Decoding The Dna Of Sound

Transcript

Decoding the DNA of Sound Klein + Hummel Studio Monitors TheofMeasure All Sound Klein + Hummel studio monitors have been setting global standards in professional sound reproduction for decades. Conceived as acoustically uncompromising tools for the evaluation and fine-tuning of sound material, Klein + Hummel studio monitors provide studio engineers across the world with authentic reproductions of even the smallest recording details. Klein + Hummel doesn’t just make studio monitors. Rather we develop precise measuring instruments—tools that analyze sound and detect the tiniest of aural nuances. Progress built on tradition. Since 1945, Klein + Hummel have shown an unwavering pioneer spirit in achieving perfect sound reproduction. Fueled by passion and commitment, Horst Klein and Walter Hummel assembled a small team of specialists near Stuttgart: a team which has developed premium studio products for sixty years. Today, they represent the gold standard in audio reproduction. In 1958, Klein + Hummel introduced the first stereo amplifier with high fidelity (hi-fi) quality. Within two years, the Klein + Hummel product palette encompassed an entire range of professional studio equipment. Many of these products have become legendary classics of contemporary studio technology. Today, Klein + Hummel is one of the world’s leading designers and manufacturers of innovative studio products, and remain deeply committed to continuing our tradition of innovation with the design and launch of the next generation of high quality products. The new millennium began in style with the O 500 C, the world’s first fully digital, FIR-controlled main monitor. And more recently, the introduction of ARAM (Active Room Ambience Compensation) technology in 2005 became an overnight success. 2|3 Measuring Instruments for Unparalleled Reproduction Excellent Sound Quality—High Precision The aim of Klein + Hummel is to combine technological advances with the highest product quality. The uniqueness of the studio monitors is based on the following features which together represent the proverbial “Klein + Hummel Sound Experience”: Superior 3-way design—even for smaller monitors. A 3-way design is clearly superior to a 2-way design in achieving a perfectly neutral sound pattern. Klein + Hummel products employ a 3-way system even in near-field monitors: • The woofer isn’t used for mid-range frequencies, thus avoiding coloration in the woofer cone • Build up of unwanted resonance is eliminated, thus avoiding dispersion imbalances and cumulative spectral decay • The addition of a mid-range driver ensures exceptionally smooth frequency response • Standing waves are prevented because mid-range frequencies cannot spill from the woofer into the speaker cabinet. Unwanted resonance is eliminated due to the hermetic isolation of the mid-range domes • The lower crossover frequency of the woofer eliminates modulation caused by low-frequency interference (Doppler Effect) Ideal waveguides for high-frequency and mid-range drivers. An even dispersion pattern is essential for quality sound in the studio. It allows a precise evaluation of sound and environment beyond the focal point of the speakers in large spaces. Moreover, Klein + Hummel’s continuous waveguides also ensure excellent imaging and depth. The use of extremely low-resonance materials enables the integration of the waveguides into the loudspeaker. The “guided” sound impresses with its optimized dispersion. An elliptically-shaped high frequency horn limits the dispersion on the vertical plane. This substantially reduces that reflection off the console which tends to muddy the direct sound (comb-filter effects). The elliptical shape broadens the sweet spot on the horizontal plane, providing the engineer with much more freedom of movement at the console. Distinctive design. Each of the active studio monitors features the most advanced high-efficiency amplifiers and equalizers, fine-tuned for each loudspeaker driver. Special circuitry protects the transducers from overload and damage. Sophisticated onboard frequency-compensation electronics ensure that each monitor’s frequency response conforms to extremely tight tolerance. The monitors’ initial phases are integrated with asymmetrical electronics for maximum simultaneous frequency suppression. This is clearly demonstrated by the directivity plots shown on the color isobar graphs. Versatile applications. The entire Klein + Hummel range is modular in design. This means that when studio’s capacities are to be extended, new Klein + Hummel products will seamlessly adapt to the new configuration. Minimal adaptations to the monitors also enable expansion with additional loudspeakers—for example, upgrading to 5.1. Adabtable design. Klein + Hummel attaches absolute importance to the monitors’ sound fidelity, even in suboptimal locations. These highly adaptable monitors allow to gauge and set the frequency spectrum to the precise requirements of the space. Digital filter concepts—Finite Impulse Response (FIR). Klein + Hummel’s active studio monitors achieve a new dimension with an integrated digital-controller with FIR filters. These are the only filters designed to allow independent fine-tuning of amplification and phasing and are ideal for complex loudspeaker corrections. This applies not only to linear phase adjustment but also to the complete equalization of the three independent systems. Once installed, our filter technology also allows highly sensitive adjustment to the environment involving no phasing drawbacks. Active adaptation to room ambience. In pursuance of the goal of providing the perfect harmony of monitor and studio, Klein + Hummel has developed a new system to suppress room resonance, ambient sound and rogue acoustics. Detailed information about this can be found on pages 44–45. 4|5 Acoustic Parameters in a Nutshell ^a ^d ^c ^b ^f ^e dB 10 Amplitude modulation, also known as 0 – 10 – 20 K + H O 300 D Other 2-way studio-monitor 0.05 0.2 0.5 1 2 5 – 30 frequency response, is the most frequently used measurement for loudspeakers. Ideally, a loudspeaker should emit the audible frequency spectrum in a linear way. ^a Moderate peak decay at 12 dB via sealed enclosure ^b Overload via high-frequency equalization to high values ^c Strong peak decay at 36 dB/oct via self-regulating bass impulse ^d High linearity at maximum deviation ≤ 2.5 dB ^e Non-linearity via higher tolerance through two way construction and standing waves in enclosure ^f Non-linear phase modulation via selection of cabinet edges and chassis 10 kHz ^h ^g ^i ^j dB – 10 – 20 – 30 – 40 – 50 – 60 – 70 – 80 K + H O 300 D Other 2-way studio-monitor 0.05 0.2 0.5 1 2 ^k 5 kHz – 90 – 100 Total harmonic distortion (THD). Nonlinear distortions cause unwanted harmonic waves in the audio signal. Depending on the strength of the distortion, these waves may not be heard as distortion, but emit a certain aggressiveness, or cause an undifferentiated sound picture. The distortion factor is defined as the relation between the effective value of the distorted sound to the effective value of the distorted sound plus the base frequency. The diagram shows the distortion measured at an input level of 0 dB/SPL at 1 m distance. ^g Higher distortion in bass spectrum through compromised efficiency of O 300 D’s sealed enclosure ^h Strong increase in distortion in upper reaches of subwoofer with k3 ^i Nearly 0.1 % distortion factor in important mid-range frequency spectrum ^j Higher distortion in highfrequency spectrum through compromised efficiency ^m ^l dB 110 100 90 80 K + H O 300 D Other 2-way studio-monitor 0.05 0.2 0.5 1 2 5 kHz 70 The maximum peak level is the maximum impulse generated by the loudspeaker not exceeding a given distortion factor (3 % in the diagram). It should be delivered at a higher peak level so as to allow the undistorted reproduction of short peaks in the sonic signal. ^k Higher maximum peak level in bass impulse tuning frequency via better effectiveness in relation to sealed enclosure ^l Similar conditions in mid-range ^m Significantly higher maximum peak level via higher frequency splitting and more effective waveguide effect Amplitude modulation, directivity, group delay time, total harmonic distortion, decay spectrum, and maximum peak level are the parameters affecting a loudspeaker’s quality. A monitor’s acoustic quality can be recognized in advance, given a correct interpretation of the measurements. This helps you choose the best loudspeaker for your requirements. The measurements are based on the Klein + Hummel O 300 D monitor (red curve) measured against an other comparable 2-way-monitor (gray curve) of the same size. ^n ^o ms Group delay time is the derivation of the phase response from the frequency. Ideally, it is constant. Analog electrical or digital Infinite Impulse Filters (IIR) filters, acoustic filters and mechanical faults of the loudspeaker can cause non-linear response. The group delay time is the time a signal needs to proceed through the device in connection with a specific frequency. ^n High group delay time of 25 ms at 50 Hz via subwoofer chassis with 24 dB/oct. combined with electronic high-frequency equalization with 12 dB/oct. at ca. 40 Hz ^o Low group delay time of 10 ms at 50 Hz via limited overall equalisation. Sealed enclosure with 12 dB/oct. peak decay combines with electronic high-frequency equalization at 20 Hz 20 0 – 20 K + H O 300 D Other 2-way studio-monitor 0.05 0.2 0.5 1 2 5 10 kHz ^r ^p ^q The decay spectrum is defined by the pattern of decay of a waved system after the abrupt cut-off of the input signal. The ideal is the quickest possible decay of the sound. ^p Very long bass decay time via pronounced Tschebychef synchronization of subwoofer enclosure with electronic high-frequency equalization ^q Strong resonance via standing waves in enclosure ^r Partial coloration in subwoofer cone +5 0 –5 – 10 – 15 – 20 – 25 Other 2-way studio-monitor 100 Hz 1,000 Hz 10 kHz ^u Directivity. As important as a loudspeaker’s on-axis frequency response may be, equally important is its dispersion frequency response on the horizontal and vertical planes. The off-axis sonic energy is typically reflected off all the surfaces in a room. It returns to the listening position in the form of reverberation or echo. There, it combines with the initial signal and contributes to the tonal resonance. This is why a smooth, even dispersion is as important to neutral (equalized) sound reproduction as is a linear frequency resonance. ^s Strong continual muddying of low frequency by missing mid-range frequency ^t Sudden expansion of dispersion factor via badly designed waveguide ^u Strong diversion from ideal dispersion pattern ^s ^t 90 60 30 degree 0 – 30 – 60 – 90 Other 2-way studio-monitor 125 250 500 1,000 2,000 4,000 8,000 f[Hz] 6|7 Controller | Monitor Manager p. 50–63 Pro M 1012 | Pro M 68 | Pro C 28 Near-Field Monitors p. 20–31 O 300 D | O 200 | O 110 D | O 110 | P 110 Control Monitors p. 32–35 M 51 | M 51 D Main Monitors p. O 500 C Mid-Field Monitors p. 16–19 O 400 Amplifiers p. 64–67 Pro A 2000 10–15 Subwoofers p. 36–45 O 900 | O 800 | O 800 ARAM 8|9 O 500 C Digital Active Main Monitor Main Monitors Klein + Hummel has developed, with the O 500 C studio monitor, a comprehensive and innovative approach to the design of large studio monitors. This approach integrates the latest DSP technology and sets completely new standards for absolutely authentic, uncolored, accurate audio reproduction. The O 500 C is one of a new class of large reference monitors that employ an integrated digital controller. Digital signal processing combined with FIR (Finite Impulse Response) filters make it possible to control the amplitude response and the phase response independently of each other. Other superior factors include the use of the resonancefree material LRIM, modern, innovative loudspeakers with optimal reproduction quality, high-performance power amplifiers with high dynamics and a modern enclosure concept. 왎 왎 왎 왎 왎 왎 왎 왎 Active 3-way main monitor Fully digital frequency switch and system correction via integrated digital controller with FIR filters Very transparent and analytical reproduction through absolutely linear frequency and phase response from 30 Hz to 20 kHz Extremely precise dispersion via perfectly fine-tuned drivers for mid- and high-ranges Higher maximum volume via generous amplification performance (high: 400 W; medium: 230 W; low: 290 W) Magnetic protection Same sound character as smaller Klein + Hummel monitors Optional FIR filters for individual room compensation 10 | 11 Blue VF display shows all settings Large integrated waveguides for optimal dispersion pattern IR remote control Rotatable high-/low-frequency unit for horizontal and vertical installation High-quality outputs for 400 W (low), 230 W (mid) and 290 W (high) Subwoofer output connects to O 900 Digital FIR controller for all parameters Use of unbeatable loudspeakers Uncompromising bass system 쏹 12" cone woofer with cast aluminum basket 쏹 Patented construction with rear-ventilated voice coil which 쑺 Greatly increases load capacity and 쑺 Minimizes power compression 쏹 Minimal distortion levels via extremely long excursion 쏹 Doubly insulated membrane 쑺 Minimal distortion 쑺 Self-damping 쑺 Insensitive to environment 쏹 High effectiveness via especially optimized relationship of outer to inner radius High resolution mid-range system 쏹 3" membrane/voice coil diameter 쏹 Minimal distortion via strong driver 쏹 Rear-sealed chassis prevents irregularities in the decay spectrum Precise high-frequency system 쏹 Brilliant, low-distortion high-frequency reproduction via powerful 1" titanium fabric dome Main Monitors O 500 C Digital Active Main Monitor Modern cabinet design 쏹 쏹 쏹 쏹 쏹 Low-compression bass reproduction via generously proportioned bass reflex ports Smooth matte enameled baffle design without diffraction edges or fastening elements Modern design Numerous mounting and setup possibilities Also available in different colors Optimized sound dispersion 쏹 쏹 쏹 쏹 쏹 쏹 Perfect sound dispersion discrepancies in time coherence and non-linearities in the amplitude response are digitally compensated Broad horizontal dispersion characteristics 쑺 Extended sweet spot, more freedom of movement at the mixer Narrow vertical dispersion characteristics 쑺 Avoids interference from reflection off mixer console Rotatable drivers for standing and horizontal installation Excellent dispersion patterns Very limited interference range via digital frequency filters Futuristic integrated digital controller 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Digital performance at 44.1 and 48 kHz AD crossover-technology with 130 dB dynamic range Extremely low distortion via the latest 24 Bit converter technology Digital input through AES/EBU and S/P-DIF System correction and phase frequency equalization via individually tuned FIR filters Numerous corrections available (linear phasing, minimal phasing, etc.) Pre-emptive limiters: 쑺 Peak limiter to avoid transient peaks and regulate power amplifier overloading 쑺 Thermo-limiter to protect the power output of the drivers Large VFD display shows settings Infrared remote control to program settings MIDI- and RS232-interfaces New patented output concept 쏹 쏹 쏹 쏹 Very high performance outputs with 400 W for low-, 230 W for mid-, and 290 W for high-range frequencies Extremely high dynamic: 129 dB/132 dB(A) Intelligent power supply for minimal power loss Lowest non-linear distortion (THD+N): low: < – 110 dB (0.0003 %); mid: < – 100 dB (0.001 %); high < – 90 dB (0.003 %) 12 | 13 Easy, flexible adaptation to location via IIR-EQ’s. In addition to FIR filters, the O 500 C’s digital controller benefits from an easy-to-install location adapter, which is achieved via conventional IIR digital technology to allow real-time operation. In installation and performance it resembles the location adapters which are used on Klein + Hummel’s analog studio monitors and which allow the monitors to be adapted to the most specific requirements using low, mid and high. The O 500 C also features 10 fully parametric EQ wavebands, which can be used to further adapt the frequency modulation, in case the location does not provide adapter sufficient adjustments. ^2 ^4 ^1 ^3 ms 90 80 70 60 0.05 0.2 0.5 1 2 5 10 kHz 50 ^1 Low Cut for adjustment of the lower cut-off frequency ^2 Low EQ for compensation of wall-, edge- and cornerpositioning ^3 Mid EQ for compensation of floor- and console-reflections ^4 High EQ for compensation of different absorbtions of high frequencies in the studio Individual room adaptation with FIR filters. The O 500 C is designed to be able to adapt to the individual requirements of any studio. This is possible through our integral FIR-based controller technology. The frequency and phase of the FIR filters can be adjusted to the room’s acoustics for optimal listening conditions at the mixer. First, third-octave measurements are taken from a large number of points in the listening area and are averaged out. The resulting curve takes into account both the speaker’s frequency response and dispersion patterns and the acoustic response of the room. The interplay of monitor, room and location are then used by the software as a new preset in non-volatile memory in the integrated controller. During playback, the controller compensates for the room’s unwanted acoustic imbalances. The result is a significant sound improvement. This acoustic optimization demands a certain level of experience and equipment. It does, however, represent a costeffective means of addressing acoustic imbalances. Frequency response THD at 100 dB/SPL in 2,1 m total k2 k3 dB dB – 10 100 – 20 – 30 90 – 40 80 – 50 – 60 70 – 70 0.05 0.2 Group delay 0.5 1 2 linear phase 5 10 kHz 60 bass-min., mid, high-lin. phase 0.05 min. phase 0.2 0.5 1 2 5 10 kHz – 80 Max. SPL in 1 m at 1 % THD dB ms 110 60 100 40 90 20 0.1 0.2 0.5 1 2 5 10 kHz 80 0 0.05 0.2 0.5 1 2 5 10 kHz 70 Cumulative spectral decay 0 –5 – 10 – 15 – 20 – 25 0,0 2.3 ms +5 0 –5 – 10 – 15 – 20 – 25 4.5 ms 6.8 ms 9.1 ms 100 Hz Horizontal directivity 1,000 Hz 10 kHz Vertical directivity 90 90 60 60 30 30 0 degree 0 degree – 30 – 30 – 60 – 60 – 90 125 250 500 1,000 2,000 f[Hz] 0 to 3 4,000 8,000 –3 to 0 16,000 – 6 to – 3 – 90 125 250 – 9 to – 6 – 12 to – 9 Decrease of SPL (dB) 500 1,000 2,000 f[Hz] – 15 to – 12 4,000 8,000 – 18 to – 15 16,000 – 21 to – 18 14 | 15 O 400 Active Mid-Field Monitor Mid-Field Monitors The O 400 incorporates a large number of outstanding features to achieve high quality authentic audio reproduction. A superior 3-way concept, the harmonic balance of loudspeakers and electronics, the highest linear frequency response, high quality outputs and a solid resonance-free enclosure result in an exceptional performance. The O 400 is perfect for middle-sized recording studios, radio and TV stations, larger broadcast vans and for use in mastering, post-production and synchronization studios. 16 | 17 Tweeter cone with wide dispersion Switchable input sensitivity 0 dBu and + 6 dBu O 400 Active Studio Monitor Use of unbeatable loudspeakers 쏹 쏹 쏹 쏹 Polypropylene cone woofer system with no distortion Defined bass reproduction thanks to aluminum chassis Extremely low distortion mid-range via 3" voice coil diameter Highly-detailed, low-distortion tweeter system with powerful 1" titanium fabric dome Optimized enclosure design 쏹 쏹 쏹 쏹 쏹 쏹 Low-compression bass reproduction via generously proportioned bass reflex ports Resonance-free MDF enclosure with integrated self-damping Connectable to all standard studio signal sources Removable protective grill Optional colorways Magnetically shielded Innovative electronics 쏹 쏹 쏹 쏹 쏹 Electronic limiter protection mode (not VCA) Overload warning integrated into waveguide 4 settings for adaptation to room/location High-quality transformer-balanced floating input Input sensitivity ranges from 0 dBu to + 6 dBu Frequency response THD at 95 dB/SPL in 1 m total k2 k3 dB 100 dB – 10 – 20 90 – 30 – 40 80 – 50 – 60 70 – 70 – 80 60 – 90 0.05 0.2 0.5 1 2 5 10 kHz 0.05 Group delay 0.2 0.5 Max. SPL in 1 m at 1 % 1 2 and 3 % 5 kHz THD ms dB 110 20 100 0 90 – 20 0.05 0.2 0.5 1 2 80 0.05 5 10 kHz Room compensation EQ: bass 0.2 0.5 1 2 5 kHz 70 Cumulative spectral decay dB 100 0 –5 – 10 – 15 – 20 – 25 0,0 90 80 70 60 0.05 0.2 0.5 1 2 5 2.3 ms +5 0 –5 – 10 – 15 – 20 – 25 4.5 ms 6.8 ms 9.1 ms 100 Hz 10 kHz Horizontal directivity 1,000 Hz 10 kHz Vertical directivity 90 90 60 60 30 30 0 degree 0 degree – 30 – 30 – 60 – 60 – 90 125 250 500 1,000 2,000 f[Hz] 0 to 3 4,000 8,000 –3 to 0 16,000 – 6 to – 3 – 90 125 250 – 9 to – 6 – 12 to – 9 Decrease of SPL (dB) 500 1,000 2,000 f[Hz] – 15 to – 12 4,000 8,000 – 18 to – 15 16,000 – 21 to – 18 18 | 19 O 300 D Active Near-Field Monitor Near-Field Monitors In developing the O 300 D the goal was to achieve the most accurate, uncolored sound, combined with ideally shaped waveguides, in a compact size. Complex computer simulations and extensive listening tests were conducted. The results are unheard of: this 3-way monitor gives an unbeatably neutral, equalized sound stage which is quite unique in its class. A precise bass response, perfect dispersion patterns, and a stunningly real sound stage with remarkable image focus and depth leave nothing to be desired. 20 | 21 Elliptical waveguide for very wide horizontal and narrow vertical dispersion patterns Very compact layout of the 3 ways High-quality digital input integrated as standard Direct output for external digital FIR controller Pro C 28 Design: silver-colored O 300 D Active Studio Monitor Additional 3-way system 쏹 쏹 쏹 쏹 쏹 쏹 The most important frequency spectrum lies in the ideal broadcast zone of the loudspeaker Extremely low-distortion reproduction Exceptionally neutral sound stage from 40 Hz to 20 kHz No standing waves in enclosure No partial coloration No comb-filter effect Unconventional enclosure concept 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Very compact enclosure constructed of different materials Avoidance of resonance via combination of MDF and LRIM (Low Resonance Integral Moulding) Very accurate bass reproduction via sealed enclosure Acoustic centers of loudspeaker are on one plane Homogenous baffle with no diffraction or fastening elements and with excellent self-damping properties Wider effective listening area for main monitor via horizontal installation Modern design Numerous installation possibilities Optional baffle cover/grill Magnetically shielded Functional waveguide 쏹 쏹 Dispersion is horizontally wide allowing 쑺 Increased freedom of movement at mixing console 쑺 Vertically narrow reducing early reflections off console surface Perfect dispersion pattern Advanced Electronics 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Integrated electronic limiter for each driver Active phase frequency equalizer with 24 dB/oct. AF-input equipped with minimal distortion crossover function Additional digital inputs for AES/EBU, AES 3id and S/P-DIF with 24 Bit; 32 kHz – 96 kHz Output connector for external FIR digital controller Klein + Hummel Pro C 28 Power and overload/limiter-display integrated into K + H logo 3 x 4 room-matching circuitry for different placement options Frequency response THD at 95 dB/SPL in 1 m total k2 k3 dB 100 dB – 10 – 20 90 – 30 – 40 80 – 50 – 60 70 – 70 – 80 60 – 90 0.05 0.2 0.5 1 2 5 10 kHz 0.05 Group delay 0.2 0.5 Max. SPL in 1 m at 1 % 1 2 and 3 % 5 kHz THD ms dB 110 20 100 0 90 – 20 0.05 0.2 0.5 1 2 80 0.05 5 10 kHz Room compensation EQ: bass, mid, high 0.2 0.5 1 2 5 kHz 70 Cumulative spectral decay dB 0 –5 – 10 – 15 – 20 – 25 0,0 90 80 70 60 0.05 0.2 0.5 1 2 5 10 kHz 50 Horizontal directivity 2.3 ms +5 0 –5 – 10 – 15 – 20 – 25 4.5 ms 6.8 ms 9.1 ms 100 Hz 1,000 Hz 10 kHz Vertical directivity 90 90 60 60 30 30 0 degree 0 degree – 30 – 30 – 60 – 60 – 90 125 250 500 1,000 2,000 f[Hz] 0 to 3 4,000 8,000 –3 to 0 16,000 – 6 to – 3 – 90 125 250 – 9 to – 6 – 12 to – 9 Decrease of SPL (dB) 500 1,000 2,000 f[Hz] – 15 to – 12 4,000 8,000 – 18 to – 15 16,000 – 21 to – 18 22 | 23 O 200 Active Near-Field Monitor Near-Field Monitors Designed for near-field applications, the O 200 reference monitor is remarkable for its neutral reproduction and first-class stereo imaging. Its compact size makes it ideal for smaller project studios, video editing suites and broadcast vans. In addition to its accurate soundstage providing precise reproduction, the monitor also benefits from an optimally designed waveguide, high quality amplification, and a functional, attractive enclosure design. 24 | 25 Tweeter cone with wide dispersion pattern Switchable input sensitivity 0 dBu and +6 dBu O 200 Active Studio Monitor Use of highest quality loudspeaker 쏹 쏹 쏹 Woofer system with polypropylene membrane driver for self-damping Precise bass reproduction via aluminum chassis Brilliant, low-distortion high-range reproduction via powerful 1" titanium fabric dome Functional enclosure design 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Low-compression bass reproduction via self-damping bass reflex enclosure Homogenous baffle with no diffraction or fastening elements and excellent self-damping properties Low-resonance MDF enclosure with integrated waveguide Flexible mounting options Removable protective grill Other colors available upon request Magnetically shielded Advanced electronics 쏹 쏹 쏹 쏹 쏹 Electronic protective limiter (not VCA) Integrated power and overload display Adjustable input sensitivity: 0 dBu, + 6 dBu Four placement options for different locations High-quality transformer-balanced floating input Frequency response THD at 95 dB/SPL in 1 m total k2 k3 dB 100 dB – 10 – 20 90 – 30 – 40 80 – 50 – 60 70 – 70 – 80 60 – 90 0.05 0.2 0.5 1 2 5 10 kHz 0.05 Group delay 0.2 0.5 Max. SPL in 1 m at 1 % 1 2 and 3 % 5 kHz THD ms dB 110 20 100 0 90 – 20 0.05 0.2 0.5 1 2 80 0.05 5 10 kHz Room compensation EQ: bass 0.2 0.5 1 2 5 kHz 70 Cumulative spectral decay dB 0 –5 – 10 – 15 – 20 – 25 0,0 90 80 70 60 0.05 0.2 0.5 1 2 5 10 kHz 50 Horizontal directivity 2.3 ms +5 0 –5 – 10 – 15 – 20 – 25 4.5 ms 6.8 ms 9.1 ms 100 Hz 1,000 Hz 10 kHz Vertical directivity 90 90 60 60 30 30 0 degree 0 degree – 30 – 30 – 60 – 60 – 90 125 250 500 1,000 2,000 f[Hz] 0 to 3 4,000 8,000 –3 to 0 16,000 – 6 to – 3 – 90 125 250 – 9 to – 6 – 12 to – 9 Decrease of SPL (dB) 500 1,000 2,000 f[Hz] – 15 to – 12 4,000 8,000 – 18 to – 15 16,000 – 21 to – 18 26 | 27 P 110 O 110 O 110 D Near-Field Monitors Near-Field Monitors O 110 D Active studio monitor for digital audio processing. The O 110 D meets all the requirements of the digital age. Offering digital inputs in AES/EBU and S/P-DIF format, it eliminates the need for external D/A converters at audio workstations or mixing consoles. The integrated D/A converter has a 24 Bit resolution and accepts sampling rates from 32 to 96 kHz. Its analog input is electronically balanced, while the AES/EBU input features a high-quality transformer. This professional near-field monitor is the perfect solution for small digital studios, offering unbeatable neutral reproduction and accuracy across the entire sound spectrum, and a precision of bass reproduction up to 56 Hz which compares favorably to much larger systems. O 110 Active studio monitor. The O 110 near-field monitor brings true impulse response and superior flat-frequency response especially into smaller listening environments and studios—ideal for acoustically imperfect rooms as well. The switchable 8-way room-matching options can go a long way toward compensating for unwanted room responses. Other features include specially designed, compatible loudspeaker chassis, highperformance amplifier with active frequency equalizer as well as a modern enclosure made of the resonancedamping composite material LRIM. P 110 Passive studio monitor. This compact, passive 2-way near-field studio monitor is best suited to small spaces. The P 110 provides amazingly precise bass reproduction for its size down to 72 Hz (– 3 dB). The homogenous LRIM enclosure guarantees an optimal waveguide and perfect dispersion patterns. The high quality components and the specially constructed interior prevent standing waves, and partial coloration is almost completely eliminated. The result is extremely low-distortion, absolutely natural sound reproduction. Additionally, there are four placement options available, allowing you to place the P 110 in a variety of locations. It is also an excellent value-for-money choice for surround-sound applications. 28 | 29 The following features apply to all three monitors: Use of high-quality loudspeaker 쏹 쏹 쏹 쏹 Woofer with composite sandwich membrane to eliminate partial colorations Exceptionally low-distortion bass reproduction via extremely long excursion Reduced distortion in mid-range via flux-compensation in woofer Brilliant, low-distortion high-range reproduction via powerful 1" titanium fabric dome Unconventional enclosure 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Highly compact homogenous enclosure Avoidance of resonant colorations via LRIM (Low Resonance Integral Moulding) Low-compression bass reproduction via generously proportioned bass reflex channels Acoustic centers of the loudspeaker on one plane Reduction of standing waves via non-parallel cabinet interior Absolutely homogenous baffle, with no diffraction or fastening elements Modern design Numerous placement options Removable woofer grille Standard colors are anthracite and white, other colors optional Magnetically shielded O 110 and O 110 D Active Studio Monitors 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Integrated, switchable electronic limiter (non-VCA) Soft: practically non audible limiter Hard: clearly audible switch in protective mode Active phase frequency equalizer with 24 dB/oct. Power and overload display integrated into logo 2 x 4 steps room adaptation for different locations Optional high-quality transformer-balanced floating input (O 110 only) Highly insensitive to EMI interference O 110 D 쏹 Integrated digital/analog converter with 24 Bit resolution and sampling rates from 32 to 96 kHz P 110 Passive Studio Monitor 쏹 쏹 쏹 쏹 쏹 with complete distortion-minimisation Integrated high-frequency cut-off switch Phase frequency equalizer at 18 dB/oct. Four placement options for different locations Versatile connection options via speakon and standard terminals O 110 D O 110 Frequency response O 110 THD O 110 at 95 dB/SOL in 1 m total k2 k3 dB 100 dB – 10 – 20 90 – 30 – 40 80 – 50 – 60 70 – 70 – 80 60 – 90 0.05 0.2 0.5 1 2 5 10 kHz 0.05 Group delay O 110 0.2 0.5 1 Max. SPL O 110 in 1 m at 1 % 2 5 kHz and 3 % THD ms dB 110 20 100 0 90 – 20 0.05 0.2 0.5 1 2 80 0.05 5 10 kHz Room compensation O 110 EQ: mid, bass 0.2 0.5 1 2 5 kHz 70 Cumulative spectral decay O 110 dB 0 –5 – 10 – 15 – 20 – 25 0,0 90 80 70 60 0.05 0.2 0.5 1 2 5 10 kHz 50 Horizontal directivity O 110 2.3 ms +5 0 –5 – 10 – 15 – 20 – 25 4.5 ms 6.8 ms 9.1 ms 100 Hz 1,000 Hz 10 kHz Vertical directivity O 110 90 90 60 60 30 30 0 degree 0 degree – 30 – 30 – 60 – 60 – 90 125 250 500 1,000 2,000 f[Hz] 0 to 3 4,000 8,000 –3 to 0 16,000 – 6 to – 3 – 90 125 250 – 9 to – 6 – 12 to – 9 Decrease of SPL (dB) 500 1,000 2,000 f[Hz] – 15 to – 12 4,000 8,000 – 18 to – 15 16,000 – 21 to – 18 30 | 31 M 51 M 51Active D Control Monitors Control Monitors The M 51 reference monitor has established itself in smaller studios and broadcast vans across the world. This is due to its extremely compact size (4.7 x 6.8 x 4.6 inch) and its exceptionally flat frequency response. The additional capability of a 12/14 volt battery opens up new opportunities in small broadcast vehicles or video editing facilities. This makes the multimedia monitor the ideal choice for both stationary and mobile applications. The M 51 features practical and professional connections in addition to its excellent sound performance and low resonance. The speaker chassis’ magnetic shield also makes it easy to install next to TV monitors and hard-disk drives. 32 | 33 XLR input with high quality transformer balance Robust aluminum cabinet DC input for external connections Volume adjustment on front panel for easy use M 51 Active Control Monitor 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Use as control monitor for direction purposes “TV speaker“ reference monitor Reference monitor for broadcast vans Low-distortion bass reproduction via extremely long excursion Clear high-frequency reproduction via compact size Convenient controls on front panel Transformer-balanced XLR connector DC-connector for use with 12 V Professional connection options analog: transformer-balanced (XLR) digital: AES/EBU (XLR) digital: AES-3id (BNC) digital: S/P-DIF (BNC) Switchable input setting analog, digital left, mono, right M 51 D Digital active Control Monitor Acoustic and mechanical properties as for M 51. 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Especially designed for use as reference monitor for studios using either analog or digital input “TV speaker“ reference monitor Control monitor for broadcast vans Measuring monitor to evaluate digital inputs Additional digital connectors for AES/EBU or AES3id over XLR and BNC Convenient channel-assignment switch on front panel Easy daisy chaining via BNC or XLR Frequency response THD at 90 dB/SPL in 1 m total k2 k3 dB dB – 10 100 – 20 – 30 90 – 40 – 50 80 – 60 – 70 70 – 80 0.05 0.2 0.5 1 2 5 10 kHz – 90 60 Group delay 0.05 0.2 0.5 Max. SPL in 1 m at 1 % 1 2 and 3 % 5 kHz THD ms dB 110 20 100 0 90 – 20 0.05 0.2 0.5 1 2 80 0.05 5 10 kHz 0.2 0.5 1 2 5 kHz 70 Cumulative spectral decay 0 –5 – 10 – 15 – 20 – 25 0,0 2.3 ms +5 0 –5 – 10 – 15 – 20 – 25 4.5 ms 6.8 ms 9.1 ms 100 Hz Horizontal directivity 1,000 Hz 10 kHz Vertical directivity 90 90 60 60 30 30 0 Grad 0 Grad – 30 – 30 – 60 – 60 – 90 125 250 500 1,000 2,000 f[Hz] 0 to 3 4,000 8,000 –3 to 0 16,000 – 6 to – 3 – 90 125 250 – 9 to – 6 – 12 to – 9 Decrease of SPL (dB) 500 1,000 2,000 f[Hz] – 15 to – 12 4,000 8,000 – 18 to – 15 16,000 – 21 to – 18 34 | 35 O 900 Magnetically Shielded Studio Subwoofer Studio Subwoofer The high-performance O 900 studio subwoofer is the ideal complement to the O 300 D, O 400 and O 500 C studio monitors. Precise bass reproduction is achieved down to 17 Hz (– 1.5 dB). 120 liters net volume and a high maximum sound pressure allow remarkably true impulse response and accurate bass response. This is due to the ingenious enclosure design, as well as to the uncompromising construction of the woofer chassis. Features 왎 왎 왎 왎 왎 왎 Extremely powerful studio subwoofer with two extra long excursion 12" drivers Very low bass reproduction down to 17 Hz Expressive, precise, accurate bass High maximum level Perfect extension for the O 300 D, O 400 and O 500 C studio monitors Used via sub-output (O 500 C) or Pro C 28 FIR-controller or filter modules (Pro M 68 or Pro M 1012) Frequency response in LFE-Mode 0.02 0.1 0.5 1 2 Frequency response O 500 C with O 900 5 10 kHz dB dB 90 90 80 80 70 70 60 60 50 0.02 0.1 0.5 Max. SPL in 1 m at 1 % 1 2 and 3 % 5 10 kHz 50 THD dB 120 110 100 90 80 20 30 40 50 70 90 Hz 36 | 37 O 800 Active Studio Subwoofer Studio Subwoofer The O 800 active studio subwoofer is the ideal extension to high-quality studio monitors for multi-channel audio production. It extends the frequency spectrum of the system to 27 Hz and significantly raises the peak level of the monitors. But the O 800 is much more than an extension to Klein + Hummel monitors—its LFE (Low Frequency Effects) offer all possible combinations for first-class surround systems. The exceptional dynamics and very precise reproduction give the confidence to make the most critical judgments on the lowest frequency range of the audio material. 38 | 39 Numerous settings: continuous phase, amplitude, lower limit levels, LFE filtering Extra Long Excursion Subwoofer for frequencies down to 27 Hz Integrated bass managment for 3 monitors Studio Subwoofer O 800 Active Studio Subwoofer Uncompromising low frequency driver 쏹 쏹 쏹 쏹 쏹 Low-frequency driver with aluminum basket designed for maximum air flow Driver constructed with rear ventilation 쑺 Higher maximum sound pressure 쑺 Minimal power compression Exceptionally low-distortion bass reproduction via extremely long excursion (1.6 inch) Patented Nomex®-Kevlar® composite cone 쑺 Minimal distortion 쑺 Maximum self-damping Magnetically shielded Ingenious enclosure design 쏹 쏹 쏹 쏹 Resonance eliminated via solid construction 쑺 Taute, articulate bass 쑺 Linear frequency response independent from volume 쑺 High sound pressure Low-compression bass reproduction via generously proportioned bass reflex channel Sturdy subwoofer with maximum air flow Other colors available upon request Advanced electronics 쏹 쏹 쏹 쏹 쏹 쏹 Integrated, switchable electronic limiter Precise, active, integrated crossover equalizer (high and low) with 24 dB/oct. Adaptable for optimal ultra low bass extension for all K + H monitors up to the O 400 Bypass function (sub off, tops, full range), optional remote control 4-step low-cut filter (30 Hz, 40 Hz, 50 Hz, 60 Hz) Continuously variable phase-adjustment control permits setup of subwoofer anywhere in studio Unlimited installation and connection options 쏹 쏹 쏹 쏹 3 balanced inputs (left, center, right) Connections for mono, stereo, Dolby® Surround, and front or rear channels with 5.1 model Center input can be switched to “Sub Direct” for the LFE effect channel with 5.1 model Balanced high-pass outputs (left, center, right) connect corresponding front and rear monitors 40 | 41 Surround sound: Customized installation for every room. To get the most out of Surround Sound, installation needs to be customized, individually adapted to the acoustic possibilities of every room. Klein + Hummel’s studio monitors and the active O 800 subwoofer offer a flexible variety of potential combinations, so every room’s aural possibilities can be exploited to the fullest. Front Center Subwoofer Front Left Front Right 30° Matrix surround (Dolby® Surround). The smallest Listening Position Rear Rear surround system consists of five P 110 monitors plus one O 800 subwoofer for the lowest-frequency bass notes on the three front channels. This configuration meets all requirements of a matriculated surround system (Dolby Pro Logic®) in which the front channels carry the whole sound spectrum, while the back channels focus on a limited frequency spectrum. 70° Front Center Subwoofer LFE Front Left Front Right 30° Discreet surround (5.1). The discreet surround system Listening Position Rear Rear 70° allocates the low bass section from all five channels onto the two subwoofers. One subwoofer takes the bass section from the three front monitors, the second transfers the lowfrequency effects channel into the subdirect system. This separates the extreme low bass section, with its potential for distortion, from the main loudspeaker. Studio Subwoofer Frequency response O 800 + O 110 Frequency response O 800 subdirect mode dB dB 100 100 90 90 80 80 70 70 60 0.05 0.2 0.5 1 2 5 Max. SPL O 800 + O 110 in 1 m at 1 % 60 20 10 kHz and 3 % THD 50 100 200 kHz THD O 800 + O 110 at 95 dB/SPL in 1 m total k2 k3 dB dB – 10 110 – 20 – 30 100 – 40 – 50 90 – 60 – 70 80 – 80 0.05 0.2 0.5 1 2 5 kHz – 90 70 0.05 0.2 0.5 1 2 5 kHz Cumulative spectral decay O 800 + O 110 Group delay O 800 + O 110 ms 0 –5 – 10 – 15 – 20 – 25 0,0 20 0 – 20 0.05 0.2 0.5 1 2 5 10 kHz 2.3 ms +5 0 –5 – 10 – 15 – 20 – 25 4.5 ms 6.8 ms 9.1 ms 100 Hz 1,000 Hz 10 kHz 42 | 43 Active Room Absorption Module (ARAM). The reproduction of low frequencies in a normal listening room is normally associated with extreme peaks and resonances at different frequencies. Standing waves are often caused by parallel walls, floors and ceilings. Corrections can be made either by adapting the layout of the room or using porous or resonance absorbers to address the room’s acoustics. The drawback is that this may require much work and only be able to solve part of the problem. With the Active Room Absorption Module (ARAM) Klein + Hummel has developed a system with which the low-range acoustic problems associated with subwoofers can be almost completely removed, even in square rooms. And the more problematic the room is, the more effectively we can help. Delay adaption to compensate for acoustical imbalances in room Output for loop connection to additional ARAM O 800 ARAM 쏹 쏹 쏹 쏹 쏹 쏹 Dramatic improvement in the bass level especially in rectangular rooms Linear bass reproduction in problematic spaces No resonance through room’s conditions Extremely precise, impulse-true bass Simple to use Mechanical and acoustic properties identical to O 800 130 120 110 Studio Subwoofer 1 box middle front; measuring points diagonally across room at listening position dB 100 90 30 40 50 70 90 Hz A single subwoofer in a square room causes a very unfavorable acoustic setting with extreme frequency-related peaks and modulations which are markedly different in different parts of the room. 2 boxes middle front; measuring points diagonally across room at listening position dB 130 120 110 100 90 30 40 50 70 90 Hz Setting up a second subwoofer at the rear of the room causes bass dispersion in the form of a cylindrical wave. This impedes the room’s lateral modality. Each with 4 boxes middle front; measuring points diagonally across room at listening position dB 130 120 110 100 90 30 40 50 70 90 Hz By introducing additional ARAMs, we can compensate for the room’s remaining longitudinal modality. The correction can be made parallel to the front subs. The input signal is delayed by the internal electronics and inverted between the front and back of the room. The acoustic signal coming to the back of the room is thus “pulled away.” No reflections are created. The result: the bass-level peak stays constant, and resonance is almost completely eliminated. 44 | 45 Technical Data Free field frequency response 1 Free field frequency response 2 Self-generated noise level at 10 cm THD < 0.5 % at 1 m distance from Nominal power capacity Max. SPL In half space at 3 % THD Averaged between Main Mid-Field O 500 C O 400 Near-Field O 300 D O 200 O 110 D 30 Hz – 20 kHz, ± 1.5 dB 50 Hz – 20 kHz, ± 2 dB 40 Hz – 20 kHz, ± 2 dB 60 Hz – 20 kHz, ± 2 dB 58 Hz – 20 kHz, ± 2 dB 27 Hz – 20 kHz, ± 3 dB 42 Hz – 24 kHz, ± 3 dB 35 Hz – 24 kHz, ± 3 dB 50 Hz – 24 kHz, ± 3 dB 56 Hz – 24 kHz, ± 3 dB < 25 dB(A) < 20 dB(A) < 20 dB(A) < 20 dB(A) < 20 dB(A) 100 Hz @ 101 dB/SPL 50 Hz @ 95 dB/SPL 100 Hz @ 95 dB/SPL 125 Hz @ 95 dB/SPL 150 Hz @ 90 dB/SPL – – – – – 123.4 dB/SPL at 1 % THD 112.8 dB/SPL 112.8 dB/SPL 110.0 dB/SPL 107.7 dB/SPL 100 Hz and 6 kHz 100 Hz and 6 kHz 100 Hz and 6 kHz 100 Hz and 6 kHz 100 Hz and 6 kHz 400 W 70 W 150 W 50 W 50 W 500 W 95 W 250 W 80 W 80 W 230 W 70 W 65 W – – 280 W 95 W 75 W – – 290 W 70 W 65 W 50 W 50 W Electronics Woofer amplifier, cont. output power* Woofer amplifier, peak output power* Midrange amplifier, cont. output power* Midrange amplifier, peak output power* Tweeter amplifier, cont. output power* Tweeter amplifier, peak output power* Controller design Crossover Frequency Slope Equalization: Low cut Bass Mid High Phase adjustment delay Protection circuitry Substronic filter frequency; slope Input, analog Impedance, electr. symm. Impedance, bal. floating Input sensitivity Attenuator CMRR Output, analog Input/Output, digital Norm XLR (BNC) Impedance XLR Impedance BNC Input switching Digital converter: resolution, design sampling rate Displays, indicators: power on limit/Clip display Mains Power consumption Idle Full output AC; DC 360 W 95 W 110 W 80 W 80 W Digital, FIR filter Analog, active Analog, active Analog, active Analog, active 520 Hz/2.8 kHz 450 Hz/3.5 kHz 650 Hz/3.3 kHz 2.5 kHz 2.5 kHz 48 dB/oct. 24 dB/oct. 18 dB/oct. 24 dB/oct. 24 dB/oct. 40; 50; 60; 70; 80 Hz – – – – 0; – 2; – 4; – 6; – 8; – 10 dB 0; – 2.5; – 5; – 7.5 dB 0; – 2.5; – 5; – 7.5 dB 0; – 2.5; – 5; – 7,5 dB 0; -2.5; – 5; – 7.5 dB 0; 1; – 2; – 3; – 4; – 5 dB – 0; – 1.5; – 3; – 4,5 dB – 0; – 1.5; – 3; – 5 dB 1; 0; – 1; – 2; – 3; – 4 dB – 1; 0; – 1; – 2 dB – – 8 – 1.000 ms – – – – Limiter: low, mid, high Limiter: low, mid, high Limiter: low, mid, high Limiter: low, high Limiter: low, high 20 Hz; 12 dB/oct. 25 Hz; 18 dB/oct. 30 Hz; 6 dB/oct. 40 Hz; 18 dB/oct. – 14 kO 10 kO 10 kO – 10 kO 14 kO 4,7 kO, optional 14 kW 4.7 kO, optional – – 6 dBu 0 dBu/+ 6 dBu + 6 dBu 0 dBu/+ 6 dBu + 6 dBu 0 – 128 dB 0 – 24 dB 0 – 28 dB 0 – 24 dB 0 – 24 dB > 80 dB @ 15 kHz > 60 dB @ 15 kHz > 60 dB @ 15 kHz > 60 dB @ 15 kHz > 60 dB @ 15 kHz XLR, subwoofer – – – – AES/EBU (S/P-DIF) – AES/EBU (AES 3id, S/P-DIF) – AES/EBU (AES 3id, S/P-DIF) 110 O, bal. floating – 110 O, bal. floating – 110 O, bal. floating (75 O, non symm.) – (75 O, non symm.) – (75 O, non symm.) Analog/digital – Analog/digital – Analog/digital left/mono/right – left/mono/right – left/mono/right 24 Bit stacked AD, ¢™ – 24 Bit DA, ¢™ – 24 Bit DA, ¢™ 44,1 kHz, 48 kHz – 32 kHz – 96 kHz – 32 kHz – 96 kHz K + H logo “red” LED “green” K + H logo “red” LED “green” K + H logo “red” Display “Limit” LED “yellow”/LED “red” K + H logo “blinking” LED “yellow”/LED “red” K + H logo “blinking” 2 x 24 digits VFD, blue – – – – 230 V AC; 120 V AC available 230 V AC; 120 V AC available 230 V AC; 120 V AC available 230 V AC; 120 V AC available 230 V AC; 120 V AC available 50 VA 40 VA 18 VA 15 VA 13 VA 1,500 VA 220 VA 240 VA 120 VA 73 VA 29.5 x 15.8 x 17.6" 19.7 x 11.6 x 10.2" 10 x 15.1 x 11.4" 12.8 x 8.2 x 9.8" 10.5 x 6.7 x 7.5" 80.0 liters 30.2 liters 18.3 liters 11.4 liters 6.5 liters 143.2 lb 39.6 lb 30.8 lb 22.0 lb 11.0 lb Magnetically shielded Magnetically shielded Magnetically shielded Magnetically shielded Magnetically shielded 12" 8,5" 8" 6.5" 5.5" 3" 3" 3" – – 1" 1" 1" 1" 1" 2 x M8 on rear Mechanical Specs Height x width x depth Net volume internal Weight Drivers Woofer Midrange Tweeter Mounting points Mounting hardware 2 x M20 on sides 2 x M20 on sides 2 x M8 on sides 2 x M8 on rear 1 x M20 on bottom 1 x M20 on bottom Rear panel bracket – – LH 35 + LH 28/LH 29 LH 34 + LH 28/LH 29 LH 25 + LH 28/LH 29 C 15 KG 30/LH 32/C15 LH 36 + LH 28/LH 29 LH 36 + LH 28/LH 29 – LH 26 + 27/LH 28/LH 29 LH 31 + LH 28/LH 29 – – – – LH 31 + LH 7/LH8/LH 27 Painted finish Painted finish Painted or fibre nap Painted finish Painted finish Anthracite Anthracite Anthracite Anthracite Anthracite – – – – White Cabinet surface Color standard optional Special (add-on price) Baffle cover On request On request On request On request On request Metal grille, opt., removable Metal grille, removable Metal grille, removable Metal grille, removable Metal grille, fixed *THD+N < 0,1 %; limiter deactivated **12 – 14 V DC Control O 110 P 110 M 51 D Subwoofers M 51 O 900 O 800 O 800 ARAM + Pro C 28 or O 500 C + Pro A 2000 58 Hz – 20 kHz, ± 2 dB 85 Hz – 20 kHz, ± 2 dB – – 17 Hz – 200 Hz, ± 1,5 dB 30 Hz – 90 Hz, ± 2 dB 30 Hz – 90 Hz, ± 2 dB 56 Hz – 24 kHz, ± 3 dB 72 Hz – 24 kHz, ± 3 dB 100 Hz – 20 kHz, ± 5 dB 100 Hz – 20 kHz, ± 5 dB 15 Hz – 220 Hz, ± 3 dB 27 Hz – 100 Hz, ± 3 dB 27 Hz – 100 Hz, ± 3 dB < 20 dB(A) – < 20 dB(A) < 20 dB(A) < 20 dB(A) < 20 dB(A) < 20 dB(A) 150 Hz @ 90 dB/SPL 150 Hz @ 90 dB/SPL – – 30 Hz @ 101 dB/SPL 30 Hz @ 95 dB/SPL 30 Hz @ 95 dB/SPL – 80 W – – – – – 107.7 dB/SPL 111.5 dB/SPL 100.0 dB/SPL 100.0 dB/SPL 116.4 dB/SPL 111.8 dB/SPL 111.8 dB/SPL 100 Hz and 6 kHz 100 Hz and 6 kHz 100 Hz and 6 kHz 100 Hz and 6 kHz 40 Hz and 90 Hz 40 Hz and 90 Hz 40 Hz and 90 Hz 50 W – 14 W 14 W 2,100 W 120 W 120 W 80 W – 25 W 25 W 2,500 W 185 W 185 W – – – – – – – – – – – – – – 50 W – – – – – – 80 W – – – – – – Analog, active Analog, passive Analog, active Analog, active Digital, FIR filter Analog, active Analog, active 90 Hz lowpass 2.5 kHz 3.0 kHz – – 80 Hz (O 500 C) 90 Hz 24 dB/oct. TT 12/HT 18 dB/oct. – – 48 dB/oct. 24 dB/oct. 24 dB/oct. – – – – 40; 50; 60; 70; 80 Hz 30; 40; 50; 60 Hz 30; 40; 50; 60 Hz 0; – 2.5; – 5; – 7.5 dB – – – 0; – 2; – 4; – 6; – 8; – 10 dB – – 0; – 1.5; – 3; – 5 dB 0; – 2; – 4; – 6 dB – – – – – – – – – – – – – – – – 5.6 – 1,000 ms 0 – 180°, cont. variable 0 – 45 ms Limiter: low, high Multifuse: high – – Limiter Limiter Limiter – – – – 12 Hz; 12 dB/oct. 25 Hz; 12 dB/oct. 25 Hz; 12 dB/oct. 14 kO, optional 8O – – 10 kO 3 x 20 kO 3 x 20 kO 14 kO, optional – 20 kO 20 kO 10 kO 3 x 20 kO, optional 3 x 20 kO, optional + 6 dBu 87 dB/SPL at 1 m + 6 dBu + 6 dBu – 6 dBu – 6 dBu – 6 dBu 0 – 24 dB – 0 – Infinite 0 – Infinite 0 – 128 dB 0 – 18 dB 0 – 18 dB > 60 dB @ 15 kHz – > 50 dB @ 15 kHz > 50 dB @ 15 kHz > 80 dB @ 15 kHz > 50 dB @ 15 kHz > 50 dB @ 15 kHz – – – – – 3 x XLR, monitor 1 x XLR, thru – – AES/EBU (AES 3id, S/P-DIF) – – – – – – 110 O, bal. floating – – – – – – (75 O, non symm.) – – – – – – Analog/digital – – – – – – left/mono/right – – – – – – 24 Bit DA, ¢™ – 24 Bit stacked AD, ¢™ – – – – 32 kHz – 48 kHz – 44.1 kHz, 48 kHz – – K + H logo “red” – LED green (power switch) LED red See Pro C 28 or O 500 C LED green (power switch) LED green (power switch) K + H logo “blinking” – – – See Pro C 28 or O 500 C – – – – – – 2 x 24 digits VFD, blue – – 230 V AC; 120 V AC available – 10 VA – 4 VA 2 VA; 90 mA 50 VA (Pro A 2000) 15 VA 17 VA 70 VA – 30 VA; 1.8 A 27 VA; 1.7 A 2,500 VA (Pro A 2000) 200 VA 200 VA 10.5 x 6.7 x 7.5" 10.5 x 6.7 x 7.5" 6.8 x 4.7 x 4.6" 6.8 x 4.7 x 4.6" 15.8 x 37.4 x 20.2" 14.2 x 12.6 x 20.1" 14.2 x 12.6 x 20.1" 6.5 liters 6.5 liters 1.8 liters 1.8 liters 120.0 liters 32.3 liters 32.3 liters 11.0 lb 11.0 lb 6.2 lb 5.7 lb 114.5 (w/o electronics) 55.1 lb 55.1 lb Magnetically shielded Magnetically shielded Magnetically shielded Magnetically shielded Magnetically shielded Magnetically shielded Magnetically shielded 5.5" 5.5" 4" 4" 2 x 12" 10" 10" – – – – – – – 1" 1" – – – – – 2 x M8 on rear 2 x M8 on rear 3/8" thread on bottom 3/8" thread on bottom Socket f. supporting stand – – – – 2 x M6 on sides 2 x M6 on sides – – – KG 30/LH 32/C15 KG 30/LH 32/C15 LH 11, MA 19 LH 11, MA 19 LH 37 + LH 34 – – – 230 V AC; 120 V AV avail.** 230 V AC; 120 V AV avail.** 230 V AC; 120 V AC available 230 V AC; 120 V AC available 230 V AC; 120 V AC available LH 31 + LH 28/LH 29 LH 31 + LH 28/LH 29 – – LH 37 + LH 35 – LH 31+ LH 7/LH 8/LH 27 LH 31+ LH 7/LH 8/LH 27 – – LH 37 + LH 36 – – Painted finish Painted finish Painted finish Painted finish Painted finish Painted finish Painted finish Anthracite Anthracite Anthracite Anthracite Anthracite Anthracite Anthracite White white – – – – – On request On request On request On request On request On request On request Metal grille, fixed Metal grille, fixed Metal grille, fixed Metal grille, fixed Metal grille, removable Metal grille, removable Metal grille, removable 46 | 47 Mounting fixtures LH 11 Table mount bracket for fitting of M 51 and M 51 D with adjustable inclination. Color: anthracite (RAL 7021) LH 25 Mounting bracket for model O 300 D for wall or ceiling. Requires LH 28 or LH 29 for tripod stand. Colors: black or white (RAL 9010) LH 26 Mounting bracket for model LH 34 Mounting bracket for model O 400 for wall or ceiling. Requires LH 28 or LH 29 for tripod stand. Colors: black LH 35 Mounting bracket for model O 500 C. Requires LH 28 or LH 29 for tripod stand. Colors: black LH 38 Mounting bracket for ceiling mounting for O 110, O 110 D, P 110 in conjunction with LH 27 and LH 29. Colors: black (RAL 7021) or white (RAL 9010) LH 28 Tripod stand adaptor for LH 25, LH 29 TV spigot to connect to LH 25, LH 26, LH 31, LH 34, LH 35 and LH 36. Color: silver LH 37 Adaptor for mounting on standard LH 7/LH 8 Mic stand adaptor with tripod stand with 1.4 inch dia in conjunction with LH 25, LH 26, LH 31, LH 34, LH 35, LH 36, LH 38. Color: black 1 O 200 for wall or ceiling. Requires LH 28 or LH 29 for tripod stand. Colors: black or white (RAL 9010) LH 27 Ball clamp mount brackets for models O 100, O 110 D, P 110 (requires LH 31) and O 200 (requires LH 26). For wall or ceiling and omnidirectional adjustment. Color: black LH 36 Tilting adaptor to tilt monitor in center of gravity up to max. 18° (O 400) or 13° (O 500 C). Has M20 thread for ceiling mount and 2 x M8 thread for LH 28, LH 29 or LH 37 for tripod stand. Color: black LH 26, LH 31, LH 34, LH 35 and LH 36 for mounting on standard tripods with 1.4 inch dia. Colors: black or white (RAL 9010) /2 " / 3/8 " internal thread and M8 external thread for O 110, O 110 D, P 110 (in connection with LH 31) to mount on tripods with 1/2 " / 3/8 " threads. LH 31 Mounting bracket for O 110, O 110 D, P 110 to connect to LH 7, LH 8, LH 27, LH 28 and LH 29. Colors: black or white (RAL 9010) LH 32 Wall bracket for O 110, O 110 D, P 110. Tilts horizontally and vertically. Tightens with bolts. Colors: black or white (RAL 9010) LH 33 Tilt connector to incline the monitor. Fits on adaptor LH 28 and mounting bracket LH 31 to standard tripod (1.4 inch dia.) for models O 110, O 110 D, P 110. Adapts also to adjustable stand SR 21. Continuous inclination from 0° to 15° degrees, with fixing screw. Color: black KG 30 Ball clamp bracket with M8 external thread for direct mounting on models O 110, O 110 D, P 110. Color: black or white (RAL 9010) C 15 Eyebolt with M8 thread for threaded holes of loudspeaker models O 110, O 110 D, P 110, O 200 and O 300 D. O 500 C O 400 O 300 D O 200 O 110 D / O 110 P 110 M 51 / M 51 D O 900 O 800 Two M20 threaded holes on sides, two M20 threaded holes in bottom Two M20 threaded holes on sides, two M20 threaded holes in bottom Two M8 threaded holes on sides, two mounting brackets on rear panel Two M8 threaded holes on sides Two M8 threaded holes in the rear panel 3 Stand capsule on top No mounting points /8 " threaded hole in bottom, optional M6 threaded holes in sides Brackets 쏹 LH 11 쏹 LH 25 쏹 LH 26 쏹 LH 34 쏹 LH 35 쏹 LH 38 Mounting systems LH 28 LH 29 LH 37 In connection with LH 35 or LH 36 only In connection with LH 34 or LH 36 only In connection with LH 25 only In connection with LH 26 only In connection with LH 31 or LH 38 only In connection with LH 35 or LH 36 only In connection with LH 34 or LH 36 only In connection with LH 25 only In connection with LH 26 only In connection with LH 31 or LH 38 only In connection with LH 35 or LH 36 only In connection with LH 34 or LH 36 only In connection with LH 25 only In connection with LH 26 only In connection with LH 31 or LH 38 only 쏹 Adaptors In connection with LH 31 only LH 7/ 8 쏹 LH 31 Ball clamps In connection with LH 26 only LH 27 In connection with LH 31 or LH 38 only 쏹 LH 32 In connection with LH 31 and LH 28 or LH 38 and LH 28 In connection with with LH 25 and LH 28 LH 33 쏹 쏹 LH 36 쏹 KG 30 Fittings 쏹 쏹 쏹 C 15 48 | 49 Pro M 1012 Monitor Management System Electronics Pro M 1012 is a completely configurable surround multi-channel pre-amp system providing the highest quality analog sound technology. Developed for maximum requirements in all surround and other loudspeaker configurations, it features a powerful routing matrix and a multi-purpose bass-management system, allowing any combination of configurations with 10 inputs and 12 outputs. The new Pro M 1012 is a fully configurable control monitor with incredible audio performance, which can be adapted for use in all imaginable loudspeaker configurations. 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 Completely configurable surround multi-channel pre-amp analog management system Powerful routing matrix and bass-management system Any combination of configuration can be made with the 10 inputs and 12 outputs to suit almost any surround system and other loudspeaker configurations 8 additional analog or digital inputs over optional 8-channel extension module Bass management with 24 dB crossover and phase adjustment for each channel Comfortable Mute/Solo control feature allowing “Solo in Center” and “Solo in Place” All kinds of programmable downmix combinations Synchronized volume control with user-defined gain offsets Optional hardwired and IR-remote control for all functions Simple, intuitive operation using lighted single-function keys Presets for all settings with instant recall using dedicated keys Link function for cascading multiple units Digitally controlled pure analog signal path featuring high-performance components without the use of VCAs Simple system setup with the included Configuration Manager software 50 | 51 Setup keys for easy switching between different applications IR sensor for K + H remote control RC 55 REF- and DIM-levels shown via dedicated keys Plug-in for remote control cable WRC 1012 and RS-232 Mute/Solo keys with international standard functions and “Solo-in-Center” function Flexible modular concept for separate frequency adaptation Pro M 1012 Monitor Management System Surround control and bass management 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 All setups and configurations are possible between the satellites, subwoofers, surround and ancillary speakers: 쑺 Up to 7.1 with additional near-field systems, switchable between different surround speaker setups (e.g. cinema or music) Rerouting of bass signals, e.g. small rear monitor, smaller center speaker, etc. to LFE or front L/R Individual HP/LP frequencies for subwoofer/satellite use, individually controllable for each channel Fully variable bass routing which is configurable for each channel: 쑺 Bass routing to LFE or any additional subwoofers 쑺 Bass redirection to any other channel, e.g. low frequency part from rear to front, etc. Fully variable LFE routing, e. g. to subwoofer or LFE redirection to satellite 4-step phase adjustment from – 180 to 0° for accurate alignment of subwoofer to any alignment All kinds of downmixes are possible, e.g. 7.1 to 5.1, 5.1 to LCRS, etc. Total configurability of all functions allows wide variety of applications Mute/Solo control 쏹 쏹 Muting of individual channels as well as “All Mute” Solo- and Solo-in-Center function Volume control 쏹 쏹 쏹 쏹 Volume control for all 12 outputs Latest MDAC technology instead of performance-inhibiting VCAs User definable increase of LFE channel to +10 dB and +20 dB All monitor output levels adjustable in 0.5 dB steps Individual adaptation/upgrade of Pro M 1012 with extension modules 쏹 쏹 쏹 쏹 쏹 Optional input boards featuring additional channels: 쑺 Electronically or transformer-balanced analog inputs or 4 AES/EBU digital inputs switchable to S/P-DIF Output board for 8 additional electronically balanced outputs HP and LP module with crossover frequencies of 24 dB/oct. and switchable base frequency 2 channel PEQ module, e. g. for subwoofer or room equalization Multichannel Digital Delay Module for precise equalization of non-equidistant speakers and/or ARAM makes almost all imaginable loudspeaker applications possible. The standard configuration allows up to 8 satellite or full-range studio monitors as well as 4 subwoofers to be used independently at the same time. Electronics Application examples. The Pro M 1012’s totally free configurability LFE LF (L, C, R, LS, CS, RS) This 6.1 application employs two separate subwoofers, one for reproduction of the LFE channel, the other for the low-frequency spectrum of the 6 satellites. Obviously both subwoofers can also be used for the entire low-frequency spectrum (incl. LFE). The Pro M 1012’s two free outputs can be used for an additional stereo monitor, which can also be used by one or both subwoofers. 1/3 LFE + 1/3 LF (S) 1/3 LFE + 1/3 LF (S) 1/3 LFE + 1/3 LF (S) In this 5.1 surround setup the LFE signal (level-corrected) is reproduced on the front (LCR) channels. As the rear studio monitors are smaller and with limited bass reproduction, their bass signals are also reproduced via the front channels. If the rear studio monitors are the same type as those used for the front channels, the LFE signal could also be reproduced via all channels. L+C LFE + LF (L, C, R, LS, CS, RS) R+C In smaller spaces, for example in a broadcast van, the installation of a central loudspeaker isn’t possible. In this setup, the central input signal is rerouted over a programmable level corrector to the left and right front channels. A surround-back channel (CS) can also be reproduced over the left and right surround loudspeakers. LFE LF (L, C, RC, R) In this surround setup for SDDS cinema audio reproduction one subwoofer is used for the low-frequency spectrum of the five front channels, one subwoofer for the two surround channels, and a final subwoofer for the LFE signal. The use of separate subwoofers, installed near their respective satellites, closely approximates to a large surround system with 7 full-range studio monitors. LF (LS, RC) Main Main C L 1/3 LFE 1/3 LFE Main 1/3 R LFE Nearfield Alt Surround Alt Surround LS RS Alt Surround Alt Surround Alt Surround CS Alt Surround This application is suited both for monitoring music and cinema audio up to 6.1. As cinema audio uses a different installation, and a different number of surround channels (as is normal in cinemas), two separate surround installations can be used. The LFE signal is reproduced via the 3 front channels. 52 | 53 Configuration Manager. The included Windows application allows you to save and/or adapt the Pro M 1012’s configuration to suit your individual needs. The diagram shows a single basic configuration, of which a maximum of 80 can be stored on your Pro M 1012. Mono/Mute/Solo configuration can be separately programmed for each basis configuration 12-channel volume control, configurable for Matrix structure for outputs 5 – 12 (satellites) with adjustable input gains each channel Subwoofer-matrix for outputs Filter groups as well as 1 – 4 with filter and phase groups as well as programmable input gains module concept (delay, EQ, etc.) The flexible modular concept of the Pro M 1012 allows further expansion with additional analog or digital inputs, adaption of highpass/lowpass parameters as well as other useful functions such as Delay or EQ. HP- und LP-modules with 24 db/oct. Input module for 8 additional Multi-channel digital-delay module frequency phasing and switchable peak frequency inputs (D-SUB) for 8 additinal inputs (D-SUB) Technical Data Electronics Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 x XLR-F, balanced Impedance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 kO Max. input level . . . . . . . . . . . . . . . . . . . . . . . . . 22 dBu Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 x XLR-M, balanced Impedance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 70 O Add-On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D-SUB 25 (8 ch. input, bal.) Controls Variation of parameters . . . . . . . . . . . . . . . . . . Incremental encoder Function keys . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 x pushbuttons, illuminated Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rocker switch Performance Frequency response . . . . . . . . . . . . . . . . . . . . . 10 Hz – 60 kHz ± 0,1 dB THD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.0003 %, 1 kHz, 0 dBu THD+N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.002 %, 1 kHz, 0 dBu DIM 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.003 %, 0 dBu, + 4 dBu CMRR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 75 dB, 20 Hz – 20 kHz Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 100 dB, 1 kHz Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . – 93 dBu, unweighted, 20 Hz – 20 kHz Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 V AC ± 15 % Power consumption . . . . . . . . . . . . . . . . . . . . . max. 50 VA Mechanical data Dimensions (H x W x D) . . . . . . . . . . . . . . . . . . 3.5" (2 U) x 19" x 14.2" 15.9 inch over all Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15.4 lb Frequency response THD THD as well as THD+N output level dB dB 6 30 25 4 20 2 15 0 10 –2 5 0 –4 –5 –6 – 10 –8 – 15 – 10 20 50 100 200 500 1 k 2 k 5 k 10 k 20 k 100 kHz – 20 – 60 – 50 Intermodulation distortion according to DIM100 – 40 – 30 – 20 – 10 0 5 10 20 THD at 1 kHz, 0 dBu dB – 40 db 0 – 50 – 20 – 60 – 40 – 70 – 60 – 80 – 80 – 90 – 100 – 100 – 120 – 110 – 140 – 160 – 120 – 60 – 50 – 40 – 30 – 20 – 10 0 5 10 20 20 50 100 200 500 1k 2k 5k 10 k 54 | 55 Pro M 68 Bass Manager Bass management for 5 monitors and up to 3 subwoofers— the Pro M 68 offers exceptionally flexible applications and unsurpassed audio performance. From the variable high and low filters, a flexible LFE management and the implementation of an optional digital display for Active Room Absorption Module (ARAM), the Pro M 68 has all the features a professional bass manager requires. Electronics 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 왎 5.1 bass management for 5 monitors and up to 3 subwoofers Low-frequency equalization of input channels with 24 dB/oct., and routing to the sub-outputs High-frequency equalization of input channels with 24 dB/oct., compression and routing to the sub-outputs LFE channel can be mixed into the sub-outputs Flexible LFE management LFE with 0 dB or + 10 dB amplification LFE with or without low-frequency equalization Flexible high- and low-equalization via 10 Hz stages from 50 Hz to 140 Hz Monitors’ frequency splitting can be bypassed Combination of LFE and up to 5 sub-outputs transferable from O 500 C to O 900 Gradual level and phase adaptation of the sub-outputs Digital delay for active room equalization can be integrated Technical Data Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 x XLR, balanced Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 x XLR (SUB/LFE, balanced), D-SUB 25 f. 5 monitor outputs, balanced Input impedance . . . . . . . . . . . . . . . . . . . . . . . . 14 kO Max. input level . . . . . . . . . . . . . . . . . . . . . . . . . + 22 dBu CMRR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 85 dB at 15 kHz Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 90 dB Output impedance. . . . . . . . . . . . . . . . . . . . . . . 20 O Max. output level. . . . . . . . . . . . . . . . . . . . . . . . + 22 dBu THD+N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.002 % at + 4 dBu THD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.003 % at + 4 dBu DIM 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < – 92 dB Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < – 94 dBu, unweighted, 20 Hz – 20 kHz Controls Bypass remote socket. . . . . . . . . . . . . . . . . . . . SUB input lowpass. . . . . . . . . . . . . . . . . . . . . . . LFE input lowpass . . . . . . . . . . . . . . . . . . . . . . . SUB/LFE level . . . . . . . . . . . . . . . . . . . . . . . . . . . SUB/LFE phase . . . . . . . . . . . . . . . . . . . . . . . . . . Ground lift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Add-ons/modules . . . . . . . . . . . . . . . . . . . . . . . Connection to external bypass switch SUB (90 Hz low-pass)/OFF (full-range) LFE (90 Hz low-pass)/OFF (full-range) Adjustment of output level 0 – –15 dB Adjustment of phase 0 – 180° ON/OFF High-pass Module 50Hz – 140 Hz switchable in 10 Hz-steps Low-pass Module 50Hz – 140 Hz switchable in 10 Hz-steps EQ module O 900 Digital delay Mechanical Data Dimensions (H x W x D) . . . . . . . . . . . . . . . . . . 1.7" (1 U) x 19" x 10.2" Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.6 lb 56 | 57 Pro C 28 Digital FIR Controller Electronics The Pro C 28 digital stereo 4-way controller was developed especially as a studio controller. It is superbly flexible in its applications, and features audio technology of the highest standard. The equipment’s overall concept, featuring FIR filter technology for phase frequency equalization and distortion correction, allows the realization of perfectly linear phasing in the listening environment. The Pro C 28’s FIR filter can also compensate for placement-linked non-linearities without causing additional phasing problems. Its excellent audio qualities make the Pro C 28 an exceptional Universal EQ and delay, for example for mastering purposes. 왎 왎 왎 왎 왎 왎 왎 왎 Stereo 4-way digital loudspeaker controller for studio and PA loudspeakers FIR filter system for independent amplitude and phase equalization 10 full parametric stereo EQ bands with IIR digital filter section Room EQ with IIR filter technology 32 separate limiters for peak, RMS, thermo and excursion control 19" 2U rack mount unit Important settings are set automatically using stored parameter setup All settings including parameter setup can be stored Wide range of applications: Studio controller with speaker-specific parameter setups 왎 Upgrade for analog Klein + Hummel monitors (e.g. O 300 D) 왎 “Speaker specific”: parameter setup is individually optimized for each monitor 왎 Previously unattainable loudspeaker equalization 왎 Room and positioning equalization can also be incorporated 왎 Simple connection between monitors via single multicore cable 왎 System extension with additional subwoofer(s) 왎 Subwoofer incorporated into parameter setup 왎 Comfortable setting options for delay and phase alignment Room equalization Simple linearization of frequency phasing using parametric IIR-EQ 왎 Correction of room- and positioning-linked non-linearities using FIR filter for individual correction 왎 One-way full range operation High-end digital EQ with delay and limiters in one unit 쑺 Equalization of non Klein + Hummel monitors 쑺 Linear-phased equalization using FIR filter 왎 Extensive limiter concept with 32 limiters 왎 왎 왎 Digital peak limiter with anticipatory or “look-ahead” technology for each channel. 쑺 Power amp clipping prevented Digital thermolimiter with long attack time constant for each channel 쑺 Attack time adjusted to thermal conditions 쑺 Prevention of thermal loudspeaker damage Limiter settings are included in parameter setup 58 | 59 LED range for precise IR sensor for K + H remote control RC 55 display of input peaks Limiter and status LED’s XLR 7 pin outputs for analog K + H studio monitors (high/mid/low) Analog inputs with separate channel switch: electronically-balanced/ transformer-balanced Editing connection (RS-232, MIDI) Digital inputs/outputs (AES/EBU and S/P-DIF) Pro C 28 Digital FIR-Controller Cutting-edge audio technology 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Balanced analog input with minimal distortion values 2 stacked AD converters with D/S technology per channel (gain ranging) providing more than 130 dB dynamic range Digital signal processing with 48 Bit accuracy High-quality DA converter with D/S technology Moderate TP filtering after DA conversion guarantees a “musical” sound stage Comprehensive electronics with double-current elements for each group Numerous connection options for analog and digital signals High-quality input channel can be switched to analog Comfortable operation 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 쏹 Software based operating concept with only 3 menu levels (on controller front-panel) Optional Klein + Hummel RC 55 (remote control) (PC) IBM-compatible RS-232 port integrated Connection of several units for synchronized operation using internal MIDI port (in, out, thru) Parameter setups can be transferred by user from PC Internal memory can store more than 70 different parameter setups Switch between parameter setups during use All settings (including the selected parameter setup) can be stored on the unit’s central system Switch between setups via remote control Distortion control using FIR filters offers numerous advantages compared to analog and digital loudspeaker controllers. The main difference is that Electronics FIR filters allow independent fine-tuning of both frequency response and phase modulation of the loudspeaker. This also allows parameter settings for the crossovers which would be impossible to achieve with conventional controllers due to significant distortions and phase shiftings of the audio signal. The Pro C 28 goes even further than this. Instead of phase-linear FIR filters it is equipped with filter designs, which, in addition to the frequency response correction, also adjust the phase of the speaker signal. This provides a linear phase response throughout the entire signal chain, from the input up to the acoustic signal reproduction. The advantages of FIR filtering versus conventional systems: 쏹 쏹 쏹 쏹 Significantly more precise and distortion-free frequency correction 쑺 Improved pairing of stereo speaker systems, more precise stereo localization Improvement of phase response Excellent impulse reproduction via improved attack and decay time Significantly improved crossover parameters (up to 92 dB/oct.) 쑺 Improved dispersion patterns 쑺 Minimal distortion dB – 40 dB – 40 – 50 – 50 – 60 – 60 – 70 – 70 – 80 – 80 0.05 0.2 0.5 1 2 5 10 kHz 0.05 O 300 D equalized by Pro C 28: Complete- and single-transmission function of the 3 routes 0.2 0.5 1 2 5 10 kHz O 300 D + Subwoofer O 800 equalized by Pro C 28: Complete- and singletransmission function of the 4 routes The Pro C 28 opens up totally new possibilities to adapt the loudspeaker system to its studio environment. In contrast to parametric or graphic EQs, whose installation is undefined and can lead to linear phasing irregularities, the installation of the Pro C 28 is a different story altogether. After the loudspeaker system has been installed and connected in the listening room, measurements are taken at the console and at different places in the room. This information is then weighted and, along with the transmission values, integrated into a equalisation curve, which is incorporated into the self-generated FIR data set. After this new, “room-specific” setup is activated, the Pro C 28’s FIR filters takes over the room’s equalization, without influencing the phase. dB dB – 30 dB – 30 – 40 – 40 – 50 – 50 – 60 – 60 – 70 – 70 – 30 – 40 – 50 – 60 – 70 0.05 0.2 0.5 1 2 5 10 kHz Frequency response of a studio monitor measured in studio at the console. 0.05 0.2 0.5 1 2 5 10 kHz Transmission values of the 3 front channels taken from 10 separate points in the room. 0.05 0.2 0.5 1 2 5 10 kHz Frequency response of the 3 front monitors after activation of the room specific FIR program. 60 | 61 Technical Data Connections Analog inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 x XLR, electronically balanced or transformer balanced (switchable) Impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 kO max. input level . . . . . . . . . . . . . . . . . . . . . . . . . . 24 dBu CMRR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 80 dB at 15 kHz Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 80 dB Analog outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . 8 x XLR, balanced Impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 70 O Output range steps . . . . . . . . . . . . . . . . . . . . . . . 16, 12, 6 dBu Resolution, type . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Bit DA, DS Digital inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . AES/EBU XLR (110 O transf. balanced), AES 3id, S/P-DIF BNC (75 O) Digital outputs (insert). . . . . . . . . . . . . . . . . . . . AES/EBU (XLR, transf. balanced) Remote control, interface. . . . . . . . . . . . . . . . . . MIDI, RS232 (D-SUB D 25) Baud rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9600, 31520 Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . IR remote RC 55 (option) Performance THD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.0004 % , unweighted, 20 Hz – 20 kHz Noise AD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . – 126 dBFS Signal treatment AD conversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Bit stacked AD, DS Sample rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44,1 kHz, 48 kHz DA conversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Bit, DS Latency time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Basic latency 5 – 7 ms (channel-dependent) Filter latency time . . . . . . . . . . . . . . . . . . . . . . . . Depends on filter type Filter section and limiter Factory parameter setups Filter algorithm. . . . . . . . . . . . . . . . . . . . . . . . . . . FIR filter (Finite Impulse Response) Max. number of parameter setups. . . . . . . . . . Depends on filter length, typ. 50 Filter types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Linear phase, mixed linear/minimum phase, minimum phase Number of output ways . . . . . . . . . . . . . . . . . . . 1 – 4 Equalizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . Individual according to connected speakers linearized amplitude and phase Slopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Freely definable up to approx. 96 dB/oct. Peak limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Look-ahead type with 1.5 ms and ”Controlled Overshoot“ to use amplifier’s max. impulse output power Thermo limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . Simulation of voice coil and magnet temperature Room-specific parameter setups . . . . . . . . . . . Same as factory parameter setups, requires individual system alignment by K + H User-defineable parametric equalizer . . . . . . . IIR filter algorithm (Infinite Impulse Response) Number of filters/channels . . . . . . . . . . . . . . . . 10 filters, can be configured as fully parametric, High/low-shelving 6/12 dB/oct.; high/lowpass 6/12 dB/oct.; peak filter Room EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IIR Filter algorithm (Infinite Impulse Response) Filtertypes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Low-cut; low; mid; high Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master delay 0 – 999 ms; channel delay 0 – 92 ms Power supply Mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 V AC (90 – 130 V), 230 V AC (160 – 250 V), internally switchable Power consumption. . . . . . . . . . . . . . . . . . . . . . . 32 VA Mechanical data Dimensions (H x W x D) . . . . . . . . . . . . . . . . . . . 3.5" (2 U) x 19" x 12.2" Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10.8 lb Filter functions parametrik EQ and notch 0.05 0.2 0.5 1 2 Filter functions high-/lowpass, high-/lowshelving 5 dB 10 dB 10 0 0 – 10 – 10 – 20 – 20 – 30 – 30 10 kHz 0.05 CMRR 0.2 0.5 1 2 5 10 kHz Total harmonic distortion versus frequency at + 4 dBu dBFS 0 – 10 – 20 – 30 – 40 – 50 – 60 – 70 – 80 – 90 – 100 – 110 – 120 – 130 – 140 100 200 300 500 1k 2k 3k 5 k 7 k 10 k 20 k dB – 20 – 30 – 40 – 50 – 60 – 70 – 80 – 90 – 100 – 110 – 120 20 30 Total harmonic distortion versus input level 50 100 200 500 1k 2k 5 k 10 k Intermodulation distortion according to DIM100 dB – 20 dB – 20 – 30 – 30 – 40 – 40 – 50 – 50 – 60 – 70 – 60 – 80 – 70 – 90 – 80 – 100 – 90 – 110 – 120 – 60 – 50 – 40 – 30 – 20 – 10 0 10 – 60 – 50 20 25 – 40 – 30 – 20 – 10 0 – 100 20 25 10 Noise floor THD at 1 kHz, 4 dBu dBu 0 – 10 – 20 – 30 – 40 – 50 – 60 – 70 – 80 – 90 – 100 – 110 – 120 – 130 – 140 – 150 – 160 dBu 0 – 10 – 20 – 30 – 40 – 50 – 60 – 70 – 80 – 90 – 100 – 110 – 120 – 130 – 140 – 150 – 160 20 30 50 100 200 500 1k 2 k 3k 5 k 10 k 20 30 50 100 200 500 1k 2k 3k 5k 10 k 62 | 63 Pro A 2000 Stereo High Performance Output Amplifier Electronics The PRO A 2000 was developed for the highest-specification studio and PA requirements. This high performance power amplifier features superior audio reproduction, absolute security of use and intelligent extension options. Its high peak reserves and its ability to drive even the smallest, most complex loads make the Pro A 2000 ideal for the most demanding studio applications. 왎 왎 왎 왎 왎 Stereo amplifier with excellent audio performance Efficient cooling concept with air conditioning Key cut-off-switches on front panel Detailed status display on front panel Numerous expansion possibilities 64 | 65 Large air vent on front panel Input level controller with assigned Signal/Limit/Clip LED’s Complete measurements interface with LED’s to show all functions and protective circuitry XLR input case with amplification switch and additional signal/clip LED’s Comfortable output stage with selectable pinning Modulated inputs to allow additional functions, eg. crossover, delay, etc. Digital interface AES 3id, S/P-DIF (optional) with mode switch PRO A 2000 Stereo high performance output amplifier Superior audio performance 쏹 쏹 쏹 Extremely low distortion factor even at maximum load 쑺 THD+N – 95dB/1 kHz/2 O Minimal distortion even at high frequencies 쑺 THD+N – 85 dB/10 kHz/2 O Very high signal noise to ratio 쑺 More than 120 dB Performance 쏹 쏹 쏹 2 x 650 W RMS @ 4 O 2 x 1,000 W RMS @ 2 O 1 x 2,100 W RMS @ 4 O Efficient cooling concept 쏹 쏹 4 three-speed controlled fans operating via push-pull mode for the most efficient cooling performance Minimal noise generation during normal use Energy saving mode 쏹 Patented low-power mode for reduced energy use and heat dissipation during breaks from work Complex limiter concept 쏹 쏹 Intelligent temperature-controlled limiter reduces performance by 10 dB if temperature reaches critical level 쑺 No premature switch-off Overdrive Limiter 쑺 Peak-reduced but distortion-free signal for loads under 1.5 O Input extension options 쏹 쏹 Digital interface S/P-DIF, AES 3id with 24 Bit, 96 kHz Transformer-balanced input Technical Data Output power . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Hz – 20 kHz, 0.1 % THD+N 8 O mono or stereo. . . . . . . . . . . . . . . . . . . . . . 2 x 395 W cont., 2 x 420 W peak 4 O mono or stereo. . . . . . . . . . . . . . . . . . . . . . 2 x 650 W cont., 2 x 850 W peak 2 O mono or stereo. . . . . . . . . . . . . . . . . . . . . . 2 x 1,000 W cont., 2 x 1,200 W peak 8 O bridged mode. . . . . . . . . . . . . . . . . . . . . . . 1 x 1,300 W cont., 1 x 1,650 W peak 4 O bridged mode. . . . . . . . . . . . . . . . . . . . . . . 1 x 2,100 W cont., 1 x 2,500 W peak Audio performance Frequency response . . . . . . . . . . . . . . . . . . . . . > 20 Hz – 20 kHz ± 0.5 dB at cont. power output THD+N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < – 95 dB/0.002 %, 1 kHz, at cont. power output 4 O < – 85 dB/0.006 %, 20 Hz – 20 kHz, at cont. power output 4 O DIM 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < – 85 dB/0.006 %, at cont. power output 4 O S/N ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < – 120 dB unweighted at 26 dB gain, rel. to cont. power output Damping factor . . . . . . . . . . . . . . . . . . . . . . . . . < 400 at 1 kHz, 4 O Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < – 60 dB rel. to cont. power output at 4 O, 20 Hz – 20 kHz CMRR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 70 dB 20 Hz – 20 kHz Features Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26/32/36 dB switchable per channel Low-cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Hz/12 dB/oct. Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peak, RMS, over-current, temperature, can be disabled except temp. limiter Ground lift Power save mode . . . . . . . . . . . . . . . . . . . . . . . At missing input signal, level- and time-dependant Power supply Mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 V AC, 50 – 60 Hz Power consumption . . . . . . . . . . . . . . . . . . . . . 50 VA idle (low power mode), approx. 2,500 VA (full output) Fuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 A SB Mechanical data Dimensions (H x W x D) . . . . . . . . . . . . . . . . . . 3.5" (2 U) x 19" x 18.5" Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46.3 lb w/o options, /w packaging Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.08" steel cabinet with screwed-on 0.16" front panel and 19" mounting hardware on rear side 66 | 67 Auf dem Kessellande 4 a, 30900 Wedemark, Germany Phone: + 49 (51 30) 58 48 - 0, Fax: + 49 (51 30) 58 48 - 11 www.klein-hummel.com Copyright © 2005 Klein + Hummel Vertriebs- und Entwicklungsgesellschaft mbH. All rights reserved. Subject to change without notice. Dolby and Pro Logic are registered trademarks of Dolby Laboratories. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. Last revised: 09/2005 K + H Vertriebs- und Entwicklungsgesellschaft mbH