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It's hard to believe that we are already a month into 2018.  The year is off to a great start here at Danley Sound Labs.  We hope you'll take a few minutes to read the February edition of the Danley Newsletter.  Meet the sales team, read up on Danley DNA amplifiers and check out our new OS12CX.  Don't forget to send in your questions for Professor Doug!
McClelland Sound the latest to be awarded "Danley Certified Designer" status.
McClelland Sound of Wichita, Kansas is now a "Danley Certified Designer."  The DCD program has been developed to empower our dealers to gain an in-depth understanding of our patented technologies like the Synergy Horn, Tapped Horn and Paraline, and how these technologies are best employed. These, as well as many other unique Danley technologies, allow our dealer network to offer the end user a high level of performance.  We appreciate McClelland Sound investing the time and energy to become a Danley Certified Designer.

Want to know more?  Talk to your Danley rep, or contact Danley's sales manager, JP Parker.
Meet the Sales Team at Danley 
Jonathan “JP” Parker
How many years at Danley?  5+ years
How many years in the audio industry? 30+ years
Job Title:  Director of Sales
Primary Duties at Danley:   Responsible for global company sales performance.

Hobbies:  Music performance, Hiking-camping, 1/25 scale model design and building.
Family:  Wife (Linda), Son (Ben)
Skip Welch
How many years at Danley?  Almost 5
How many years in the audio industry? Since I could wrap cables as a kid for my dad.
Job Title:  Eastern Regional Manager & Director Cinema Systems
Primary Duties at Danley:   Sales, Marketing, Designs, Demos ​

Hobbies: Hockey, coaching hockey & lacrosse​

Family:  Married, two daughters 10 & 14.
Joel Moak 
How many years at Danley?  9
How many years in the audio industry?  Professionally 33, Mixing Sound 43
Job Title:   Western Regional Sales Manager
Primary Duties at Danley:  Sales in Western US and Canada

Hobbies: mixing sound, duck hunting, fishing, bicycling 

Family:  Married for 33 years. Four adult children, 1 in the fashion industry, 1 a school teacher married to an engineer, 1 a lawyer married to a PA (Physicians Assistant) , 1 in the audio industry installing Sound, lights, and video systems for a Design / Build contractor 
Cooper Hedden   
How many years at Danley?  12+ years in total, 5 years full-time.
How many years in the audio industry?  12
Job Title:    Territory Sales Manager for the Southeast
Primary Duties at Danley:  Assisting and serving the dealer base in my territory, growing and developing the territory through connecting with end-users, and the tradeshow coordinator.
Hobbies: Love traveling (preferably on an airplane), UGA and Falcons Football, eating great food, and concerts. ​
Family:  Living the single life and focusing on my passions.
The Magic of Modeling
Professor Doug Jones
Ok, so it’s not really magic at all.  But would you have started to read a piece with the title “Modeling”?  In this Tech Corner, I am going to explore the various kinds of modeling software. I will also introduce you to Danley’s modeling software DIRECT™.

The study of acoustics provides some interesting challenges.  One of these challenges is the fact that you can’t see sound… at least most of the time!  The man who is considered to be the father of modern acoustics, W. C. Sabine (1868-1919), actually used a technique called Schlieren photography, a technique that makes disturbances in the flow of fluids visible, to take photographs of how sound behaved in scale models of rooms.  Before the advent of computers, architects and acousticians would build scale models of important projects like concert halls to try to ensure that they ‘got it right’. These scale models, often 1/20 or smaller, were very carefully constructed and measured using sounds that were shifted up in frequency to compensate for the scale.  Even though these were expensive models to build and required very time consuming and difficult measurements, the results proved extremely valuable in the development of concert halls and also in our understanding of architectural acoustics.  

As computers became more powerful and available, they began to be used for acoustical models to the point that now models can be built and virtual sound systems placed in them. Using a process known as auralization, users can listen to the virtual sound sources in the virtual rooms!

 Currently, modeling programs fit broadly into two categories:  Acoustical modeling programs and Direct field mapping programs.  Let's look at the acoustical modeling type first.
There are a number of very powerful software packages currently available.  The most popular are CATT Acoustic™[1], Modeler™[2] and EASE™[3].  All of these programs can be used to create three-dimensional acoustical models of spaces and have the ability to do auralization.  These are not inexpensive tools.  For most of us, we will need to carefully consider not only which one to use, but whether they should be used at all. 

It is important to understand what these programs do.  They take data in, process it, and put data out. (duh)  OK, firm grasp of the obvious!  But it bears a bit of reflection—no pun intended.

 First, let's look at the data.  In every computer model, there are 2 kinds of data. First, there are the data that the user provides: the size and shape of the room and all of its furnishings.  Obviously, this is the point many compromises are made and should be.  The results you get out are only as good as the model!  In acoustics, this means making lots of decisions about how much detail you are going to include in the model.  The more detail, in general, the more accurate the results, but the longer it will take to input the data and for the software to run.  The second type of data is provided by the software itself.  When you build a room in one of these programs and you place a virtual loudspeaker in the room, you are trusting that the loudspeaker data are accurate. When you tell the software that a certain area of a wall or a floor is covered with a certain type of drapery or carpet, you are trusting that someone somewhere actually took the time to accurately and correctly (you can be accurate and incorrect) measure that drapery or carpet, and that those data are correctly implemented in the algorithms of the software.   A few years back while I was still teaching, one of my students asked a very interesting question, “how good are the acoustical data in the database used by a certain acoustical modeling program?”  She used this question as her senior project focusing only on the carpet database.  She discovered that the carpet data was about 40 years old and she could find relatively little current data on carpet acoustics.  Her measurements of carpet data often did not track with data in the software.  Interesting!

That brings us to the “process” part.  Each modeling program uses different algorithms to predict the acoustical performance.  Some are better than others.  There is a fair agreement between the various software packages that I have examined, but not full agreement.  Delving into the higher math or the code is beyond most of us mere mortals, but the user/buyer should be aware that this is not by any means an exact science.

The third function is, of course, the output.  Remember that software gives you data, processed data.  It does not give you ANSWERS.   That is to say, it won’t tell you if the speaker you selected or the treatment you selected or the basic design of the space is GOOD.   A human brain is required for that step.  So, when evaluating software, how the data are presented to you for your brain to process is very important. If the graphics don't make sense or are hard to read, it will be that much more difficult to process the information.

A number of loudspeaker companies, including Danley, have created mapping programs that, for many, are an alternative to the full-blown acoustical modeling programs.  A direct field mapping (DFM) program does not do acoustics!   These programs do not evaluate how loudspeakers will interact with an acoustical space, but they can give you a very accurate picture of how the loudspeaker will cover a certain audience.  Once again, they are only as accurate as the data put into them.  One big difference is that in the DFM program the user only inputs room information.  Since the room is not part of any calculation, it is there for visual reference only.   The accuracy and reliability of the software is really a function of the data that are part of the program. 

Most if not all of these DFM programs are free to the user which is good, but they only let you use loudspeakers from the authors’ company, which for many is a problem, especially if you are trying to compare brand A to brand B.   Well our answer to that is to always use brand D!  (sorry – couldn't resist)

Our program is called Direct.  It is a fully 3D mapping software – many of our competitors are 2D only. It is the brainchild of our genius programmer Sebastian Rivas – Godoy (with a little input from yours truly). It is 4 years old this year, and we just released version 2.1.  We have tried very hard to make Direct the best program of its kind.  It is very fast, very intuitive, very powerful and free!  It is difficult, if not impossible, to fully describe software in print, so I will not go into much detail here. I have produced a whole series of training videos for Direct and I also conduct online training. 

Direct runs on both MAC and PC and the files can be exchanged between them seamlessly. It uses Sketchup as a drawing environment.  That means that you can create your own buildings in Sketchup, or if you have DWG/DXF drawings you can import them into Sketchup, then export them into Direct.

Before I leave you, a word about accuracy and reliability.  When I was a professor developing curriculum for teaching modeling, I insisted that the curriculum involved what we called closing the loop.  It is my considered opinion that everyone who uses modeling software of any kind should, from time to time, measure the final product and compare it to the model.  We at Danley do that all the time in our large projects.  We encourage our dealers to close the loop as well.  Designing a system for your church, great.  Model it, install it, then compare the installation to the model. Since Direct is not an acoustics program there are things it cannot predict, but it should be pretty accurate in predicting coverage and to a degree levels.  Outdoors it will even be better.   If there is agreement fantastic! There should be!  That should serve to build confidence in Danley and of course in Direct.  If the two don't agree, please take the time to try to figure out why.

As always feel free to contact us at Danley Sound Labs.  I would love to introduce you to Direct.
[1] Registered trademark of CATT Acousitc
[2] Registered trademark of Bose Corp.
[3] Registered trademark of AFMG Technologies GmBH

DNA Dante Enabled Devices now support AES67
By Josh Millward
There is no denying that Dante enabled products are all the rage these days as a method of sharing uncompressed, high performance, real-time audio across Ethernet networks. This is a great thing because it leverages the same physical infrastructure put in place to support computer networks to support audio systems. However, to be fair, Dante is not the only protocol out there. 
Dante was first introduced in 2006 and has seen a meteoric rise in popularity over the last several years. Today there are a great many products available with Dante and any of them may be directly interfaced with the Dante Enabled DNA series products. This provides anyone who uses Dante tremendous flexibility in how they want to set up the routing for their audio and it provides a simple physical infrastructure that can be easily supported with commonly available hardware. 
However, there are a few other audio transport protocols out there these days that are also popular with their user groups. These are protocols like Ravenna, Livewire, and Q-LAN. All of these protocols have their own proprietary native methods of operation and they are all different from one another and from Dante. However, they can all use a common mode of operation to exchange audio with one another. Within the Dante ecosystem, Audinate has called this method “AES76 Mode” and there is a new page tab in the device view within the Dante Controller software to enable or disable AES76 Mode for each device on the network. This functionality is now available in the Dante Enabled DNA series products with a firmware update available from Danley Sound Labs. 
So, what exactly is AES67? According to the Media Networking Alliance (a group organized to promote the adoption of AES67 interoperability, ):
AES67 is a standard to enable high-performance audio-over-IP streaming interoperability between the various IP based audio networking products currently available, based on existing standards such as Dante, Livewire, Q-LAN and Ravenna. It is not a new technology but a bridging compliance mode common to all IP-Networks; an interoperability mode you can put an AES67 compliant device into, on any participating network. AES67 operates over standard layer 3 Ethernet networks and, as such, is routable and fully scalable, like any common modern IT network.
If you have questions regarding the use of AES67 and your Dante Enabled DNA series products, please be sure to contact Danley Sound Labs. 
The current version of System Engineer is 7.00.15. This version is available for download from our website:
The current version of firmware for the DNA 10K4 Pro and DNA 20K4 Pro amplifiers is 1.306.
The current version of firmware for the DNA SC48 is 1.394.
Loudspeaker Master Preset Stack version is 20170424
The firmware and loudspeaker presets are included in the System Engineer download zip file for System Engineer 7.00.15.
DNA product videos can be found on our website:
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