ISCE · 4 ISCE·February2011 For a sound job, always choose an ISCE member Keeping industry...

The magazine of theInstitute of Sound andCommunications EngineersFebruary 2011

ISCEx2011edition

ISCE

Inside this issue1 Introduction from our President

1 Events Diary

2 Testing testing 123 oris it टसेट्िगं टसेट्िगं 123

3 Obituary:John Heatherington MInstSCE

5 ISCE Pavilion at PLASA 2011

6 The rights of law

7 ISCE training courses

8 ISCEx 2011

10 65 years old… but nosign of retirement

12 Charity round-up

13 ISE, Amsterdam

14 ISCE Engineering Note 27.1

16 Sound with true flair

17 Supporting Members

17 NewMembers February 2011

2357_mag_1:magazine 1 11/2/11 12:12 Page a1

2357_mag_1:magazine 1 11/2/11 12:12 Page a2

Introduction from our PresidentTerry Baldwin CompInstSCE

ISCE · February 2011 1

id you go to IntegratedSystems Europe, inAmsterdam? I couldn’tmake it this year but I hearthe show attracted a 22%increase in visitors on lastyear, and the exhibitionwas buzzing.

I am forever going on abouthow the Institute can help our members with training,accreditation, understanding standards and so on.Oh, and don’t forget the camaraderie! However,I thought the other day, isn’t it time our membershelped us!

In particular, our quarterly magazine is put togetherby illustrious Ros and it would help enormously if youcould write a few notes or better still an article for themagazine. You may not think it interesting, but I betenough readers would. A very good example recentlywas that of Peter Roe, a member in East Sussex,who specialises in firework displays in conjunctionwith music, which needs to be synchronised. Thearticle he wrote (having been bludgeoned into it)created much enthusiasm. I’m sure you knowsomething you could share with other members.

Another way of helping would be to attract newmembers, perhaps your employees or, simplythose interested in our fascinating industry.There are enough grades to suit all.

If you feel the ISCE is of value to you and should gofrom strength to strength, then consider becominga supporting member. Many advantages for a smalloutlay, including a visit from me, your President,to say thank you!

This year ISCEx2011 is again at The Park Inn,Watford on Tuesday 1 March and we have anamazing mix of seminars for you to enjoy and wealso welcome some new exhibitors this year. It reallyshould prove to be the best ever. Please come alongand meet old pals and see what’s new. Parking isright next to the hotel, and there is further parkingby the train station.

If you are of an outward disposition, then perhapsyou would consider helping to man (or woman!)one of our regional exhibitions which are heldaround the country.

Finally, not really a directly related ISCE topic, butyou could always volunteer to help your local audiolibrary. Such libraries are a Godsend to those withreading difficulties.

Well that is it for this edition, it just leaves me tothank, as always, your Council for their on-goingendeavours and, of course, the lovely Ros.◆

D

Design and production

DAGCt: 0118 958 2334e: [email protected]: www.dagc.co.uk

Manager, Secretariatcontact details

Ros WigmoreISCEPO Box 7966Reading RG6 7WY

t/f: 0118 954 2175e: [email protected]: www.isce.org.uk

Comments and or opinionsexpressed by the editor,contributors and in lettersare personal, and maynot necessarily reflect thepolicy of the Council ofthe Institute of Sound andCommunications Engineers

Published by theInstitute of Soundand CommunicationsEngineers Ltd

PO Box 7966READING RG6 7WY

Company limited byguarantee and registeredin England no 3288938.

Registered Office:3 Bramfield Road East,Rayleigh, Essex SS6 8RG

VAT registration number:GB 781 3372 24

Events Diary1 March 2011ISCEx2011, Watford, UK

9–14 April 2011NAB Show, Las Vegas

6–9 April 2011Prolight & Sound, Frankfurt

19-20 April 2011PLASA Focus, Leeds, UK

26–28 April 2011PALME, Dubai

16–19 May 2011IFSEC, Birmingham, UK

8–13 September 2011IBC, Amsterdam

12–15 September 2011PLASA 2011, London, UK

We welcome your contribution to the magazinewith editorial and advertising. Please send newsor articles to Ros

2357_mag_1:magazine 1 11/2/11 12:12 Page 1

y first experience with sound was at the age of 15,when a teacher named Ray Adams (funny how youcan always remember a mentor’s name) taught mehow to construct a valve amplifier as part of a scienceclass. I was hooked on this magical stuff that hadelectrons rushing around in a way not manypeople understood.

Through the years, I moved through the circles ofpublic address, watching and working with thechanging technologies and getting involved withmany interesting projects. To be honest, I had a greattime, met many interesting and wonderful people –that includes you Chappers – and provided, I think,a service to a lot of organisations and individuals.

I was very lucky to be able to retire in my mid-fiftiesand spent time abroad, enjoying myself helping localschools in India to start computer education classes.At one teacher training college, I spent an afternoonlistening to a lecture where the person delivering itspent more time adjusting volume controls to stopfeedback than he did giving out useful information.I cringed. As he was my best friend in India, JudeMiranda, I offered to put in a system that would workall of the time. Of course, he was delighted but saidthat they did not have the funds to buy the equipmentand needed to stick with what they had – a 100 wattamplifier with two 4 x 12s on steel tables 6ft high anda pretty cheap microphone held together with blackelectrical tape.

Being a bit flush in Indian terms at the time I, afteragreeing it with the wife of course, decided topurchase the kit needed and donate it to the college.Wow, was he excited now. So it was off to the localPA equipment supplier in the main town for some kit.This was some experience I can tell you. The shopwas no bigger than a small container but everyavailable space was filled with boxes of brand newshiny equipment. With a copy of the catalogue andprice list, in English, I went back to the apartment todesign my system. This was fun, so much to choosefrom and prices that were unbelievable. They hadmassive re-entrant horns and drivers available forless than we could buy a bracket for, but theywould not fit into the suitcase.

I bought everything needed and loaded it on arickshaw flatbed (only 60 rupees or 80 pence to hirefor 1 hour) and went up to the college ready to install.

I had decided on six small columns and a mixer ampand a nice couple of microphones and stands withoutelectrical tape and some long XLR leads. Mostbuildings in modern India are concrete constructedand somewhere along the line, the formula gets a bitlost and the quality of this stuff varies quite a lot. Wegot the hard stuff, and I mean hard. We had hired aguy not because of his skill, but because he had anelectric drill. Remember Wolf and Black & Deckerin the 1950s? Yes that was it, but with the cableextended with two single core cables and, yes, moreblack tape. It terrified me with no earth and the endsof the single cores just pushed into the socket holes.His masonary drill bit was as old as the drill, so wehad yet another trip to the town to purchase newones. I got 10 for the price of one in the UK and theywere branded as well, Rawlplug, and yes, I bought

M

Testing testing 123 or is it टसेट्िगं टसेट्िगं 123David Futers MInstSCE

2 ISCE · February 2011


a 3 pin 13 amp plug and a length of green cable sowe had an earth, as I did not want to be responsiblefor the guy drilling while up a ladder.

After a few hours of putting up trunking and brackets,even though I say it myself, it was a neat installation.We were ready to hang the speakers, nice creamones with three tappings 15 watt, 7.5 watt and 5watt. I told Jude to start tapping at 5 watts andthis started a great argument about how he neededthem to be as high as possible as his system was200 watts of unmitigated feedback. I told him totrust me, I am an expert.

Well the rest is history, the system was installed andworking, “but only because the hall is empty” saidJude, “the real test will be at the inauguration”. “Thewhat, Jude?” I exclaimed. “Oh yes, all things newneed an inauguration in India, complete with localpriest and member of parliament and Uncle TomCobley and all. The appointed day arrived, the collegekitchen had a spread of food fit for a king, flowers forthe wife and me guest of honour. Good God, what ifthe PA was not loud enough, panic was setting in.Jude was not convinced either as he had his 200 wattmonster set up as a back-up just in case. Well mysystem stood the test and worked perfectly, clear asa bell and no feedback. Everyone was delighted andafter all of the speeches and presentations, weproceeded to what must have been the best Indianmeal I have ever tasted. I was feeling really proud tohave contributed to the success of the local teachertraining college but decided to beat a hasty retreatwhen the local MP congratulated me and askedwhen I was starting the installations in other localschools. I love retirement.◆


ObituaryJohn Heatherington MInstSCE

22/9/37 – 1/12/10

We were sad to learn of the sudden deathof our member, John Heatherington ofAcclaim Educational Consultants, Huytonin December last year.

John, an ISCE member since 2004, hadworked in the industry since leaving schoolin 1953, and, in later years, worked with localschools by designing and building radio stationsand teaching the children how to enjoy them.

Our condolences go to his family.



For a sound job, always choosean ISCE member

Keeping industry standards high

Our Register of Members canbe found on www.isce.org.uk

For more information call +44 (0)118 9542175 oremail [email protected]

The UK professional body for sound system designers,professional installers and consultants.

Members are bound by a code of conduct and promote the highest technical standards



ISCE Pavilion at PLASA 201111–14 September 2011, Earls Court

There are three options on offerwithin the ISCE Pavilion:

• 4sqm shell package: £1,760 + VAT

• 6sqm shell package: £2,640 + VAT

• Stand space: £303 + VAT per sqm

Shell scheme packages include panels aroundthe stand with the company names printed on asign above. The build height can be a maximumof 2.5 metres. It also includes lighting, electrics,a table and four chairs.

The following discounts are applicable:

• PLASA Premier member: 25%

• PLASA Standard member: 10%

• ISCE Pavilion bookings: 5%

We have also arranged literature racks foryou to display your company brochures.For £150 + VAT, your company literaturecan be displayed on the rack and stocksoverseen and replenished by ISCE. This isan ideal solution for companies who want apresence at the exhibition, but are not ableto take a stand.

If you would like to book a stand orliterature space, let Ros know by [email protected] and she will pass yourdetails onto PLASA.

280

6

15

38.5

4 6

20

44

35

12

4

16.32

RCFRCF

Seating areaISCE12ISCE 16

ISCE 18

ISCE 3

ISCE9 ISCE11

ISCE 2

ISCE13ISCE14

ISCE 1

ISCE 17

ISCE10

5

280

6

15

38.5

4 6

20

44

35

12

4

16.32

RCFRCF

Seating areaISCE12ISCE 16

ISCE 18

ISCE 3

ISCE9 ISCE11

ISCE 2

ISCE13ISCE14

ISCE 1

ISCE 17

ISCE10

5

Since its launch in 2007, the ISCE Pavilion,designed for members of the Institute of Soundand Communications Engineers, has gonefrom strength to strength. With its prominentlocation in Earls Court 1, bookings areexpected to be up again this year.

With industry professionals networkingtogether and attracting the right kindof clients to the Pavilion, we alsohave the added benefit of aseating area, which makesan ideal place for exhibitorsto conduct business withtheir visitors in a morecomfortable environment.



s sound and communications engineers, wehave no argument with and happily expect ourequipment to work according to ‘the law’. Wellas long as it is Ohm’s Law!

But when ‘the law’ puts on a wig and stands in frontof the Scales of Justice we no doubt often wish to beblind ourselves and, if possible, like the ostrich do ourbest to ignore its existence, certainly if the ‘the law’ isall about ‘rights’. Our desire for such ignorance iseither due to the engineer’s understandable aversionto pages of documentation written in obscurelanguage or, more frequently, to the inconvenienceand difficulty of checking who owns any ‘rights’ andthen obtaining permission to use the material.

So what are the ‘rights’ which may impact on ourprofession? Although there are many areas whichaffect our business, this article is restricted to thoserelating to ‘intellectual property rights’.

What is intellectual property?

Artists, authors, composers, designers, musicians,performers and others all gain a ‘right’ in the wordsor music they have written, diagrams or pictures theyhave drawn, music performed etc. It is basically theirright to earn money from their creative talent.

Quite frequently this ‘right’ may be owned by aperson’s employer, which is often the case in respectto the design or invention of a new product which hasbeen produced whilst working for a company. Rightsmay be assigned to a publisher. They may now be theproperty of the estate (the heirs) of a dead composeror even gifted to an organisation. The most famouscase of this being the royalties of Peter Pan toGreat Ormond Street Hospital.

So whenever a book is published, a piece ofmusic played or a CD broadcast, the owner of the‘right’ is entitled to collect a fee. And perhaps moreimportantly before a performance takes place –particularly of a drama, musical or many majororchestral or choral works, permission to stage thatperformance needs to be sought. (Note, severalschools have found themselves in trouble forunauthorised performances of Joseph!)

Finding out who is the current owner of copyrightmaterial, that is most items written or composed by

living persons and for up to 70 years after their death,can be a detective nightmare. Different periods andrules apply to recordings and other material. Don’tassume because you cannot find out who is theauthor and where they live, you are safe. They willfind your photocopies or performance, even if it tookplace at Lesser Muddling in the Nowhere, on a wetWednesday in November and then sue you.

Copyright law has been around for a long time.In 1709 the first act of Parliament (Statute of Anne)was passed recognising the ‘rights’ of a person ororganisation to intellectual property. This had thefull imposing title An Act for the Encouragement ofLearning, by vesting the Copies of Printed Books inthe Authors or purchasers of such Copies, during theTimes therein mentioned. There have been manyextensions, revisions and consolidations since thisoriginal Act which brought more types of materialinto the scope and recognising the invention of newmedia. Also the international aspect became codifiedunder the Berne Convention in 1886, again this hasbeen modified over the years. The current primarylegislation is the 1988 Copyright, Designs andPatents Act, but other legislation and EU Directivesalso apply.

Collecting fees by most authors, composers etc hasalways been a difficult task, as unless your namehappens to be Lloyd Webber or Rowlands, the sumsdue are probably very small and only receivedoccasionally. So copyright societies (or collectives)have been formed, both to protect the interests ofthe various persons and act as collection agenciesfor fees. This has simplified the system in that formost items permission can be obtained from justone or two sources and artists get their incomeon a more regular basis.

The Performing Right Society Ltd is one suchorganisation and it has in recent months beenforcefully making known the need for businesses tohave a licence to play music on a business premises.One of the joys of owning more than one businessis that I have received their letter primarily aimed atsmall businesses, more than once. However, asno staff or customers could enjoy music on thesepremises, that is one lot of commission they will notearn. A number of small businesses, such as

A

The rights of lawMichael Jakins MInstSCE


hairdressers have, however, received more than justthe advisory letter and discovered to their cost thatnot having a licence can seriously dent their profit.

As workers in the media we find ourselves onboth sides of the resultant legal minefield. Using,recording, copying or just installing equipment toreproduce sound and or vision may require us to seekpermission or pay royalties to authors, composers,musicians or recording companies – or face theprospect of fines for failing to do so. Section 26 ofthe Act in particular relates to secondary infringementwhich could imply that, as installers, we have a liabilityif copyright was breached, if we knew that waslikely to be the intention behind the purchaseof the installation. But, equally, when we turn ourmicrophones or cameras to record the action orsound and make the recording or film, we wantto be rewarded for our talent.

For some of our customers the situation has beenmade easier by special collective arrangements.For instance, churches can resolve most of theirproblems by subscribing to Christian CopyrightingLicensing International. This covers a range ofactivities, including photocopying songs, preparingpresentations, playing music and CDs in worship for

a small annual fee. Thus when I copied the wordsof a hymn for the congregation at the Church I waspreaching in last week, it was both perfectly legal andthe author will, at some time, get a few extra pence.The same organisation has similar schemes forschools, weddings and funerals.

This article is a very general introduction and doesnot constitute legal advice. ISCE members should,in any individual case, consult a specialist patentagent, copyright society or solicitor specialising inintellectual property law.

Some sources of further information:

Copyright Designs and Patents Act 1988www.legislation.gov.uk/ukpga/1988/48/contentsThis is a copy of the Act itself.

Christian Copyright Licensing Internationalwww.ccli.co.ukAlso links through for information for schools,weddings, funerals.

Performing Rights Societywww.prsformusic.com/Pages/default.aspxThey have a comprehensive Introduction.Also includes MCPS.

The ISCE basic electronics course, held in Watford recently,was a great success with full attendance.

Further training on AFILS is due in March and April and weare again, expecting a large number of attendees – so earlybooking is adviseable.

ISCE training courses



Exhibition and Seminar DayTuesday 1 March 2011 · 9.30am–5pmPark Inn Hotel, 30–40 St Albans Road, Watford, Hertfordshire WD17 1RN t: +44 (0)1923 429988 f: +44 (0)1923 254638 w: www.parkinn.co.uk

ISCEx2011

For the latest list of exhibitors, please visit our website www.isce.org.uk

10.00amVoice sounders for evacuation –where are they now?

Tony Payn, Vimpex Ltd

Voice sounders for alarm purposes are essentiallyalarm sounders that are also capable of playing arecorded voice message. This type of product isnow firmly established as an alternative to simplecoded alarm sounders and to more complex PA/VAsystems. This presentation will discuss how voicesounders meet the requirements of alarm systemsand looks at some of the technologies used withinvoice sounders.

11.00amVideo for audio engineers

David Tyas MInstSCE, Ikon AVS Ltd

Incorporating video into a project can bea good additional source of revenue for audioprofessionals. It may be simply adding a projectorin a theatre, or digital signage to augment aVA system. But, with multiple analogue videoformats and the transition to an equally confusingarray of incompatible digital formats, whatconnects together and works, how do youconvert between the formats and how doyou cable and connect them?

This seminar will cover the basics of videowith the emphasis on the newer formats,how to interface these and how to incorporatelegacy products into systems.

2.30pmWhy loop systems are failing

Gordon Morris MInstSCE, Gordon Morris Ltd

We have the technical know-how. We have theenthusiasm. So why are loop systems failing?

As a hearing aid user for over fifty years, GordonMorris is better placed than most to understandthese issues. He will explore why loop systems failand the technical and human complexity involved inmaking them work. This is not a blame game and ispurely highlighting what the hearing aid user hearsor does not hear. What more can the Institute do toinfluence and bring about a more satisfactorysolution for the purchaser and above all, for thehearing aid user?

3.50pmLoudspeakers & EN 54 part 24 –has Europe gone mad?

Peter Alberry-King MInstSCE, Penton UK Ltd

The enforcement of EN 54 part 24 is just around thecorner. April 2011 is when we all take a deep breathas loudspeakers for use in voice alarm systemsused for fire evacuation will have to be certifiedto EN 54 part 24. Peter Alberry-King will explainwhat the certification process is, the reasons forits introduction and explore the implications thatEN 54 has for both manufacturers and installers.He will attempt to address the long list of questionsthat have been raised to date regarding theintroduction of third-party certified loudspeakers.

Running alongside the exhibition is a programme of seminars.We have four excellent speakers, covering subjects that are sure tointerest you. All seminars will be commercially neutral, althoughdemonstrations may naturally use the speakers’ own products.


How to get there

By roadPark Inn Hotel WD17 1RNM1 south Jn 5,M1 north Jn 6M25 clockwise Jn 19M25 counter-clockwise Jn 21a

Nearest train stationWatford Junction

Nearest airportsHeathrow and Luton

ParkingHotel parking is limited.Overflow parking is available5 minutes walk away atWatford Junction Station

SEM

INAR

PRO

GR

AMM

E

Exhibitors so far

Ampetronic Ltd

Ashdown AV – Clearsonic

Ateis UK

Baldwin BoxallCommunications Ltd

Cloud Electronics Ltd

Communication Technology Ltd

Current Thinking Ltd

DNHWorldwide Ltd

Fuzion plc

Gordon Morris Ltd

Ikon AVS Ltd

Institute of Acoustics

Kraken Acoustics Ltd

Neutrik (UK) Ltd

RCF Audio

R W Salt Communications

Sennheiser UK

Shuttlesound

SigNET (AC) Ltd

Sound Directions Ltd

TOA Corporation (UK) Ltd

Vimpex Ltd

Voice Perfect Ltd

Overflow parking

“Communication Technology Ltd are pleasedto support this year’s ISCEx, as we have donenow for a number of years. The show providesa great opportunity to meet old friends in theindustry and network with newer prospectsin a forum which is not too large.

ISCEx offers some excellent seminars onsubjects that matter to us, presented bypeople who really understand and arepassionate about the audio industry.A wealth of experience and expertiseis available at ISCEx and it’s a showof which we appreciate being a part.”

Mike ZiolekGroup Commercial DirectorCommunication Technology


he name of DNHmay not be a household one inthe wider world, but within the field of public address,the Norwegian loudspeaker manufacturer needsno introduction.

In March 2011, the company will celebrate the65th year of its founding and while now, it wouldbe no exaggeration to say that DNH is generallyconsidered to be a force in the industry, it wasfrom far humbler beginnings that it begun.

In 1946 a former Norwegian POW, FrithjofEdwardsen, formed the fledgling business withrepatriation money received when he was released.During his wartime incarceration Edwardsen hadbeen forced to walk miles every day to break inGerman Army boots, so it was something of an ironythat he set up his business in the former Germanbarracks in the small Norwegian town of Kragero.

In the early days of the business DNHmade driversfor use in OEM products, such as juke boxes andhi-fi systems. These units were renowned for theirhigh sensitivity and were known as the ‘goldenloudspeakers’ of DNH, and although nowadays DNHis more well known as a manufacturer of industrialloudspeakers, back in 1962 these drivers were veryhighly regarded, so much so that they were evenused by a little known pop band called The Beatles.

Edwardsen quickly realised that operating out of asmall town in a remote part of a country on the veryedge of Europe he had to offer something special orhis business would not be viable. He decided that theDNH name would be synonymous with quality anddesign. His other ‘Eureka’ moment was to realise thatsupplying loudspeakers in Norway alone was not

sustainable. As there was a burgeoning anddeveloping Europe on his doorstep, Edwardsendecreed that DNH would start to export.

In the 1950s, DNH started to manufacture hornloudspeakers. Always with the watchwords of qualityand design at the forefront they soon developedmarkets in Germany, Denmark and the Netherlandsand, in 1957, DNH opened its first overseas office inNurnberg, Germany.

Technological development also continued apaceand in the 1960s DNH began production of theworld’s first loudspeakers for hazardous areas. Thestandard of manufacture for equipment used in thedemanding environment of the North Sea must bemaintained at a high level and the quality control DNHimplemented then has been applied throughout theproduction ever since

Chief among the philosophies of DNH is that you cannever stand still. The emphasis has always beenplaced on the value of research and development andthe Kragero site has its own development laboratoryincluding an anechoic chamber. The 1980s saw thedevelopment of the first music horn, a design that hassubsequently been copied all over the world andthe first ever plastic hazardous area loudspeakerwas produced using a special anti static plasticcompound unique to DNH.

With the expansion of the product range came therealisation that in order to serve the markets you needto be near them and full warehouse and sales facilitieswere opened in both the UK and Germany.

With the first decade of the 21st century behindus, DNH, now under the stewardship of HaraldEdwardsen, the son of the founder, has offices inPhiladelphia and Seoul and has developed intoa truly worldwide organisation.

New challenges will be faced with the sameenthusiasm and attention that has characterisedDNH in the last 65 years, and already DNH hasinvested in developing products that complywith the EN54/24 standards.

The small company, operating out of a small town,in a remote part of a country on the very edge ofEurope is set to be around for a long time to come.◆

T

65 years old… but no sign of retirementKeith Golds AMInstSCE DNHWorldwide Ltd, www.dnh.co.uk


The original factory. It is still part of the complex todayalthough it has been built up



One man’s junk isanother man’s treasureBernard Bibby FInstSCE

I, like a number of you, have been making a lot ofnoise during our illustrious careers, but there comesa time when all good men give thought to retiring fromthe fray, only to find the need to still keep a hand in.An opportunity has come my way to give a little backto the society that has supported me for many years.

I have, with the help of our industry, put together asmall PA system that I hire out for a small fee to raisemoney for charity; the Royal British Legion and morerecently, Help for Heroes.

Apart from the hire side of the service, there isalso a need to set up a practical based educationalservice that would involve local schools and youthorganisations, who know how to make a lot ofdistorted noise, but have very little understandingof the technology.

As the time approaches for the need to undertakestocktaking and other house-keeping exercises,I would like you to go through all those dark recessesand finally make a decision to get rid of all theequipment that is taking up a lot of valuable space.

I can use whatever equipment is serviceable andanything else that is past its working life can bedissected to use as teaching aids.

Your help will encourage the next generation ofengineers to get to grips with our industry and,at the same time, earn you a pat on the back forgiving a bit back to the community that supportsyou and your enterprise.

It may be junk to you but it could be treasureto me, so please give your support.

To discuss in more detail and arrangecollections (potentially at the nextISCE event) contact:

Bernard Bibby FInstSCE

Project DirectorSwale Community Broadcasting Service(SWALE RADIO)Kent

Tel: 01795 479326Email: [email protected]

Independent registered charitiesassociated with the ISCEThere are two independent registered charitiesthat are associated with the ISCE, administered byindependent trustees, who are long-service peoplefrom the sound and communications industry.

The Public Address Engineers Benevolent Fund(registered charity no 216648) can offer immediatefinancial assistance to any member, bona fidedependant of any member or deceased memberwho, in the opinion of the trustees, needs assistance.

The Alex J.Walker Memorial Fund(registered charity no 262085) can assistwith training related funding.

The trustees ask you to please consider makingdonations to either of these Charities in order forthem to continue providing assistance.

The Charities can accept bequests from membersand this will reduce the inheritance tax on your estate.You are also able to gift aid your donation.

To receive a leaflet explaining the two Charities inmore detail and learn how to make donations,please contact the administrator directly orISCE office, who will guide you to the trustees.

Charities Administrator

RonWalker132 High Street NorthStewkley LU7 0EP

Tel: 01525 240444Email: [email protected]

Institute Day charity donationAt the ISCE annual dinner held last November,in memory of our past President, the lateDavid Hopkins OBE, we managed to raise afantastic £542 for Beechwood Cancer Centre.

The Charity were delighted to receive ourdonation and assured us that it would beused wisely to bring comfort and supportto all those who benefit from Beechwood.

Charity round-up



2011Register of members 2011

Register ofMembers 2011The new Register of Members 2011is now live on the ISCE website.If you missed the chance to be in thisissue, please request an opt-in formfrom Ros, who will make sure you areincluded in the next quarterly update.

This year’s ISE attracted a record 34,870 attendance to the Amsterdam RAI andmany of ISCE’s supporting members were exhibiting

David TyasMInstSCE of Ikon AVSreports on his experience;

“As part of the UKTI contingentexhibiting in Hall 1, there was littleor no time to see much of theexhibition other than on the thirdday (Thursday) when it wassignificantly quieter. Without doubt,Halls 1–5 are the major focus whereyou could see an eclectic mix ofmanufacturers ranging from thebig names to newcomers.

Being an AV company my RAS wasset to AV and audio and in theseareas, whilst a move to digital videowas evident, there was no singleWOW factor. These halls, along with

the others located over the bridgeat the other end of the complex,offered a wide array of digitalsignage, 3D projection and allthat goes with it.

Audio was reasonably wellrepresented, particularly for thehome and specialist sectors andwhilst the no or low sound policystops live demos, it does give theopportunity to discuss the finerpoints of the products andavailability.

This was a good exhibitionto do business and discussopportunities with existingand perspective clients”.

ISE, Amsterdam 1–3 February 2011


The distinctions between automatic gain control(AGC), limiting and compression seems not to beclearly documented anywhere, not even in thelittle-known IEC 60268-8. For the purposes of thisstandard, automatic gain control is characterized bysufficient gain in the control loop to hold the steady-state amplifier output substantially constant for valuesof sinusoidal source e.m.f above a threshold value,and a release time-constant in the control loop of1 s or greater. AGC does not, when correctlyimplemented, change the subjective qualityof the programme signals.

Similarly, compression (amplitude compression) ischaracterised by gain in the control loop set so thatthe steady-state amplifier output increases withsource e.m.f. less than proportionally for values ofsinusoidal source e.m.f above a threshold value,and a release time-constant in the control loop ofthe order of milliseconds. Compression changesthe subjective quality of the programme material.

Limiting is similar to compression in that it has a shortrelease time-constant, but it has high control loopgain, so that the amplifier output stays substantiallyconstant for values of sinusoidal source e.m.f abovea threshold value, like AGC. Limiting changes thesubjective quality of the programme material.

For both techniques, the attack time-constant in thecontrol loop is usually of the order of milliseconds.

The compression ratio is the difference in decibelsbetween an increment of level of source e.m.f andthe resulting 1 dB increment of level of output current.There is evidence that compression ratios in theregion of 2 can improve speech intelligibility, whilevalues above 3 tend to make the sound qualitystrident and unpleasant. Compression is notdesirable in amplifiers for AFILS, since the needfor compression by an individual user, in differentacoustic situations, is normally fulfilled bycompression in the hearing aid. Compression candepress speech levels undesirably in noisy situations.However, AGC IS highly desirable in AFILS amplifiers,because a reduction in input signal level wouldotherwise seriously degrade intelligibility.

Figure 1 shows typical steady-state output/inputcharacteristics.

Engineering Note 27.1

Automatic gain control,limiting and compressionJM Woodgate FInstSCE


DisclaimerCare is taken to determine that ‘Engineering Notes’ do notrefer to any copyrighted or patented circuit or technique,but ISCE can accept no responsibility in this connection.Users of the information in an ‘Engineering Note’ mustsatisfy themselves that they do not infringe anyIntellectual Property Rights.



Flare Audio, who are soon to open a new research,development and demonstration facility in WestSussex, are announcing the launch of two newinnovative products in Spring 2011.

A new compact high packThe new compact, multi format high pack can beused as a true line source enclosure, point sourceenclosure or close field monitor. Using technologygained from Stealth Array, this new high pack speakercan be setup as a standard line array, point sourcecluster and standard high pack/monitor speaker.Made from the highest quality birch ply and featuringan interchangeable aluminium HF waveguide, thespeaker is set to revolutionise the medium sized linearray/high pack market.

Flare Audio’s Davies Roberts TechInstSCE said‘We believe the time is right for a very high qualityline array system that is flexible and versatile; thesound quality produced by this new speaker is simplybreathtaking. The speaker can scale from a smallsingle stand alone monitor to a 20 hang line arrayfor large scale events.’

A new discovery in directional bassand a new bass enclosureThe quality of any sound system relies on it’s abilityto react in balance to any given input and re-createidentically the information it is receiving. To achievethe highest definition involves keeping all the audiowaves for each frequency as sharp/thin as possible.It is true that sensitive drivers produce a thinnerwave, but this sensitivity can be lost. The result isan undefined bass with a thick or blurred soundwave removing most extra definition gained fromsensitive drivers.

Flare Audio is developing a new design thateradicates delay in bass enclosures so that allfrequencies produced remain sharp. The sharpnessor boom factor as it is measured in lower frequenciesis significantly lower in this new design Flare Audio isdeveloping than those from a folded horn, reflex orband pass design.

Davies Roberts said: ‘Rather than people just feelingbass, we want them to hear every single detail andthese new bass enclosures are revolutionary at doingthat. Our aim is to produce the highest possibledefinition from a bass enclosure as well as beinghighly compact, highly directional and easy to use.’

Flare Audio welcomes enquiries from interesteddealers and distributors to become a part of theirrapidly expanding network.

Sound with true flair

Easy storage foryour ISCE magazinesQuite often, our members need to refer back to articles inpast copies of the ISCE magazine, only to find they are notimmediately to hand.

We have come up with a solution of a smart new A5 ISCEbranded magazine binder, which can store up to two year’sworth of magazines and sit neatly on your shelf.

These will be available to buy at ISCE events throughoutthe year, at a discounted price of £5.00 including VAT.If you can’t wait to get your hands on one, and want thebinder posted to you, the price will be £6.50 including VAT.

www.flareaudio.com



Supporting MembersA K Barns Ltd, Cambswww.soundplayback.comMr A Barns MInstSCE

ADS Worldwide, Manchesterwww.ads-worldwide.comMr J Houldcroft MInstSCE

Akwil AV Ltd, Manchesterwww.akwilav.comMr A Akka MInstSCE

Alarm & Communication Systems Ltd,Tyne & Wearwww.alarmcommsys.co.ukMr S Jefferson

Ampetronic Ltd, Nottinghamshirewww.ampetronic.comMr J Pieters MInstSCE

AMS Acoustics Ltd, Londonwww.amsacoustics.co.ukMs H Goddard FInstSCE

Arup Acoustics, Manchesterwww.arup.com/acousticsMr D J Smith MInstSCE

Audio-Technica Ltd, Leedswww.audio-technica.comMr S Druce

Baldwin Boxall Communications Ltd,East Sussexwww.baldwinboxall.co.ukMr T Baldwin CompInstSCE

BC Technology Ltd, Northantswww.bctechnologyltd.co.ukMr R Schlimmer

BL Acoustics Ltd, Essexwww.blacoustics.co.ukMr B Larcombe MInstSCE

Blaydon Communications Ltd,Tyne & Wearwww.blaydoncomms.co.ukMr P Dougherty AMInstSCE

Bosch Security Systems, Middlesexwww.boschsecurity.co.ukPaul Ward AMInstSCE

CIE Group Ltd, Nottinghamshirewww.cie-group.comMr J Doar AMInstSCE

Clarity UK Ltd, Essexwww.clarityuk.co.ukMr G Palmer AMInstSCE

Cloud Electronics Ltd, Sheffieldwww.cloud.co.ukMr S Curtis

Commercial Audio Solutions Ltd,Derbyshirewww.commercialaudiosolutions.comMrWMackie AMInstSCE

Communication Technology,East Sussexwww.communication-technology.co.ukMr AWalker FInstSCE

Contacta Ltd, Kentwww.contacta.co.ukMr R Dungan

Cooper Fulleon Ltd, Gwentwww.cooperfulleon.comMr R Choppen

Cooper Lighting & Safety Ltd, Doncasterwww.cooper-ls.comMr BWalder

C-TEC, Wiganwww.c-tec.co.ukMr A Green

CUK Ltd, Glasgowwww.cuk-audio.comMr S Thomson

Current Thinking Ltd, Tyne & Wearwww.current-thinking.comMr A Smith MInstSCE

Delta Telecom Sound &Security Ltd, Stockportwww.deltatelecom.co.ukMr A Ratcliffe AMInstSCE

DNH Worldwide Ltd, Milton Keyneswww.dnh.co.ukMr K Golds AMInstSCE

Duran-Audio UK Ltd, Cardiffwww.duran-audio.co.ukMr N Screen

Edworthy Audio Consulting, East Sussexwww.edworthyaudio.comMr D Edworthy HonFInstSCE

Fuzion plc, Surreywww.fuzion.co.ukMr T Torlini

Gordon Morris Ltd, Somersetwww.gordonmorris.co.ukMr GMorris MInstSCE

Grainger Communications Ltd,Co. Tyronewww.graingercommunication.comMr M Grainger MInstSCE

Ikon AVS Ltd, Worcestershirewww.ikonavs.comDr D Tyas MInstSCE

Mongey Communications,Co. Kildarewww.mongey.ieMr D Mongey

Northern Light, Edinburghwww.northernlight.co.ukMr J Allen

NSR Communications Ltd, Hertfordshirewww.nsrcommunications.co.ukMr PWalker

Peavey Electronics Ltd, Northantswww.peaveyelectronics.comMr J Kennedy

Penton UK Ltd, West Sussexwww.penton.orgMr P Alberry-King MInstSCE

Principle Link, Huddersfieldwww.principle-link.comMr R Cooke

Provoice, Lancashirewww.provoice.co.ukMr J Gilroy MInstSCE

Pure Install Ltd, Lancashirewww.pureinstall.co.ukMr S Makinson

RCF Audio, Essexwww.rcfaudio.co.ukMr P Price MInstSCE

R K Sound Engineering Ltd, St Albanswww.rksound.co.ukMr J Raper MInstSCE

Romers Electronics Ltd, Blackburnwww.romers.co.ukMr J Caton MInstSCE

R W Salt Communications Ltd,Manchesterwww.rwsalt.co.ukMr C Buckley AMInstSCE

Sennheiser UK, High Wycombewww.sennheiser.co.ukMr A March MInstSCE

Shure Distribution UK, Londonwww.shuredistribution.co.ukMr T George-Tolonen

Shuttlesound Ltd, Surreywww.shuttlesound.comMr D Howe MInstSCE

SigNET (AC) Ltd, Tyne & Wearwww.signet-ac.co.ukMr A Scott MInstSCE

Simpson Sound & Vision Ltd,Warwickshirewww.simpsonsoundandvision.comMr D Simpson MInstSCE

Solent Sound Systems Ltd, Southamptonwww.solentsound.comMr R Gatehouse MInstSCE

Sound Directions Ltd, Londonwww.sounddirections.co.ukMr S Boivin-Champeaux

Sound Productions, Dublinwww.soundproductions.ieMr D McGlynn MInstSCE

TOA Corporation (UK) Ltd, Surbitonwww.toa.co.ukMs L Hall

Affiliate MemberRon ElliottNTE Limited

MemberJakob KristinssonETOS ehfRoland HemmingRH ConsultingSteve BainOff Beat

TechnicianDavid WiskerVivid CommunicationsGareth AldridgeFulford Sound &Communication ServicesJames CandlerSuperior Sound SystemsMartin FeatherstoneCIE Group Ltd

New MembersFebruary 2011


ISCE · 4 ISCE·February2011 For a sound job, always choose an ISCE member Keeping industry...

Documents

Transcript of ISCE · 4 ISCE·February2011 For a sound job, always choose an ISCE member Keeping industry...