Dynaudio pmn manual Acoustics, Good acoustics, Reverberation time

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ACOUSTICS - BACKGROUND INFO

Acoustics

When we talk about making a room "sound right", we are probably dealing with room acoustics as a science acoustics has been around for about hundred years. Until then good acoustics happened by experiment, by experience, or simply by accident.

Today we know a lot about the parameters that influence the "sound" of a room.

Talking about the control room we know that basically this room should act as neutral as possible. But this is not always the case. Lets just take a short look on some of the issues, than one must be aware of.

Good acoustics

Here is a list of important parameters concerning good acoustics.

•Proper reverberation time

•Good sound distribution

•Adequate sound pressure level

•Low background noise level

•No echo (flutter echo)

Now lets have a look on these headlines that will be adequate for the most purposes concerning sound production.

Reverberation time

The reverberation time is defined by the time it takes a sound to attenuate 60 dB after the source is stopped. In the real life we can experience reverb times from approximately 0 sec. (outdoors or in anechoic chambers) to something like 10-12 sec. In special reverb chambers the time may exceed 20 sec.

Control rooms normally should have a reverb time around 0.2 - 0.3 sec.

Why do we have reverberation? The speed of the propagating sound wave is very slow - at least compared to light: approx. 1130 ft. or 340 m per sec.

If there are no reflecting surfaces between the sound source and our ears, only the direct sound is heard and there is no reverberation.

If there is a single reflecting surface we may hear the reflected sound in one way or another, but there is still no reverberation.

If the sound is generated in a room, there are a whole lot of reflections. Each of these travels different paths with different distances on the way to the receiver. Each time the sound hits a surface it may loose some energy if the surface is absorbing.

•One sound source, one receiver and no room

•Only the direct sound is received.

•One sound source, one receiver, and one reflecting surface.

•The sound is received twice. (In the control room this is normally experienced as comb filtering, see later).

•One sound source and one receiver in a room.

•The sound impulse is reflected in many surfaces. All the reflections are melting together and heard as reverberation.

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Contents AirUSrev111.qxd 16-12-2004 1414 AirUSrev111.qxd 16-12-2004 1414 Important Safety Instructions Voltage Line plug according to standardQuick Setup Reference AirUSrev111.qxd 16-12-2004 1415 Page c Table of Contents Introduction This ManualBreak Product ConceptRemote Control Common FeaturesMaster Unit Slave & Sub UnitsRear Panel Description Master Master Unit Analog I/OSlave/Sub Optional Digital I/O cardOperational Overview Main DisplayGeneral Setup Procedure AIR Display & Setting UPSetting up Introduction Setups Stereo SetupStereo Setup with mono Subs Stereo Setup with stereo SubsDigital Setup Analog SetupThis illustration shows how to connect a 5.1 digital setup This illustration shows how to connect a 5.1 analog setupThis illustration shows how to connect a 5.3 Digital setup This illustration shows how to connect a 5.3 Analog setupThis illustration shows how to connect a 6.1 Analog setup Dig/6 MasterStereo Setup With Chains on L & R Other Chained SetupsDigital 192 kHz Digital Setup When the Monitors are Connected OverviewPress Enter to access the Select Mode Parameter DescriptionBasic operation in all menus Main DisplaySetup Menu SetupSet Monitor Task External ClockPresets In General LFE channel noteRecall StorePlacing the Monitors Other situations Close to wall / WallOn the bridge / Console Phase checking Checking by ear when listening to the signals In phaseEvaluation Checking the placingEqualizing NextCalibrating Main Monitors CurvesInterchannel calibration Acoustic level calibrationPlacing the Subwoofer Low frequency sweeps EvaluationChecking summing phase cancellation To CalibrateControlling standing waves Checking the CrosspointPolarity PhaseLFE Gain Reverberation time AcousticsGood acoustics Sabines formula Absorbers DiffusersMembrane absorbers Absorbtion or diffusion ? Resonance absorbersBackground Info Acoustics Standing WavesRoom modes Axial Tangential RadialHow to prohibit standing waves How does the standing waves influence the sound field?Acoustics Background Info Comb Filtering Or + Dip frequenciesRear wall cancellation Subwoofer Background Info SubwooferSubwoofer & LFE Channel Background Info LFE ChannelCross-overs Low Pass LFE GainCinema set-up Delaying Monitors LINE-UP & CalibrationAcoustic summation of audio signals Calibration of 5.1 in an ITU-775 arrangement How to measure the sound pressure?LINE-UP & Calibration Background Info Introduction Remote Control FeaturesAIR Remote Preset 1/3 and 2/4 keys Volume potentiometerREF Level 1-3 keys Shift keyAIR Soft Navigating AIR SoftMain ToolsPreset List NetworkSystem Setup Calibrate AIR Base Chained monitorsReset Procedures MiscellaneousGlobal Parameters Local ParametersCables TC Link Standard Cat-5 cablesAES/EBU Standard cables Serial to Cat-5 cableAIR 6 & AIR 15 Master and Slave AIR 20 & AIR 25 Master and SlaveGeneral for all Products AIR Base-1 & AIR Base-2Room & Distance AIR Remote specs AIR RemoteDelay in System & Error Messages ETC Error messages etcAIR Certificate of ConformityCertificate Of Conformity Preset List # Name

pmn specifications

Dynaudio, a company renowned for its high-fidelity audio products, has made significant strides in the field of professional monitoring through its PPM (Professional Precision Monitoring) series. Among the standout models in this series is the Dynaudio PMN (Professional Monitoring Nearfield), which has garnered attention for its outstanding sound quality, precise technical performance, and sophisticated design.

One of the key features of the Dynaudio PMN monitors is their advanced driver technology. Equipped with proprietary drivers, the PMN series employs custom-designed woofers and tweeters that deliver an incredibly accurate frequency response. The woofers utilize a lightweight diaphragm, ensuring that low frequencies are produced with power while maintaining clarity. The tweeters, known for their soft dome design, excel in reproducing high frequencies with exquisite detail and minimal distortion, making the listening experience both immersive and enjoyable.

In terms of design, the PMN monitors boast a sleek and modern aesthetic that fits seamlessly into any studio environment. The cabinet construction employs advanced materials and techniques that minimize resonance, thus reducing unwanted coloration in sound. The unique curved shape of the cabinets is not only visually appealing but also supports optimal acoustic performance by enhancing sound dispersion.

Another notable characteristic of the Dynaudio PMN is its versatility. The monitors are equipped with multiple inputs, allowing for seamless integration into various set-ups, whether in a professional studio or a home listening environment. This flexibility is further complemented by adjustable bass and treble controls, empowering users to tailor the sound profile to their specific requirements.

Dynaudio has also incorporated advanced technologies such as room correction in certain PMN models, which enables precise calibration according to the acoustics of the room. This feature ensures that audio professionals can rely on consistent and accurate sound reproduction regardless of their monitoring environment.

Overall, the Dynaudio PMN series represents a blend of pioneering audio technology, meticulous craftsmanship, and user-focused design. For professionals seeking precise monitoring solutions for music production, film scoring, or any audio-related projects, the Dynaudio PMN monitors provide an exceptional listening experience that stands the test of time. With their stellar performance and innovative features, these monitors have become a top choice for sound engineers, musicians, and audio enthusiasts alike.
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