{"id":1417,"date":"2021-11-09T00:11:34","date_gmt":"2021-11-08T21:11:34","guid":{"rendered":"https:\/\/puskonaladka.ru\/?p=1417"},"modified":"2026-07-15T10:53:05","modified_gmt":"2026-07-15T07:53:05","slug":"rukovodstvo-po-proektirovaniyu-sistem-zvukovogo-obespecheniya","status":"publish","type":"post","link":"https:\/\/puskonaladka.ru\/en\/blog\/rukovodstvo-po-proektirovaniyu-sistem-zvukovogo-obespecheniya\/","title":{"rendered":"Sound by Science, Not Guesswork: How Sound Reinforcement Systems Are Designed"},"content":{"rendered":"

When a building owner or community center director hears the phrase "sound reinforcement project," they often think, "Why pay for paper? Let's just install some more powerful speakers.".<\/p>\r\n\r\n\r\n\r\n

We hear the results of this approach all the time: the hum in shopping malls, the unintelligible speech of the announcer at the train station, or the mush instead of music in an expensive restaurant.<\/p>\r\n\r\n\r\n\r\n

In this article, we, the engineers at "Puskonaladka", will tell you how proper sound design<\/strong> (based on the "Guide to Sound Systems Design") saves the customer's budget and guarantees results.<\/p>\r\n\r\n\r\n\r\n

Sound is more than just "loud"\u00ab<\/h3>\r\n\r\n\r\n\r\n

According to the regulations, Sound Support System (SSS)<\/strong> \u2014 is a complex engineering system. It's more than just a microphone and a speaker. It integrates sound amplification, fire alarm systems, broadcasting, and intercom systems into a single system.<\/p>\r\n\r\n\r\n\r\n

We divide all objects into three classes, and each has its own strict electroacoustic requirements:<\/p>\r\n\r\n\r\n\r\n

System type<\/th>Where it is applied<\/th>The main requirement<\/th><\/tr><\/thead>
1. Speech SZO<\/strong><\/td>Conference halls, courts, lecture halls, train stations<\/td>Speech Intelligibility (RASTI).<\/strong> Every word should be clear, even if there is noise around.<\/td><\/tr>
2. Broadcasting SZO<\/strong><\/td>Shopping centers, restaurants, fitness clubs, hotels<\/td>Comfort.<\/strong> Music shouldn't interfere with conversation, but should create an atmosphere. Even coverage without "dead zones.".<\/td><\/tr>
3. Concert SZO<\/strong><\/td>Theaters, clubs, concert halls<\/td>Pressure and frequency response.<\/strong> Wide frequency range (from deep bass to highs) and high sound pressure without distortion.<\/td><\/tr><\/tbody><\/table><\/figure>\r\n\r\n\r\n\r\n

Step 1: Count first, buy later<\/h3>\r\n\r\n\r\n\r\n

The main mistake amateurs make is selecting equipment "by eye." We work according to the regulations: first, electroacoustic analysis (EASE modeling)<\/strong>.<\/p>\r\n\r\n\r\n\r\n

Before purchasing the first cable, we must know:<\/p>\r\n\r\n\r\n\r\n

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  1. RT60 (Reverb Time):<\/strong> How loudly does the room echo? If the RT60 is longer than 2 seconds, no expensive microphone will save you\u2014you need acoustic treatment for the walls.<\/li>\r\n\r\n\r\n\r\n
  2. Field unevenness:<\/strong> The standard allows for a volume difference of only \u00b13 dB<\/strong>. This means that the sound in the front row and in the gallery should be practically identical. This cannot be achieved without calculation.<\/li>\r\n\r\n\r\n\r\n
  3. RASTI Index:<\/strong> A mathematical indicator of speech intelligibility. For train stations and conference rooms, it should be no lower than 0.6 (rated "Good").<\/li>\r\n<\/ol>\r\n\r\n\r\n\r\n
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    Case study:<\/strong> The client wanted to install powerful concert-grade speakers in the conference hall, thinking they'd be better off. Our calculations showed that the hall's geometry would result in a boomy sound. We replaced the solution with a distributed system (many small speakers), saving 30% on the budget and achieving perfect intelligibility.<\/p>\r\n<\/blockquote>\r\n\r\n\r\n\r\n

    Specifics of the objects: what is important for the client to know<\/h3>\r\n\r\n\r\n\r\n

    1. Theaters and concert halls<\/h4>\r\n\r\n\r\n\r\n

    Here the system operates in "Universal" mode. Yesterday there was a rock concert, today there's a play, tomorrow there's a shareholders' meeting.
    Our solution:<\/strong> We use digital mixing consoles and processors that remember settings (scenes). Switching from "Movie" mode to "Live" mode takes one second. Standards require systems to have at least 30% of headroom to prevent equipment from operating at its limits\u2014constant clip work is the main reason. failure of amplifiers<\/a>.<\/p>\r\n\r\n\r\n\r\n

    2. Sports arenas and stadiums<\/h4>\r\n\r\n\r\n\r\n

    The main enemies here are echo and distance. Sound travels slowly. If the speakers are positioned incorrectly, the viewer will hear a mishmash of direct sound and reflections.
    Solution:<\/strong> The use of delay lines and acoustic clusters with a narrow directivity pattern that \u00abhit\u00bb directly into the stands, and not into the roof.<\/p>\r\n\r\n\r\n\r\n

    3. Offices and shopping centers (Public Address)<\/h4>\r\n\r\n\r\n\r\n

    Seamless sound is key here. A person walking down the hallway doesn't notice where the range of one speaker ends and another begins. We use 100-volt lines, which allows us to extend cables hundreds of meters without losing quality.<\/p>\r\n\r\n\r\n\r\n

    Integration and management<\/h3>\r\n\r\n\r\n\r\n

    The Soviet approach of "one switch, one function" is outdated. Modern regulations require implementation. Integrated Management Systems (IMS)<\/strong>.<\/p>\r\n\r\n\r\n\r\n

    What does this give to business?<\/p>\r\n\r\n\r\n\r\n