speaker
Radio Tuner
AM/FM
Cassette Deck
DISC
50
70
100
25
141
VOLUME
V%
1
CHANNEL SELECT
10
Amp. Monitoring
Emergency Panel
NOTES:
Amp. Changeover
Regulated Power
Supply
FGM Speaker
CD Player
Digital Source
Box Speaker
1 no. Speaker Line Selector with ALL CALL (LS 10A) + 3 nos Speaker Line Selector (LS 10)
L1
Column Speaker
Power Amplifier
Multichannel
Power Amplifier
Audio Attenuator
SYSTEM :
PROGRAMMABLE PREAMPLIFIER PA SYSTEM
PROJECT :
Designed By
Date
Drawing No
AEX-DWG-0105-DL2-1
Page No
1 of 1
67
Design Template -
50
70
100
25
141
VOLUME
V%
1
10
CHANNEL SELECT
Section
Emergency Handheld
Paging Microphone
(ME 1)
Priority
ME 1
Receptacle
Panel
(XM 31A)
Microphone
Pre-Amp
(XM 32A)
Line Output
Emergency
Module
Tone Generator
(XM 71A)
(XM 61A)
Program
20 Zone Remote
Paging Microphone
(MS 202)
Paging Console
Communication
Panel
(CP 102)
Isolated
Microphone
Pre-Amp
(XM 33A)
Line Output
Module
(XM 71A)
Source Selector
Module
(XM 51A)
CD Player
(By Others)
Stereo Combining
Pre-Amplfier Module
(XM 35A)
2 x 240W Power Amplifier
(PA 224)
AM/FM
Tuner
(By Others)
(PS 05)
50
70
100
25
141
VOLUME
V%
1
10
CHANNEL SELECT
XM 92A
XM 31A
XM 32A
MIC IN
FUSE
FUSE
BATT IN
DC 1.5A
OUTPUT
DC 1.5A
XM 71A
XM 61A
IN USE
XM 51A
PUSH TO
TALK
GAIN
LEVEL
100
ALARM
LEVEL
BASS
100
SOURCE
SELECTOR
XM 12A
XM 71A
TREBLE
IN USE
MUTING
Modular Mixer
4
5
10
XM 33A
IN USE
BASS
MIC
POWER
XM 35A
TREBLE
ALARM
10
POWER
10
10
10
PRIORITY
CHIME SIGNAL
LED 1
LED 2
LED 3
LED 4
EXT 1
ERROR
CHIME GAIN
PC 1
PC 2
PC 3
PC 4
EXT 2
10
ALL CALL
REMOTE OVERRIDE
LS 10A
CD Player
Tuner
U SE
POWER
O
AC
SHORT
BATT IN
F
US
E
OFF
ON
FUSE
6A
68
48
Section
20 nos. CM 361 @ 3W
8 nos. FG 530 @ 15W
20 nos. CM 361 @ 3W
20 nos. CM 361 @ 3W
6 nos. FG 530 @ 15W
50 nos. CM 361 @ 3W
66 nos. CM 361 @ 3W
60 nos. CM 361 @ 3W
LEGEND:
Paging Console
Ceiling Speaker
Emergency Mic
With Push Button
Coaxial Ceiling
OFF
Handheld Mic
Horn Speaker
Radio Tuner
AM/FM
Cassette Deck
DISC
50
70
100
25
141
VOLUME
V%
1
CHANNEL SELECT
10
Amp. Monitoring
Emergency Panel
NOTES:
Amp. Changeover
Regulated Power
Supply
FGM Speaker
CD Player
Digital Source
Box Speaker
Column Speaker
Power Amplifier
Multichannel
Power Amplifier
Audio Attenuator
SYSTEM :
MODULAR MIXER PA SYSTEM
PROJECT :
Designed By
Date
Drawing No
AEX-DWG-0105-DL3-1
Page No
1 of 1
69
Design Template -
50
70
100
25
141
VOLUME
V%
1
10
CHANNEL SELECT
Modem
AO 2
B2
AO 3
B1
AO 4
AI 2
AI 3
AM/FM
eX 831
Tuner
(By Others)
DISC
AI 4
CD Player
(By Others)
P2
AO 6
P3
Zone P3 to P13
AO 5
AO 16
P13
eX 836
AI 1
AO 17
P11
AO 18
P11
Back of House
AO 19
eX 836
6 Nos. eX 836
P1
eX 833
eX 836
RI 2
Remote Microphone (eX 868)
@ Reception Counter
Section
B2
Back of House
11 nos. PA 148
eX 836
AO 1
RI 1
L10
480W Power Amplifier
(PA 148)
AO 20
Back of
House
Control In, CS 1 to CS 29
Control In, CS 30 to CS 32
(3 Spare)
eX 836
2 Nos. eX 841
Signal from
fire alarm system
AO 21
AO 22
Back of
House
eX 836
L11
AO 23
Mezz
70
L11
2 x 240W Power Amplifier
(PA 224)
50 nos. CE 562M @ 2W
Section
23 nos. WM 561 @ 2W
5 nos. RH 061 @ 10W
10 nos. RH 061 @ 10W
5 nos. CM 361 @ 3W
LEGEND:
Paging Console
Ceiling Speaker
Emergency Mic
With Push Button
Coaxial Ceiling
Handheld Mic
OFF
Horn Speaker
Radio Tuner
AM/FM
Cassette Deck
DISC
50
70
100
25
141
VOLUME
V%
1
CHANNEL SELECT
10
Amp. Monitoring
Emergency Panel
Amp. Changeover
Regulated Power
Supply
FGM Speaker
CD Player
Digital Source
Box Speaker
Column Speaker
Power Amplifier
Multichannel
Power Amplifier
Audio Attenuator
SYSTEM :
DIGITAL MATRIX PA SYSTEM
PROJECT :
64 nos. CL 562M @ 1.5W
Designed By
Date
Continued on Page 2
Drawing No
AEX-DWG-0105-DL4-1
Page No
1 of 2
71
Connected to AM 10 (Page 1)
Design Template -
eX 836
eX 836
eX 836
Section
(Spare)
4 x 60W Power Amplifier
(PA 406)
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PROGRAM
Tuner
Internet
Connectivity Panel
PROGRAM
FUSE
2A
F
US E
POWER
O
AC
SHORT
Integrated
Supervisory Unit
OFF
BATT IN
FU
S E
FUSE
6A
ON
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PRIORITY
Duty
Power Amplifier
PROGRAM
PROTECT
PRIORITY
PROGRAM
PRIORITY
72
PROTECT
PRIORITY
Unregulated
Power Supply
PROTECT
PRIORITY
PROTECT
PRIORITY
CD Player
PROGRAM
PROTECT
PROGRAM
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROTECT
PROTECT
PRIORITY
PROGRAM
PRIORITY
PROGRAM
PROGRAM
PRIORITY
PROTECT
PROTECT
PRIORITY
PROTECT
PROTECT
PRIORITY
PROGRAM
eMatrix
System
Section
LEGEND:
Paging Console
Ceiling Speaker
Emergency Mic
With Push Button
Coaxial Ceiling
Handheld Mic
Horn Speaker
Radio Tuner
Cassette Deck
FGM Speaker
CD Player
Digital Source
Amp. Monitoring
Emergency Panel
NOTES:
Amp. Changeover
Regulated Power
Supply
Box Speaker
Column Speaker
Power Amplifier
Multichannel
Power Amplifier
Audio Attenuator
SYSTEM :
DIGITAL MATRIX PA SYSTEM
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PRIORITY
PROTECT
PROJECT :
Designed By
Date
Drawing No
AEX-DWG-0105-DL4-1
Page No
2 of 2
73
Design Template -
50
70
100
25
141
VOLUME
V%
1
10
CHANNEL SELECT
Modem
Section
AO 2
RI 2
AO 3
B2
Back of
House
B2
B1
RI 3
RI 4
AO 5
P2
AO 6
P3
AI 1
Evacuation Messages
2 Ch Digital Source Player
(DS 202)
AI 2
AI 3
Special Messages
2 Ch Digital Source Player
(DS 202)
AI 4
AI 5
AI 6
AO 16
AO 17
AO 18
AO 19
P13
P12
P12
Back of
House
L10
AI 7
AM/FM
Tuner
(By Others)
(Spare)
AI 8
Control In, CS 1 to CS 29
AO 20
AO 21
Zone P3 to P13
(Spare)
AO 4
1 nos Manual Zone Selector (with All Call iX 156E + 3 nos. Manual Zone Selector (iX 157E)
P1
11 nos. PB 136
AO 1
RI 1
L10
Back of
House
L11
Control In, CS 30 to CS 34
Emergency Panel
(iX 158E)
{
Control Out, MR 1 to MR 3
Control In, CS 35 to CS 48
(14 Spare)
(13 Spare)
AO 23
Control Out, MR 4 to MR 16
74
AO 22
L11
Back of
House
L11
Mezz
Section
23 nos. WM 561 @ 2W
5 nos. RH 061 @ 10W
10 nos. RH 061 @ 10W
LEGEND:
Paging Console
Ceiling Speaker
Emergency Mic
With Push Button
Coaxial Ceiling
Handheld Mic
OFF
5 nos. CM 361 @ 3W
Cassette Deck
Digital Source
70
Amp. Monitoring
100
25
141
VOLUME
V%
1
10
CHANNEL SELECT
Emergency Panel
Amp. Changeover
Regulated Power
Supply
FGM Speaker
CD Player
DISC
Horn Speaker
Radio Tuner
AM/FM
Box Speaker
Column Speaker
Power Amplifier
Multichannel
Power Amplifier
Audio Attenuator
SYSTEM :
EARLY EVACUATION MANAGEMENT SYSTEM
PROJECT :
Designed By
Date
Drawing No
AEX-DWG-0105-DL5-1
Page No
1 of 2
Continued on Page 2
75
AO 25
AO 26
AO 27
L12
L12 B
L13
L14
AO 28
L14 B
AO 29
L15
(3 Spares)
AO 30 to AO 32
1 nos Manual Zone Selector (with All Call iX 156E + 3 nos. Manual Zone Selector (iX 157E) ~ Continued.
Section
AO 24
Connected to AM 10 (Page 1)
Design Template -
PROTECT
PRIORITY
PROGRAM
PROTECT
Tuner
Emergency Panel
All Call
Manual Line Selector
Manual Line Selector
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PRIORITY
Duty
Power Supply
Integrated
Supervisory Unit
Duty
Power Amplifier
76
Unregulated
Power Supply
PRIORITY
CD Player
PROGRAM
PROTECT
PROGRAM
PRIORITY
PROGRAM
PROGRAM
PROTECT
PROTECT
PRIORITY
PRIORITY
PROGRAM
PROGRAM
PROTECT
PROTECT
PRIORITY
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROTECT
PROTECT
PRIORITY
PROGRAM
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PROTECT
PRIORITY
PROGRAM
PRIORITY
PROTECT
PROTECT
PRIORITY
PROGRAM
PROTECT
PROGRAM
PRIORITY
PROTECT
PROGRAM
PROTECT
PRIORITY
PROGRAM
eMatrix
System
12 nos. CM 361 @ 3W
13 nos. CM 361 @ 3W
16 nos. CM 361 @ 3W
LEGEND:
(PS05)
Paging Console
Ceiling Speaker
Emergency Mic
With Push Button
Coaxial Ceiling
Handheld Mic
OFF
Horn Speaker
Radio Tuner
Cassette Deck
DISC
50
70
100
25
141
VOLUME
V%
1
CHANNEL SELECT
10
Amp. Monitoring
Emergency Panel
NOTES:
Amp. Changeover
Regulated Power
Supply
FGM Speaker
CD Player
Digital Source
Box Speaker
Section
Column Speaker
Power Amplifier
Multichannel
Power Amplifier
Audio Attenuator
SYSTEM :
EARLY EVACUATION MANAGEMENT SYSTEM
PROJECT :
Designed By
Date
Drawing No
AEX-DWG-0105-DL5-1
Page No
2 of 2
77
Example:
A project with a build up area of 50000m
will generally require 6000W worth of speakers to provide adequate SPL coverage as
shown in the calculation below;
Aprox.
800mm
Aprox.
600mm
1000 mm
Working
Space
Section
1000mm
Working
Space
Input
Sources
Signal
Manager
Control &
Monitoring
Rack
Example:
Continuing from the previous calculations for
required amplification power, the total
number of racks can be obtained as shown
below;
6000W
3000W/Rack
Power Amplifier
Racks
Battery Backup
& Emergency
Power Supply
Rack
All Projects (Hotel, Shopping Mall, Office and all other commercial buildings):
Total Build-up area (m2)
1
25000
(Amplifiers Racks)
+ 1 rack
(Source, Signal Management,
Control & Monitoring Racks)
+ 1 rack
(Emergency Power Supply Racks)
78
1
50000
+ 1 rack
(Source, Signal Management,
Control & Monitoring Racks)
+ 1 rack
(Emergency Power Supply Racks)
Section
Introduction to
Section H
H Installation Guide
Installation Guide
This section discusses the various issues that should be considered during the installation process. The section provides guide on cable specifications, ensuring that cables
with the right specifications are used as well as basic tests that should be conducted on
the system upon completion.
79
Installation Guide
Installationguide
Cable Specification
Installationguide
30 - 40%
3/4
Section
H Installation Guide
Cables recommended:
Belden 8641 - 24 AWG
Belden 8761 - 22 AWG
Belden 8762 - 20 AWG
Belden 8760 - 18 AWG
Shielded
Shielded
Shielded
Shielded
Twisted
Twisted
Twisted
Twisted
Pair
Pair
Pair
Pair
30 - 40%
Signal loss along the cable due to cable resistance. The thicker
the cable, the lesser the signal loss.
30W
60W
120W
240W
360W
20 AWG
233
116
58
29
19
18 AWG
367
183
91
45
30
16 AWG
583
291
145
72
48
14 AWG
930
465
232
116
77
12 AWG
1485
742
371
185
123
Information extracted from National Bureau of Standards Coper Wire Tables - Handbook 100.
30W
60W
120W
240W
360W
20 AWG
466
233
116
58
38
18 AWG
734
367
183
91
61
16 AWG
1167
583
291
145
97
14 AWG
1860
930
465
232
155
12 AWG
2970
1485
742
371
247
Information extracted from National Bureau of Standards Coper Wire Tables - Handbook 100.
80
Installationguide
Testing &
Commissioning
The Testing & Commissioning guide aims to provide a systematic methodology for inspecting a PA system prior to handover. The
methodology is divided into 4 sub-categories namely;
3.1
3.2
3.3
3.4
3.5
These 4 tests highlight the required data to be recorded and compiled, providing a means of ensuring a successful handover.
Continuity Test
Step 1
Step 2
Riser
Riser
PA 2
ZONE 1
H Installation Guide
Riser
Section
From
1.1
PA2
1.2
RISER
Checked by,
To
RISER
Cable
Type
Continuity
Pass / Fail
Reading
Ohms
Short to
Earth
Remarks
Speaker Cable
PASS
3.2
No
OK
1st Speaker
Speaker Cable
ZONE 1
PASS
4.0
No
OK
Verified by,
81
Installation Guide
Installationguide
Testing &
Commisioning
To conduct this test, disconnect the speakers at the rise and short the
amplifiers output there.
Riser
Continuity Test
Section
Step 1
H Installation Guide
Riser
PA 2
ZONE 1
Riser
T&C
Theoretical
Total
Loudspeaker Cable
Total
Power (W) Impedance
Impedance Impedance
(Ohms)
(Ohms)
(Ohms)
Z-3
Checked by,
82
Step 2
198
50.5
53.5
Acceptable
tolerance %
Measured
Impedence
(Ohms)
Diff.
%
Pass
/ Fail
Remarks
3.9
PASS
OK
Step 1 + Step 2
55.5
Verified by,
Installationguide
Testing &
Commisioning
Pass/Fail
1.1
1.2
Remarks
OK
The incoming loudspeaker lines are properly terminated with suitable terminal
blocks, cable lugs and clearly labeled.
Pass
OK
1.3
Pass
OK
1.4
Perforated panels are installed in between powers amplifiers and power supply
units at the front of the equipment rack for heat ventilation.
Pass
OK
1.5
There is no obstruction at the ventilation holes and at the ventilation fans of the
equipment and the equipment racks.
Pass
OK
1.6
There are no objects placed on top of the equipments or equipment racks that
may drop into the equipment.
Pass
OK
1.7
Pass
OK
1.8
Equipment tray / rack runner are used to support the weight of heavy equipments
on the racks.
Pass
OK
1.9
Pass
OK
1.10
Pass
OK
1.11
The loudspeakers are correctly positioned (location, firing direction & angle
of tilt) as per construction drawing.
Pass
OK
Checked by,
H Installation Guide
Pass
Section
Item
Verified by,
83
Installation Guide
Installationguide
Testing &
Commisioning
Section
1.1
H Installation Guide
1.2
1.3
Check
Pass/Fail
Pass
- Testing of the ALL CALL & RESET function. Upon triggering of ALL CALL, all PA
Zones shall be selected. Upon triggering of RESET, all selected zones shall be
deselected.
Pass
Pass
Pass
Pass
- Testing of the zone selection of every individual zone and grouped zones. There
shall be visual indicators to display the selected zones.
Pass
Pass
Pass
Pass
Power Amplifier
Pass
Pass
- Simulation of amplifier fault by switching off the amplifier and monitoring the
changeover of the amplifier to the standby amplifier. An audible warning shall be
emitted by the unit and visual indication shall display the changeover status.
Audio Attenuator
OK
Pass
Pass
OK
Pass
Pass
OK
Pass
OK
- The system is tested for functionality of the system in event of an emergency during
mains power failure. Mains power failure shall be simulated by turning off the mains
power to the equipment rack. The system shall immediately be ready for use after
the switchover to the secondary power supply.
Checked by,
84
Pass
Loudspeakers
- All the loudspeakers installed are checked for functionality and producing the
sufficient sound pressure level. The system should be checked if there is any
presence of audible distortion.
1.7
OK
1.6
OK
Pass
- Checking of the audio output for any audible distortion via the monitor speaker at
the Amplifier Monitoring Unit.
- Simulation of fault to the standby amplifier by switching off the power to the
standby amplifier. An audible warning shall be emitted by the unit and visual
indication shall display the status of the standby amplifier. (Only if the standby
amplifier is monitored).
1.5
OK
- Checking of the output level of the unit to obtain the desired SPL using the
Amplifier Monitoring Unit (AM 10).
1.4
Remarks
Verified by,
Installationguide
Testing &
Commisioning
SPL Meter
SPL Meter
Listening
Level
Guide
Listening Level
1.5m
Checked by,
Section
Installation
Guide
H Installation
Public Area
Corridor
87dB
88dB
Remarks
OK
Verified by,
85
Installation Guide
Installationguide
Common Challenges
faced during installation
4.4 Interference
Ground Loops
Ground loops are formed when more than one earth connection to
a system is available resulting in a potential difference between
grounding points. If for example both mixer and power amplifiers
are earthed at different points, an earth loop can be formed via the
cable shielding as shown in the diagram below. This can be
avoided by lifting the cable shield at one end.
Section
Wrong Termination
Wrong termination can be caused by wrong labeling on the
cables.
H Installation Guide
Poor Termination
Poor termination was mainly due to the following two reasons:
Cold solder
Loose connection
Amplifier
Signal cable shield
Earthloop
Earth
Earth
Mixer
Amplifier
Earthloop
Earth
Earth
86
Amplifier
Earthloop
Earth
Earth
Guide
Section
Installation
Guide
H Installation
Pre-recorded Material
Poor quality material will, in the end, be reproduced poorly as it is,
no matter how good the system is. Ensuring a good source of
material would be the primary step of obtaining a good sound
reproduction.
Preamplifier
Impedance mismatch of the source and preamplifier input may
cause signal clipping which results in a distorted signal, ready to
be further amplified and reproduced by the loudspeaker. Ensure
that the input sensitivity of the preamplifier is switched to match
the output level of the source.
Power amplifier
Again, ensure that the output level of the preamplifier matches the
input of the power amplifier to ensure optimum performance of the
power amplifiers. A signal too low will result in the power amplifier
not being able to drive its loads to the maximum capacity while a
signal too high will either constantly or during program peaks, clip.
Loudspeaker
High impedance loudspeakers do have a certain protection from
being overdriven due to its audio matching transformer which is
designed to deliver a fixed power to the transducer. Ensure that
the output voltage of the power amplifiers do not exceed the rated
voltage. It is important that during design stage, the correct type of
loudspeaker and power rating is selected as there is a tendency to
increase the output voltage of the power amplifiers to compensate
for the low SPL levels during operation. Driving a high impedance
loudspeaker exceeding its rated voltage will cause over excursion
of the transducer and operate out of its normal operating region,
and not forgetting, overloading the power amplifier that too causes
distortion.
87
Installation Guide
Installationguide
Maintenance
Section
H Installation Guide
88
Section
Introduction to
Section I
90
94
99
105
111
89
Technical Specifications
Section
1.0 General
1.0 General
(BGM)
Input 1
Input 2
Mixer Amplifier
Input 3
Input 4
90
Paging
Specifications Benefits
2nd
Priority
3rd
Priority
Activated
Muted
Muted
Zone Separation shall be done using the zone selectors. Zone selection shall be done through the zone
selector buttons. If remote microphones were used, the
remote microphone zone selection shall override the
zone selection done on the panel buttons.
Ambient Noise
Ambient Noise + 10dB
adjustable
Section
The Treble and Bass tone control for the unit allow better
control of the audio frequency adjustment and an overall
volume control allows an overall adjustment in volume of the
system.
91
Specifications Benefits
Noisy
Section
Clear
A spring mounted design ceiling loudspeaker ease the installation procedure. And it doesnt involve any screw, we dont
have to worry about the rusty screws problem due to a
prolonged exposure time to moisture environment. Besides, it
also facilitates the future maintenance job where springmounted ceiling loudspeaker simplifies the loudspeaker
cabling check and etc.
Spring Mount
Specifications Benefits
Loudspeaker line supervisory feature shall be incorporated in the amplifier monitoring device as one unit
solution.
EOL
Resistor
AC
Monitoring
DC
Monitoring
Section
DC Blocking
Capacitor
93
Technical Specifications
Section
1.0 General
1.0 General
(BGM)
Input 1
Input 2
Input 3
Power Amp.
Programmable
Preamplifier
Input 4
94
Paging
Specifications Benefits
Inputs with user selectable input level allow user to use a wide
range of microphones, be it a short distance handheld microphone or a long distance desktop paging console. Input grouping
will allow a better management of all the input signals with
different priority levels.
Group 1 usually used for top priority microphones and signals
like firemen microphones, pre-recorded emergency messages,
etc.
Group 2 usually used for general paging microphones and
general signals like reception microphone, operator microphone,
pre-recorded greeting messages for shopping complexes, etc.
Group 3 usually used for the BGM.
Group 1
Group 2
Group 3
The Treble and Bass tone control for the unit allow better control
of the audio frequency adjustment during commissioning.
adjustable
Section
priority decreases
95
Section
Technical Specifications
Specifications Benefits
Specifications Benefits
Clear
Noisy
Weatherproof treated loudspeaker is essential for outdoor installation, as they should be able to withstand prolonged exposure to
rain, heat and UV.
Spring Mount
Section
97
Technical Specifications
Specifications Benefits
DC Blocking
Capacitor
EOL
Resistor
DC
Monitoring
AC
Monitoring
Section
Technical Specifications
1.0 General
1.0 General
TOP Priority
First-In-First-Out (FIFO) Priority
CASCADE Priority
Speech Filter
Chime Activation
Chime Selection
Priority Channel Trigger
Mic Enable
Automatic Mute
Paging
Section
1.
2.
3.
4.
5.
6.
7.
8.
9.
(BGM)
Mic 3
Mic 1
Mic 2
Mic 3
(Top Priority)
99
Technical Specifications
Come 1st
Mic 2
(FIFO set)
Come 2nd
Mic 3
(FIFO set)
Mic 1
Come 3rd
Section
left
right
Mic 3
Mic 1
(Cascade set)
Mic 2
Mic 3
on Paging
on Paging
(Cascade set) (Cascade set)
This is the option for user to choose which are the functions user
requires.
These module choices allow users to select the right module for
the right application.
center
R Channel
rich music
Stereo
Combine
Siren
The chime module is required when using together with a microphone without a built-in chime. This chime module allows user to
assign different chime to different microphone installed onto the
system.
The line amplifier module is the one that gather all signals within
the modular mixer frame before output it to the power amplifiers.
The line amplifier VU meter and tone controls allow user to
commission the system more effectively.
Should the system need more card slots than one frame,
the system shall have an Extension Module to transfer all
signals on the backplane PCB to the second frame.
It is important to cover all the unused module slots with the blank
panels for both protection and aesthetic reason.
L Channel
Section
Technical Specifications
101
Specifications Benefits
Section
Backup Amp.
Duty Amp.
20% Backup
Duty Amp.
Duty Amp.
Duty Amp.
102
Specifications Benefits
Noise
Clear
Weatherproof treated loudspeaker is essential for outdoor installation, as they should be able to withstand prolonged exposure to
rain, heat and UV.
Spring Mount
Section
103
Specifications Benefits
Loudspeaker line supervisory feature shall be incorporated in the amplifier monitoring device as one unit
solution.
Section
DC Blocking
Capacitor
EOL
Resistor
DC
Monitoring
AC
Monitoring
Technical Specifications
1.0 General
1.0 General
8 x 8 full audio matrix means that all the 8 audio inputs can be
broadcast to any of the 8 audio output channels simultaneously.
8 audio buses means allowing 8 audio sources to be broadcast at
the same time. The matrix shall have room for future expansion
and be able to be extended to a 20 x 60 full audio matrix for a
medium scale matrix and 32 x 128 full audio matrix for a large
scale matrix system.
(BGM)
Paging
Section
Specifications Benefits
Mic 1
Mic 3
Mic 2
Concurrent
Mic 1
Mic 3
Mic 4
Section
Mic 2
Mic Queue
Specifications Benefits
Auto Route
Section
Auto Route
Speaks the
same ..
107
Section
Technical Specifications
Specifications Benefits
Duty Amp.
Duty Amp.
20% Backup
Duty Amp.
Duty Amp.
Duty Amp.
Specifications Benefits
Clear
Noise
Spring Mount
Weatherproof treated loudspeaker is essential for outdoor installation, as they should be able to withstand prolonged exposure to rain,
heat and UV.
All staircases shall have a box loudspeaker for each level. All
these box loudspeakers in the staircase shall be grouped as
an independent zone.
Section
109
Section
Technical Specifications
DC Blocking
Capacitor
EOL
Resistor
DC
Monitoring
AC
Monitoring
Technical Specifications
1.0 General
1.0 General
(BGM)
Paging
EES
8 x 8 full audio matrix means that all the 8 audio inputs can be
broadcast to any of the 8 audio output channels simultaneously.
8 audio buses means allowing 8 audio sources to be broadcast at
the same time. The matrix shall have room for future expansion
and be able to be extended to a 20 x 60 full audio matrix for a
medium scale matrix and 32 x 128 full audio matrix for a large
scale matrix system.
Section
111
Specifications Benefits
Mic 4
Mic 2
Mic 3
Mic 3
Concurrent
Mic 1
Mic 4
Mic 2
Section
Mic Queue
Specifications Benefits
Auto Route
It shall be equipped with at least 2-Level password protection. 10 user-definable passwords shall be available in
each level.
First level password allows users to monitor and view the system
operation status. The second level password allows users to
change system configuration. Each level of password allows 10
different users to define their personal password. Besides
protecting the system from unauthorized tempering, it is also for
management to monitor who has entered the system and who did
the last system configuration modification.
Section
Auto Route
Speaks the
same ..
113
Specifications Benefits
Section
I PA System Overall
4
Special
Message
Evacuation
Message 1
Evacuation
Message 2
Warning
Message
Specifications Benefits
Section
Optimal Evacuation
The EES Matrix System shall have its independent confirmation procedure to confirm on the real emergency from
any false alarm. Besides the confirmation mechanism, it
shall have an alternative option of time-out mechanism to
launch the evacuation steps if no one confirms the fire
alarm trigger signal.
The evacuation steps shall be floor-by-floor or group-bygroup depending on the building requirement.
Both these panels are typical fire command panel that is familiar
to all firemen. The firemen need not have to learn and operate the
matrix system in order to conduct manual evacuation. The red
Firemen Emergency Panel is coupled with a handheld firemen
paging microphone, a big Firemen Mode button, a red emergency
light for visual indication, an All-call button, etc. A preannouncement Siren requirement is in compliance with the IEC
60849 Standards.
Phased Evacuation
115
Section
Technical Specifications
Specifications Benefits
Duty Amp.
Duty Amp.
Duty Amp.
20% Backup
Duty Amp.
Duty Amp.
Specifications Benefits
Ambient Noise
Ambient Noise + 10dB
Spring Mount
Weatherproof treated loudspeaker is essential for outdoor installation, as they should be able to withstand prolonged exposure to
rain, heat and UV.
Clear
Section
Noisy
117
Specifications Benefits
Section
DC Blocking
Capacitor
EOL
Resistor
DC
Monitoring
I
PA System Overall System Specification - Design Level 5
118
AC
Monitoring
PA System - Glossary
PA System - Glossary
Glossary
119
An accompanying CD is also available with this book to aid in the public address
system design steps. The CD contains;
Accompanying
Book 1 CD
www.aexsystem.com