AKG Acoustics WMS 400 Theater Frequencies, Akg Wms Multichannel Technology, Stage A, Stage B

Models: WMS 4000

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The far-near difference

AKG WMS MULTICHANNEL TECHNOLOGY

The far-near difference

Unlike a hardwire microphone, even the best wireless system is susceptible to dropouts because the relative positions of persons and objects within the coverage area will change constantly during an event. At any moment, shadow loss and signal cancellation may coincide with intermodulation and sideband noise in such a way as to cause a dropout. The specified dropout probability under such conditions for the WMS 4000 is less than 0.1%.

This is equivalent to a downtime of one third of a second per hour. Noticing such short interruptions is difficult even for an experienced tonmeister.

However, this low dropout probability can only be achieved inside a Faraday cage in which no other RF or digital equipment is used along with the WMS 4000.

As mentioned above, the dropout probability or immunity to interference depends primarily on the antenna positions. Finding the best antenna locations is always a balancing act. If the antenna is too far away from the stage the re- ceived signal will be too weak and drowned out by receiver self-noise and other unwanted disturbances during a deep fade. If you install the antenna too close to or even on the stage, however, the dreaded intermodulation whistles

generated by the receivers and transmitters may become audible.

Here is where the far-near difference comes in. It is the dif- ference between the receiving antenna’s distance from the rearmost point on the stage where a transmitter will be used and the receiving antenna's distance from the front edge of the stage.

The Applet http://www.akgfrequency.at/antennaposition/ allows you to compute optimum antenna positions from known far-near differences.

To ensure intermodulation-free multichan- nel operation, AKG programs sets of fre- quency presets into each WMS 4000 system. Each preset contains groups of fre- quencies that do not disturb one another by intermodulation.

Depending on local frequency plans, up to 18 channels can be used simultaneously within each 30 MHz subband. "Enhanced- security presets" with 14 channels or less within the respective 30 MHz subbands are available for some countries.

Although all the frequencies of any preset are approved for use in the respective coun- try, you are still required by law to obtain a permit from the local authorities before you can use the system.

Adding channels by duplicating an existing frequency structure

Here is a proven way to add clean frequencies:

1.Refer to the Theater Frequencies table below and start with a frequency group you are using on stage A, for instance, Band I with 18 subchannels.

2.Add to each frequency half the minimum channel spa- cing. (In this example, the minimum channel spacing for a group of 18 frequencies is 300 kHz, one half of that being 150 kHz.) The resulting group for use on stage B (Band I + 0.15 in the table below) has the same pro- perties as the original group.

Provided the two rooms are separated by a brick wall at least 8 inches (20 cm) thick, you can use the new frequen- cy group you derived by adding 150 kHz without risking intermodulation distortion. By repeating this procedure for the other two frequency groups used on stage A, you will obtain the table shown below with 108 subchannels in Bands I, II, and V.

Theater Frequencies

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

 

 

Stage A

 

 

 

 

Stage B

 

 

 

 

AT 1 preset frequencies

 

 

AT 1 preset frequencies increased by 150 kHz (0.15 MHz)

Band I

 

Band III

 

Band V

Band I + 0,15

 

Band III + 0,15

 

Band V + 0,15

 

 

 

 

650.850

 

720.700

 

790.900

651

 

720.85

 

791.05

651.350

 

721.200

 

791.400

651.5

 

721.35

 

791.55

654.850

 

724.700

 

794.900

655

 

724.85

 

795.05

656.350

 

726.200

 

796.400

656.5

 

726.35

 

796.55

667.950

 

737.800

 

808.000

668.1

 

737.95

 

808.15

673.250

 

743.100

 

813.300

673.4

 

743.25

 

813.45

650.150

 

720.000

 

790.200

650.3

 

720.15

 

790.35

665.050

 

734.900

 

805.100

665.2

 

735.05

 

805.25

666.050

 

735.900

 

806.100

666.2

 

736.05

 

806.25

675.450

 

745.300

 

815.500

675.6

 

745.45

 

815.65

672.450

 

742.300

 

812.500

672.6

 

742.45

 

812.65

676.050

 

745.900

 

816.100

676.2

 

746.05

 

816.25

650.450

 

720.300

 

790.500

650.6

 

720.45

 

790.65

652.450

 

722.300

 

792.500

652.6

 

722.45

 

792.65

658.150

 

728.000

 

798.200

658.3

 

728.15

 

798.35

661.950

 

731.800

 

802.000

662.1

 

731.95

 

802.15

663.350

 

733.200

 

803.400

663.5

 

733.35

 

803.55

671.150

 

741.000

 

811.200

671.3

 

741.15

 

811.35

 

 

 

 

 

 

 

 

 

 

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AKG Acoustics WMS 400 Theater Frequencies, Akg Wms Multichannel Technology, The far-near difference, Stage A, Stage B