Dynaudio Portable Speaker Air Series User Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

IMPORTANT SAFETY INSTRUCTIONS

The lightning flash with an arrowhead symbol within an

The exclamation point within an equilateral triangle is

intended to alert the user to the presence of important

operating and maintenance (servicing) instructions in the

literature accompanying the product.

equilateral triangle, is intended to alert the user to the

presence of uninsulated “dangerous voltage” within the

product’s enclosure that may be of sufficient magnitude to

constitute a risk of electric shock to persons.

Read these instructions.

Keep these instructions.

Heed all warnings.

Follow all instructions.

Do not use this apparatus near water.

Clean only with a dry cloth.

Do not block any ventilation openings. Install in accordance with the manufacturer's instructions.

Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A

grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided

plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10 Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the

apparatus.

11 Only use attachments/accessories specified by the manufacturer.

Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used,

use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13 Unplug this apparatus during lightning storms or when unused for long periods of time.

14 Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-

supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or

moisture, does not operate normally, or has been dropped.

Warning!

•

To reduce the risk of fire or electrical shock, do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids,

such as vases, are placed on the equipment.

•

This apparatus must be earthed.

Use a three wire grounding type line cord like the one supplied with the product.

Be advised that different operating voltages require the use of different types of line cord and attachment plugs.

Check the voltage in your area and use the correct type. See table below:

Voltage

Line plug according to standard.

110-125V

220-230V

240V

UL817 and CSA C22.2 no 42.

CEE 7 page VII, SR section 107-2-D1/IEC 83 page C4.

BS 1363 of 1984. Specification for 13A fused plugs and switched and un-switched socket outlets.

•

This equipment should be installed near the socket outlet and disconnection of the device should be easily accessible.

To completely disconnect from AC mains, disconnect the power supply cord from the AC receptable.

The mains plug of the power supply shall remain readily operable.

Do not install in a confined space.

Do not open the unit - risk of electric shock inside.

Service

There are no user-serviceable parts inside. All service must be performed by qualified personnel.

EMC/EMI

This equipment has been tested and found to comply with the limits for a Class B Digital device, pursuant to part 15 of the FCC rules.

These limits are designed to provide reasonable protection against harmful interference in residential installations. This equipment

generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful inter-

ference to radio communications. However, there is no guarantee that interference will not occur in a particular installation.

If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on. The

user is encouraged to try to correct the interference by one or more of the following measures:

•

Reorient or relocate the receiving antenna.

Increase the separation between the equipment and receiver.

Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

Consult the dealer or an experienced radio/TV technician for help.

Caution:

You are cautioned that any change or modifications not expressly approved in this manual could void your authority to operate this equipment.

For the customers in Canada:

This Class B Digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations ICES-003.

Cet appareil numérique de la classe B respecte toutes les exigences du Réglement sur le matériel brouilleur du Canada.

This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

Download from Www.Somanuals.com. All Manuals Search And Download.

TABLE OF CONTENTS

The AIR REMOTE

Basics

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Important Safety Instructions . . . . . . . . . . . . . . .a

Table of Contents . . . . . . . . . . . . . . . . . . . . . . . .3

Quick Setup Reference . . . . . . . . . . . . . . . . . . .4

Operational Overview . . . . . . . . . . . . . . . . . . . . .6

Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

The AIR SOFT

Setting up of the AIR SOFT . . . . . . . . . . . . . . .46

Operating AIR SOFT . . . . . . . . . . . . . . . . . . . .46

Introduction

This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . .14

The Product Concept . . . . . . . . . . . . . . . . . . . .14

Appendix

Miscellaneous

Miscellaneous Technical Comments . . . . . . . .51

Reset procedure . . . . . . . . . . . . . . . . . . . . . . . .51

Cables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

System Description

The Master/Slave Concept . . . . . . . . . . . . . . . .14

The Master Unit . . . . . . . . . . . . . . . . . . . . . . . .15

The Slave & Sub Units . . . . . . . . . . . . . . . . . . .15

Initializing Network . . . . . . . . . . . . . . . . . . . . . .15

Remote Control . . . . . . . . . . . . . . . . . . . . . . . .15

Common Features . . . . . . . . . . . . . . . . . . . . . .15

Rear Panel Description . . . . . . . . . . . . . . . . . . .16

Technical Specifications

Technical specifications for all models . . . . . . .53

Delay in System . . . . . . . . . . . . . . . . . . . . . . . .56

Error messages . . . . . . . . . . . . . . . . . . . . . . . .56

Certificate of Conformity . . . . . . . . . . . . . . . . . .57

Preset list . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Operation

The AIR Display . . . . . . . . . . . . . . . . . . . . . . . .17

Parameter Description . . . . . . . . . . . . . . . . . . .18

Optimizing Your Setup

Placing the Monitors . . . . . . . . . . . . . . . . . . . . .21

Checking Monitor Placement . . . . . . . . . . . . . .23

Calibrating Main Monitors . . . . . . . . . . . . . . . . .24

X-Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Placing the Subwoofer . . . . . . . . . . . . . . . . . . .26

Checking Subwoofer Placement . . . . . . . . . . .27

Calibrating the subwoofer

with the Main Monitors . . . . . . . . . . . . . . . . . . .28

Bass-management . . . . . . . . . . . . . . . . . . . . . .28

Background Information

Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Sabines formula . . . . . . . . . . . . . . . . . . . . . . . .31

Absorbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Diffusers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Standing waves

Standing Waves . . . . . . . . . . . . . . . . . . . . . . . .33

Room Modes . . . . . . . . . . . . . . . . . . . . . . . . . .34

Comb Filtering . . . . . . . . . . . . . . . . . . . . . . . . .37

Rear Wall Cancellation . . . . . . . . . . . . . . . . . . .39

The Subwoofer . . . . . . . . . . . . . . . . . . . . . . . . .40

Bass Management . . . . . . . . . . . . . . . . . . . . . .40

The LFE Channel . . . . . . . . . . . . . . . . . . . . . . .41

Delaying Monitors . . . . . . . . . . . . . . . . . . . . . . .42

Line Up & Calibration . . . . . . . . . . . . . . . . . . . .43

How To Measure the Sound Pressure . . . . . . .43

TC Electronic, Sindalsvej 34, DK-8240 Risskov

[email protected]

AIR

English version

Rev 1.61 - SW 1.60

Prod. No. 606104919

Download from Www.Somanuals.com. All Manuals Search And Download.

QUICK SETUP REFERENCE

This page is a quick guide on how to connect different setups. Connections must be made exactly as illustrated.

Detailed descriptions of the setups can be found on pages 7-13.

Download from Www.Somanuals.com. All Manuals Search And Download.

QUICK SETUP REFERENCE

Important !

• One specific Master monitor must be set as System Controller.

(see setup illustrations above)

• To set a Master monitor as System Controller the TC LINK button on the

rear panel must be left out.

• The TC LINK button on all other Master monitors must be set to In position.

Download from Www.Somanuals.com. All Manuals Search And Download.

OPERATIONAL OVERVIEW

Parameter structure accessible via the AIR monitor set as System Controller

Empty

Custom

Main Display

“Serial No” L Front

Volume -50.0 dB

Stereo analog

Stereo digital

5.1 analog

5.1 digital

ENTER

*Select Task

No task

L Front

R Front

Center

L Sur

R Sur

6.1 analog

6.1 digital

5.3 analog

5.3 digital

*Select Mode

Off

Bass Management

X-over Off

X-over 50Hz

X-over 80Hz

X-over Ext 50Hz

X-over Ext 80Hz

X-over THX 80Hz

X-over SC 120Hz

ENTER

5.1 digital/6 Master

C Sur

L SUB

R SUB

ENTER

L Chain

R Chain

L Inner

Setup Menu

Setup

“xxxx”

ENTER

R Inner

Custom 1-4

Set monitor

tasks

*Select AIR

Master “xxxx”

ENTER

AIR BASE

Pink Noise Off/On

Calib

Rel. Lev

LFE LP

0.0dB

-5.0dB

On/Off

*Select clock

BNC Input On

BNC Input Off

External clock

BNC Sync “xxx”

LFE Gain 0 to +14dB

Polarity

Phase

0/180deg

0-180deg

Sensitivity A-Input

+9dBu, +15dBu,

+21dBu, +27dBu

Input Sensitivity

A-Input Gain +27dB

ENTER

AIR

Pink Noise Off/On

Calib

Rel. Lev

Position: Neutral

0.0dB

-5.0dB

*Select AIR

Master “xxxx”

ENTER

EXIT

Calibrate monitor

(press

Wall

ENTER)

Corner

Console

C. Wall

C. Corn

0.0dB

Accept to clear

network setup

Clear setup for

entire network

ENTER

Bass

Treble

0.0dB

Recall Preset

Preset locations:

User #1 to #15

Factory #16 to 32

*Select preset

ENTER

User

*Select preset

User

Store locations are:

Store Preset

Utility Menu

User

#1 to #15

Duration before

Standby: 30min

Powersave: 3h

Backlight: on

Autosave volume:

off

15min, 30min,1h, 1.5h, off

1h, 1.5h, 2.5h, 3h, 5h, off

on, auto, off

ENTER

off, on

Download from Www.Somanuals.com. All Manuals Search And Download.

SETUPS

Stereo Setup

This illustration shows how to connect a standard

stereo setup.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

• Left monitor receives both Left and Right Input signal.

• Right monitor receives audio via the TC-LINK RJ-45

connection.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

Stereo Setup with mono Sub(s)

This illustration shows how to connect a stereo setup

with 1 Sub.

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

To set a Master

monitor as

System Controller

the TC Link

• Left monitor receives both Left and Right Input signal.

• Right monitor and Sub receives audio via the

TC LINK RJ-45 connections on the Left monitor.

• With no Bass-management, no signal is sent to the Sub.

• With Bass-management activated, Low Frequency

information from Left and Right channels below the set

Cross-over frequency is extracted and fed to the Sub.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

button on the rear

panel MUST be in

out-position.

Stereo Setup with stereo Subs

This illustration shows how to connect a stereo setup

with SUBs.

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

To set a Master

monitor as

System Controller

the TC Link

• Left monitor receives both Left and Right Input signal.

• Right Monitor and Subs receive audio via the TC LINK

RJ-45 connection as illustrated.

button on the rear

panel MUST be in

out-position.

• With no Bass-management, no signal is sent to the Sub.

• With Bass-management activated, Low Frequency

information from Left and Right channels, below the set

Cross-over frequency, is extracted. Low frequency

information from the Left channel is distributed to L Sub

and Low Frequency information from the Right channel is

distributed to the Right Sub.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

Download from Www.Somanuals.com. All Manuals Search And Download.

SETUPS

5.1 Digital Setup

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

This illustration shows how to connect a 5.1 digital

setup

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

• Left monitor receives both Left and Right Input signal.

Right channel is fed via the TC -LINK RJ-45 connection

from the Left to Right.

• LS monitor receives both Left and Right Surround

channels. The RS channel is fed via the RJ-45

connection from LS to RS.

• Center monitor receives both Center and LFE channels.

The LFE monitor is fed via the RJ-45 connection from

Center to LFE.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

5.1 Analog Setup

This illustration shows how to connect a 5.1 analog

setup

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

• Left monitor receives both Left and Right Input signal.

Right channel is fed via the TC -LINK RJ-45 connection

from the Left to Right.

• LS monitor receives both Left and Right Surround

channels. The RS channel is fed via the RJ-45

connection from LS to RS.

• Center monitor receives both Center and LFE channels.

The LFE monitor is fed via the RJ-45 connection from

Center to LFE.

• With no Bass-management active the Sub will play only

the LFE channel.

• With Bass-management activated Low Frequency

information from the 5 main channels is extracted and

distributed to the Sub where it is summed with the LFE

channel.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

The setups will ONLY operate correctly if connected

according to the illustrations!

Download from Www.Somanuals.com. All Manuals Search And Download.

SETUPS

5.3 Digital Setup

This illustration shows how to connect a 5.3 Digital

setup

• Center is set as System Controller by leaving out the TC

Link button on the rear panel.

• Left monitor receives both Left and LS signal. The LS

monitor is fed via the TC LINK RJ-45 connection form

Left to LS.

• Center monitor receives both Center and LFE signal. The

LFE monitor is fed via the TC LINK RJ-45 connection

from Center to LFE.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• Right monitor receives both Right and RS signal. The RS

monitor is fed via the TC LINK RJ-45 connection from

Right to RS.

• With Bass-management “off” Left and Right Subs

receives no signal.

• With Bass management “on”:

- Low frequency information from Left and LS is

extracted and fed to Left Sub.

- Low frequency information from Right and RS is

extracted and fed to Right Sub.

- Low frequency information from Center is extracted,

summed with the LFE channel and fed to Center Sub.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

5.3 Analog Setup

This illustration shows how to connect a 5.3 Analog

setup.

Please see description on 5.3 Digital Setup above

regarding Bass-management but notice how to connect the

Analog signals:

• Left channel to Left Input on the Left monitor.

• Left Surround channel to Right Input on the Left monitor.

• Center channel to the Left Input on the Center monitor.

• LFE channel to the Right Input on the Center monitor.

• Right channel to the Left Input on the Right monitor.

• Right Surround channel to Right Input on the Right

monitor.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

The setups will ONLY operate correctly if connected

according to the illustrations!

Download from Www.Somanuals.com. All Manuals Search And Download.

SETUPS

6.1 Analog Setup

This illustration shows how to connect a 6.1 Analog

setup

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• Left is set as System Controller by leaving out the TC

Link button on the rear panel.

• Left monitor receives both the Left and Right signal. The

Right monitor is fed via the TC LINK RJ-45 connection

form Left to Right.

• Center monitor receives both Center and LFE signal. The

LFE monitor is fed via the TC LINK RJ-45 connection

from Center to LFE.

• Left Surround monitor receives both LS and RS signal.

The RS monitor is fed via the TC LINK RJ-45 connection

from LS to RS.

• The Center Surround monitor receives only Center

Surround signal.

• Center Chain: From software 1.10 it is possible to

connect one or more Center Chain monitors.

Channels must be connected as follows:

- Left channel to Left Input on Left monitor.

- Right channel to Right Input on Left monitor.

- Center channel to Left Input on Center monitor.

- LFE channel to Right Input on Center monitor.

- Left Surround channel to Left Input on Left Surround

monitor.

• With Bass-management “off” only the LFE signal is fed to

the Sub.

• With Bass-management activated, Low Frequency

information below the set Cross-over frequency from the

5 main channels is extracted and distributed to the Sub

where it is summed with the LFE channel.

- Right Surround channel to Right Input on Left

Surround monitor.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

5.1 Dig/6 - Master

This is a 5.1 digital setup with Bass Management as an

option. The setup requires one Master monitor with the

optional Digital AES/EBU Input Card installed, four

Slave monitors (or Masters set as Slave) and one Sub.

• Center monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• Center monitor receives all 6 channels on the three

AES/EBU connections.

- Center and LFE on the monitors Digital IN connection.

- Left and Right on the I/O cards Digital IN no. 2.

- LS and RS on the I/O cards Digital IN no. 3.

• Right, Left, Sub, LS and RS receives signal via TC LINK

RJ-45 connections from the Center Master monitor.

• Clock MUST be sent on the AES connection feeding

Center/LFE channels (or on BNC).

• With Bass-management “off” only the LFE signal is fed to

the Sub.

• With Bass-management activated, Low Frequency

information below the set Cross-over frequency from the

5 main channels is extracted and distributed to the Sub

where it is summed with the LFE channel.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

Download from Www.Somanuals.com. All Manuals Search And Download.

SETUPS

Stereo Setup With Chains on L & R

This illustration shows how to connect a stereo setup

with chains on Left and Right.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

The chained monitors are fed with the same signal as

the front L&R monitors. This the type of setup you

would use when you wiish to be able to alternate

between a set of main- and nearfiels -monitors.

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

• Left monitor receives both Left and Right Input signal.

• Right monitor receives audio via the TC-LINK RJ-45

connection.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

Other “Chained” Setups

From software 1.10 the available setups with “chain” option

is: 5.1, 6.1 and 5.3 for analog and digital and well as 5.1/6

master (digital only).

The installed option card will limit the choises of setups

presented on the speakers. If the AES/EBU option card is

installed, the default digital Input will become Input 1 on the

option card.

• Left Surround monitor receives both LS and RS signal.

The RS monitor is fed via the TC LINK RJ-45 connection

from LS to RS.

• Left Inner monitor receives both L Inner and R Inner

signal. The R Inner monitor is fed via the TC LINK RJ-45

connection from L Inner to R Inner.

• With Bass-management activated Low Frequency

information from the 5 main channels is extracted and

distributed to the Sub where it is summed with the LFE

channel. With Bass-management enabled, Low

Frequency information is not extracted for the Left and

Right Inner monitors.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

Analog connections

• Left channel to Left Input on Left monitor.

• Right channel to Right Input on Left monitor.

• Center channel to Left Input on Center monitor.

• LFE channel to Right Input on Center monitor.

• Left Surround channel to Left Input on Left Surround

monitor.

• Right Surround channel to Right Input on Left Surround

monitor.

• Left Inner channel to Left Input on Left Inner monitor.

• Right Inner channel to Right Input on Right Inner monitor.

7.1 Analog/Digital setup

Digital

• Left is set as System Controller by leaving out the TC

Link button on the rear panel.

• Left monitor receives both the Left and Right signal. The

Right monitor is fed via the TC LINK RJ-45 connection

form Left to Right.

• Center monitor receives both Center and LFE signal. The

LFE monitor is fed via the TC LINK RJ-45 connection

from Center to LFE.

It is not possible to choose a 7.1 setup in the setup

menu; you need to choose either a 5.1 or 6.1

setup, and set up the Left Inner and Right Inner

speakers for ‘L Inner’ and ‘R Inner’ tasks respectively.

Download from Www.Somanuals.com. All Manuals Search And Download.

SETUPS

5.1 Digital - 192 kHz

This is a 5.1 digital setup at 192kHz with Bass

Management as an option. The setup requires three

Master monitors with the optional Digital I/O card

installed, two Slaves and one Sub.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

• - Left monitor receives Left and Right Front channels.

- Center monitor receives Center channel and Sub.

- Left Rear monitor receives LS and RS channels.

• The Sub receives signal via TC LINK RJ-45 connections

from the Center Master monitor.

• Clock MUST be sent on the AES connection feeding

Center/LFE channels (or on BNC).

• With Bass-management “off” only the LFE signal is fed to

the Sub.

• With Bass-management activated, Low Frequency

information below the set Cross-over frequency from the

5 main channels is extracted and distributed to the Sub

where it is summed with the LFE channel.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

6.1 Digital - 192 kHz

This is a 6.1 digital setup with Bass Management as an

option. The setup requires four Master monitors with

the optional Digital I/O Card installed, two Slave

monitors (or Masters set as Slave) and one Sub.

• Left monitor is set as System Controller by leaving out

the TC Link button on the rear panel.

• - Left monitor receives both Left and Right Input signals.

- Right monitor receives signal via the TC LINK cable.

- Left Surround, receives both Left and Right surround

signals.

To set a Master

monitor as

System Controller

the TC Link

button on the rear

panel MUST be in

out-position.

- Right Surround, receives signal via the TC LINK cable.

- Center receives both Center and Sub signals.

- The Sub receives signal via the TC LINK cable.

- Center Surround receives Center Surround channel.

• Clock MUST be sent on the AES connection feeding

Center/LFE channels (or on BNC).

• With Bass-management “off” only the LFE signal is fed to

the Sub.

• With Bass-management activated, Low Frequency

information below the set Cross-over frequency from the

6 main channels is extracted and distributed to the Sub

where it is summed with the LFE channel.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

Download from Www.Somanuals.com. All Manuals Search And Download.

SETUPS

5.3 Digital Setup

This illustration shows how to connect a 5.3 Digital

setup with Bass management as an option. The setup

requires three Master monitors with the optional Digital

AES/EBU I/O card installed, two Slave monitors (or

Masters set as Slave) and three Subs.

To set a Master

monitor as

System Controller

the TC Link

button on rear

panel MUST be in

out-position.

• Center is set as System Controller by leaving out the TC

Link button on the rear panel.

• Left monitor receives both Left and Left Surround signal.

The LS monitor is fed via the TC LINK RJ-45 connection

from Left to LS.

• Center monitor receives both Center and LFE signal. The

LFE monitor is fed via the TC LINK RJ-45 connection

from Center to LFE.

• Right monitor receives both Right and Right Surround

signal. The RS monitor is fed via the TC LINK RJ-45

connection from Right to RS.

• With Bass-management “off” Left and Right Subs

receives no signal.

• With Bass management “on”:

- Low frequency information from Left and LS is

extracted and fed to Left Sub.

- Low frequency information from Right and RS is

extracted and fed to Right Sub.

- Low frequency information from Center is extracted,

summed with the LFE channel and fed to Center Sub.

• The Remote, AIR Soft and AIR PC-IP can be connected

to any available TC LINK Out connection.

Download from Www.Somanuals.com. All Manuals Search And Download.

INTRODUCTION

Having said that, many studios today are still working with

analog signals for monitoring - therefore an Analog Input

option is also provided.

This Manual

The latest manual revision is always available for

download from www.dynaudioacoustics.com

The revision number of this manual is located at the

bottom of page 4. Please compare to the revision

number of the manual available for download from our

web-site and download if newer.

The following section is an introduction to the concept

of the AIR systems. Detailed parameter explanations,

setup guides and calibration info are to be found in

later sections of this manual.

Break in

Your AIR monitors must be “run in” before optimal

performance is achieved. It is essential that the monitors

are not run at full level until after at least 24 hours of

moderate operation. Optimal performance is achieved after

about one week of operation at moderate levels.

The Master/Slave Concept

Two physically different units exist for each model.

A Master unit able to:

- receive digital audio on AES connections

- receive analog audio (if an analog option card is

installed)

The Product Concept

- send and receive audio and control data via the

proprietary TC LINK connection.

The AIR monitor systems take a giant step forward in

near-field monitoring and Dynaudio & TC Electronic are

proud to present these systems. The AIR series include

switch mode amplification and power-supply and with the

addition of DSP and CPU, new possibilities are opened for

easy, convenient and precise central control of both audio

and setup-info.

Master Monitor Rear

• To set a Master Monitor as

System Controller the TC

LINK button on the rear

panel must be left out.

The networking possibilities will fit nicely into today's

applications and can be taken far into the future studio.

A brief overview of the new advantages with the concept:

• System integration and networking (total recall,

central control)

• Flexibility/adjustment possibilities (to the room,

personal liking etc.)

• Extreme precision. (Precise alignment of individual

monitors at the factory)

• Improved audio quality (from intelligent algorithms

and precision filters)

• One and only one of the Master units must be setup as

the System Controller. This is done by leaving out the TC

LINK button on the rear panel. (see above). Setting up a

system is done from the System Controller monitor.

You set up, set tasks and calibrate all connected

monitors in the entire system from the System Controller.

• A Slave unit is able to receive and distribute audio and

control data via the proprietary TC LINK connection.

• Direct Digital Reference (Digital Input)

Both AIR 6 and AIR 15 are Pro Audio rear-ported near-field

monitors and are excellent for both stereo and surround

setups in applications such as Music Recording/Mixing,

Post production, Film, Broadcast, Video-editing etc.

Slave Monitor Rear

Extreme Precision

The frequency response and timing of the woofer- and

tweeter signals of the AIR systems is controlled to a level of

precision only practically obtainable with DSP. Furthermore

the sensitivity of each individual loudspeaker driver is

measured in the line of production, and deviations are

compensated in the DSP software to 0.1dB steps.

Perfectly aligned monitors also give the so far unseen

advantage of interchangeability. In the unlikely case of a

monitor breakdown, a perfectly matching monitor can be

added instantly.

Audio signal from your studio is input to the Master

monitors only and the signal is distributed from here to the

connected Slave units through a proprietary Networking

protocol. It is worth noticing that a Master monitor acts

exactly as a Slave monitor when its TC LINK button is set

in “IN position.”

The networking capabilities, enables all monitors in a

setup, no matter if it is Stereo or Surround, Digital or

Analog to always be corresponding. This provides great

possibilities in terms of general control of the entire system.

As most productions do end up in a digital format these

days the AIR series allow monitoring of the "pure" Digital

signal. Simply feed the monitors directly with an AES/EBU

signal.

Download from Www.Somanuals.com. All Manuals Search And Download.

INTRODUCTION

Additional AIR Control units

The Master Unit

The Master unit distributes Audio and control data to the

respective Slave units connected.

Any additional control units, such as the optional AIR Soft

Remote or the AIR Remote, can be connected to any free

"Link" connector in the system. (see below)

Control data is transmitted via the System Controller, and

distributed to other monitors in the network.

System Controller, Master or Slave

To set up a Master unit to be either System Controller or

Master/Slave the LINK switch on the rear panel must be

set up correctly.

Remote Control

AIR monitor systems can be set up and controlled locally

via the Master monitor’s user-interface via the optional

remote control or from a PC/Mac.

Out:

The monitor operates as a System Controller

In:

AIR SOFT - Software Remote

The monitor operates as either:

- a regular Master with digital Inputs (analog Inputs are

only with the optional analog I/O card installed) or

- as a Slave unit.

Any parameter in the System Controller including the setup

parameters can be controlled via the “AIR SOFT”.

Additionally, software upgrades and installation of such can

be done via AIR SOFT.

I/O

Hardware Remote

The Master unit contains AES/EBU Input connectors and

three Link connectors carrying both audio and control data

to connected Slave units.

A simple remote level control, controlling the level of the

entire setup. Control data is transmitted to the Master unit,

and distributed from there ensuring that any monitor

hooked up, is set identically.

Connectors

1* AES/EBU - XLR

AIR PC-IP

2* Link RJ45 connectors

1* Link/Input RJ45 connector

1* Word Clock BNC sync

A software dedicated for the Advanced Installer. In addition

to the common parameters the AIR PC-IP software offers

Parametric EQ and various Parameter Lock functions.

Option slot

Two card types are currently available.

• An analog Input module giving the option of feeding a

Master unit with 2 analog Input signals.

• An AES Digital Input card giving the option of sending all

six channels in a 5.1 setup to one single Master monitor.

From there the signal is distributed to 4 slave monitors

and Sub via the TC LINK RJ-45 connections creating a

fully digital 5.1 setup.

Common Features

- for both the Master and Slave units

Advanced Condition Monitoring

For both the Master and the Slave units several protection

systems are included in the AIR monitors. This is to insure

both short term protection against large dynamic pulse

signals, but also to insure long term protection against

over-heating and thus permanent damaging the drivers.

Long term thermal protection

The Slave & Sub Units

Inside the amplifier module the temperature of the heat

sink is constantly monitored so any dangerous over-

temperature situations can be avoided - this is for

protection of the entire electronic module. Furthermore the

temperature of the tweeter voicecoil is calculated with

behavioral modeling of the tweeters thermal characteristics.

The Slave and Sub units contain one RJ45 Input connector

and one Link connector. Via the RJ45 Input connector the

Slave unit is supplied with audio and control data from the

Master unit. Via the RJ45 Link connector transmission to

additional monitors is possible.

Initializing Network

Beware

When the setup is powered up for the first time, the Master

unit scans the setup in order to determine the number of

monitors connected. Each monitor is recognized via a

unique serial number but can be renamed according to task.

After the initial scanning of the setup, the Master unit will

be re-scanning the setup every 5 seconds in order to

determine any change.

Power down procedure:

• In general, use the "sleep function" (Press and hold Exit

on System controller),

• System will automatically go into sleep mode after

2.5 hours.

• If you need to switch the system off on the mains switch

on rear panel, please make sure to turn down the global

volume and switch Slave monitors off before Master

monitors.

Download from Www.Somanuals.com. All Manuals Search And Download.

REAR PANEL DESCRIPTION - MASTER

Master Unit - Analog I/O

• System Controller/Slave switch

Out-position :The monitor operates as a

System Controller

There can be only one System

Controller in a setup.

In -position:

The monitor operates as either a regular

Master or a Slave unit.

• RJ45 Link connections for downstream Slave units

• Option slot with analog I/O card installed. (optional)

• AES/EBU digital Input

• Word Clock BNC sync

• Power Input 100-240V

• Power On/Off - switch

Slave/Sub

• RJ45 Link connections for downstream Slave units

• Power Input 100-240V

• Power On/Off - switch

Optional Digital I/O card

With this card installed in the Master Monitor option slot a

5.1 Digital/6 Master setup becomes an option.

Three AES/EBU connections (6 channels) can then be fed

to one Master monitor and distributed downstream.

For further information see “Setups”.

Download from Www.Somanuals.com. All Manuals Search And Download.

THE AIR DISPLAY

Overload Indication

EXIT

ENTER

DOWN

ENTER key

CURSOR UP/DOWN keys

The ENTER key has two main functions:

• To enter the menus currently displayed.

These keys are used for navigating and adjusting

parameter values.

• To set the displayed parameter in Edit mode.

When a parameter can be edited via the CURSOR keys a

“*” is set as the first character in front of the parameter.

Overload Indication LED

When this LED flashes the monitors built-in amp is driven

beyond max performance. A continuos overload will

activate the amp protection circuit and the monitor will be

shut down. The monitor can be reactivated after a short

period of cooling down.

EXIT key

The EXIT key is used to exit the current display and go to

previous menu level.

This situation will NOT damage the monitor in any way.

Download from Www.Somanuals.com. All Manuals Search And Download.

PARAMETER DESCRIPTION

Basic operation in all menus

• Use ARROW keys to select value or submenu

• Use ENTER to enter menus or for confirmation, and to

activate

• Use EXIT to step to a higher level or to decline an

operation

• Values are marked with an “ * “ when they can be altered

via the ARROW keys

Main Display

The Main Display indicates the position of the monitor

(when set up) and the set volume for the monitor.

A “+” indicates that this specific Master Unit has been set

up to act as System Controller.

Bass Management

Bass management is possible in:

- Standard Stereo with 1 Sub

- Standard Stereo with 2 Subs

- 5.1 Analog

- 5.3 Analog

- 6.1 Analog

- 6.1 Digital - at 192kHz

- 5.3 Digital

- 5.1 Digital/6 Master

- 5.1 Digital - at 192kHz

Satellite monitors uses 2nd order Hi Pass filters to

attenuate frequencies below the set Cross-over frequency.

Subs use 4th order Low Pass filter to attenuate frequencies

above the set Cross-over frequency.

• Press ENTER to access the Select Mode

Off:

Bass Management is not activated. Only the LFE channel

is distributed to the Sub.

AIR PC-IP

Via AIR PC-IP and advanced Bass Management mode is

available. In this mode all filters (Satellite, Sub4 and Sub2)

can be controlled to suit demanding setups.

Cross-over frequencies:

Menu Name

Satellite filter

50 Hz

80 Hz

Off

Sub 2nd order

50 Hz

LFE = Sub

Sub 4th order

50 Hz

X-Over 50 Hz

X-Over 80 Hz

Extension 50 Hz

Extension 80 Hz

THX Sim 80 Hz

Yes

80Hz

50 Hz

Off

80 Hz

Off

80 Hz

Small Cons 120 Hz * 120 Hz

80Hz

120 Hz

Note that the Extension 50 and 80Hz uses no Bass Management on satellite speaker thus playing full range.

* Small Cons - Small Consumer

Download from Www.Somanuals.com. All Manuals Search And Download.

PARAMETER DESCRIPTION

Setup

Setup Menu

• Press ENTER to enter select mode. Select mode is

indicated by “ * ”

• Press ENTER to access sub-menus

Set Monitor Task

• Press ENTER to confirm choice

For the System Controller - Master monitor to identify and

operate all monitors in the setup, each monitor must be

given one of the following tasks indicating function and

position.

Empty:

No selection

Custom:

For custom configurations.

• Press ENTER to access task options

• Use ARROW keys to select task

• Press ENTER to confirm selected task

Stereo analog:

Two monitor stereo setup with analog* Inputs selected.

Following tasks can be given:

Stereo Digital:

Two monitor stereo setup with digital Inputs selected.

- No task

- L Front

- R Front

- Center

- (C) Sub

- L Sub

- R Sub

- L Sur

- LsChain

- RsChain

- CsChain

- L Inner

5.1 Analog:

5.1 setup with analog* Inputs selected.

- R Inner

- CustMast

- CustSlaR

- CustSlaL

5.1 Digital

5.1 setup with digital Inputs selected.

- R Sur

- C Sur

6.1 Analog

5.1 Setup + Center surround on a separate channel gives

the 6.1 setup.

6.1 Digital

5.1 Setup + Center surround on a separate channel gives

the 6.1 setup.

5.3 Analog

Analog setup with 5 monitors and 3 subs

5.3 Digital

Digital setup with 5 monitors and 3 subs

* Analog Inputs are only available with an optional analog

card installed.

5.1 Digital/6 Master

5.1 Setup using one Master with optional Digital I/o card

installed, 4 slave monitors (or masters set as slave) and 1

sub.

External Clock

• Press ENTER to access sub-menus

BNC Sync On:

The monitor attempts to lock on the Word Clock BNC.

BNC Sync Off:

The monitor will attempt to lock on the AES Input.

Calibrate Monitor

• Press ENTER

• Select monitor to calibrate using the ARROW keys

• Press ENTER

Download from Www.Somanuals.com. All Manuals Search And Download.

PARAMETER DESCRIPTION

Parameters available for AIR 6 and AIR 15

Phase:

Pink Noise:

Range: 0-180°

Range: On/Off

To time-compensate if the Sub is not placed according to

the ITU 775 recommendations. There are individual Phase

settings for each of the Bass Management Cross-over

frequencies. Once set, these are stored as Global settings.

Calibrate:

Range: -6dB to +6dB

Level calibration of the selected monitor.

Clear Setup for entire network

Rel. Lev:

• Press ENTER and confirm with ENTER

Range: -40dB to 0dB

Relative preset volume for the selected monitor.

LFE channel - note

Please note that in general the LFE channel should be

mixed with +10dB headroom.

Room Position:

Neutral

If you are not able to boost your LFE monitor output from

your console, +10dB gain can be added on your AIR-Base

input. Most format encoders / decoders take the LFE boost

into account, meaning that you should leave the AIR-Base

LFE gain at 0dB when playing back a DTS or DOLBY

encoded material on your AIR system. LFE gain is set at

0dB in all factory presets, so if you need to add gain on

your AIR-Base please adjust this parameter and store the

new setting in a user preset location.

Wall

Corner

Console

C. Wall - Console Wall

C. Corn - Console Corner

Bass:

Range: -6dB to +6dB

Bass adjustment for the selected monitor

Recall

Treble:

Range: -6dB to +6dB

• Press ENTER and use ARROW keys to select presets

• Press ENTER to recall/load the selected preset

If no user-preset are stored on locations 1 to 4, presets 16

to 19 are loaded instead.

Treble adjustment for the selected monitor.

Parameters of AIR-Base subwoofers

Pink Noise:

Range: On/Off

Complete preset list is available in the appendix

section.

Calibrate:

Range: -18dB to +6dB

Level calibration of the selected monitor.

Store

• Press ENTER and select storage location using the

ARROW keys

Rel. Lev. - (Relative Level):

Range: -40dB to 0dB

Preset volume for the selected monitor relative to the

calibrated and global volume.

• Press ENTER again to store.

Storage location can be 1-15.

Parameter can be locked via the AIR PC-IP

software. When trying to change values on a

locked parameter the display reads “Locked”.

LFE Low Pass

Range: On/Off

Brickwall Limiter on the LFE channel attenuating

frequencies above 120Hz.

LFE Gain

Range: -6 to +8dB

With this parameter you can boost the acoustic gain of the

LFE channel.

Polarity

Range: 0 or 180º

If the Subwoofer is correctly placed, setting the Phase

Reverse parameter at 180º should result in a full Phase

cancellation at the set Cross -over frequency. If this is not

the case - the Delay parameter should be adjusted.

Download from Www.Somanuals.com. All Manuals Search And Download.

PLACING THE MONITORS

This manual section is split into two. The first part is a direct guide on how to optimize your listening facilities to

ensure optimal performance of your AIR monitor system. The second part contains In Depth explanations and

background information of various acoustic phenomena and is referred to on several occasions in the first

chapter. To dive into this chapter and start optimizing your setup, it is essential that you have made proper

connections for your AIR System. Please follow the illustrations in the “setups” section on pages 7 to 13.

Overview

Angle

-30

Distance from listener

Minimum 1 m

Left front

Right front

Centre

+30

Minimum 1 m

Same distance as L or R front 1)

Same distance as L or R front 2)

Left surround

Right surround

-110 +/-10

In general: Symmetry

Basically it is preferred to establish a loudspeaker layout that provides an adequate and equal left/right image. The

basis for this symmetry, meaning that the distance to the left and the right monitors is identical, and if not monitoring

in the near field, then having identical distance to the (identical) side-walls.

The AIR System offer tools for compensation, but symmetry should be established whenever possible.

Not good !

Good !

Front monitors, left & right

For a proper stereo monitoring the monitors should be placed at an angle of ±30º in front of the listening position. This

goes both for a basic stereo setup and for the L&R front monitors in a 4 or 5 channel setup.

ITU 775

Center front monitor

The center front loudspeaker can be placed either:

A: in the middle and in the same distance from

the listening position as the left and right front

monitors or

B: in the middle and on a straight line between

the left and right front monitors.

Surround monitors, left and right

The surround monitors should be placed at an angle

of ±110 (+/-10) and in the same distance from the

listening position as the Left & Right front monitors.

Read more on pages 38-39.

Download from Www.Somanuals.com. All Manuals Search And Download.

PLACING THE SUBWOOFER

Overview

Placement on the floor

Advantages

Disadvantages

In the corner

Gain of bass response

Excitation of most standing waves in the

room, hence very uneven sound distribution

Adjacent to wall

Free standing

Gain of bass response

Excitation of several standing waves in the

room, hence very uneven sound distribution

Position can be optimized with

regard to standing waves

It may take up space on the floor

Floor standing

The subwoofer is under normal conditions always placed directly on the floor. This is taken into account in the basic design

and the basic settings of the AIR system.

Placement in the corner

This is a π/2 radiation, which yields a gain of 18 dB in the frequency range

where the monitor is considered to be omni-directional.

Most standing waves have their maximum in the corners of the room.

Especially if the room has a cubic or shoebox shape (the room having all

walls in parallel). the placement of the subwoofer in the corner may cause

uneven sound distribution of the bass.

The corner position is normally only preferred if all opposite surfaces in the

room are not in parallel.

Adjacent to a wall

This is a π radiation, which yield a gain of 12 dB in the frequency range

where the monitor is considered to be omni-directional.

This position adjacent to a wall is commonly used, and it can be OK, but it

must be noticed that the subwoofer should neither be placed in the middle or

in the quarter points between two sidewalls if these are in parallel.

(See pages 29-32 for the optimum positions with regard to standing waves.)

Free standing

This is a π radiation, which yield a gain of 6 dB in the frequency range where

the monitor is considered to be omni-directional.

The free standing position is highly recommended in all cubic and shoebox

shaped rooms.

In any case: Try to avoid placing the woofer on the half or quarter lines

between walls.

Download from Www.Somanuals.com. All Manuals Search And Download.

CHECKING - SUBWOOFER PLACEMENT

Do not place the subwoofer on these lines quarter or

halfway between walls.

Evaluation

Overview

In the listening position you should hear the signal smooth

and even throughout all frequency sweeps (bearing in mind

that the frequency response of the ear is not flat).

Set the volume at -20 dB in the main menu

Set Bass Management to 120 Hz

Set Bass Management to “on”

Check the monitor position using the CD,

tracks 30-44

If you have a sound level meter this should be set to "LIN"

with no frequency weighting. If the meter does not have a

LIN position, you can use the C-weighting, though the

response is attenuated approximately 3 dB at 31.5 Hz and

approximately 6 dB at 20 Hz.

Go to: Calibrating the subwoofer with the main

system.

Test signals on CD

With the monitors you received a CD containing a lot of

test signals. These test signals are very handy when

setting up the monitors.

If you do not have a sound level meter you can use a

studio microphone instead. This is described later in this

chapter.

Low frequency sweeps

Tracks 30 to 37 contains the following sweep sequences.

If you hear the signal smooth and even throughout the

frequency sweep you can continue to the next chapter:

Calibrating the subwoofer with the main monitors.

Track 31:

Track 32:

Track 33:

Track 34:

Track 35:

Track 36:

Track 37:

Track 38:

Track 39:

200 Hz - 20 Hz

160 Hz - 20 Hz

125 Hz - 20 Hz

100 Hz - 20 Hz

80 Hz - 20 Hz

63 Hz - 20 Hz

50 Hz - 20 Hz

40 Hz - 20 Hz

32 Hz - 20 Hz

If not OK you must find new positions for the subwoofer.

Go to: Calibrating the subwoofer with the main monitors.

During the sweeps you will hear short "bleebs" telling when

the signal passes one of the ISO center frequencies. There

are two “bleeps” every time the frequency passes a whole

octave center frequency and one “bleeb” every time the in-

between 1/3-octave center frequencies are passed.

Play all the tracks using only the subwoofer.

Mute all other monitors.

Download from Www.Somanuals.com. All Manuals Search And Download.

CALIBRATING THE SUBWOOFER - with the main monitors

Bass Management

To Calibrate

Bass management (sometimes called bass redirection), is

a very important and useful tool - and it is in general an

absolute necessity if you want to make a 5-channel setup

in a small room! There are several reasons for this.

Main menu, set volume -30 dB

Main menu, select Bass Management: 80 Hz

Main menu, select Setup menu: Calibrate level

Select a task for the monitor

Run CD low frequency sweeps; tracks 40-42

If needed: Adjust level or crossover frequency

Store and Exit / get ready for music!

The bass management system is designed to subtract the

bass contents of all main channels and reproduce this by

the use of a subwoofer. The AIR-series provides a number

of possible cross-over frequencies that can be determined

by the user.

Bass management on

The volume is set to a reasonable level (first item in main

menu) ex -30 dB.

In the main menu Bass Management is selected. If no

other preferences for a crossover frequency 80 Hz is

selected.

If measurements or listening to the main monitors have

indicated uneven level distribution or uneven frequency

response at frequencies above 80 Hz, a higher crossover

frequency should be selected.

Checking summing phase cancellation

In a basic 2-channel setup or 5-channel setup (like the ITU-

775) a sub-woofer is not specified and is not required. But

making audio production to be played back on consumer

equipment, one has to ensure that the mix will sound right

in this situation. Many consumer setups containing a

subwoofer. Hence it is very important to check what the

summing of the bass is like. If the program material

basically is out of phase, the bass will be cancelled when

summed electrically. But this is not the case if the bass

signals are reproduced by the main monitors and summed

acoustically. A dramatic difference may exist!

Checking the Crosspoint

In order to confirm the selected crossover frequency, the

CD is used. To be sure to listen to one monitor channel at

a time one of the main channels are selected in the Setup

menu/Calibrate monitor menu. For a start Master Left can

be selected.

Playback the CD track containing the low frequency

sweeps (trax 31 to 42). Listen to the response or perform

sound level measurement if you have a meter connected.

Controlling standing waves

It can be very difficult to get two monitors in the right

position in order to prevent the excitation of the standing

waves. But placing five monitors are even more difficult!

Each monitor should play under the same conditions as the

others but that is seldom the case.

If you have a spectrum analyzer you can instead play the

CD-tracks containing full bandwidth pink noise.

Any uneven frequency response across the crossover

frequency should be avoided.

You may go back to the setting of the crossover frequency

in the bass management setup and select another

frequency if appropriate.

After doing the adjustment on one channel, the other

channels should be monitored one by on and finally all

channels at one time.

Three front monitors can normally be placed away from

disturbing boundaries to prohibit the excitation of the

standing waves. But in small rooms the rear monitors very

often are placed in a corner or on a wall. Having the full

frequency range reproduced in a monitor like that, there

may occur serious problems which results in a poor low

frequency sound distribution in the room.

So this is another reason for using bass management.

Simply: Only one monitor - the subwoofer - has to be

placed in a safe position. The cross over frequency can be

selected to a value just above the problematic frequency

range.

Now your system is calibrated.

Read more in the section: Phase Adjustment on the

following page.

Three other parameters to consider in relation to the

subwoofer:

LFE Low Pass Filter

Switches On or Off a very steep (7th order) low pass filter

at 120 Hz. When switched On, the LFE signal is filtered for

content above 120 Hz. Switch this filter On when a media

encoder is not in use and switch it Off when your signal

have been through a media encoder / decoder (Most media

encoders - DTS, Dolby etc. - employees an anti-aliasing

low-pass filter. Therefore in a production environment it is

important use this filter when monitoring the LFE channel in

order to access how the signal will sound after encoding /

decoding (in a domestic or cinema environment).

Download from Www.Somanuals.com. All Manuals Search And Download.

CALIBRATING THE SUBWOOFER - with the main monitors

LFE Gain

Iteration

Range: 0 to +14dB

The LFE channel can be boosted up to 18dB using this

parameter.

You may need to iterate quite a bit, maybe readjust the

level calibration a bit too. You may even want to reconsider

your initial choice of X-over frequency and/or monitor

placement and start the process over again. Be patient:

The time spent getting this right is well spent.

Polarity

Range: 0 or 180º

If the Subwoofer is correctly placed, setting the Polarity

parameter at 180º should result in a full Phase cancellation

at the set Cross -over frequency. If this is not the case - the

Phase parameter described below should be adjusted.

Phase

Range: 0 to 180º

Phase Introduction

The integration of the AIR-Base subwoofer with the AIR

monitors requires on-location tuning. Apart from level

calibration and choosing a Bass Management Crossover

(X-over) frequency, the issue of phase alignment remains.

For this purpose, the AIR-Base has a 0-180 degree phase

adjustment (in 5 degree steps) and a Phase Reverse

function. The optimum setting of these will depend on

several factors:

1. Room acoustics

2. Placement of monitors and listening position

3. Choice of X-over frequency

4. AIR Monitor type (6 or 15)

Phase settings are automatically saved and linked

to the currently selected Cross-over frequency.

Phase settings are Global settings and are

therefore not saved with individual presets.

Initial setting

During calibration of the AIR-Base's DSP software, we

have come up with default settings that we found optimal in

our listening room. If you're placing the AIR-Base at the

same distance from the listening position as your AIR

Monitors, the default phase settings can be used as initial

guidelines for setting the phase. If the distances are

significantly different, these values are not likely to be

optimal.

Phase Adjustment

Now play repeatedly a low-frequency sweep signal that

sweeps over the X-over frequency that you have chosen.

Tracks 31-42 on the AIR Test CD may be used. Between

each sweep, change the Phase Reverse setting. Note the

difference. Ideally, with the right level calibration and phase

setting, the sound should cancel out and virtually disappear

at or near the X-over frequency, when the Phase Reverse

control is in one position. Tune Phase Adjust to get the

largest possible difference between the two Phase Reverse

settings. Then leave it in the position where no cancellation

occurs.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

Acoustics

When we talk about making a room "sound right", we are

probably dealing with room acoustics as a science

acoustics has been around for about hundred years.

Until then good acoustics happened by experiment, by

experience, or simply by accident.

Today we know a lot about the parameters that influence

the "sound" of a room.

Talking about the control room we know that basically this

room should act as neutral as possible. But this is not

always the case. Lets just take a short look on some of the

issues, than one must be aware of.

• One sound source, one receiver and no room

• Only the direct sound is received.

Good acoustics

Here is a list of important parameters concerning good

acoustics.

• Proper reverberation time

• Good sound distribution

• Adequate sound pressure level

• Low background noise level

• No echo (flutter echo)

Now lets have a look on these headlines that will be

adequate for the most purposes concerning sound

production.

• One sound source, one receiver, and one reflecting

surface.

• The sound is received twice. (In the control room this is

normally experienced as comb filtering, see later).

Reverberation time

The reverberation time is defined by the time it takes a

sound to attenuate 60 dB after the source is stopped.

In the real life we can experience reverb times from

approximately 0 sec. (outdoors or in anechoic chambers) to

something like 10-12 sec. In special reverb chambers the

time may exceed 20 sec.

Control rooms normally should have a reverb time around

0.2 - 0.3 sec.

Why do we have reverberation? The speed of the

propagating sound wave is very slow - at least compared to

light: approx. 1130 ft. or 340 m per sec.

If there are no reflecting surfaces between the sound

source and our ears, only the direct sound is heard and

there is no reverberation.

• One sound source and one receiver in a room.

• The sound impulse is reflected in many surfaces.

All the reflections are melting together and heard as

reverberation.

If there is a single reflecting surface we may hear the

reflected sound in one way or another, but there is still no

reverberation.

If the sound is generated in a room, there are a whole lot of

reflections. Each of these travels different paths with

different distances on the way to the receiver. Each time

the sound hits a surface it may loose some energy if the

surface is absorbing.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

One square meter (1 m2) Sabine is comparable to

Sabines formula

an open window with an area of one square meter:

The sound that hits the window will disappear and

never return. One square meter Sabine is one

square meter with full absorption.

Sabine is the father of modern acoustics. He found that

reverberation time is described by a relationship between

the room size and the amount of absorption in the room.

Larger rooms - longer reverberation. More absorption -

shorter reverberation.

The basic formula sounds simple, but the problem is that

the materials in the room will absorb differently at different

frequencies. The absorption may range from nothing (fully

reflective) to total absorption.

T = 0.161 * V / A

where

0.161:

Reverberation time in seconds

Volume in m3

Absorption in m2 Sabine

Is a constant (to make the calculation

right with the actual units)

A proper reverb time should be constant with frequency,

but this is not always the case because of the behavior of

the materials in the room. The low frequencies are the

most difficult to control.

This is why the reverberation time against frequency in

practice may look like this:

X-studio, re v e rbe ration time in control room

0,80

0,70

0,60

0,50

0,40

0,30

0,20

0,10

0,00

125

250

500

1000

2000

4000

8000

Frequency [Hz]

Reverberation time measured in a control room. From 250 Hz and above the curve is nicely placed

around .3 sec. But belov the reverb time rises to .75 sec. which is too much.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

Absorbers

All materials in the room act acoustically even if they are

not so-called acoustical materials. Basically we have three

kinds of absorbers.

Diffusers

A diffuser provides diffuse reflection of the sound

radiated against it. It can be a very useful solution

in cases where reflections are disturbing the sound

image and it is not advisory to ad further

Membrane absorbers

absorption. So in order to reduce flutter echoes,

comb filtering etc., special elements can be placed

on the "disturbing" surface. These elements must

have dimensions comparable to the frequencies at

which diffusion is wanted.

This kind of absorber includes wooden floors, windows,

doors, etc. This absorber provides absorption in the low

end of the frequency range. The efficiency is normally not

very high, but under normal conditions large areas are

included in the basic room construction. Special designed

membrane absorbers can be very effective.

Absorbtion or diffusion ?

Resonance absorbers

Resonance absorbers include slit panels, perforated plate,

Helmholtz resonators etc. These absorbers are normally

used in the frequency midrange. The absorption is medium

to high.

A special technique developed by Manfred

Schroeder is very capable in making a smooth and

controlled diffusion. These diffusers normally

referred to as "Schroeder Diffusers" can be found

as prefab modules.

Porous absorbers

These absorbers include mineral wool, carpets, curtains,

and so on. They can be very effective, but the thickness of

the material has to be taken into account. Thin layers will

only absorb the highest frequencies. (Think of a rehearsal

room in the concrete basement where the only damping is

a carpet on the floor: Not good at low frequencies!)

To absorb a given frequency (and all frequencies above)

the thickness of the absorber must be the quarter of the

wavelength of that frequency. Or: the front of the material

must be placed at a distance of one quarter of the

wavelength.

20,0

10,0

0,0

Cross section of one example of the

Schroeder Panel.

Download from Www.Somanuals.com. All Manuals Search And Download.

BACKGROUND INFO - ACOUSTICS

90º the sound will be reflected right back where it came

Standing Waves

from. Under certain circumstances the sound wave will

meet itself again. For instance if the sound is reflected

between to parallel walls. This becomes a problem, when

the sound wave not only meets itself, but when it meets

itself in phase. And this will happen when the distance

between the walls is half a wavelength of the radiated

sound wave. Or one whole wavelength - or 1½, 2, 2½ and

so on.

Standing waves exist in all kind of rooms. The shape of the

room, the dimensions of the room, and the relationship

between the dimensions of the room, are important

parameters that will determine the frequencies around

which the phenomenon exists as well as the distribution of

these standing waves. But how do they occur?

Imagine a sound source. When the sound is emitted the

sound wave will propagate in all directions if no obstacles

in sight. This will of course happen with the speed of

sound. Now, if the sound source is placed inside a room

the sound wave will hit the boundaries of the room. If the

boundaries consist of acoustically hard (reflective)

This phenomenon is called standing waves. Actually the

sound wave is not standing. But it is experienced like that

because the sound pressure maxima and minima are

positioned in fixed places in the room.

surfaces, the sound is reflected. If the angle of incidence is

The sound field is

initially radiated

having a radial wave

front but within a few

reflections the sound

field has obtained a

plane wave front.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

Room modes

These special frequencies are also called room modes. Standing waves between parallel walls are called axial modes.

Other modes exist. For instance tangential and radial modes. (See the illustration). Normally the axial modes are the

strongest.

Axial

Tangential

Radial

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

The standing waves are characterized by having a maximum sound pressure at the boundaries of the room. Depending

on the frequency there are one or more dips across the room.

In a box shaped room the frequencies can be calculated as follows:

n_l

n_h

f =

(

)+ ( ^b)+ (

)

where

f =

frequency in Hz

c =

l =

speed of sound (approx. 340 m/s or 1130 ft/s)

length of the room

w =

width of the room

h =

height of the room

n =

integer from 0 and up

How does the standing waves influence the sound

field?

How to prohibit standing waves

Parallel walls in the room should be prevented. Then the

strongest modes are suppressed.

The maxima of the standing waves are shown in the figure.

The curve expresses the area of the room where the actual

frequency is audible. At the minima the frequency is

represented at a much lower level (sometimes -40 dB

compared to the maximum).

When placing the monitors it is important that as few

modes as possible are excited. This is why the monitors

should not be placed in a maximum of a standing wave.

If the room has the same dimensions as length, width, and

even height it is very problematic to obtain an even sound

distribution.

When monitors are built into walls you should therefore be

concerned that the opposite wall is not parallel to the

monitor wall.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

At low frequencies a monitor can be considered

as to radiate the sound energy in all directions.

This is also called a 4 π radiation.

When placing the monitor close to a solid

boundary - for instance a wall - the sound

energy that should have been radiated in the

direction of the wall instead is radiated into the

free half space. Hence the sound pressure is

doubled in the half space, which yields +6 dB.

This is also called a 2 π radiation.

Placing the monitor against two boundaries - for

instance in a corner limited by two walls - it is

now radiating to the quarter space. Now the

sound pressure is doubled twice, which yields

+12 dB.

This is also called a π radiation.

Placing the monitor against three boundaries -

for instance in a corner limited by the floor and

two walls - the sound is radiated into 1/8 of the

space. Compared to free space, the sound

pressure now is increased by 18 dB.

This is also called π/2 radiation.

In practice the placement close to boundaries will influence the frequency

range below 125-150 Hz.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

Comb Filtering

The filtering function that arises when a signal is added to itself after having been delayed in time is called a comb filter.

The resulting frequency response resembles a comb, hence the name.

Two 500 Hz sinusoidal tones added. The second tone is delayed 1 ms hence the sum is zero

Two 1 kHz sinusoidal tones added. The second tone is delayed 1 ms hence the sum is the

double (+6 dB).

The comb filter function is almost never intentional, but it is heard all the time in sound productions, where it can arise both

acoustically and electrically.

Acoustically, it typically occurs when the sound on its way from source to recipient takes in part a direct path and in part an

indirect path via a single reflective surface. The reflection must be attenuated at least 10 dB and preferably 15 dB in order

for it not to have an effect on the sound field at the recipient position. Electrically, the phenomenon arises when two

microphones with a certain distance between them capture the same signal and the level from each microphone is of the

same order of magnitude.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

or +

Two typical situations in which comb filters arise, either acoustically or electrically.

In general: All digital signal processing takes time. This means in practice that comb filter effects can arise if you loop a

signal via, for example, a compressor and combine this signal with the original.

An example of a comb filter created by the combining of two signals with the same amplitude, but

with a time delay between them of just 1 ms.

It can be seen that a dip occurs due to cancellation at 500 Hz, 1.5 kHz, 2.5 kHz, etc.

It can also be seen that the two signals add to double their value (+6 dB) at low frequencies and

with a full wavelength's delay at 1 kHz, 2 kHz, 3 kHz etc.

Dip frequencies

Cancellation occurs for a comb filter at all the frequencies where the two signals are in opposite phase. This occurs when

the time delay comprises duration of ½, 1½, 2½, etc. periods. At 1 kHz the period is 1 ms. Half of the period is 0.5 ms.

If a time delay of precisely 0.5 ms occurs, it means that cancellation will arise, not just at 1 kHz, but also at 2 kHz, 3 kHz,

4 kHz etc.

Download from Www.Somanuals.com. All Manuals Search And Download.

ACOUSTICS - BACKGROUND INFO

Rear wall cancellation

When the monitor is set up at some distance in front of a wall, reflections from the wall may occur and influence the

perceived frequency response. This could result in comb filtering if all frequencies produced by the monitor were radiated

in all directions. But the monitors are typically only omni-directional at low frequencies.

The result of the reflection is a single or few dips in the frequency response perceived in front of the monitor.

This frequency is

cancelled because of the

oppositely phased

reflection

The frequency response may look like this: one cancellation at the frequency that has a wave length of four times the

distance to the rear wall.

The dip - or cancellation frequency - is dependent on the

distance to the wall. If the distance is 1 m, the first dip

frequency will occur at a frequency with a wavelength of

4 m.

A closer position will result in a cancellation at a higher

frequency. This is then limited by the frequency where the

monitor becomes directional and does rot radiate sound to

the rear.

l = c / f

where

A farther position will result in cancellation at a lower

frequency. This is limited by the distance being so long,

that the reflected sound is attenuated due to the long extra

path travel.

l = wavelength [m] (or ft.)

c = speed of sound [m/sec] (or ft./sec.)

f = frequency [Hz]

Hence

4 = 344 / f

f = 86 Hz

Download from Www.Somanuals.com. All Manuals Search And Download.

THE SUBWOOFER - BACKGROUND INFO

The Subwoofer

A subwoofer is a monitor that reproduces low frequencies. The purpose is to take over from the main monitor(s) as

frequencies approach the lower end of the frequency range. I.e. approximately below 120 Hz. When used in professional

monitor systems it is commonly preferred to use subwoofers below approximately 80 Hz. But of course it depends on the

performance of the main monitors.

The low frequency contents of just one or all the main channels can be directed to one subwoofer.

From the psycho-acoustics we know that there is no directional information in audio signals below approximately 120 Hz.

Hence the advantage of placing the subwoofer in a position where the best distribution is achieved.

However it is very important that the distortion in the subwoofer is reduced to an absolute minimum because distortion

results in the production of harmonics (2, 3, 4 etc. times the frequency reproduced). Especially the third harmonic may

dominate. Reproducing a frequency of 100 Hz can result in the generation of an audible frequency component at 300 Hz,

which presents directional information to the human hearing system.

Bass management

Bass management (sometimes called bass redirection) is a very important feature - and it is in general an absolute

necessity if you want to make a 5-channel setup in a small room! There are several reasons for this.

The bass management system is designed to subtract the bass contents of all main channels and reproduce this by the

use of a subwoofer. The AIR-series provides a number of possible cross-over frequencies that can be determined by the

user.

Sub

Principal setup for the bass management. It can be used

with any number of main monitors up to five.

Download from Www.Somanuals.com. All Manuals Search And Download.

THE SUBWOOFER & LFE CHANNEL - BACKGROUND INFO

Checking summing phase cancellation

disturbing boundaries to prohibit the excitation of the

standing waves. But in small rooms the rear monitors very

often are placed in a corner or on a wall. Having the full

frequency range reproduced in a monitor like that, there

may occur serious problems which results in a poor low

frequency sound distribution in the room.

In a basic 2-channel setup or 5-channel setup (like the ITU-

775) a subwoofer is not specified and is not required. But

making audio production to be played back on consumer

equipment, one has to ensure that the mix will sound right

in this situation. Many consumer setups provide a

subwoofer. Hence it is very important to check what the

summing of the bass is like. If the program material

basically is out of phase, the bass will be cancelled when

summed electrically. But this is not the case if the bass

signals are reproduced by the main monitors and summed

acoustically. A dramatic difference may exist!

So this is another reason for using bass management.

Simply: Only one monitor - the subwoofer - has to be

placed in a safe position. The cross-over frequency can be

selected to a value just above the problematic frequency

range.

Controlling standing waves

It can be very difficult to get two monitors in the right

position in order to prevent the excitation of the standing

waves. But placing five monitors are even more difficult!

Each monitor should play under the same conditions as the

others but that is seldom the case.

Three front monitors can normally be placed away from

The LFE Channel

LFE is short for Low Frequency Enhancement or Low Frequency Effects, the first being the original name but the second

being the most correct with regard to its application.

It is also referred to as the .1-channel, which indicates that the frequency range of this channel is only a fraction of the

other channels in a multi channel setup. The actual frequency range is 20 Hz to 120 Hz.

When reproduced the signal is gained by 10 dB compared to the main channels. This provides a possibility of reproducing

occasional high-level low frequency contents without affecting the general level setting of the main channels.

Leading signals to the LFE channel should be evaluated carefully in each case as not all transmission or reproduction

systems may include this channel. In the music mix there is no special reason for using this channel unless you are

recording the 1812 Overture with its canons and all that stuff.

Cross-overs

Sub

Low Pass

LFE Gain

120 Hz

+10 dB

Download from Www.Somanuals.com. All Manuals Search And Download.

DELAYING MONITORS

LINE-UP & CALIBRATION

ITU 775

Acoustic summation of audio

signals

When using a 5.x setup with monitors arranged on a circle

line (as with ITU 775) the distance from the listener to each

of the main monitors is the same.

The total sound level in the acoustic summation of two

sound sources, for example of two monitor monitors,

depends upon both the signal and the acoustics. The

sound sources can be correlated or uncorrelated.

In case of limited space the three front monitors can be

arranged on a straight line. To compensate the center

monitor being closer to the listener than the left and right

monitor, the center signal can be delayed. To obtain

coincident arrival of the sound from all front monitors the

delay ranges normally between 0 and 3ms. dependent on

the off-set needed.

The listening position (or measurement position) can be

either in the direct sound field or in the diffuse sound field.

In the direct sound field, there is only one sound direction.

This direct field exists either in the open, in a reflection-free

room or close to the monitors. The diffuse sound field

occurs in a room when you are so far away from the

monitors that the portion of direct sound is less than the

sum of all the reflections. The distance from the monitors

where the direct sound field and the diffuse sound field are

equally large is called the critical distance. In a control

room, it can typically be 1-3 meters. The near field in front

of the monitors can be regarded as a direct field.

The speed of sound is approximately 340 m/s or 1130 ft./s.

Approximately 1 ms. of delay will be used per 1 ft. or 30cm,

when the monitor has to be "moved" backwards.

Cinema setup

In the setup for the cinema the front monitors are always

arranged on a straight line. In this case the audience is

placed closer to the surround monitors than the front

monitor. In order to retain the directional information

towards the screen the surround monitors are delayed.

Normally the Haas-effect is taken into account. In the

listening position the sound from the surround monitors will

arrive about 15-20ms after the sound from the front

monitors. The delay times involved with cinema processing

for the surround channel is dependent on the size of the

mixing facility, the cinema, or the home theatre/living room.

Based on all monitors in phase, the sum of the sound

pressure from two monitors each playing at the same level

is 3 dB, unless the signals are correlated (they are

identical) and the sum is measured in the direct field. In

this situation the resulting sound pressure level is 6dB

higher than the level of the individual monitors.

The procedure is to calculate the difference in distance

between front monitors and the closest surround monitor.

Then the time difference is calculated. To this is added 15-

20ms.

Example: From a listening position there are 20 meters to

the front monitors and 5 meters to the surround monitors.

The difference is (20-5) 15 meters.

The time is 15/340 sec, which equals .044 sec or 44ms. To

this is added 15ms. The result is that the surround signal

has to be delayed 59ms (or the closest possible).

Acoustic calibration of multi-channel systems

Calibration of the acoustic sound levels has been a

requirement for many years when working with sound for

film, although it has not been particularly common in other

branches of the sound industry. However, with the

widespread use of multi-channel formats for all forms of

music and film presentation in the home, it has turned out

to be beneficial to also have the acoustic levels under

control here.

It is important to differentiate between production for the

cinema and production for 5.1 channel reproduction in the

home based upon ITU 775.

Download from Www.Somanuals.com. All Manuals Search And Download.

LINE-UP & CALIBRATION - BACKGROUND INFO

Calibration of 5.1 in an ITU-775 arrangement

In a 5.1 system based on the ITU arrangement, all main channels have in principle the same conditions: there is one

monitor per channel and each is placed the same distance from the listener. Internationally, there is however neither

agreement on the level nor on the bandwidth for the noise signals that is used for acoustic calibration. Pink noise is good

since it includes all frequencies, however it is impractical due to its "unsettled" character, which makes it difficult to

measure at low frequencies.

Surround Sound Forum

Surround Sound Forum is a German interest group composed of the VDT (sound technicians), the IRT and the SRT. The

SSF has prepared guidelines, which are generally accepted in Europe. Three test signals are specified in it, which are

recorded at -18 dBFS (RMS).

Measurement Signals

Listening Level

Signal

(only in one channel)

PPM level

t <0,1 ms

PPM level

t <10 ms

RMS level

Sound pressure

level

SLOW

[dB]

SLOW

[dB(A)]

[dB]

-18

-9

[dB]

-18

-13

-15

[dB]

-18

-20

1 kHz sine

Pink noise 20 Hz-20 kHz

Pink noise 200 Hz-20 kHz

-11

SMPTE

does not influence the sound field. The microphone should

have a flat frequency response.

The corresponding standard from SMPTE (RP155) uses a

standard of -20 dBFS for the reference level. Here, the C-

weighted sound pressure level of a 500 to 2 kHz noise

signal ends up at 83 dB.

Place the microphone on a stand positioned at the listening

seat. Leave the microphone pointing upwards in order to

avoid sound pressure build-up in front of the diaphragm

and to provide equal conditions to monitors in all directions.

Calibration of cinema systems

In a cinema, the listeners are sitting far from the monitors.

Presumably, the majority sits in the diffuse sound field. In

any event, attempts are made to establish a diffuse sound

field from the surround monitors. Hence when the sound

pressure is measured inside the cinema or in a mixing

theatre it must be averaged over many different

measurement locations. The typical basis for the majority of

the standards is at least four locations. If there are different

areas for the audience, for example main floor and balcony,

measurement should be made in at least four locations in

each. Before this measurement can be performed, the

system's frequency response must also be in order.

Connect the microphone to a mixing desk or a recording

machine that has a meter built in.

Play back a track containing pink noise on the CD you got

with the monitors. (or use one of the other tracks as

instructed to during setup and calibration.

Adjust the gain in the microphone channel until the meter

deflection reaches a point 10 dB below full scale. This is

now your reference for your measurements. Be sure that

you have marks on the scale that makes it possible to read

steps of 1 or 2 dB on either side of the reference

deflection. If 10 dB below full scale is not an adequate

point on your meter you may choose another one, just be

sure to have a reading on a adequate resolution.

How to measure the sound

pressure?

Sound level meter or microphone

If you use this microphone setup as described, it can be

used for the level comparison between the individual

monitors.

If you are used to perform acoustic measurements you

probably already own a sound level meter. This can be

used for the level calibration of the monitors.

Absolute sound pressure levels can be measured if you:

a) are using a well calibrated microphone channel

b) know the sensitivity of the microphone.

If you do not have a sound level meter, there still is another

possibility:

Take an omni-directional microphone. (This is also called a

pressure microphone). A studio condenser microphone is

normally preferred but the microphone must not be too big.

Then a simple clip microphone can be used instead as it

Download from Www.Somanuals.com. All Manuals Search And Download.

THE AIR REMOTE

Introduction

When perfect setup and calibrations is in place, optimal performance from the AIR system monitors is achieved by

controlling level on the monitors themselves as opposed to controlling via the mixing console. Therefore a remote control is

a natural extension to the AIR monitor system.

Remote Control Features

• Instant access of three different user defined Reference Level settings.

• Instant Preset Recall function of up to 4 presets. This way you can

easily switch between different setups from your listening position.

• Mute/unmute and solo function for each monitor in the setup.

• Easy Master Level adjustment via large potentiometer.

Ref. Level selection

Preset Selection

Shift key for preset

selection 1/3 to 2/4.

Master Volume

Mute/Unmute/Solo for

each channel

Download from Www.Somanuals.com. All Manuals Search And Download.

THE AIR REMOTE

REF LEVEL 1-3 keys

VOLUME potentiometer

To recall Reference Level 1-3:

Press relevant key shortly. The key LED indicates activated

Reference Level.

If no REFERENCE LEVEL keys are activated this control

sets the Master volume on all channels in the system.

If one of the REFERENCE LEVEL keys are activated,

these will define the reference level.

To set Reference Level 1-3:

When REFERENCE LEVEL keys are deactivated Master

volume returns to the level defined by the position of the

VOLUME potentiometer.

Set level using the large VOLUME dialer in the center of

the remote. Press and hold relevant Reference level key

for approx. 2 seconds. The LED will flash 3 times and then

the new Reference level is set.

Power up state: Potentiometer setting defines

volume level.

Power up state: Off (volume defined by potentiometer)

PRESET 1/3 AND 2/4 keys

Potentiometer LED function:

These keys will recall presets 1/3 & 2/4 depending on the

position of the SHIFT key.

Power up state: Off (no presets recalled).

As soon as the volume level is defined by the

potentiometer setting, the LED is on. LED goes off when

volume is set by other devices than the remote unit.

SHIFT key

Power up state: LED on (Potentiometer setting defines

volume level).

Combined with the PRESET 1/3 AND 2/4 keys (described

above) presets 1 to 4 can be recalled.

Preset Bank 1 is presets 1and 2. Preset bank 2 is presets

3 and 4.

Power up state: Preset Bank 1 selected.

MUTE/UNMUTE - SOLO keys for the channels:

L - C - R - Ls - SUB - Rs

The key LEDs indicates the following states:

LED ON

Speaker on

LED OFF

Speaker Mute

LED Flashing Speaker Solo

Mute/Unmute

With a single press on these keys the monitors are

muted/unmuted.

Solo Function

Press and hold one of the keys to activate Solo function for

corresponding channel.

All other monitors can enter solo mode simultaneously.

If a key is pressed (not held) the original mute status will

be recalled.

Power up state: On

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR SOFT

The AIR SOFT is a software editor for the AIR System monitors. All parameters controllable via the display locally on the

System Controller, as well as the Reference Level features available via the AIR Remote can be controlled via the AIR Soft

program. As your AIR monitors most likely are placed out of your immediate reach we are therefore convinced that you will

benefit from having full control over your monitor system from your PC or Mac.

Please find additional parameter explanations on pages 18-20 in this manual.

Minimum requirements

Installation procedure PC:

• Place the Installation CD in your CD ROM drive and

open CD contents.

• PC running Windows 98, 2000, or XP.

• Mac computer running OS 9.2 or higher or Mac OS X.

• 64MB RAM

• Press Setup

• 800x600 24bit screen resolution

• 1 free Serial port or USB.

• Follow the instructions.

Installation procedure Mac:

• Enter the Installation CD in your CD ROM drive and

open CD contents.

• Run the installer.

• Follow the instructions.

Connect from Serial or USB port to any free TC

LINK connection on your AIR monitors using

ONLY the cables described on page 52.

Serial to Cat-5 cable is supplied but if an USB

port is used, an USB to Serial COM 9 port

cable must be acquired.

Navigating AIR SOFT

Network

Calibrate - Main Monitors

Main Screen

Press to enter preset list.

Calibrate - AIR-Base

System Setup

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR SOFT

Bass Mgt - Bass Management

Indicates the selected Cross-over frequency for Bass

Management.

Main

Tools

When placing the cursor on top of a monitor, a few tools

will appear:

•

Press this symbol to enter calibration

pages

•

Press to solo the monitor

Press to mute the monitor

This is the Main screen from where all other AIR SOFT

screens are accessed.

The (((•))) network icon (upper left corner)

If steady:

The computer running the AIR SOFT is not correctly

connected to AIR monitors. Check connections, cables and

refer to the setup-illustrations on pages 7-13 in this manual.

If blinking:

The computer is correctly connected to your AIR monitor

system.

The (((•))) icon is also used to access the Network screen.

Press (((•))) to access.

VOLUME dialer

Use the mouse on the VOLUME dialer on the middle of the

display to adjust Volume

REF LEV. keys

The three keys below the dialer instantly switches between

the 3 user-defined Reference level settings.

To change these Ref. Levels:

• Set dialer as desired

• Hold cursor above Ref. Level key and select “Store” from

the pop-up icons appearing.

Monitor and Sub icons

Depending on the currently selected setup (if any) satellite

monitors and subs will be indicated by appropriate icons as

illustrated above. Press to access specific parameters for

the monitors.

This symbol in the Main screen indicates that the

selected setup expects a monitor at a certain

position but no monitor is found. Check your

connections and retry.

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR SOFT

Preset List

Is accessed by clicking on the left side of the display frame.

Network

Accessing the Network Screen

Press the (((•))) icon in the Main screen to access the

Network facilities. In this screen various global network

settings are handled.

Autodetect

Press to let the AIR SOFT scan your COM ports. If an AIR

System is connected to any port it will be recognized.

Please note that the Autodetect function is not executed

until OK is pressed.

Presets include

• Preset Volume

• Bass Management

• LFE Low Pass

• Parametric EQ

• Mute status

• X-curve setting

• LFE Gain

Port

(can be adjusted using the AIR PC IP only)

All other settings can be considered “global” and are not

stored with presets.

Manual select of Serial/COM port.

Status

Recall presets

Select preset using your mouse and press Recall.

Indicates the status when entering the Network screen.

Clear Network - Clear Setup for entire network

Select this reset procedure to clear all tasks and setup

settings.

Store presets

Select User preset locations 1 to 15 and press Store.

Edit Name

Clear Settings - Clear Monitor Settings

All global and local parameters in connected monitors are

reset. Preset and network settings are not affected.

Any User preset can be renamed.

Set cursor in the name field and edit name using your

keyboard.

Locked symbol in Preset List

Reset to Factory Settings - Reset All Settings

A “factory” reset procedure that deletes all global and local

parameter settings as well as preset and network settings.

Upload Software to Monitors

The “locked symbol” illustrated above indicates that the

preset have been locked via the AIR PC-IP Installers

software. A protection-locked preset cannot be unlocked via

AIR SOFT, - only via AIR PC-IP.

Software updates for the AIR System comes as a .syx - file.

There are separate files for monitors and subs.

• Save the .syx - file to a location on your harddrive prior

to the upload procedure.

• Press Upload Software to Monitors

• Follow the instructions

Press OK to exit window.

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR SOFT

During Software upload various messages could be

displayed:

Monitor assignment

Task

• Press monitor symbol to activate pink noise test-tone.

• Then select task for the monitor now playing the noise.

Serial number and type will be indicated.

Example:

In a 5.1 AIR setup you are uploading monitor software to

the entire system. As there are separate software files for

monitors and subs the following message should appear.

A monitor marked with an exclamation mark

indicates that an “unknown” monitor has been

detected.

“5 AIR monitors updated successfully”

- meaning the AIR monitors are updated but no software

has been accepted by the connected sub.

Scan System

Press the magnifying-glass to scan the entire

system for connected units.

If a monitor lost connection during transfer it will not be

indicated or counted, but the software upload continues.

Save Settings

All settings except “preset settings” are saved to a back-up

file.

If the message: “Failed to update AIR monitors” - is

displayed, some of the monitors have reported an error

during software upload. This could be caused by

communication errors. Please retry.

Load Settings

Press and browse to select file to load.

Follow the instructions.

Press to exit screen and execute Autodetect command if

marked.

System Setup

Calibrate - Main Monitors

Solo

Pink Noise

Mute

Configuration

Select your current setup.

Via the Calibrate screen, parameters and settings for the

Main monitors are controlled.

The screen is accessed via the Main Screen by

holding the cursor above the desired monitor and

selecting the hammer icon.

Analog Gain

Range: 9dBu, 15dBu, 21dBu or 27dBu

Set to match analog Input gain to match the signal fed to

the optional Analog Input card.

Room position

Range: Neutral, Wall, Corner, Console, C. Wall or C. Corn

Select according to the actual position of the monitor.

BNC Input

BNC Sync On:

The monitor attempts to lock on the Word Clock BNC.

X Curve

Range: Off, X-Curve 1 or X-Curve-2

Two modifications of X-222 curve are available.

See page 25.

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR SOFT

Calibrated Level

Level calibration of the selected monitor.

Polarity

Range: 0 or 180 deg.

Mark to activate.

Relative Level

Preset volume for the selected monitor relative to the

calibrated and global volume.

Calibrated Level

Level calibration of the selected monitor.

Use Parametric EQ

Relative Level

This will be marked if the Parametric EQ is activated via

the AIR PC-IP. Bass and Treble settings will be disabled.

Preset volume for the selected monitor relative to the

calibrated and global volume.

LFE Gain

Range: 0 to 14dB

Bass/Treble

Range: -6dB to +6dB

With this parameter you can boost the gain of the LFE

channel.

Bass and Treble adjustment for the selected monitor.

These handles are not available when the Parametric EQ

is activated via AIR PC-IP.

LFE Low Pass Filter

Mute

Mark to activate.

Press to mute the selected monitor.

Mute

Press to mute the selected Sub.

Solo

Press to solo the selected monitor.

Solo

Press to solo the selected Sub.

Pink Noise

Press to generate Pink Noise in the selected

monitor.

Pink Noise

Press to generate Pink Noise in the selected

Sub.

Calibrate - AIR-Base

Chained monitors

If several monitors are chained on the same task (e.g.

LSur-LSChain) a dropdown menu will be present as

illustrated below.

To calibrate a chained monitor simply select from the list.

Chained monitors will also be indicated in the Main

screen.

Solo

Pink Noise

Mute

This symbol indicates that there are two monitors

chained on this specific position.

Via this Calibrate screen, parameters and settings for the

Subwoofers are controlled.

The screen is accessed via the Main Screen by

holding the cursor above the desired Sub and

selecting the hammer icon.

Phase

Range: 0-180°

To time-compensate if the Sub is not placed according to

the ITU 775 recommendations. There are individual Phase

settings for each of the Bass Management Cross-over

frequencies. Once set, these are stored as Global settings.

Download from Www.Somanuals.com. All Manuals Search And Download.

MISCELLANEOUS

The AIR series are unquestionably high quality

products. This section focuses on a few technical

issues that adds to the perception of the high standard

of the products.

Global Parameters

These parameters applies for the entire System:

Global parameters stored with presets

• Bass Management

• Mute Status

High efficiency compact Switched Mode Power Supply

(SMPS)

For saving overhead power consumption and to insure

optimal performance disregarding the mains voltage, the

unit is equipped with a high efficiency compact Switched

Mode Power Supply (SMPS). Using switched technology

both in amplifiers and power supply can reduce the heat

sink size to about 1/3 the size of what it would be with

regular power supply and class AB amplifiers.

Global parameters NOT stored with presets

• Ref. Levels

• Analog Input Sensitivity

• Selected Setup

• BNC Sync

Local Parameters

Power saving shut down modes

The amplifier can detect whether or not there is Input on

the analog or digital line. If input is absent for more than

half an hour all monitors in a network will go to sleep-

mode. from which they can recover automatically when

signal is received. The power up time from sleep is a few

hundred ms.

These parameters applies for individual

monitors:

Local parameters stored with presets

• X-Curve

• Parametric EQ setting (set via AIR PC-IP)

• LFE Gain (subs)

If Input signal is absent for more than 2½ hours the system

will go into standby from which it can recover by user

intervention such as touching the volume wheel on the

Remote Control or by touching the Master monitor display.

• LFE Low Pass (subs)

• Rel. Level

Local parameters NOT stored with presets

• Bass and Treble

• Delay

Software updates

• Lock status (set via AIR PC-IP)

• Room position

• Calibration Level

• Tasks

Each monitor in a setup can be software updated via

Network. This is done through PC/Mac using the AIR

SOFT. Follow the Software update procedure as described

on www.dynaudioacoustics.com

• Phase (Subs)

• Polarity (Subs)

Reset Procedures

Three different levels of “Reset” exists. For all three

scenarios all connected monitors will be affected.

The following Reset procedures are accessed by

holding the ENTER key on the System Controller while

powering up:

Clear Monitor Settings

All global and local parameters in connected monitors are

reset. Preset and network settings are not affected.

Reset all Settings

A “factory” reset procedure that deletes all global and local

parameter settings as well as preset and network settings.

The following reset procedure is found in the Setup

menu:

Clear Setup for entire network

Select this reset procedure to clear all network settings.

Download from Www.Somanuals.com. All Manuals Search And Download.

CABLES

TC LINK Standard Cat-5 cables

Maximum Cable Length : 15 meter.

Cable type

: Shielded Ethernet Cable

Category 5.

Connector type

: RJ45

This connection is carrying Digital audio (24 bit) and

network control information.

Serial to Cat-5 cable

- included with the AIR SOFT and AIR

PC-IP. This is a proprietary cable with

build in electronics for use with AIR

Systems only !

Color

Brown

White/Brown

Green

White/Blue

Blue

White/Green

Orange

White/Orange

AES/EBU Standard cables

USB to COM 9pin

Maximum Cable Length: 100 m

- NOT included with AIR SOFT or AIR

PC-IP. Use this type of converter in

Cable type:

110 Ohm

XLR

Connector type:

conjunction with the Cat5 to Serial cable

described above if your computer has a

USB connection only and no serial port.

XLR - XLR

Pin 1 - Pin 1 (Ground)

Pin 2 - Pin 2 (Hot)

Pin 3 - Pin 3 (Cold)

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR TECHNICAL SPECIFICATIONS

AIR 6 & AIR 15 (Master and Slave)

Model

AIR 6

AIR 15

System

Two-way Active Nearfield Monitor

40 Hz – 22 kHz

> 128 dB peak

> 126 dB peak

104 dB RMS

+/- 0.2 dB

45 Hz

12.1 liters

Bass reflex

Two-way Active Nearfield Monitor

33 Hz – 22 kHz

> 128 dB peak

> 126 dB peak (no LFE)

103 dB RMS

+/- 0.2 dB

40 Hz

27 liters

Bass reflex

Frequency response (+/- 3 dB)

Peak SPL 1m, pair (IEC Short Term)

Peak SPL 2m, 5.1 (IEC Short Term)

Max SPL 1m, (IEC Long Term)

Precision of monitor matching

Port tuning frequency

Internal cabinet volume

Bass principle

Crossover frequency

Crossover slope

Tweeter

2150 Hz (DSP generated)

24 dB/oct (Linkwitz Riley, DSP generated)

Esotec 28 mm / 1.1" soft dome, rear chamber, magnetic fluid,

4mm die-cast alu front, pure alu wire voice coil

175 mm / 6.5", one-piece molded polyprop cone, 75 mm / 3"

pure alu voice coil, magnetic shielded

100 to 240 VAC, 50 to 60 Hz (auto-select)

40 W @ 1/8 max power (IEC 60065)

2150 Hz (DSP generated)

24 dB/oct (Linkwitz Riley, DSP generated)

Esotec 28 mm / 1.1" soft dome, rear chamber, magnetic fluid,

4mm die-cast alu front, pure alu wire voice coil

240 mm / 10", one-piece molded polyprop cone, 100 mm / 4"

pure alu voice coil

Woofer

Mains voltage

Power consumption

100 to 240 VAC, 50 to 60 Hz (auto-select)

40 W @ 1/8 max power (IEC 60065)

Finish

Amp

Cabinet

Dimensions (H x W x D)

Weight

Black anodized aluminum back plate

Dark gray MDF baffle, Silver foil

338 x 216 x 345mm / 13,3” x 8,5” x 13,6”

9.8 kg / 21.8 lbs

Black anodized aluminum back plate

Dark gray MDF baffle, Silver foil

425 x 275 x 395mm / 16,7” x 10,8” x 15,5”

15.5 kg / 34.5 lbs

Amplifier

Tweeter and woofer

Tweeter 200 W PWM amp/Woofer 200 W PWM amp

AIR 20 & AIR 25 (Master and Slave)

Model

AIR 20

AIR 25

System

Three-way Semiactive Nearfield Monitor

31 Hz –22 kHz: +/- 3dB

131 dB peak

129 dB peak

104 dB RMS

+/- 0.2 dB

40 Hz

35 liters

Bass reflex

Three-way Active Nearfield Monitor

28 Hz –22 kHz: +/- 3dB

134 dB peak

132 dB peak

107 dB RMS

+/- 0.2 dB

35 Hz

68 liters

Frequency response (+/- 3 dB)

Peak SPL 1m, pair (IEC Short Term)

Peak SPL 2m, 5.1 (IEC Short Term)

Max SPL 1m, (IEC Long Term)

Precision of monitor matching

Port tuning frequency

Internal cabinet volume

Bass principle

Bass reflex

Crossover frequency

Crossover slope

390 Hz (DSP generated) and 2600 Hz

12 dB/oct and 6 dB/oct

400 Hz (DSP generated) and 2400 Hz (DSP generated)

Tweeter

Esotar 28 mm / 1.1” soft dome, neodymium magnet, rear chamber, Esotar 28 mm / 1.1” soft dome, neodymium magnet, rear cham-

magnetic fluid, 4mm steel front, pure alu wire voice coil

145 mm / 5,5", one-piece molded polyprop cone, 38 mm / 1,5"

pure alu voice coil

240 mm / 9,5", one-piece molded polyprop cone, 100 mm / 4"

pure alu voice coil

ber, magnetic fluid, 4mm steel front, pure alu wire voice coil

145 mm / 5,5", one-piece molded polyprop cone, 38 mm / 1,5"

pure alu voice coil

2x240 mm / 9,5", one-piece molded polyprop cone, 100 mm /

4" pure alu voice coil

Midrange

Woofer

Mains voltage

Power consumption

100 to 240 VAC, 50 to 60 Hz (auto-select)

45 W @ 1/8 max power (IEC 60065)

100 to 240 VAC, 50 to 60 Hz (select)

45 W @ 1/8 max power (IEC 60065)

Finish

Amp

Cabinet

Dimensions (H x W x D)

Depth incl. amp and driver:

Weight

Black painted back plate

Black ash with dark gray MDF baffle

510 x 535 x 450 mm /20” x 21” x 17,7”

490mm / 19,3”

Black ash with dark gray MDF baffle

575 x 310 x 395 mm / 22,6” x 12,2” x 15,5”

435mm / 17,0”

28 kg / 62.2 lbs

46 kg / 101 lbs

Amplifier

Tweeter, midrange and woofer

Tweeter & Midrange 200 W amp/Woofer 200 W amp

Tweeter 300 W amp/Midrange 300 W amp/Woofer 2x300 W amp

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR TECHNICAL SPECIFICATIONS

AIR-Base-1 & AIR-Base-2

System:

Active Subwoofers

Total frequency response:

25 Hz – bssmng: 120 Hz, LFE: 2.5 kHz/

23 Hz – bssmng: 120 Hz, LFE: 2.5 kHz : +/-3dB

119 dB peak / 121 dB peak

113 dB peak / 115 dB peak (no front, rear & center)

+/- 0.2 dB

Max. SPL 1m, one (IEC Short Term)

Max. SPL 2m, 5.1 (IEC Short Term)

Precision of monitor matching:

Port tuning frequency:

30 Hz / 27 Hz

Internal cabinet volume:

Bass principle:

37 liters / 78 liters

Bass reflex

Woofer:

1 / 2 pcs. 240 mm / 10", one-piece molded polyprop cone, 100

mm / 4" pure alu voice coil

Mains voltage:

Power consumption:

100 to 240 VAC, 50 to 60 Hz (auto-select)

40 W @ 1/8 max power (IEC 60065)

Finish

Amp:

Cabinet:

Black anodized aluminum back plate

Dark gray MDF baffle, Silver foil

Dimensions (H x W x D):

310 x 480 x 420mm / 900 x 310 x 420mm

(12.2” x 18,9” x 16.5” / 35.4” x 12.2” x 16.5”)

Depth incl. amp and driver: 447mm / 447mm (17.6” / 17.6”)

18 kg / 29 kg (39.6 lbs / 63.8 lbs)

250 W PWM amp

Weight:

Amplifier

AIR Base 12

System:

AIR Base 12

Total frequency response:

Max. SPL 1m, one (IEC Short Term)

Max. SPL 2m, 5.1 (IEC Short Term)

Precision of monitor matching:

Port tuning frequency:

Internal cabinet volume:

Bass principle:

Active Subwoofer

22 Hz – 200 Hz +/- 3 dB, dep. on setting

123dB peak

117dB peak

+/- 0.2 dB

24 Hz

41 litres

Woofer:

Bass reflex. Downfiring port

1 pcs. 300 mm/12", two-piece molded poly-

prop cone, 75 mm/3" pure copper voice coil

100 to 240 VAC, 50 to 60 Hz (select)

Idle: 50 W/Max: 375 W

Mains voltage:

Power consumption:

Finish

Amp:

Cabinet:

Dimensions (H x W x D):

Black painted metal back plate

Black ash with dark gray MDF baffle

460 x 360 x 502mm (18.1 x 14.2 x 19.7)

Depth incl. amp and driver: 550 mm (not moving) Height incl. “feet”:

738

Weight:

Amplifier

38 kg (83.8 lbs)

500 W amp

AIR Base 24

System:

AIR Base 24

Total frequency response:

Max. SPL 1m, one (IEC Short Term)

Max. SPL 2m, 5.1 (IEC Short Term)

Precision of monitor matching:

Port tuning frequency:

Internal cabinet volume:

Bass principle:

Active Subwoofer

20 Hz – 200 Hz +/- 3 dB, dep. on setting

126dB peak

120 dB peak

+/- 0.2 dB

22 Hz

77 litres

Woofer:

Bass reflex. Downfiring port

2 pcs. 300 mm/12", two-piece molded poly-

prop cone, 75 mm/3" pure copper voice coil

100 to 240 VAC, 50 to 60 Hz (select)

Idle: 50 W/Max: 375 W

Mains voltage:

Power consumption:

Finish

Amp:

Cabinet:

Dimensions (H x W x D):

Black painted metal back plate

Black ash with dark gray MDF baffle

720 x 360 x 502mm (28.3 x 14.2 x 19.7)

Depth incl. amp and driver: 550 mm (not moving) Height incl. “feet”:

738

Weight:

Amplifier

60 kg (132.3 lbs)

700 W amp

Download from Www.Somanuals.com. All Manuals Search And Download.

AIR TECHNICAL SPECIFICATIONS

Room & Distance

Typical listening distance

AIR 6

1.2-2 m / 4-7 ft

Typical room size

AIR 6

AIR 15

1.5-2.5 m / 5-8,5 ft

AIR 20

1.5-3 m / 5-10.2 ft

AIR 25

AIR 15

AIR 20

50-100 m3 / 1600-3500 ft

AIR-Base-1

30-60 m3 / 1000-2000 ft3

75-125 m3 /2600-4400 ft

AIR-Base-2

50-100 m3 / 1600-4400 ft3

80-130 m3 / 2800-4600 ft3

Two or three AIR-Base-1’s

50-100 m3 / 1600-3500 ft3

Two or three AIR-Base-1’s

75-125 m3 / 2600-4400 ft3

General specifications for AIR 6, AIR 15, AIR 20, AIR 25, AIR-Base-1, AIR-Base-2, AIR-Base 12 & AIR Base 24

System sample rates

Internal sample rate

192 and 176.4 via Dual Wire (optional Digital Card required) and

96, 88.2, 64, 48, 44.1 or 32 kHz

AIR Masters only

I/O Connectors

Formats

XLR (2 channels AES/EBU in) 3 x RJ45 proprietary TC LINK

AES/EBU (24 bit)

Word clock input

Display

BNC, 75 ohm, 0.6 to 10 Vpp

2 x 16 character dot matrix

Operation

Menu system / four buttons

Analog input option

Input connectors

Impedance

Selectable full scale input level

Dynamic Range

THD+N

XLR balanced (pin 2+, pin 3-)

10/3 k Ohm (Balanced/unbalanced)

+9, +15, +21, +27 dBu

> 113 dB typ. (unweighted), BW: 20-20kHz

< -105 dB typ. @ 1 kHz, -3 dBFS

< -120 dB, 20 Hz to 20 kHz

Crosstalk

A to D Conversion

24 bit (Dual bit delta sigma sampling at 4.1/5.6/6.1/6.1 MHz)

AIR Slaves only

I/O Connectors

2 x RJ45 proprietary TC LINK

General for all Products

EMC complies with:

Safety certified to:

EN 55103-1 and EN 55103-2, FCC part 15 class B, CISPR 22 class B

IEC 60065, EN 60065, UL 6500 and CSA E60065 CSA FILE

#LR108093

Environment operating Temperature:

Storage Temperature:

Humidity:

32° F to 122° F (0° C to 50° C)

-22° F to 167° F (-30° C to 70° C)

Max. 90 % non-condensing

Warranty

2 years on parts and labor

AIR Remote specs

AIR Remote

Finish:

Black anodized aluminum and plastic

Dimensions (D x W x H):

Weight:

120 x 70 x 35 mm

250g

I/O Connectors:

1 x RJ45 proprietary TC LINK

EMC

Complies with:

EN 55103-1 and EN 55103-2,

FCC part 15 class B, CISPR 22 class B

Safety

Certified to:

IEC 60065, EN 60065, UL 6500 and CSA E60065

CSA FILE #LR108093

Environment

Operating Temperature:

Storage Temperature:

Humidity:

32° F to 122° F (0° C to 50° C)

-22° F to 167° F (-30° C to 70° C)

Max. 90 % non-condensing

Warranty

Parts and labor:

1 year on parts and labor

Download from Www.Somanuals.com. All Manuals Search And Download.

DELAY IN SYSTEM & ERROR MESSAGES ETC.

Sample Rate

(AES or WC In)

Digital Input

Analog Input *)

Converter

kHz

Samples @ msec

Input Rate

centimeter Samples @

msec

centimeter

kHz

Converter Rate

93.00

68.00

40.00

34.00

2.91

1.54

0.83

0.53

0.39

0.35

100

73.00

1.14

0.83

0.76

1.14

0.83

0.76

32.00

44.10

48.00

64.00

88.20

96.00

64.00

88.20

96.00

64.00

88.20

96.00

*): In Analog Input mode without WC Input selected, the system runs on the Master monitor's own 96kHz clock.

Standby

Error messages etc.

Displayed when no Input signal has been detected for

more than 30 min. below -65 dB. The Amplifier is turned

off. Standby mode is released as soon a signal level above

The "!" indicates that the monitor is not connected to the

-65dB has been detected.

"!" as "96 kHz Center!”

network. The volume is then automatically set to -50 dB for

the monitor not recognized.

>> Power save <<

Displayed when no signal has been detected on all

"+" as "96 kHz L Front+":

monitors on network for more than 2½ hours. Power is

The "+" indicates that the monitor you are looking at is the

turned off. Exit this mode by pressing any key on system

System Controller.

controller or adjusting volume from remote.

>> A-Input Lo <<

This is displayed in analog setups only and indicates that

the Input level has been detected to be between -60dB and

-20dB for a period longer than 3 minutes. This is a hint to

turn up the Analog Input Gain

Analog Input gain range:

+9dBu, +15dBu, +21dBu or 27 dBu.

>> A-Input Hi <<

This is displayed in analog setups only and indicates that

an Input level near 0dB is detected. (peaks in 2 sec. above

-1 dB). This is a warning and you should turn down the

Analog Input gain range:

+9dBu, +15dBu, +21dBu or 27 dBu.

>> PSU error <<

Displayed if the power supplies fails. The power will be

turned off and the monitor cannot operate. Please get in

touch with the TC Electronic Support Team via

www.tcsupport.tc

Displayed when a parameter is locked by the installer

software and cannot be changed.

Parameter lock can only be unlocked with AIR IP software.

Download from Www.Somanuals.com. All Manuals Search And Download.

CERTIFICATE OF CONFORMITY

Certificate Of Conformity

TC Electronic A/S, Sindalsvej 34, 8240 Risskov,

Denmark, hereby declares on own responsibility that

following products:

AIR 6

AIR 15

AIR 20

AIR 25

AIR-Base 1

AIR-Base 2

AIR-Base 12

AIR-Base 24

AIR REMOTE

- that are covered by this certificate and marked with

CE-label conforms with following standards:

EN 60065

(IEC 60065)

Safety requirements for mains

operated electronic and related

apparatus for household and similar

general use

EN 55103-1

EN 55103-2

Product family standard for audio,

video, audio-visual and entertainment

lighting control apparatus for

professional use. Part 1: Emission.

Product family standard for audio,

video, audio-visual and entertainment

lighting control apparatus for

professional use. Part 2: Immunity.

With reference to regulations in following directives:

73/23/EEC, 89/336/EEC

Issued in Risskov, December 2002

Mads Peter Lübeck

Chief Executive Officer

Download from Www.Somanuals.com. All Manuals Search And Download.

PRESET LIST

Download from Www.Somanuals.com. All Manuals Search And Download.

Contemporary Research TV Receiver IP HDVR User Manual
Craftsman Chipper 24777588O User Manual
Delta Electronics Power Supply SIA3220 User Manual
Dimplex Indoor Fireplace VCX1525 User Manual
Earlex Paint Sprayer V0053 User Manual
Edimax Technology Satellite TV System EA MARS User Manual
Garland Convection Oven TE3 4 User Manual
Garland Range PS 12G 2 20 User Manual
Gateway Computer Monitor FPD1976W User Manual
GE Double Oven jk910 User Manual