DESIGN AND CONSTRUCTION OF A PUBLIC ADDRESS

SYSTEM FOR INDOOR ANOUNCEMENT

[INDEX NUMBER

SUBMITTED IN PARTIAL FULFILMENT FOR THE AWARD OF

HIGHER NATIONAL DIPLOMA IN ELECTRICAL/ELECTRONICS

ENGINEERING

DEPARTMENT OF ELECRICAL/ELECTRONICS ENGINEERING

ACCRA POLYTECHNIC

SEPTEMBER 2008
CERTIFICATION BY SUPERVISOR

I hereby certify that this project work was carried out under my

supervision. I therefore approve that the work is adequate in scope

and quality for the partial fulfillment of the requirement for the award

of a Higher National Diploma (HND) in Electrical/Electronics

Engineering.

SUPERVISOR:

SIGN…………………………….

DATE……………………………

I
DEDICATION

II
DECLARATION

I Tizaa Callistus declares that the work was undertaken whilst in

Accra Polytechnic.

I further affirm that, this work so far as I know has not been

submitted to any institution for the award of any certificate and the

source of information has been fully acknowledged

CALISTUS………………………..

SIGN…………………………….

DATE……………………………

III
ACKNOWLEDGEMENT

IV
ABSTRACT

The project in question is a Public Address System meant for Indoor

announcement. The project unlike other P.A Systems which have

the same output been sheared with the amount of speakers

designated for it, this one gives the operator more flexibility to select

it’s recipients at any time without disconnecting a section of

speakers.

V
 TABLE OF CONTENTS

CONTENT PAGE

CHAPTER ONE

1.1 INTRODUCTION 1

1.2 BACKGROUND 2

1.3 DEFINATION 4

1.4 OBJECTIVES 5

1.5 SIGNIFICANCE OF STUDY 6

1.6 METHOLOGY 7

CHAPTER TWO

2.1

VI

CHAPTER THREE

3.1 COMPONENT LIST 34

3.2 LIMITATIONS 36

3.3 CIRCUIT CONSTRUCTION 37

3.4 GENERAL MODE OF OPERATION 38

CHAPTER FOUR

4.1 PRECAUTIONS 39

4.2 CONCLUSION 40

4.3 SUMMARY 41

4.4 RECORMENDATIONS 42

REFERNCE 43

VII
 CHAPTER ONE

1.1 INTRODUCTION

The public address system for indoor announcement is one of most

captivating and the most challenging projects because it’s expensive
but wealth producing. These PA system haves many outputs
according to rooms specified. It outputs are sent to rooms and then
given speakers of about 10 to 100watts depending on the size of the
room and the noise in the environment for example for a forging
workshop the speaker have to be powerful to draw the attention of
the works and to convey information to the recipients clearly.
Announcement can be sent to individual rooms and to many rooms
at once depending on the one operating the machine because there
is a selector or a switch assigned to each room which allows the
operator to select the room that an information have to be sent to.

1
1.2 BACKGROUND

From my own personal research acrross few institutions I know,

stedents workers and staffs are more quite than often called
together or assemplied whenever general,depatemental or
information ment for certain group of people are sopposed to be
delivered.

The time taken to put all this people together and the stress involves
led to this inovation to aid such level of communication needs.

2
1.3 DEFINITION

The Public Address System for Indoor Announcement is a unique

public address system which has a simple mixer and single powerful

amplifier with its speakers having their own output switch turning the

speakers on and off.

The speakers are wired individually to assure one of total

independence. The operator is the only one with the soul honors to

select with place is supposed to receive a piece of information.

3
1.4 OBJECTIVES

This project seeks

 To help reduce the amount money needed to manufacture the

mentioned project.

 To make the delivery of information in institution or a hall easy

and fast.

 To replace the existing ones with a more accessible and user

friendly type.

4
1.5 SIGNIFICANCE OF STUDY

The significance of this study is to design a public address system

which is

 Cheep and most of the components are available on our

electronics components market which makes it easy to be
repaired and maintained.
 Easy to control or operate.
 Distortion free and has no or less signal losses.

6
1.6 METHODOLOGY

All important information needed for this project to takeoff was

acquired form two main source namely primary and secondary

sources.

Primary source were sources were the personal interactions with my

supervisor and workers of a well equipped and well knowledgeable

on this project.

Secondary sources were the research was based on information

from Carols Advanced Electronics and Training Centre

manufactures of Carols brand public address systems and from the

internet.

7
 CHAPTER TWO

2.1 Public Address Systems

A public address or "PA" system is an electronic amplification

system with a mixer, amplifier and loudspeakers, used to reinforce a

given sound (Example a person making a speech, prerecorded

music, or message) and distributing the 'sound' to the general public

around a building.

Simple PA systems are often used in small venues such as school

auditoriums, churches, and small bars. PA systems with a larger

number of speakers are widely used in institutional and commercial

buildings, to read announcements or declare states of emergency.

Intercom systems, which are often used in schools, also have

microphones in each room so that the occupants can reply to the

central office.

There is disagreement over when to call these audio systems Sound

Reinforcement (SR) systems or PA systems.

Some audio engineers distinguish between the two by technology

and capability, while others distinguish by intended use

8
(e.g., SR systems are for live music whereas PA systems are usually

for reproduction of speech and recorded music in buildings and

institutions). This distinction is important in some regions or markets,

while in other regions or markets the terms are interchangeable.

2.2 Small PA systems

The simplest PA systems consist of a microphone, a modestly-

powered mixer-amplifier (which incorporates a mixer and an

amplifier in a single cabinet) and one or more loudspeakers. Simple

PA systems of this type, often providing 50 to 200 watts of power,

are often used in small venues such as school auditoriums,

churches, and small bars.

In Ghana, PA systems are also sometimes referred to as "sound

reinforcement systems" or simply "sound systems." In colloquial

British English, a PA system installed for public address in a building

is sometimes referred to as a "Tannoy" system after the company of

that name.

9
Public Address systems typically consist of input sources, pre-

amplifiers and/or signal routers, amplifiers, control and monitoring

equipment, and loudspeakers. Input sources refer to the

microphones and CD Players that provide a sound input for the

system. These input sources are fed into the pre-amplifiers and

signal routers that determine the zones that the 'audio signal' is fed

to. The pre-amplified signals are then passed into the amplifiers.

Depending on a countries' regulation these amplifiers will amplify the

audio signals to 50V, 70V or 100V speaker line level. Control

equipment monitors the amplifiers and speaker lines for faults before

it reaches the loudspeakers.

10
2.3 Large venue PA systems

For popular music concerts, a more powerful and more complicated

PA system is used to provide live sound reproduction. In a concert

setting, there are typically two complete PA systems: the "main"

system and the "monitor" system. Each system consists of

microphones, a mixing board, sound processing equipment,

amplifiers, and speakers. There is disagreement over when to call

these audio systems Sound Reinforcement (SR) systems or Public

Address (PA) systems. This distinction is important in some regions

or markets, while in other regions or markets the terms are

interchangeable.

The "main" system (also known as "Front of House", commonly

abbreviated FOH), which provides the amplified sound for the

audience, will typically use a number of powerful amplifiers driving a

range of large, heavy-duty loudspeakers including low-frequency

speaker cabinets called subwoofers, full-range speaker cabinets,

and high-range horns.

11
A large club may use amplifiers to provide 1000 to 2000 watts of

power to the "main" speakers; an outdoor concert may use 10,000

or more watts.

The "monitor" system reproduces the sounds of the performance

and directs them towards the onstage performers (typically using

wedge-shaped monitor speaker cabinets), to help them to hear the

instruments and vocals. In British English, the monitor system is

referred to as the "fold back". The monitor system in a large club

may use amplifiers to provide 500 to 1000 watts of power to the

"monitor" speakers; at an outdoor concert, there may be several

thousand watts of power going to the monitor system.

At a concert in which live sound reproduction is being used, sound

engineers and technicians control the mixing boards for the "main"

and "monitor" systems, adjusting the tone, levels, and overall

volume of the performance.

12
2.4 Acoustic feedback

All PA systems have a potential for feedback, which occurs when

sound from the speakers returns to the microphone and is then re-

amplified and sent through the speakers again. This generally

manifests itself as a sharp, sudden high-volume piercing sound

which can damage the loudspeakers' high-frequency horns or

tweeters - and audience members' hearing.

Sound engineers take several steps to prevent feedback, including

ensuring that microphones are not pointed towards speakers,

keeping the onstage volume levels down, and lowering frequency

levels where the feedback is occurring, using a graphic equalizer,

parametric equalizer a combination of both devices, or a notch filter.

13
2.5 Digital signal processors

Small PA systems for venues such as bars and clubs are now

available with features that were formerly only available on

professional-level equipment, such as digital reverb effects, graphic

equalizers, and, in some models, feedback prevention circuits

(which electronically sense and prevent feedback "howls" before

they occur). These digital signal processing multi-effect devices offer

sound engineers a huge range of sound processing options (reverb,

delay, echo, compression, etc.) in a single unit. In previous decades,

sound engineers typically had to transport a number of heavy "rack-

mounted" cases of analog effect devices.

Amplifiers

A number of PA companies are now making lightweight, portable

speaker systems for small venues that route the low-frequency parts

of the music (electric bass, bass drum, etc.) to a separately-powered

subwoofer. Routing the low-frequency parts of the signal to a

separate amplifier and low-frequency subwoofer can substantially

improve the bass-response of the system.

14
As well, the clarity of the overall sound reproduction can be

enhanced, because low-frequency sounds take a great deal of

power to amplify; with only a single amplifier for the entire sound

spectrum, the power-hungry low-frequency sounds can take a

disproportionate amount of the sound system's power.

Power amplifiers have also become lighter, smaller, more powerful

and more efficient due to increasing use of Class D and AB

amplifiers, which offer significant weight and space savings as well

as increased efficiency and effectively easy to implement alternative

to traditional PA systems.

15
2.6 PA speakers

High-end PA speakers have been made lighter by using neodymium

speaker magnets, and horns are often wired using protective

circuitry such as light bulbs (which illuminate and absorb excess

wattage) or poly switches that protect the horn from damage in the

event of feedback or a dropped microphone. These new approaches

to speaker protection are more convenient than the formerly used

approach of fuses because the sound system needs to be turned off

to change fuses.

Driver design

16
The most common type of driver uses a lightweight diaphragm

connected to a rigid basket, or frame, via flexible suspension that

constrains a coil of fine wire to move axially through a cylindrical

magnetic gap. When an electrical signal is applied to the voice coil,

a magnetic field is created by the electric current in the coil which

thus becomes an electromagnet. The coil and the driver's magnetic

system interact, generating a mechanical force which causes the

coil, and so the attached cone, to move back and forth and so

reproduce sound under the control of the applied electrical signal

coming from the amplifier. The following is a description of the

individual components of this type of loudspeaker.

The diaphragm is usually manufactured with a cone or dome

shaped profile. A variety of different materials may be used, but the

most common are paper, plastic and metal. The ideal material would

be stiff (to prevent uncontrolled cone motions), light (to minimize

starting force requirements) and well damped (to reduce vibrations

continuing after the signal has stopped). In practice, all three of

these criteria cannot be met simultaneously using existing materials,

and thus driver design involves tradeoffs.

17
For example, paper is light and typically well damped, but not stiff;

metal can be made stiff and light, but it is not usually well damped;

plastic can be light, but typically the stiffer it is made, the less well-

damped it is. As a result, many cones are made of some sort of

composite material. This can be a matrix of fibers including Kevlar or

fiberglass, a layered or bonded sandwich construction, or simply a

coating applied to stiffen or damp a cone.

The basket or frame must be designed for rigidity to avoid

deformation, which will change the magnetic conditions in the

magnet gap, and could even cause the voice coil to rub against the

walls of the magnetic gap. Baskets are typically cast or stamped

metal, although molded plastic baskets are becoming common,

especially for inexpensive drivers. The frame also plays a

considerable role in conducting heat away from the coil.

The suspension system keeps the coil centered in the gap and

provides a restoring force to make the speaker cone return to a

neutral position after moving.

18
A typical suspension system consists of two parts: the "spider",

which connects the diaphragm or voice coil to the frame and

provides the majority of the restoring force; and the "surround",

which helps center the coil/cone assembly and allows free pistonic

motion aligned with the magnetic gap. The spider is usually made of

a corrugated fabric disk, generally with a coating of a material

intended to improve mechanical properties. Unusually, a German

manufacturer, Klangfilm, used bakelite for spiders in some of its

early drivers, and another German company currently offers a spider

made of wood. The surround can be a roll of rubber or foam, or a

ring of corrugated fabric (often coated), attached to the outer

circumference of the cone and to the frame. The choice of

suspension materials affects driver lifetime, especially in the case of

foam surrounds which are susceptible to aging and environmental

damage.

The wire in a voice coil is usually made of copper, though aluminum,

and rarely silver, may be used. Voice coil wire cross sections can be

circular, rectangular, or hexagonal, giving varying amounts of wire

volume coverage in the magnetic gap space.

19
The coil is oriented coaxially inside the gap, a small circular volume

(a hole, slot, or groove) in the magnetic structure within which it can

move back and forth. The gap establishes a concentrated magnetic

field between the two poles of a permanent magnet; the outside of

the gap being one pole and the center post (a.k.a., the pole-piece)

being the other. The center post and back-plate are sometimes a

single piece called the yoke.

Modern driver magnets are almost always permanent and made of

ceramic, ferrite, Alnico, or, more recently, neodymium magnet. A

current trend in design, due to increases in transportation costs and

a desire for smaller, lighter devices (as in many home theater multi-

speaker installations), is the use of neodymium magnet instead of

ferrite types. Very few manufacturers use electrically powered field

coils as was common in the earliest designs. The size and type of

magnet and details of the magnetic circuit differ, depending on

design goals. For instance, the shape of the pole piece affects the

magnetic interaction between the voice coil and the magnetic field,

and is sometimes used to modify a driver's behavior.

20
As well, a 'shorting ring' or cap is sometimes used near the magnetic

gap to reduce adverse distortion effects of high current in the voice

coil.

Driver design, and the combination of one or more drivers into an

enclosure to make a speaker system, is both an art and science.

Adjusting a design to improve performance is done using magnetic,

acoustic, mechanical, electrical, and material science theory, high

precision measurements, and the observations of experienced

listeners. Designers can use an anechoic chamber to ensure the

speaker can be measured independently of room effects, or any of

several electronic techniques which can, to some extent, replace

such chambers. Some developers eschew anechoic chambers in

favor of specific standardized room setups intended to simulate real-

life listening conditions. A few of the issues speaker and driver

designers must confront are distortion, lobbing, phase effects, off

axis response and crossover complications.

The fabrication of finished loudspeaker systems has become

segmented, depending largely on price, shipping costs, and weight

limitations.

21
High-end speaker systems, which are heavier (and often larger)

than economic shipping allows outside local regions, are usually

made in their target market area and can cost $140,000 or more per

pair.

The lowest-priced speaker systems and most drivers are

manufactured in China or other low-cost manufacturing locations.

Although the manufacture of drivers has become largely

commoditized, the fabrication and subsequent sale of finished

speaker systems still carries high profits. Partly for this reason,

manufacturers are increasingly combining power amplifier

electronics (a typically lower profit item) with finished speaker

systems to create powered speakers with an overall higher market

value.

Driver types

An audio engineering rule of thumb is that individual electrodynamic

drivers provide quality performance over at most about 3 octaves.

Multiple drivers (i.e., subwoofers, woofers, mid-range drivers,

tweeters) are generally used in a complete loudspeaker system to

provide performance beyond 3 octaves.

22
Specifications

Speaker specifications generally include:

 Speaker or driver type (individual units only) – Full-range,

woofer, tweeter or mid-range.

 Size of individual drivers. For cone drivers, this number may

be the outside diameter of the frame, the diameter of the

surround, or the diameter of the cone. It may also be the

distance from the center of one mounting hole to its opposite.

Voice coil diameter may also be specified. If the loudspeaker

has a compression horn driver, the diameter of the horn throat

may be given.

 Rated Power – Nominal (or even continuous) power, and

peak (or maximum short-term) power a loudspeaker can

handle (i.e., maximum input power before thermally destroying

the loudspeaker. It is never the sound output the loudspeaker

produces). A driver may be damaged at much less than its

rated power if driven past its mechanical limits at lower

frequencies (e.g., by bass heavy electronica or theatre organ

music).

23
Tweeters can also be damaged by amplifier clipping (lots of high

frequency energy in such cases) or by music, or sine wave input

at high frequencies. Each of these situations passes more energy

to a tweeter than it can survive without damage.

 Impedance – typically 4 Ω (ohms), 8 Ω, etc.

 Baffle or enclosure type (enclosed systems only) – Sealed,

bass reflex, etc.

 Number of drivers (complete speaker systems only) – 2-way,

3-way, etc.

24
 CHAPTER THREE

3.1 STAGES OF OPERATION

For a smooth construction and of this system four stages has to be

fulfilled to obtain a full Public Address System. These stages are:

a) Audio Mixing

b) Equalization

c) Amplification

d) Audio Distribution and Switching

25
3.2 AUDIO MIXING

In professional audio, a mixing console, or audio mixer, also called a

sound board or soundboard, is an electronic device for combining

(also called "mixing"), routing, and changing the level, timbre and/or

dynamics of audio signals. A mixer can mix analog or digital signals,

depending on the type of mixer. The modified signals (voltages or

digital samples) are summed to produce the combined output

signals.

Mixing console to set microphones for different speakers to the

correct level, and can add in recorded sounds into the mix. A major

requirement is to minimize audio feedback.

Most bands will use a mixing console to combine musical

instruments and vocals to the correct level.

Radio broadcasts use a mixing desk to select audio from different

sources, such as CD players, telephones, remote feeds, or

prerecorded advertisements.

For this project a three channel mixer would be used to make its

operation easy.

26
Description

This mixer is a simple mixer with 2 line inputs and 1 microphone

inputs using commonly available parts.
The mic inputs are suitable for low impedance 200-1000R dynamic
microphones. An ECM or condenser and Dynamic mic can also be
used, but must have bias applied via a series resistor. As with any
mixer circuit, a slight loss is always introduced. The final summing
amplifier has a gain of 2 or 6dB to overcome this. The Input line
level should be around 200mV RMS. The mic inputs are amplified
about 100 times or by 40dB, the total gain with the mixer is 46dB.
The mic input is designed for microphones with outputs of about
2mV RMS at 1 meter. Most microphones meet this standard.

27
3.3 EQUALIZATION
Equalization (EQ) filter is a filter, usually adjustable, chiefly meant to
compensate for the unequal frequency response of some other
signal processing circuit or system.
An EQ filter typically allows the user to adjust one or more
parameters that determine the overall shape of the filter's transfer
function. It is generally used to improve the fidelity of sound, to
emphasize certain instruments, to remove undesired noises, or to
create completely new and different sounds.

Equalizers may be designed with peaking filters, shelving filters,

band pass filters, plop filters or high-pass and low-pass filters.

28
Using a single op-amp this easy to make equalizer offers three
ranges, low frequency, mid frequency and high. With component
values shown there is approximately +/-20dB of boost or cut at
frequencies of 50Hz, 1 kHz and 10 kHz. Supply voltage may be
anything from 6 to 30 Volts. Maximum boost 20dB is only realized
with maximum supply voltage.

29
3.4 AMPLIFICATION

Class AB amplifier for Multi-frequency Speakers

+35V
R8 Q3 Q6
R5 R9 NPN NPN
+ R6
C1 R10

+
R2
C3 D1 R12
C4 R1 C2 DIODE

+
input
+ R7 SPK1
Q1 Q2 D2 R11 R13 8
PNP PNP DIODE
R4 Q5 Q4 Q7
R3 NPN PNP NPN
R14

-35V

Figure 2.0

The diagram above Fig.2.0 is a class AB amplifier without an

equalizer because it has its own equalizer separate on the front

panel. The circuit is a combination of a class A differential amplifier

and a class B complimentary push pull amplifier. The first stage

which is the class A differential amplifier.

This raises the input source to amplitude enough to drive the second

stage which is a class B complimentary Push-pull amplifier which

does all the major work.

Much emphasis should be placed on the second stage because it is

responsible for driving the speakers.

30
The second stage could have been used alone. But an audio

distortion caused by the crossover between two out-of-phase

transistors is annoying. To overcome this defect, the Class B

amplifier is modified into the third category called Class AB for most

high-fidelity audio sound. To have a more stable performance high

quality transistor should be used for the out put transistors thus, Q6

and Q7.

31
2.5 POWER SUPPLY

A simple supply using a 25-0-25 transformer will give a peak power

of about 75W into 8 ohms, or 60W or so continuous. This is

influenced by a great many things, such as the regulation of the

transformer, amount of capacitance, etc. For a pair of amps, a

300VA transformer will be enough. Feel free to increase the

capacitance, but anything above 10,000uF brings the law of

diminishing returns down upon you. The performance gain is simply

not worth the extra investment.

Figure 2.2 - Recommended Power Supply

32
For the standard power supply, as noted above I suggest a 300VA

transformer. I choose 220V for primary windings because that is the

supply available in Ghana.

The supply voltage can be expected to be higher than that quoted at

no load, and less at full load. This is entirely normal, and is due to

the regulation of the transformer. In some cases, it will not be

possible to obtain the rated power if the transformer is not

adequately rated.

The bridge rectifier should be a 35A type, and filter capacitors must

be rated at a minimum of 50V. Wiring needs to be heavy gauge, and

the DC must be taken from the capacitors - not from the bridge

rectifier.

33
3.6 AUDIO DISTRIBUTION AND SWITCHING

For audio distributing to the loud speaker each amplifier have a limit
of two 8Ω speakers to make sure that the parallel sum of speakers
does not exceed the 4-16Ω range with respect to the amplifiers
impedance.
A simple single pole single throw switch is used to do this magic.

34
 CHAPTER 4
4.1 COMPONENT LIST

COMPONENT DESCRIPTION QUANTITY

T1 220V/25-0-25 SINGLE PHASE 1

CENTRE TAPPED TRANSFORMER

U1 JRC 4558 DUAL OP-AMP 2
BR1 BRIDGE DIODE[GBU8M] 1
Q1,Q2 A733 NPN SILICON DRIVER 4

TRANSISTOR
D1-D4 1N5391 JUCTION DIODE 4
S1 SPDT SWITCH WITH 10A 1

CONTACTS AND INBUILT LIGHT

C1,C7 50V/47uF 4
C2 25V/220uF 2
C4 1Uf/50V 8
VR1-6 50kΩ potentiometer 7
C9 104pf 3

35

R1,R7,R11 100Ω 6
R4,R9,R10 2.2KΩ 6
R2,R14,R15 10KΩ 6
R16,R17 47KΩ 2
R8 22 KΩ 2
R12,R5 10Ω 4
R3 18KΩ 2
R13,R18 0.47Ω /5W 4
 F1 10A 1
Q3,Q5 TIP 41 4

Q4 TIP42 2

Q6,Q7 C2580 4

SPK1-4 4” P.A LOUD SPEAKER 2/2

C5,C6 103pf 3

NOTE:

R - RESISTOR, C - CAPACITOR

T - TRANSFORMER, D - DIODE

Q - TRANSISTOR, U - IC

36

3.2 LIMITATIONS

The difficulties involved in getting some of the components for

this project because of the components were imported from

Nigeria Electronics Market and china which took a lot of time to

arrive making it difficult to compile study and the construction of

the project together.

Researches, typing and printing is very difficult to complete

because of the frequent power outages.

 37
4.2 CIRCUIT CONSTRUCTION

This circuit was first divided into four stages namely amplifier, power

supply mixer, equalizer and each stage was carefully tested with

electronics stimulator software and then assembled.

Part of the circuit like the amplifier board was assembled on a Vero

board (PCB) and then tested with a signal generator and an

oscilloscope to check the frequency response. This circuit was

finally tested after all he four parts were puts together to check and

correct its short falls.

Much consideration was given to meter readings or voltages and

frequencies.

38

4.3 GENERAL MODE OF OPERATION

An audio source is fed to a volume control to control the total gain of

different channels and then to a three band audio mixer which mixes
the signal from the three channels into one signal having the same
amplitude. After that, the mixing out is connected to combinations of
high, mid and low pass filter (equalizer) and then amplified by either
an op-amp or a common emitter class A amplifier to compensate
signal losses. The out put is then fed to the two amplifiers and then
to the loudspeakers via the switches.
 39
4.4 CABLE SELECTION

To avoid noise at the out put of the system it is important to use the
write wire for the connection between the audio sources and the
system. The write cable for this job is the screened wire, Shielded
cable or microphone cable.

Shielded cable
A shielded cable is an electrical cable of one or more insulated
conductors enclosed by a common conductive layer. The shield may
be composed of braided strands of copper (or other metal), a non-
braided spiral winding of copper tape, or a layer of conducting
polymer. Usually, this shield is covered with a jacket. The shield acts
as a Faraday cage to reduce electrical noise from affecting the
signals, and to reduce electromagnetic radiation that may interfere
with other devices. The shield minimizes coactively coupled noise
from other electrical sources.

In single conductor signal cables the shield may act as the return
path for the signal and is usually connected only at the signal
source. In multi-conductor cables the shield should be grounded
only at the source end, and will not carry circuit current.
High voltage power cables with solid insulation are shielded to
protect the cable insulation and also people and equipment.

40
Signal cables
By twisting two conductors of a balanced-line signal circuit into a
twisted pair, some cancellation of inductively-coupled noise is
obtained. However, a metallic shield layer over the twisted pair
provides better suppression of noise. Coaxial cable is used at higher
frequencies to provide controlled circuit impedance, but the outer
tubular conductor is also effective at reducing coupling of noise into
a circuit.

Applications
The use of shielded cables in security systems protects them from
power frequency and radio frequency interference, reducing the
number of false alarms being generated.
Microphone or "signal" cable used in setting up PA and recording
studios is usually shielded twisted pair cable, terminated in XLR
connectors. The twisted pair carries the signal in a balanced audio
configuration.
The cable laid from the stage to the mixer is often multi-core cable
carrying several pairs of conductors.

Consumer grade microphones use screened wire with one central

conductor in an unbalanced configuration.

41
4.5 PRECAUTIONS

In other to arrive at a good and a successful project, the following

precautions were taken into consideration:
1. The circuit was built under supervision to ensure accuracy.
2. The circuit diagram was first tested with schematic circuit
stimulator software (crocodile clips) and then mounted on a
Vero board and then rechecked for accuracy to prevent
damage of any component.
3. Correct soldering techniques were ensured as well as the
usage of a correct solder.
 4. The right tools and equipment were used for this project.
5. Suitable equivalent replacement of components was ensured
at places where the original components were not available.
6. After the completion of this project, care was taken to ensure
that one was well vested in the knowledge before he/she was
allowed to operate this system.

42

4.5 CONCLUSION

In conclusion we would say that the project public address system

for announcement could go a long way to aid information delivery
and also enhance productivity since there would be no need to
assemble huge crowds before conveying information to them. It was
also realized that it was designed down to earth making it easy to
operate and significantly the operator has the option of selecting the
group of people supposed to receive particular piece of information.
SUMMARY

From the above project it was realized that, Public Address System
for announcement is essential to any institution to reduce the
amount of time and work involved in delivering general and selective
information to a particular group of people.
The project was also designed to reduce cost and make it easy to
operate unlike the imported ones on the market which users
complain that it complicated and difficult to operate and expensive.

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RECOMMENDATIONS

My recommendations were based on research made and are as

follows:

1. Firstly, it is highly recommended Hospitals for doctor and

administration communication.

2. Furthermore it is recommended for schools and institutions for

effective delivery of information.

 3. it is also essential for publics halls and busy places like the

airport for airline operational information.

4. Last but not the least; government must encourage such

projects to generate employment for the youth at large.

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REFERENCES