Formula 1 always draws the crowds, but the one-hour queues currently forming at the Orange-Arrow team stand indicate something even more exciting. "Essentially it’s a full-size F1 car simulator designed to emulate the real-time aural and visual sensations of actually racing, and some of the physical sensations as well, while the machine remains absolutely static," says Andrew Riley, managing director of The Oxford Sound Company, contracted by designers and builders Independent to Internet Ltd (i2i.net) to provide the exciting and effective audio environment for this machine.

The simulator is a replica of an existing Orange-Arrows three-seater racing car used to take a very privileged few around racing tracks for a real white-knuckle experience. Each seat in the simulator is fitted with multiple LF shakers, while the driver wears a full helmet with head-up display and stereo headphones integrated. Add positive feedback from the steering wheel and this is as close as it gets to the real thing.

"We’re controlling multi-channel audio feeds from the computers that run the simulator, through a Yamaha DME32 to a 6-channel Yamaha Xs 6150 amp," explained Riley. "The thing is, because the experience is fully interactive, we can’t guarantee what the sound effects will be at any one time. Eight ‘shakers’ in each of the three seats can produce some high energy when a virtual wheel bangs up a virtual curb; meanwhile, in the headset the ‘drivers’ are hearing screaming engine, wind effects and noise. Multiple signal to multiple devices would have required maybe 30U of rack space, instead we’ve achieved the same high levels of control in 3U of DME. For three separate systems that’s incredibly cost-effective."

Since the simulator was first taken on by the Orange-Arrow team, the growth in interest has been huge, inevitably leading to some need for change. "We were asked if we could provide a PA feed for those in the queue so they could get some sense of what was awaiting them. Naturally, we needed to tailor that accordingly, removing the intense 10Hz low-end rumble of the suspension noise. The DME being a ‘soft’ product made that additional processing easy, and of course required no additional equipment," explains Riley.

Riley reports continued growth in the simulator’s appeal, "and continued request for changes and additions, almost weekly," but has yet to out-grow the facilities of the DME. "The other great advantage is operation; we set up all the control externally, the DME then runs subordinate to the main simulator computers, leaving the audio system and all its settings effectively tamper-proof. This project has been typical of what we do - take existing products, and with a little bit of lateral thinking find solutions in all sorts of applications."

(Lee Baldock)


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