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Horn loudspeakers are often used to broadcast sound in outdoor locations

A public address system (PA system) is an electronic sound amplification and distribution system with a microphone, amplifier and loudspeakers, used to allow a person to address a large public, for example for announcements of movements at large and noisy air and rail terminals.

The term is also used for systems which may additionally have a mixing console, and amplifiers and loudspeakers suitable for music as well as speech, used to reinforce a sound source, e.g., recorded music or a person giving a speech, and distributing the sound throughout a venue or building.

Simple PA systems are often used in small venues such as school auditoriums, churches, and small bars. PA systems with many speakers are widely used to make announcements in public, institutional and commercial buildings and locations. Intercom systems, installed in many buildings, have microphones in many rooms allowing the occupants to respond to announcements.

Sound reinforcement systems and PA systems may use some similar components, but with differing application, although the distinction between the two is not clear-cut. Sound reinforcement systems are for live music or performance, whereas PA systems are primarily for reproduction of speech.^[1] In Britain any PA system is sometimes colloquially referred to as a Tannoy, after the company of that name now owned by TC Electronic Group, which supplied a great many of the PA systems used in the past.^[2]

Early public address systems[link]

Edwin Jensen and Peter Pridham of Magnavox began experimenting with sound reproduction in the 1910s; working from a laboratory in Napa, California, they filed the first patent for a moving coil loudspeaker in 1911.^[3] Four years later, in 1915, they built a dynamic loudspeaker with a 1-inch (2.5 cm) voice coil, a 3-inch (7.6 cm) corrugated diaphragm and a horn measuring 34 inches (86 cm) with a 22-inch (56 cm) aperture. The electromagnet created a flux field of approximately 11,000 G.^[3]

Their first experiment used a carbon microphone. When the 12-volt battery was connected to the system, they experienced one of the first examples of acoustic feedback.^[3] They then placed the loudspeaker on the laboratory's roof, and claims say that the amplified human voice could be heard 1 mile (1.6 km) away.^[3] Jensen and Pridham refined the system and connected a phonograph to the loudspeaker to be able to broadcast recorded music.^[4] They did this on a number of occasions, including once at the Napa laboratory, at the Panama-Pacific Exposition,^[3] and on December 24, 1915 at San Francisco City Hall alongside Mayor James Rolph.^[4] This demonstration was official presentation of the working system, and approximately 100,000 people gathered to hear Christmas music and speeches "with absolute distinctness".^[3]

The first outside broadcast was made one week later, again supervised by Jensen and Pridham.^[5][6] On December 30, when Governor of California Hiram Johnson was too ill to give a speech in person, loudspeakers were installed at the Civic Auditorium in San Francisco, connected to Johnson's house some miles away by cable and a microphone, from where he delivered his speech.^[3] Jensen oversaw the governor using the microphone while Pridham operated the loudspeaker.

The following year, Jensen and Pridham applied for a patent for what they called their "Sound Magnifying Phonograph". Over the next two years they developed their first valve amplifier. In 1919 this was standardized as a 3-stage 25 watt amplifier.^[3]

This system was used by former US president William Howard Taft at a speech in Grant Park, Chicago, and first used by a current president when Woodrow Wilson addressed 75,000 people in San Diego, California.^[5] Wilson's speech was part of his nationwide tour to promote the establishment of the League of Nations.^[7] It was held on September 9, 1919 at City Stadium. As with the San Francisco installation, Jensen supervised the microphone and Pridham the loudspeakers. Wilson spoke into two large horns mounted on his platform which channelled his voice into the microphone.^[7] Similar systems were used in the following years by Warren G. Harding and Franklin D. Roosevelt.^[3]

By the early 1920s, Marconi had established a department dedicated to public address and began producing loudspeakers and amplifiers to match a growing demand.^[3] In 1925, George V used such a system at the British Empire Exhibition, addressing 90,000 via six long-range loudspeakers.^[3] This public use of loudspeakers brought attention to the possibilities of such technology. The 1925 Royal Air Force Pageant at Hendon Aerodrome used a Marconi system to allow the announcer to address the crowds, as well as amplify the band.^[3] In 1929, the Schneider Trophy race at Calshot Spit used a public address system that had 200 horns, weighing a total of 200 long tons.^[3]

Small systems[link]

Public address system in a school

The simplest PA systems consist of a microphone, an amplifier, and one or more loudspeakers. Simple and small 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. A sound source such as a Compact Disc player or radio may be connected to a PA system so that music can be played through the system.

Public address systems consist of input sources, amplifiers, control and monitoring equipment, and loudspeakers. The primary input sources are microphones for live announcements and a source of recorded sound. There may be a system which allows operators, or automated equipment, to select from a number of standard prerecorded messages. These input sources are fed into preamplifiers and signal routers that determine the zones to which the audio signal is fed. The preamplified signals are then passed into the amplifiers. Depending on local practices these amplifiers will usually 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. This control equipment is also used for separating zones in a PA system. The loudspeaker is used to convert electrical signals into sound.

Large systems[link]

Public Address System consisting of amplifiers, mixers and routers for a major international airport

Some PA systems have speakers that cover an entire campus of a college or industrial site, or an entire outdoor complex (e.g., an athletic stadium). A large PA system may also be used as an alert system during an emergency.

Telephone paging systems[link]

Some analog or IP private branch exchange (PBX) telephone systems use a paging facility that acts as a liaison between the telephone and a PA amplifier. In other systems, paging equipment is not built into the telephone system. Instead the system includes a separate paging controller connected to a trunk port of the telephone system. The paging controller is accessed as either a designated directory number or central office line. In many modern systems, the paging function is integrated into the telephone system, and allows announcements to be played over the phone speakers.

Many retailers and offices choose to use the telephone system as the sole access point for the paging system, because the features are integrated. Many schools and other larger institutions are no longer using the large, bulky microphone PA systems and have switched to telephone system paging, as it can be accessed from many different points in the school.

PA over IP[link]

PA over IP refers to PA paging and intercom systems that use an Ethernet or GSM-R network instead of a centralized amplifier to distribute the audio signal to all paging locations in a building or campus. Network-attached amplifiers and intercom units are used to provide the communication function. At the transmission end, a computer application transmits a digital audio stream via the local area network, using audio from the computer's sound card inputs or from stored audio recordings. At the receiving end, specialized intercom modules (sometimes known as IP speakers) receive these network transmissions and reproduce the analog audio signal. These are small specialized network appliances addressable by an IP address just like any other computer on the network.^[8]

Such systems are inter-connected by the networking infrastructure and thus allow loss less transmission to remote locations across the Internet or a local area or campus network. It is also possible to provide for multiple or relocatable transmission control stations on such a network.

Long line PA[link]

London Underground Employee making a Long Line Public Address system announcement using an RPA01 Radio Microphone at Bank Station

A Long-line public address (LLPA) system is any public address system with a distributed architecture, normally across a wide geographic area. Systems of this type are commonly found in the rail, light rail and metro industries and allow announcements to be triggered from one or several locations to the rest of the network over low bandwidth legacy copper, normally PSTN lines using DSL modems, or media such as optical fiber, or GSM-R, or IP-based networks.^[9]

Rail systems typically have an interface with a passenger information system (PIS) server, at each station linked to train describers which state the location of rolling stock on the network from sensors on trackside signaling equipment. The PIS system invokes a stored message to be played from a local or remote digital voice announcement system, or a series of message fragments to be assembled in the correct order, for example: / the / 13.29 / Virgin_Trains / sleeper_service / from / London_Paddington / to / Penzance / .... / will depart from platform / five / this train is formed of / 12_carriages /. Messages are routed via an IP network and are played on local amplification equipment. Taken together, the PA, routing, DVA, passenger displays and PIS interface are referred to as the customer information system (CIS), a term which itself is often used interchangeably with passenger information system.^{[citation needed]}

PA on Tour[link]

A line array speaker system and subwoofer cabinets at a live music concert

Touring bands will source a large line-array PA system from an audio equipment hire company with reliable service to take from venue to venue along with various other equipment such as lighting and projection. PA hire companies typically will provide "sound solutions" for myriad purposes. Local companies may specialise in small systems tailored to clubs, pubs and small outdoor events whereas larger companies will cater for concert halls.

Large venue systems[link]

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.

• 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. A large club may use amplifiers to provide 3000 to 5000 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 "foldback". The monitor system in a large club may provide 500 to 1000 watts of power to several foldback 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.

Acoustic feedback[link]

All PA systems have a potential for audio feedback, which occurs when sound from the speakers returns to the microphone and is then re-amplified and sent through the speakers again. Sound engineers take several steps to maximize gain before feedback, including ensuring that directional microphones are not pointed towards speakers, keeping the onstage volume levels down, and lowering gain levels at frequencies where the feedback is occurring, using a graphic equalizer, a parametric equalizer, or a notch filter.

See also[link]

• Announcer
• Instrument amplifier
• Sound reinforcement system

References[link]

External links[link]

• History of Public Address

Daddy Yankee
Background information
Birth name	Ramón Ayala
Also known as	Winchester 30-30 El Cangri El Jefe The Big Boss DY El Máximo Lider
Born	(1977-02-03) February 3, 1977 (age 35)
Origin	San Juan, Puerto Rico
Genres	Reggaeton, Latin rap, hip-hop
Years active	1992–present
Labels	El Cartel, Interscope, Sony Music Latin
Website	daddyyankee.com

Ramón Luis Ayala Rodríguez (born February 3, 1977), known artistically as Daddy Yankee, is a Latin Grammy Award-winning Puerto Rican reggaeton recording artist. Ayala was born in Río Piedras, the largest district of San Juan, where he became interested in music at a young age. In his youth he was interested in baseball, and aspired to become a Major League Baseball player. He was unable to continue this sport when he received an injury to one of his legs, leaving him unable to walk correctly. He then became involved in the underground rap movement that was in its early stages in Puerto Rico, later to be called reggaeton. After receiving lessons from several artists within the genre, he developed an independent career, first recording in a production titled Playero 37. After this he began to produce independent albums. His first solo album was No Mercy. He subsequently formed a duo with Nicky Jam, and then continued his solo career with the releases of El Cartel and El Cartel II. This led him be one of many pioneers of the reggaeton genre earning him the nickname "El Cangri".

In 2002 El Cangri.com became Ayala's first album with international success, receiving coverage in the markets of New York and Miami. Barrio Fino was released in 2004, and the album received numerous awards, including Lo Nuestro Awards and a Latin Billboard, as well as receiving nominations for the Latin Grammy and MTV Video Music Awards. Barrio Fino performed well in the sales charts of the United States, Latin America, Europe, and Japan. On June 5, 2007, El Cartel Records released El Cartel: The Big Boss, which was ranked as the top-selling album in Latin music genres in 2007. He promoted the album with an international tour which began in the United States and continued through Latin America, breaking attendance records in Ecuador and Bolivia.

His performances have appeared on more than 70 albums, including compilations such as Mas Flow 2 and Blin Blin Vol. 1. Outside of his work as a musician, Ayala has also worked as an actor and producer. Throughout his career, he has been generally reluctant to discuss his personal life, but has publicly expressed the importance of his wife and children to him.

Following the incident, he became interested in the underground movement, which at the time was in an early organizational stage.^[1] He also took more interest in the events that took place in the neighborhood in which he was raised, a public housing project named Villa Kennedy.^[2] Early in his career he attempted to imitate the style of Vico C. He went on to emulate other artists in the genre, including DJ Playero, DJ Nelson, and DJ Goldy, taking elements from their styles in order to develop an original style.^[1] In doing so, he eventually abandoned the traditional model of rap and became one of the first artists to perform reggaeton.^[1] Ayala first recorded with DJ Playero as a featured artist in a production titled Playero 37, which was released in 1992.^[2]

Musical career[link]

Independent productions[link]

His first album, titled No Mercy, was produced in 1995 when Ayala was eighteen years old.^[2] The production did not sell well, and he continued his work within the genre for the rest of the decade, eventually forming a duo with Nicky Jam. One of the duo's songs, "Posición", was included in the soundtrack of One Tough Cop, a movie directed by Bruno Barreto, that was released in 1998. Beginning in 2000, Ayala began concentrating more on his solo career, releasing albums produced outside studios. The first production he released was titled El Cartel, featuring elements of the mixtape style.^[2] In 2001 El Cartel II was released, a direct sequel to the previous production, and influenced by similar genres.

In 2005 El Cangri.com was released, and became the first album in Ayala's career to sell well outside Puerto Rico, mostly in the United States.^[2] The album was produced by VI Music, an independent recording studio in Puerto Rico, and was not supported by a major label.^[2] The most successful single from the album was "Latigazo", which received significant play on radio stations in New York and Miami.^[2] The album reached #43 on Billboard's Top Latin Albums chart.^[2] Following the release of this disc, Ayala performed at the Roberto Clemente Coliseum before 12,000 fans.^[3] The following year VI Music produced Los Homerun-es.^[2] The album became the leader in sales in Puerto Rico during a year in which several other reggaeton artists released significant productions, including Luny Tune's Mas Flow, Don Omar's The Last Don, and Tego Calderón's El Abayarde.^[2] The album's success helped Ayala receive the publicity required for a crossover to the United States market, and marked the last album he released with VI music before signing a contract with Universal

2004–2005[link]

Ayala's next album, Barrio Fino, was produced by Luny Tunes and released in July 2004 by El Cartel Records and VI Music. It was the most highly anticipated album in the reggaeton community.^[4] Ayala had enjoyed Salsa music since he was young, and this led him to include music of genres besides reggaeton in the album.^[4] The most prominent of these cross-genre singles was "Melao", in which he performed with Andy Montañez.^[4] The album was described as his most complete, and with it he intended to introduce combinations of reggaeton and other genres to the English-speaking market.^[4] Barrio Fino was followed up by an international tour with performances in numerous countries including the Dominican Republic, Ecuador, Mexico, Panama, Peru, Honduras, Spain, Colombia, Argentina, Venezuela, and the United States.^[4] The album has sold over 500,000 copies in the United States alone and has sold well throughout Latin America and worldwide.^[5]

In 2005 Ayala won several international awards, making him one of the most recognized reggaeton artists within the music industry.^[6] The first award of the year was Lo Nuestro Awards within the "Latin music" category, which he received for Barrio Fino.^[6] In this event he performed "Gasolina" in a performance that was described as "innovative".^[6] Barrio Fino also won the "Reggaeton Album of the Year" award in the Latin Billboard that took place on April 28, 2005,^[6] where he performed a mix of three of his songs in a duo with P. Diddy. The album was promoted throughout Latin America, the United States, and Europe, reaching certified gold in Japan. Due to the album's success, Ayala received promotional contracts with radio stations and soda companies, including Pepsi.^[7] His single "Gasolina" received the majority of votes cast for the second edition of Premios Juventud, in which it received eight nominations and won seven awards.^[6] Ayala also made a live presentation during the award ceremony. "Gasolina" received nominations in the Latin Grammy and MTV Video Music Awards.^[6]

The successful single, "Gasolina", was covered by artists from different music genres. This led to a controversy when Los Lagos, a Mexican banda group, did a cover with the original beat but changed the song's lyrics.^[8] The group's label had solicited the copyright permission to perform the single and translate it to a different music style, but did not receive consent to change the lyrics; legal action followed.^[8] Speaking for the artist, Ayala's lawyer stated that having his songs covered was an "honor, but it must be done the right way."^[8]

2006–present[link]

On April 30, 2006, Ayala was named one of the 100 most influential people by Time magazine, which cited the 2 million copies of Barrio Fino sold, Ayala's $20 million contract with Interscope Records, and his Pepsi endorsement.^[9] During this period, Ayala and William Omar Landrón (more commonly known by his artistic name Don Omar) were involved in a rivalry within the genre, dubbed "tiraera". The rivalry received significant press coverage despite being denied early on by both artists. It originated with a lyrical conflict between the artists begun by Ayala's comments in a remix single, where he criticized Landron's common usage of the nickname "King of Kings".^[10] Don Omar responded to this in a song titled "Ahora Son Mejor", part of his album Los Rompediscotecas.^[10]

El Cartel: The Big Boss was released by Interscope on June 5, 2007. Ayala stated that the album marked a return to his hip-hop roots as opposed to being considered a strictly reggaeton album.^[11] The album was produced in 2006, and included the participation of will.i.am, Scott Storch, Tainy Tunes, Neli, and personnel from Ayala's label. Singles were produced with Héctor Delgado, Fergie, Nicole Scherzinger and Akon.^[11] The first single from the album was titled "Impacto", and was released prior to the completion of the album. The album was promoted by a tour throughout the United States, which continued throughout Latin America.^[11] He performed in Mexico, first in Monterrey, where 10,000 attended the concert, and later at San Luis Potosí coliseum, where the concert sold out, leaving hundreds of fans outside the building.^[12] Ayala performed in Chile as well, and established a record for attendance in Ecuador.^[13] He also performed in Bolivia, setting another record when 50,000 fans attended his Santa Cruz de la Sierra concert.^[13] This show was later described as "the best show with the biggest attendance in history" and as "somehappy that his album had sold more than those of Juan Luis Guerra and Juanes, and that this was an "official proof that reggaeton's principal exponent defeated the rest of the genres".^[14] Ayala made a guest appearance in an album titled "Caribbean he loved the color reed|Inner Circle]], Bounty Killer, Elephant Man and Wayne Wonder.^[15] In July 2008, Ayala announced that as part of his work, he would produce a cover version of Thalía's song, Ten Paciencia.^[16] Prior to the album's release, Ayala scheduled several activities, including an in-store contract signing.^[17] On February 27, 2009, he performed at the Viña del Mar International Song Festival in Chile.^[18] In this event, the artists receive awards based on the public's reaction. After performing "Rompe", "Llamado de emergencia", "Tú me dejaste caer", "Gasolina", "Limpia parabrisas" and "Lo que pasó, pasó" over the course of two hours, Ayala received the "Silver Torch", "Gold Torch" and "Silver Seagull" recognitions.^[18] On April 24, 2009, he received the Spirit of Hope Award as part of the Latin Billboard Music Awards ceremony.^[19] The recognition is given to the artists that participate in community or social efforts throughout the year. The single "Grito Mundial" was released on October 8, 2009,^[20] in order to promote his ninth album, Mundial. Despite releasing "El Ritmo No Perdona (Prende)" more than a month before, that single was not considered the first official promotional single.

Film and other career projects[link]

Ayala has negotiated promotional deals with several companies outside of the music industry, releasing merchandise under his name. In 2005, he became the first Latin artist to sign a deal with Reebok, in order to produce accessories,^[21] including the licensed clothing line "DY", which was released in 2006.^[22] He also teamed up with the company to have his own shoes and sporting goods made, which were first distributed on May 23, 2006.^[11] Reebok continued the partnership with the introduction of the Travel Trainer collection in July 2007. In August 2007, Pepsi began an advertising campaign titled "Puertas", in which Ayala is depicted returning to his youth by opening a series of doors.^[23]

In 2008, Ayala participated in a campaign to promote voting in the 2008 general elections in Puerto Rico. This initiative included a concert titled "Vota o quédate callao".^[24] On August 25, 2008, Ayala endorsed John McCain's candidacy for President of the United States, stating that McCain "has been a fighter for the Hispanic community".^[25] As part of this campaign, Ayala moderated a debate titled “Vota o quédate callao: los candidatos responden a los jóvenes”, which was aired on October 9, 2008.^[26]

Ayala has worked in the film industry as both an actor and producer. His acting debut was the lead role of Vampiros, a film directed by Eduardo Ortiz and filmed in Puerto Rico.^[27] The film premiered at the Festival of Latin American Cinema in New York, where it received a positive reaction. This led Image Entertainment to produce a DVD, internationally released in March 2005.^[27] Ayala played the main role "Edgar" in Talento de Barrio, which was filmed in Puerto Rico and directed by José Iván Santiago. Ayala produced the film, which is based on his experience of growing up in a poor city neighborhood.^[28] While the film is not directly a biography, Ayala has stated that it mirrors his early life.^[28] Talento de Barrio's debut was scheduled for July 23, 2008, in New York's Latino Film Festival.^[29] After the premier, Ayala expressed satisfaction, saying that he had been invited to audition for other producers.^[30] On release, Talento de Barrio broke the record held by Maldeamores for the most tickets to a Puerto Rican movie sold in a single day in Caribbean Cinemas.^[31]

Ayala has been involved in the administration of three organizations, the first being El Cartel Records which he co-owns with Andres Hernandez. He also created the Fundación Corazón Guerrero, a charitable organization in Puerto Rico which works with young incarcerated people.^[32] On April 26, 2008, he was presented with a "Latino of the Year Award" by the student organization Presencia Latina of Harvard College, receiving it for his work with Puerto Rican youth and creating Corazón Guerrero.^[33] On February 6, 2008, Ayala announced in a Baloncesto Superior Nacional press conference that he had bought part of the Criollos de Caguas' ownership.^[34]

Personal life[link]

Ayala has kept most of his personal life private, rarely speaking about it in interviews.^[35] He has said that he avoids doing so because such details are the only aspect of his life that are not public and that they are like a "little treasure".^[35] He made an exception in 2006 when he spoke about his relationship with his wife and children in an interview with María Celeste Arrarás in Al Rojo Vivo.^[35] He stated that his marriage is strong because he and his wife are "friends above anything", adding that he has tried to ignore other temptations because "weakness is the reason for the downfall of several artists."^[35] He also described his "very close" communication with his children, in which he tries to offer advice against drugs and negative influences.^[35] His first daughter was born when he was seventeen years old,^[35] which he has described as confusing at first, adding that raising a daughter at that age was a hard experience.^[36]

Studio albums[link]

• 1995: No Mercy
• 2002: El Cangri.com
• 2004: Barrio Fino
• 2007: El Cartel: The Big Boss
• 2010: Daddy Yankee Mundial
• 2012: Prestige

Filmography[link]

Film

Television

See also[link]

	Biography portal
	Puerto Rico portal
	Music portal

• Latin American music
• List of Caribbean music genres
• List of Puerto Ricans
• List of Puerto Rican songwriters
• Urban contemporary

References[link]

External links[link]

• Official site
• Daddy Yankee at the Internet Movie Database