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Page 1: Hydra Setup and configurationconfiguration.pdf · Hydra - Setup and configuration page 3 Introduction The Hydra loudspeaker orchestra is a sound projection system designed for the

Hydra - Setup and configuration page 1

Hydra

Setup and configuration

documentation is work in progress . . .

Page 2: Hydra Setup and configurationconfiguration.pdf · Hydra - Setup and configuration page 3 Introduction The Hydra loudspeaker orchestra is a sound projection system designed for the

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Introduction .................................................................................................................................3 General set-up..............................................................................................................................4 Loudspeakers................................................................................................................................4 2 consoles Yamaha DM1000 .......................................................................................................7 recording.....................................................................................................................................10 digital clock ................................................................................................................................11 Mixer Setup - output attenuation................................................................................................12 Mixer Setup - filter .....................................................................................................................12 Mixer Setup - presets change / MIDI .........................................................................................12 Mixer Setup - remote layer.........................................................................................................13 DM1000 A - microphone inputs and microphone amplification ...............................................14 Input and output patches on the DM1000 ..................................................................................15 configuring an 8-channel playback from the G5........................................................................15 DM1000 B - input channels 17-24 and 25-32............................................................................16 DM1000 A - Aux 1-4 .................................................................................................................17 DM1000 A - Aux 5+6 ................................................................................................................17 DM1000 A - Aux 7+8 ................................................................................................................17 setup-details................................................................................................................................18 

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Introduction

 The Hydra loudspeaker orchestra is a sound projection system designed for the performance of electroacoustic music with or without the participation of instrumentalists. A loudspeaker orchestra consists of loudspeakers distributed throughout a performance space used for the spatial diffusion of an electroacoustic work. Diffusion refers to the practice of distributing sound throughout a space using multiple loudspeakers—usually with real-time control over the sound levels, equalization and placement of the sound. The source material may be live performers and/or stereo or multi-channel electroacoustic sources. The main goal of this practice is to introduce another element of interpretation into the performance of electroacoustic music, allowing for greater expressive communication with audiences. This requires a sound projection instrument sufficiently flexible to adapt to the needs of interpretation and to provide first-rate sound diffusion quality. Hydra is comprised of 32 loudspeakers placed all around the concert hall, distributed both horizontally and vertically, in order to provide a wide range of sound planes and perspectives. Two control interfaces with 32 faders create the possibility to control in real time the individual loudspeakers, or groups of them, which are especially configured for each work performed. Well established diffusion systems in Europe, with evolved performance practices, include the Acousmonium, conceived and developed at the Groupe de Recherches Musicales (Radio France) in the early 1970s, BEAST (Birmingham Electroacoustic Sound Theatre) developed by Jonty Harrison at the University of Birmingham, GMEBaphone, IMEB, Bourges (France) and the loudspeaker orchestra of Musiques & Recherches in Belgium.

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General set‐up 

Loudspeakers  - three speaker rings of eight speakers each, around the public - outer ring with 8 loudspeakers Mayer UPA1 with M-10 rigging points Meyer MYA-UPA mounting yoke Bogen Avenger B250X Super High Wind-Up Stand - middle ring with 8 loudspeakers Mackie HR824 Studio Monitor (customized for tripod mounting bracket) Ultimate BMB-200K Tripod Mounting Bracket Ultimate TS80-B Speaker Stand - inner ring with 8 loudspeakers Genelec 8030A Bi-Amplified Monitor AKG KM201A/2 Black Microphone Stand AKG KM216 Black Thread Adapter 10 Kg Sand Bag - two stereo main speakers Meyer UPL-1P w/ 3/8-16 rigging points (discontinued speaker model) Custom-built stand mounting adaptor plate Ultimate BMB-200K Tripod Mounting Bracket Ultimate TS80-B Speaker Stand

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- two indirect, far away speakers facing the stage back wall (Mayer UPJ) - two speakers beside the console on the floor, facing the ceiling (Mayer UPJ) - two sub-woofers in front of the stage (Mayer UMS-1P) - stage monitors - Genelec 1030A Bi-Amplified Monitor Custom-Built Floor Stand

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2 consoles Yamaha DM1000  Yamaha DM1000 V2 Digital Mixer Yamaha MB1000 Meter Bridge 2) Yamaha MY16-AT 16-Channel ADAT Card (two in each mixer)

The two consoles are positioned in the center of the hall, on their flight cases. Mixer A is on the left, mixer B on the right. On the right side of the mixers is the computer screen on it’s flight case and next to it the computer silencer box. The Macintosh G5 is oriented with the connections towards the mixers.

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On the left side of the mixers is the case with the Apogee converters. On top is the light commander of the concert hall.

view from the consoles

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on stage

front sides

rear sides

rear

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signal flow All the microphones for live treatment and amplification are connected to a stage box and routed to the DM1000 A. The Macintosh G5 is equipped with a RayDat 64 channel sound card. 24 channels are routed from the computer over 3 ADAT light pipes into DM1000 A. (slot 1 1-8in, slot 2 1-8in, slot 2 9-16 in). Eight channels are routed back from the DM1000A to the computer (slot 1 1-8out). The Mayer speakers are connected to omni out's 1-8 of DM1000 A.

back of the DM1000 with the 16 microphone inputs, the 12 omni-outs and 4 omni-ins The Mackie speakers are connected to omni out's 1-8 of DM1000 B. The Genelec speakers are connected to the analogue outputs 1-8 of the Apogee converter 1. The converter get's its signals from the ADAT slot 1 (1-8) of DM1000 B. The two subwoofers Mayer are connected to omni out's 11+12 of DM1000 B and controlled with the stereo master. Two loudspeakers Mayer UPL are used for the amplification of live instruments. They are connected to omni out 11+12 of DM1000 A and controlled with the stereo master. Two loudspeakers Mayer UPJ are placed next and right to the consoles, facing the ceiling. They are used as special effects to bring sound into the middle of the hall. They are connected to analogue outputs 1+2 of Apogee converter 2 and fed through channels 33 and 34 of console A. Two loudspeakers Mayer UPJ are placed at the end of the stage, facing the back wall. They are used for diffuse, indirect sound. They are connected to analogue outputs 3+4 of Apogee converter 2 and fed through channels 35 and 36 of console A.

recording  We use Protools and the interface D002 on a laptop for concert recordings. The interface has 4 analogue inputs and one 8channel ADAT light pipe input. Thus a total of 12 channels can be recorded. Usually we set up a stereo microphone pair (ORTF) and we provide a stereomix of the close-up microphones. Those go into the 4 analogue inputs of the 002 interface. The electronics can be recorded on up to 8 channels. The signal is routed from DM1000 B (slot 1, 9-16 out).

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digital clock  The left mixer DM1000 A provides the digital clock for the whole system. Mixer A is thus set to internal clock

Mixer B takes it's clock from ADAT slot 1 (DM1000 A)

The G5 and the recording device must also be set to external clock and get it through the ADAT connection. The Apogee converter is receiving sync through a world clock connection from DM1000 A.

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Mixer Setup ‐ output attenuation  On both mixers all channels are set to 0 db. As the Mayer speakers are more powerful then the others, we use the Equalizer page on each Bus Master to attenuate their signals by 20 dB. See number 3 on the following figure.

Mixer Setup ‐ filter  The signal to the Genelec is high-pass filtered to prevent them from getting too much low frequency content.

Mixer Setup ‐ presets change / MIDI  The MIDI-out of the DM1000 A is connected to the MIDI-in of DM1000 B. Thus preset recalls on the left console will also recall the equivalent presets on the right console. The USB connector "To Host" of both consoles is connected to two USB slots on the G5 to work with the Yamaha Studio Manager software.

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Mixer Setup ‐ remote layer  During the performance and rehearsals we use the remote layers to bring only the needed faders to the surface. The rightmost 8 faders on the console A control the outer ring of Mayers. The leftmost eight faders of the console B control the middle ring of Mackies, the rightmost eight faders of concole B control the inner ring of Genelecs. The 8 speakers of each ring are numbered as follows and controlled through the corresponding Busses To accommodate a more ergonomic playing of back- and forward-movements in the hall, the faders controlling a group of eight speakers are organized as follows on the remote layer: 7 5 3 1 2 4 6 8 Thus the index fingers correspond to the front speakers and the little fingers to the back speakers. By simple rotation of the hands we achieve a movement from the front to the back of the hall.

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DM1000 A ‐ microphone inputs and microphone amplification  The stage box channels 1-16 are connected to the inputs 1-16 on DM1000 A. The physical microphone inputs 1-16 are routed through the input patch to mixer channels 1-16. The amplification of instruments is realized through the stereo bus on the DM1000 A. The output of the stereo bus is routed to Omni out 11+12. Those outputs are connected to the two speakers Mayer UPL on stage. Any microphone needing amplification must be routed to the stereo bus and panned according to it's position on stage. Working with short delays on the output of the stereo bus helps localizing the instruments from their position on stage, rather then from the position of the speakers. The amount of amplification is controlled with the stereo master fader. Normally microphones are never routed to the busses (the circle of 8 Mayer speakers) as we are playing the output levels of those speakers for the diffusion.

delaying input channels

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Input and output patches on the DM1000  The input patches on the consoles serve as a connection matrix between the physical inputs and the mixer channels. Any input (microphone inputs, omni inputs, optical inputs) can be routet simultanuously to more than one fader on the console. The output patches serve as a connectiion matrix between the Busses, Aux-Faders, Direct-Outs and the physical outputs of the console (omni-outs, optical outs). The input and output patches MUST BE STORED separately from the presets. There are 32 memory locations for these patches. Each Preset is recalling one input and one output patch. It is very important to understand that changing an input or output patch will affect the routing for any preset relying on them. Therefore we always make separate input and output patches for each preset.

 

configuring an 8‐channel playback from the G5  The following routing schemes show, how the signals are getting from their sources to physical inputs on the consoles, how they are routed to mixer channels and outputs.

The optical channels 1-8 from the G5 RayDat card connect to the DM1000 A, slot 1 1-8. Those channels are routed in the input patch to physical mixer channels 17-24. Their outputs are going through the Busses 1-8 to the Mayer speakers and through the Direct Out's to the ADAT slot 1 9-16. From there an optical cable connects to the right mixer DM1000 B.

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DM1000 B ‐ input channels 17‐24 and 25‐32  The optical connection from DM1000 A (slot 1 9-16) to DM1000 B slot 1 (1-8) represents thus still the signal from channels 1-8 of the G5. In the DM1000 B those channels are now routed in the input patch to physical mixer channels 17-24 as well as to 25-32. The outputs of channels 17-24 are going through the Busses 1-8 to the Mackie speakers, though the stereo bus to the subwoofer and through the Direct Out's to the ADAT slot 1 (9-16) and from there to the recording of the electronics. The outputs of channels 25-32 are going through the Direct Out's to ADAT slot 1 (1-8) and from there to the Apogee converter 1-8. The analogue outputs from the Apogee converter are connected to the Genelec speakers.

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DM1000 A ‐ Aux 1‐4  The outputs of Aux 1 to 4 are routed in the output patch to ADAT slot 1 (1-4) and from there connected to the G5 Raydat input. Aux 1-4 correspond thus to ADC 1-4 in Max/MSP. To feed any microphone to a specific ADC, open the appropriate Aux channel for that microphone. The send level to the G5 will be controlled through the Aux Master fader.

DM1000 A ‐ Aux 5+6  The outputs of Aux 5 and 6 are routed in the output patch to ADAT slot 2 channels 5 and 6. These analogue outputs of the Apogee converter are connected to the two stage monitors. To feed any signal of the electronics to the stage monitor, open the auxiliary out for the appropriate input channel. The monitor level will be controlled through the Aux Master fader.

DM1000 A ‐ Aux 7+8  The outputs of Aux 7 and 8 are routed in the output patch to Omni out 9 and 10. These analogue outputs are connected to the analogue inputs 1+2 of the recording device. They are used to feed a stereo mix of the close-up microphones to the recording. (The analogue inputs 3+4 of the recording are used for a room microphone pair)

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setup‐details  - the Mayer speakers 1 and 2 on stage are elevated 12 holes on their stands, the Mayer speakers 3-8 are elevated 28 holes - the Mackie speakers’ height is measured at the bottom at 64 inches (speakers 1+2 placed on stage on their lowest speaker stand hights) - the Genelec speakers are at 54 inches (bottom to floor) - DM1000A MIDI out -> DM1000B MIDI in - DM1000A USB Host out -> G5 USB - DM1000B USB Host out -> G5 USB optical connections: DM1000A slot 1 1-8 out -> G5 RayDat 1 in DM1000A slot 1 9-16 out -> DM1000B slot 1 1-8 in DM1000A slot 2 1-8 out -> DM1000B slot 1 9-16 in DM1000A slot 2 9-16 out -> Aogee converter 1, 9-16 in DM1000B slot 1 1-8 out -> Aogee converter 1, 1- 8 in DM1000B slot 1 9-16 out -> recording DM1000B slot 2 1-8 out -> DM1000A slot 1 9-16 in G5 RayDAT 1 out -> DM1000A slot 1 1-8 in G5 RayDAT 2 out -> DM1000A slot 2 1-8 in G5 RayDAT 2 out -> DM1000A slot 2 9-16 in DM1000A World clock out - Apogee converter

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