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1、学生姓名 学 号 专业班级 指导教师 学 院 答辩日期 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

2、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；

3、可编程逻辑控制器； 外文翻译Casa de Msica（ house of music）Dan Goldstein reports from the Portuguese city of Porto where the Casa da Msica venue has transformed the cultural life of the city . . .Hard-working, industrious, dynamic and stylish, Portugals second city, Porto, does not like to shout about its success.

4、 Heres a good example. Tony Blair, Bill Clinton, Jos Mourinho and King Juan Carlos of Spain all wear creations by the citys favourite mens fashion label, Vicri Porto. With a client list like that, Vicri could be as big as Burberry, Dunhill or Paul Smith. Yet the label remains so obscure that, if you

5、 type Vicri into the average web fashion search engine, youre greeted with the question: Did you mean Vicki?Visitors to Porto are greeted with the same sense of understatement. The city is huge, historic, beautiful and spectacularly set. Yet somehow it seems to lack passion. Its streets can be eeril

6、y quiet and, as the mist rolls in off the Atlantic in the early evening, shop and restaurant doors close alarmingly early.It was against this backdrop of almost institutionalised subtlety that the Casa da Msica emerged as a stunning architectural landmark in April 2005. The New York Times described

7、the building, which was designed by a team from the Dutch architectural partnership OMA led by Rem Koolhaas, as “a chiselled concrete form, resting on a carpet of polished stone,” suggesting “a bomb about to explode” and “packed with urban energy, as if in response to Portos sleepy atmosphere”.No ex

8、plosions have been reported as yet, but there can be little doubt that the Casa da Msica has transformed the cultural life ofthe city that commissioned it. For one thing, it has provided a permanent home for three orchestras that had previously been forced to lead a nomadic existence: the Orquestra

9、Nacional do Porto, the Orquestra Barroca and the Remix Ensemble. Just as important, it has also acted as a magnet for touring musicians from across the globe - artists who, until three years ago, might have viewed Porto as no more a compelling stop-off point on Europes performing arts map than Llore

10、t de Mar or Hastings.The Casas bluff, multi-faceted exterior conceals an equally striking interior design. Taking us on a technical tour, the venues Technical Production Manager, Ernesto Costa, explains the thinking behind its structure. “We have two halls: the large Sala Suggia, which can hold up t

11、o 1,280 people depending on its configuration, and the smaller Sala 2, which has no fixed seating or staging,” Costa says, “and the architectural concept is that everything revolves around the Sala Suggia, with a series of glass-walled rooms surrounding it. These rooms can be used for a variety of p

12、urposes, and their windows are framed with LED fixtures which can be brought under centralised, DMX control so that they are part of the performance in the main hall, if that is whats required.”Costa played a key role in designing the Casas technical infrastructure, effectively acting as a link betw

13、een the venues project architects and interior designers on the one hand, and the in-house AV, lighting and artistic departments on the other. Costas favoured approach, which he has also implemented at other performance venues in Portugal, is to use a UTP infrastructure for the distribution of audio

14、, video, lighting control and other data. “This means we are not tied to a particular protocol, but can use different methods of data transport for different areas of the building,” he points out.Typically, UTP networks take the form of a star configuration, with a central rack room providing a hub

15、that distributes data to and from different areas of a building. But Costa says that with a venue the size of Casa da Msica, “if you rely on a star network, you can end up with the data having to travel very long distances, and with a copper infrastructure that can lead to latency issues”. His solut

16、ion is to use splitters to create a circle around the points of the star, so that each data node is connected to the next, as well as to the hub. This approach is particularly well-suited to the Casa da Msica, where flexibility of configuration has turned out to be key to the venues success.For a pr

17、ime example of this, you need look no further than the Sala Suggia itself. Originally, an elevated, glass-fronted cabin to the left of the auditorium （facing the stage） was intended to act as the FOH position and wired up accordingly. Yet for any number of reasons - from sight-lines, in the case of

18、lighting, to intelligibility, in the case of sound - the cabin quickly proved impractical. However, thanks to Costas circle-and-star UTP backbone, lighting and audio desks have been moved to a more conventional location at the rear of the hall without much difficulty, while the cabin remains usable

19、as an auxiliary control point, as well as home to a Ghielmetti patching system which distributes up to 64 channels of digital audio to Sala 2 and the Casas audio editing/recording facility, and to a pair of Ates UAP88 audio matrix units that form part of a venue-wide public address system.Sala Suggi

20、as design is the result of a collaboration between OMA, Arup-AFA and Level Acoustics, a Dutch-based consultancy run by Renz van Luxemburg. Visually it is thoroughly modernist, with large areas of glass （not least in the vast window area behind the stage） and light wood, but with a number of unexpect

21、ed baroque details -most notably replicas of two period pipe organs, one on each side wall. “Each of these is based on a real organ in one of Portos historic churches,” explains Costa. “They are not functioning instruments, but they are not just for show - they are made from a combination of wood an

22、d GRP and were added to the room to provide some much-needed acoustic absorption.”Costa describes Sala Suggia as “not an easy room”, with a host of reflective surfaces - most obviously the rear glass wall and glassfronted balconies and adjoining rooms - that continue to challenge him and his colleag

23、ues. Complicating the issue further is the fact that the halls range of uses has turned out to be broader than was originally envisaged when Casa da Msica was first built. “In contrast to Sala 2, which was always conceived as a multi-purpose space, Sala Suggia was designed by a team that was very mu

24、ch orientated towards an acoustic repertoire,” says Costa. “The reality now is that we go from classical to jazz, world music and pop, so what we are doing is creating a rebirth of the room.” A key part of this rebirth process has been the provision of a fixed loudspeaker system for the first time i

25、n the venues history. “For three years, we rented our loudspeakers, and during that time we tested many different systems,” says Costa. “The preferred system among our engineers, among the musicians who play here and among our own artistic staff was the Meyer Sound M2D selfpowered line array, so tha

26、t was what we went for.”After a lengthy period of tweaking, Sala Suggias Meyer rig now comprises twin hangs of 10 M2D modules as the main L-R sound source, with each hang topped off with a pair of M2D-Subs. Four of Meyers UPJ-1P loudspeakers are floor-mounted for front-fill coverage, together with f

27、our 700-HP subs which can be arranged in a number of configurations, depending on the performance. Four UM-1P narrow-coverage loudspeakers and two UM-100P wide-coverage boxes are used as stage monitors, while a Meyer Sound Galileo loudspeaker management system is used to switch between configuration

28、s. “We started with four different settings for the Galileo and are now working on two more,” reveals Costa. “The different settings reflect alternative placements for some of the speakers. For example, if a particular performance requires more space on the stage, we can stack the floor subs rather

29、than arranging them in-line. We can also move them 2m further to the front if the music demands it, or alternatively, for avant-garde performances where they dont like a lot of bass, we can switch them out altogether.”When it comes to audio distribution and mixing, Sala Suggias varied repertoire aga

30、in demands a flexible approach. Costa now has a DiGiCo D5, two Yamaha M7CLs and two Midas Heritage consoles at his disposal and can place them wherever he wants in the hall. “A typical classical concert might require no mixing at all, some avant-garde performances require a lot of digital routing, w

31、hile a rock band might want to stick with a traditional analogue console,” Costa reasons. “Our artistic programme is very dynamic, so we need a lot of flexibility.”Sala 2 takes this concept even further, with no fixed layout to its seating or stage position, let alone any other equipment. Nonetheles

32、s, Costa has specified a second Meyer Sound powered speaker system here, with two pairs of UPA-1P boxes providing the main L-R source, four 650-P subwoofers for the low end and a pair of UPM-1P enclosures as near-fills, plus a further Galileo processor.“Sala 2 is a much drier room than Sala Suggia,” says Costa, “but that doesnt mean we can afford to be complacent. For example, we originally had Meyers USW subs in here, but we changed them to the 650-Ps because we really felt we needed the 18-inch drivers for certai