刘琪毕业设计Word下载.docx

刘琪毕业设计Word下载.docx

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摘要

随着文化生活水平的提高，人们对文化艺术的要求随之增长，舞台作为各种演出场所文化艺术的重要载体，对它的发展也就提出了更高的要求，现代化的舞台机械控制系统不仅要实现功能丰富，其可靠性、易操作性等也必须达到更高的要求。

目前国内舞台技术总体上要落后于发达国家，大型舞台机械控制系统一般都引进国外的产品，成本相对较高。

因此为推动我国舞台技术的发展，对本课题的研究也显得更加有意义。

传统的舞台机械控制系统多采用继电器、接触器控制方式，系统的可靠性较差。

可编程控制器是传统的继电器接触器控制方式与计算机技术的完美结合，具有可靠性高，编程直观容的特点，已广泛应用于工业控制中。

舞台机械控制也经历了从继电器接触器到PLC控制和微机控制的过程。

对本课题的研究旨在开发出能够满足现代舞台技术发展需要的单点吊机控制系统。

本文构建了一个基于Profibus-DP现场总线的分布式单点吊机控制系统，由一台PLC和多台变频器构成主从式结构。

通过连接于变频器上的编码器采集到的数字量以及限位开关采集到开关量,由Profibus-DP负责PLC和变频器的通信，再通过以太网与IPC机连接，并由IPC直接控制舞台机械设备的运行，IPC将下位机传送过来的数据进行处理，同时下达控制命令给PLC，以实现集中管理和最优控制。

关键词：

分布式控制系统；

舞台机械；

变频器；

可编程逻辑控制器；

外文翻译

CasadeMú

sica（houseofmusic）

DanGoldsteinreportsfromthePortuguesecityofPortowheretheCasadaMú

sicavenuehastransformedtheculturallifeofthecity...

Hard-working,industrious,dynamicandstylish,Portugal’ssecondcity,Porto,doesnotliketoshoutaboutitssuccess.Here’sagoodexample.TonyBlair,BillClinton,José

MourinhoandKingJuanCarlosofSpainallwearcreationsbythecity’sfavouritemen’sfashionlabel,VicriPorto.Withaclientlistlikethat,VicricouldbeasbigasBurberry,DunhillorPaulSmith.Yetthelabelremainssoobscurethat,ifyoutype‘Vicri’intotheaveragewebfashionsearchengine,you’regreetedwiththequestion:

‘DidyoumeanVicki?

’

VisitorstoPortoaregreetedwiththesamesenseofunderstatement.Thecityishuge,historic,beautifulandspectacularlyset.Yetsomehowitseemstolackpassion.Itsstreetscanbeeerilyquietand,asthemistrollsinofftheAtlanticintheearlyevening,shopandrestaurantdoorsclosealarminglyearly.

ItwasagainstthisbackdropofalmostinstitutionalisedsubtletythattheCasadaMú

sicaemergedasastunningarchitecturallandmarkinApril2005.TheNewYorkTimesdescribedthebuilding,whichwasdesignedbyateamfromtheDutcharchitecturalpartnershipOMAledbyRemKoolhaas,as“achiselledconcreteform,restingonacarpetofpolishedstone,”suggesting“abombabouttoexplode”and“packedwithurbanenergy,asifinresponsetoPorto’ssleepyatmosphere”.

Noexplosionshavebeenreportedasyet,buttherecanbelittledoubtthattheCasadaMú

sicahastransformedtheculturallifeofthecitythatcommissionedit.Foronething,ithasprovidedapermanenthomeforthreeorchestrasthathadpreviouslybeenforcedtoleadanomadicexistence:

theOrquestraNacionaldoPorto,theOrquestraBarrocaandtheRemixEnsemble.Justasimportant,ithasalsoactedasamagnetfortouringmusiciansfromacrosstheglobe-artistswho,untilthreeyearsago,mighthaveviewedPortoasnomoreacompellingstop-offpointonEurope’sperformingartsmapthanLloretdeMarorHastings.

TheCasa’sbluff,multi-facetedexteriorconcealsanequallystrikinginteriordesign.Takingusonatechnicaltour,thevenue’sTechnicalProductionManager,ErnestoCosta,explainsthethinkingbehinditsstructure.“Wehavetwohalls:

thelargeSalaSuggia,whichcanholdupto1,280peopledependingonitsconfiguration,andthesmallerSala2,whichhasnofixedseatingorstaging,”Costasays,“andthearchitecturalconceptisthateverythingrevolvesaroundtheSalaSuggia,withaseriesofglass-walledroomssurroundingit.Theseroomscanbeusedforavarietyofpurposes,andtheirwindowsareframedwithLEDfixtureswhichcanbebroughtundercentralised,DMXcontrolsothattheyarepartoftheperformanceinthemainhall,ifthatiswhat’srequired.”

CostaplayedakeyroleindesigningtheCasa’stechnicalinfrastructure,effectivelyactingasalinkbetweenthevenue’sprojectarchitectsandinteriordesignersontheonehand,andthein-houseAV,lightingandartisticdepartmentsontheother.Costa’sfavouredapproach,whichhehasalsoimplementedatotherperformancevenuesinPortugal,istouseaUTPinfrastructureforthedistributionofaudio,video,lightingcontrolandotherdata.“Thismeanswearenottiedtoaparticularprotocol,butcanusedifferentmethodsofdatatransportfordifferentareasofthebuilding,”hepointsout.

Typically,UTPnetworkstaketheformofa‘star’configuration,withacentralrackroomprovidingahubthatdistributesdatatoandfromdifferentareasofabuilding.ButCostasaysthatwithavenuethesizeofCasadaMú

sica,“ifyourelyonastarnetwork,youcanendupwiththedatahavingtotravelverylongdistances,andwithacopperinfrastructurethatcanleadtolatencyissues”.Hissolutionistousesplitterstocreatea‘circle’aroundthepointsofthestar,sothateachdatanodeisconnectedtothenext,aswellastothehub.Thisapproachisparticularlywell-suitedtotheCasadaMú

sica,whereflexibilityofconfigurationhasturnedouttobekeytothevenue’ssuccess.

Foraprimeexampleofthis,youneedlooknofurtherthantheSalaSuggiaitself.Originally,anelevated,glass-frontedcabintotheleftoftheauditorium（facingthestage）wasintendedtoactastheFOHpositionandwiredupaccordingly.Yetforanynumberofreasons-fromsight-lines,inthecaseoflighting,tointelligibility,inthecaseofsound-thecabinquicklyprovedimpractical.However,thankstoCosta’s‘circle-and-star’UTPbackbone,lightingandaudiodeskshavebeenmovedtoamoreconventionallocationattherearofthehallwithoutmuchdifficulty,whilethecabinremainsusableasanauxiliarycontrolpoint,aswellashometoaGhielmettipatchingsystemwhichdistributesupto64channelsofdigitalaudiotoSala2andtheCasa’saudioediting/recordingfacility,andtoapairofAteï

sUAP88audiomatrixunitsthatformpartofavenue-widepublicaddresssystem.

SalaSuggia’sdesignistheresultofacollaborationbetweenOMA,Arup-AFAandLevelAcoustics,aDutch-basedconsultancyrunbyRenzvanLuxemburg.Visuallyitisthoroughlymodernist,withlargeareasofglass（notleastinthevastwindowareabehindthestage）andlightwood,butwithanumberofunexpectedbaroquedetails-mostnotablyreplicasoftwoperiodpipeorgans,oneoneachsidewall.“EachoftheseisbasedonarealorganinoneofPorto’shistoricchurches,”explainsCosta.“Theyarenotfunctioninginstruments,buttheyarenotjustforshow-theyaremadefromacombinationofwoodandGRPandwereaddedtotheroomtoprovidesomemuch-neededacousticabsorption.”

CostadescribesSalaSuggiaas“notaneasyroom”,withahostofreflectivesurfaces-mostobviouslytherearglasswallandglassfrontedbalconiesandadjoiningrooms-thatcontinuetochallengehimandhiscolleagues.Complicatingtheissuefurtheristhefactthatthehall’srangeofuseshasturnedouttobebroaderthanwasoriginallyenvisagedwhenCasadaMú

sicawasfirstbuilt.“IncontrasttoSala2,whichwasalwaysconceivedasamulti-purposespace,SalaSuggiawasdesignedbyateamthatwasverymuchorientatedtowardsanacousticrepertoire,”saysCosta.“Therealitynowisthatwegofromclassicaltojazz,worldmusicandpop,sowhatwearedoingiscreatingarebirthoftheroom.”Akeypartofthis‘rebirth’processhasbeentheprovisionofafixedloudspeakersystemforthefirsttimeinthevenue’shistory.“Forthreeyears,werentedourloudspeakers,andduringthattimewetestedmanydifferentsystems,”saysCosta.“Thepreferredsystemamongourengineers,amongthemusicianswhoplayhereandamongourownartisticstaffwastheMeyerSoundM2Dselfpoweredlinearray,sothatwaswhatwewentfor.”

Afteralengthyperiodoftweaking,SalaSuggia’sMeyerrignowcomprisestwinhangsof10M2DmodulesasthemainL-Rsoundsource,witheachhangtoppedoffwithapairofM2D-Subs.FourofMeyer’sUPJ-1Ploudspeakersarefloor-mountedforfront-fillcoverage,togetherwithfour700-HPsubswhichcanbearrangedinanumberofconfigurations,dependingontheperformance.FourUM-1Pnarrow-coverageloudspeakersandtwoUM-100Pwide-coverageboxesareusedasstagemonitors,whileaMeyerSoundGalileoloudspeakermanagementsystemisusedtoswitchbetweenconfigurations.

“WestartedwithfourdifferentsettingsfortheGalileoandarenowworkingontwomore,”revealsCosta.“Thedifferentsettingsreflectalternativeplacementsforsomeofthespeakers.Forexample,ifaparticularperformancerequiresmorespaceonthestage,wecanstackthefloorsubsratherthanarrangingthemin-line.Wecanalsomovethem2mfurthertothefrontifthemusicdemandsit,oralternatively,foravant-gardeperformanceswheretheydon’tlikealotofbass,wecanswitchthemoutaltogether.”

Whenitcomestoaudiodistributionandmixing,SalaSuggia’svariedrepertoireagaindemandsaflexibleapproach.CostanowhasaDiGiCoD5,twoYamahaM7CLsandtwoMidasHeritageconsolesathisdisposalandcanplacethemwhereverhewantsinthehall.“Atypicalclassicalconcertmightrequirenomixingatall,someavant-gardeperformancesrequirealotofdigitalrouting,whilearockbandmightwanttostickwithatraditionalanalogueconsole,”Costareasons.“Ourartisticprogrammeisverydynamic,soweneedalotofflexibility.”

Sala2takesthisconceptevenfurther,withnofixedlayouttoitsseatingorstageposition,letaloneanyotherequipment.Nonetheless,CostahasspecifiedasecondMeyerSoundpoweredspeakersystemhere,withtwopairsofUPA-1PboxesprovidingthemainL-Rsource,four650-PsubwoofersforthelowendandapairofUPM-1Penclosuresasnear-fills,plusafurtherGalileoprocessor.

“Sala2isamuchdrierroomthanSalaSuggia,”saysCosta,“butthatdoesn’tmeanwecanaffordtobecomplacent.Forexample,weoriginallyhadMeyer’sUSWsubsinhere,butwechangedthemtothe650-Psbecausewereallyfeltweneededthe18-inchdriversforcertai