PYLE Audio PT8000CH User Manual

i Multichannel Audio Production FB 1406 An Interdisciplinary Qualifying Project Submitted to the faculty of Worcester Polytechnic Institute in part

5 Figure 2: 7.1 Channel System Figure 3: 22.2 Channel System Even though commercially available audio systems are limited in how many discreet a

6 phones, making the speakers controls as much a part of the performance as the music being played through them. 2.2 Human Sound Perception The h

7 Figure 4: Haas Effect The functions of the ear most immediately valuable in this research pertain to localization. Localization is the ability t

8 wavelength of a 1000 Hz sound wave. This anatomical property of the human head means that below 1000 Hz the ears are able to employ a phase shifti

9 Figure 5: Amplitude of Transfer Functions Having gained a working knowledge of these mechanisms, it is possible to use the advance

10 One of the most basic and well known parameter used to determine high quality audio is referred to as noise. Noise is most easily heard when a

11 Sound imperfections are not always the result of the audio equipment used, but often a result of the room parameters. Glass windows, hardwood or

12 3 Methodology 3.1 Project Goals The goal of this project was to improve the existing multi-channel surround system by building a versatile and ro

13 6. Keep the cost of the project within the allocated budget, between one and two thousand dollars. 3.2 Project Timeline To successfully achi

14 3.3 Initial Inspection of Current System Our initial plans for implementing this audio system involved using the hardware currently present to u

ii Abstract This project is dedicated to creating an interactive and immersive three-dimensional surround sound interface. Different from most 5.1 or

15 the system would need 4 people present to start the playback. All play buttons would need to be pressed at the same time using 2 hands per person.

16 software to successfully output 40 discrete audio channels. These outputs would lead into the second stage, the amplification stage. In order to

17 Figure 8: M-Audio Profire 610 Interface Difficulties arose in the attempt to use Profire interfaces as was initially intended. The systems prove

18 Figure 9: Thunderbolt to Firewire Adaptor A similar device, the M-Audio Profire 2626 (InMusic Brands Inc), was examined as a potent

19 Dolby DTS encoding which, as previously described in relation to the sony receivers, would not be possible for the purposes of this project. Alth

20 Previously researched interfaces communicate with the computer using, firewire, SPDIF/ADAT and Ethernet connectivity among other connections. How

21 Figure 12: Syba USB Audio Interface While the number of slave devices allowed by the iMac were limited, it was possible to continue to use the U

22 The Syba USB audio interface is a very simple Digital to Analog Converter (DAC) chip that talks to the master device with serial. The computer sen

23 audio systems, were explored first with the intent of keeping costs down. These systems require a twelve volt power supply, generally from an auto

24 Figure 15: Pyle 8-Channel Amplifier (Front) 3.5 Digital Signal Processing The Digital Signal Processing for the project was performed in a

iii Table of Authorship 1. Introduction - Chris 2. Background 2.1 Existing Multichannel System - Chris 2.2 Human Sound Perception - Richard 2.3 Det

25 Figure 16: Ableton Plugin Interface The primary governing principle behind the system was to use a combination of delays, attenuators, and all pa

26 the ability to add room impulse response convolutions to the output signal. This can accurately model reverberations or secondary reflections fro

27 The most basic measure taken to improve audio quality and hinder sound reverberation was the addition of sound dampening foam panels to the roo

28 3.7 Assembling the System Now that the interface and amplification stages had been researched thoroughly and a number of appropriate components

29 units at this distance from the amplifiers, heat could be easily dissipated and wires could be run from components neatly without them bunching up

30 Figure 20: Connections to iMac including(from the left) 3.5mm headphone jack, USB to Profire 610, Syba USB, and USB/Firewire to Fast Track The P

31 4. Discussion Setting the level across multiple devices and interfaces can be very difficult when differing devices are used to perform the same

32 lot of room for accidental errors to occur. Gain alone is easy to change by any one of the individual interfaces or physical knobs. This leads to

33 all the software halted. This was due to limitations at the root hub level of the iMac not being able to support the three USB interfaces, plus US

34 5. Recommendation 5.1 Potential System Uses The primary value of this system lies in its potential for sound localization research. Because thi

iv Table of Contents Abstract ...

35 tests. For instance, if both the noise and speech are made to be very small how does varying the distance between their origins impact the abilit

36 system to be capable of the same spatial dynamics as a large many channel surround sound system. The fact that the human ear is only a stereo sys

37 varied from a left to right alignment to a front to back alignment to observe the orientations where this phenomena is able to occur. The angle b

38 communication between the software and the interfaces. An implementation of this protocol would reduce the reduce connection based issues, making

39 6. Conclusions The goal presented for this project was to create a 40 channel surround sound system that would provide a platform for unique

40 7. References Sony Corporation. (2003). STR-DE495P/K750P SERVICE MANUAL. [PDF] Available through: https://docs.sony.com/release/HTDDW750.pdf [Acce

41 FocusRite. (2014). Rednet 3 Specifications http://us.focusrite.com/ethernet-audio-interfaces/ rednet-3/specifications Tomlinson, Holman (2007). Su

42 8. Appendices A. User Manual and Troubleshooting Guide Introduction: This manual was created with the intent of guiding users in the startup,

43 Speaker locations are measured using the lower speakers on the longer walls as xy-plane, and each speaker is measured from a position at the cente

44 The ProFire 610 should be the ‘master clock’ source, denoted by a small clock symbol next to it inside the aggregate device. Sample rates should

v Table of Figures Figure 1: 5.1 Channel System ...

45 Next, check the gain settings for each of the devices within the Aggregate Device to confirm they match the values the system was tuned to. The

46 The ProFire 610 and C400 gains are locked within the aggregate device, so these sliders should be grayed-out.

47 Open “Ableton Live 9 Suite” This is the main interface you will be using, it includes a number of programmed modules that run in the background, a

48 Open “M-Audio_ProFire” This is the interface that controls the ProFire 610 settings, though the Ableton application takes control of many of these

49 Click on the Settings tab, and confirm that the Sync Source is “Internal”. The Sample rate is set within the ‘Aggregate Device’, but should show 4

50 Open “M-Audio Fast Track C400 Control Panel” Like the ProFire, there is an interface for this device, and it has a number of settings that are c

51 Physical Equipment Settings: Pyle PT8000CH Amplifier: Turn on power by pressing the button on the front of the amp, inset button position is ON. O

52 M-Audio ProFire 610: This unit is primarily controlled via the computer interface, but the Power button must be pressed into its innermost positio

53 M-Audio Fast Track C400 Another Digital to Analog signal device, the controls are located on the top/front of the device. Rotate the ‘Volume’ knob

54 Apple Computer: This is the primary interface device used in the system; it runs a number of programs that allow for the manipulation of the outpu

1 1. Introduction Consumer interest in audio products has increased as new technologies are developed. Consumer markets have reflected a continued i

55 Speakers: A collection of 8 home AV surround sound systems were assembled for this project, each set having a receiver and 5 speakers. Of these

56 Using the Interface; Ableton Live 9 Suite Getting familiar with the interface The Ableton application is a very powerful tool for audio processi

57 Adding and Playing a Source At the top of the interface, you have the main source control, in which you can drag-and-drop audio sources to be play

58 Distance Calculator This is the module in the program that calculates the time delay and the volume of each speaker in the system, based on a gr

59 time, and saved in the live set. This presents a possible problem whereby a coordinate is accidentally changed, which would affect the time alignm

60 Adjusting the interfaces Though we would love to live in a perfect world where no adjustments to the interface will ever be needed, inevitably the

61 Troubleshooting: Equipment not powering on: If you experience a single or group of components will not turn on, first check the wall plug to be

62 Echo in system, time alignment is incorrect. See “Sound source is choppy, skipping, artifacted” and check “Audio Midi Settings” Next, in the Abl

2 more immersive and convincing experience than can currently be created. This functionality can be achieved by modifying the current DSP software t

3 2. Background 2.1 Existing Multichannel Systems Commercially available audio systems have grown from units that contain a single channel to the m

4 Figure 1: 5.1 Channel System Since the development of the 5.1 channel system, many more advanced systems have been created. Standard audio system