Perreaux Stereo Amplifier SM6 P User Manual

SM6/P  
Dual Channel Preamplifier  
Owners Manual  
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i
Introducing the Perreaux  
SM6 Preamplifier  
Congratulations on your Perreaux SM6 purchase. To realise the full potential of  
your unit you need to appreciate all aspects of its operation.  
Before installing the SM6 into your system, read the entire manual carefully.  
Endeavor to understand every detail by familiarising yourself with the controls  
and features as you read. You will find it easier to install using the relevant  
sections of this manual as a reference.  
We have attempted to explain every feature and operation facet clearly and  
concisely. Your Perreaux dealer will be happy to assist if you encounter any  
unforeseen problems.  
Read this manual, install your unit correctly and realise the sonic significance of  
your investment in Perreaux.  
Perreaux products are designed to provide the utmost in sonic realism and  
electronic reliability with a functional yet elegant appearance that reflects the  
care and craftsmanship applied during all stages of construction.  
Features at a  
àRugged build quality  
Glance  
àTruly balanced circuit design  
àDiscrete Class A amplification throughout  
àMultiple regulated power supplies  
àWireless full function remote control  
àPrecision volume control  
àDual preamplifier outputs  
àAdvanced PCB design and earthing techniques  
To maintain the consistently high quality that you expect from us, and we expect  
from ourselves, Perreaux products are essentially handcrafted.  
We maintain the human-link throughout, from design and construction, through  
to the ultimate test, your music, your system, your ears.  
Because we too listen to our products, we know that with your Perreaux you will  
discover many more of the musical secrets we strive to reveal.  
Note:  
All references to the SM6 Classic series are also applicable to the SM6P  
P-Series product.  
From all of us at Perreaux Industries Limited, thank you for choosing the  
Perreaux Reference Series SM6 preamplifier.  
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ii Important Safety Instructions  
Note:  
All safety and operation instructions should be read carefully before the  
SM6 is operated. Keep the Owners Manual in a safe place for future  
reference.  
àThe SM6 should not be used near water, for example near a bathtub,  
kitchen sink, in a wet basement, near a swimming pool, etc.  
àThe SM6 should be rack mounted only in a heavy-duty rack or stand  
that is recommended for audio equipment use.  
àMounting to a wall or ceiling should be via a heavy-duty bracket or shelf  
designed for audio equipment use.  
àThe SM6 should be situated away from heat sources such as radiators,  
stoves, or other appliances that produce excessive amounts of heat.  
àDO NOT place the SM6 directly onto carpeted surfaces.  
àAvoid exposing the SM6 to extremely high or low temperatures.  
àThe SM6 should be connected to a mains power supply only of the type  
described in the operating instructions, or as marked on the rear of the  
unit.  
àDO NOT disconnect the mains earth from the system.  
àThe mains power supply cord should be routed so that it is not likely to  
be walked on or pinched by items placed on or against it.  
àThe power cord of the SM6 should be unplugged from the mains outlet  
when the unit is to be left unused for long periods or when attempting to  
connect or disconnect cables and before cleaning your unit.  
àCare should be taken so that objects and/or liquids do not accidentally  
fall inside the SM6.  
àPlease keep electrical equipment out of reach of children.  
àPlease unplug sensitive electronic equipment during electrical storms.  
àPlease replace any fuse with the value and type specified.  
àAvoid operating the SM6 with the cover removed.  
àDO NOT bypass any fuse.  
àDO NOT attempt to repair the SM6. In the event of a problem, please  
contact your Perreaux dealer.  
àDO NOT operate this product in an explosive atmosphere.  
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iii  
Table of Contents  
i
ii  
iii  
1
2
3
4
5
6
7
8
9
10  
11  
12  
13  
14  
15  
Introducing the Perreaux SM6 Preamplifier ........................................................... 4  
Important Safety Instructions.................................................................................... 5  
Table of Contents......................................................................................................... 6  
Unpacking and Placement......................................................................................... 7  
Instant Install................................................................................................................ 8  
Front Panel Functions............................................................................................... 10  
Rear Panel Functions ................................................................................................ 11  
Remote Control Functions ....................................................................................... 15  
Special Design Philosophies .................................................................................... 17  
Special Design Features............................................................................................ 19  
Maximising System Potential................................................................................... 20  
Care and Maintainance ............................................................................................ 22  
Warranty Information and Obtaining Service ..................................................... 23  
Extended Warranty Registration Form ................................................................. 24  
Faultfinding Your System......................................................................................... 25  
Specifications.............................................................................................................. 30  
Physical Dimensions.................................................................................................. 33  
Contact Details........................................................................................................... 34  
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1
Unpacking and Placement  
The SM6 is packaged for maximum protection. Please carefully read the  
instructions below before proceeding to unpack the unit. Be extremely careful.  
Unpacking  
àInspect both ends of the cardboard box and open at the end without the  
Procedure  
central staple by slitting the reinforced tape at either side.  
àFold back the flaps and tip the package on end and the inner box will  
slide out.  
àLay the inner box down flat and upright, open it conventionally by  
separating the top tray from the bottom.  
àThe product can now be removed from the bottom packaging. This will  
be easier if you have someone to help you by holding the base of the  
box.  
àAlternately, the bottom tray and preamplifier could be tipped upside  
down and the bottom packaging removed. If opened in this manner,  
please ensure that you turn the contents over again.  
Note:  
Be very careful to secure the unit if you are planning to flip the package  
upside down.  
àRemove the two white polystyrene protectors off either side of the unit,  
leaving the black material covering.  
àPull back the material and remove the protective black tissue from the  
front panel.  
The preamplifier is now unpacked and ready for further installation.  
Note:  
Please retain all packaging material for future transport.  
Box 1 x SM6 Preamplifier  
Contents  
1 x SM6 Product manual  
1 x Perreaux remote control  
2 x AAA batteries  
1 x Detachable AC power cord  
Placing The SM6 should generally be placed close to your amplifier, keeping the  
Your SM6  
interconnect cabling short. Position all the separate components of your system  
close enough to your SM6 to avoid having to stretch or extend any of the  
interconnect cables.  
As a “rule of thumb”, allow 80-100mm (3-4 inches) around all sides of the  
product and mount the SM6 on a flat surface, ensuring that the unit has adequate  
access to free flowing air.  
Do not place auxiliary equipment directly on top of the SM6.  
Please do not cover the product with a cloth or similar.  
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2
Instant Install  
If you are like us, the first thing you will want to do is to play your favourite  
piece of music through your new SM6. The following instructions are written to  
enable you to achieve this as quickly as possible. These are not comprehensive  
instructions, but are designed to enable you to play music now!  
Note:  
Please take the time to read the SM6 manual thoroughly as it  
incorporates many features, which will enhance its operation.  
Placement  
The SM6 is a reference preamplifier and best results will be achieved when  
placed on a solid surface with adequate ventilation. DO NOT place on a  
carpeted floor or cover the preamplifier!  
Turn off associated components  
This minimises the potential to damage any other components when connecting  
your SM6 into the system.  
Connect SM6 to power amplifier  
Connect the balanced (XLR) or unbalanced (RCA) outputs of your SM6 to the  
appropriate inputs at the rear of your power amplifier.  
Note:  
Note:  
Try to keep all interconnect cables as far from loudspeaker cables as  
possible and well away from all AC mains leads.  
Connect source component to SM6  
Connect the relevant output of your source component to either the balanced  
(XLR) or unbalanced (RCA) inputs of your SM6.  
Be sure to set the balanced CD input switch to the appropriate position,  
ON if using the balanced (XLR) inputs and OFF if using the unbalanced  
(RCA) inputs.  
Switch on source component  
Turn on the source component and make sure you have some program material  
ready to play.  
Switch on SM6  
After checking the supply voltage compatibility with the voltage rating on the  
SM6 rear panel, insert the power cord-set supplied into the rear of the unit and  
into the wall. Switch on the socket at the wall and power up the SM6 using the  
switch on the rear panel.  
Switch on power amplifier  
Turn on your power amplifier.  
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Test for undesirable noises  
Without any program source material, slowly increase the SM6 volume listening  
for any undesirable noises. After establishing that there are no problems, return  
the SM6 volume level back to zero.  
Play your source material  
Start your source material playing.  
Increase the volume  
Slowly increase the volume on the SM6 to achieve a comfortable listening level.  
CONGRATULATIONS!  
Now that you have achieved your first objective, sit back, relax and please read  
the rest of the manual at your own pace, in your favourite armchair, whilst  
sipping a hot cup of coffee. You’ll find the whole experience much more  
pleasurable whilst listening to music.  
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3
Front Panel Functions  
Volume Control  
When depressed, these buttons will alter the volume setting. The volume  
adjustment range is 00 – 59.  
Alphanumeric Display  
The display will illuminate when the power is turned on at the mains power  
switch or when various remote or front panel adjustments are made. At turn-on,  
the display will illuminate with 00 and default to the CD input. If no commands  
are selected within two minutes, the display will revert to the standby mode  
displaying a red dot only to indicate power is still on.  
Source Select  
When depressed, these buttons select the desired source input.  
The order of source inputs and display indication is as follows:  
Source Input  
Compact Disc  
Tuner  
Display  
Cd  
TU  
Auxiliary  
Laser Disc  
VCR  
AX  
Ld  
VR  
Tape  
TA  
Note:  
The source selector has six positions and supplies the chosen source to  
the Main/Balanced outputs and VCR/Tape outputs. If the VCR or Tape  
source is selected no signal is supplied to its applicable output to avoid  
the potentially damaging feed back loop which can occur if inadvertently  
attempting to record and playback the same source simultaneously.  
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4
Rear Panel Functions  
Caution!  
Observe precautions regarding volume control settings. Please make all  
changes at minimum volume setting. Only increase the volume after the  
connections have been made.  
Balanced CD Inputs  
Accepts a signal from a CD player with balanced outputs via high quality XLR  
connectors. The use of good quality balanced line cable into the balanced input  
cause the input signal to be relatively immune to noise and external effects  
caused by the use of long interconnect cables, helps reduce hum loop noise and  
aids in the cancellation of distortion products.  
The pin assignments of the balanced XLR input connectors are as follows:  
Pin 1: Signal ground  
Pin 2: Signal + (non-inverting)  
Pin 3: Signal – (inverting)  
Shield ground: Chassis ground  
Note:  
Please refer to the operating manuals of your balanced output line level  
source to verify that the pin assignments of the output connectors  
correspond to the SM6 balanced inputs. In the event that they are not  
compatible, the interconnecting cable will need to be altered to suit.  
Balanced CD Input Switch  
This switch selects which input to use for the CD source input. Set to ON if  
using the balanced (XLR) inputs and OFF if using the unbalanced (RCA) inputs.  
Note:  
Do not connect source equipment to both the balanced and unbalanced  
CD inputs at any one time.  
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Note:  
The position of the Balanced CD Input switch has no bearing on the  
balanced output, it only selects which CD input to use. Set the balanced  
CD input switch to ON only when using the balanced CD input.  
Refer to Chapter 13 “Specifications”, for detail on input sensitivity and  
impedance.  
Unbalanced Source Inputs  
Accepts a standard single-ended input (RCA) from source components with  
single-ended analogue outputs. These high quality gold plated sockets are  
highly conductive, corrosion resistant, and provide less potential for corrosion  
induced distortion.  
Refer to Chapter 13 “Specifications”, for detail on input sensitivity and  
impedance.  
VCR Line Outputs  
This single-ended (RCA) output will provide a line level audio signal, suitable  
for recording, from the selected source input. This output is disconnected when  
the VCR source input is selected; to prevent any potentially damaging feedback  
loops.  
Tape Line Outputs  
This single-ended (RCA) output will provide a line level audio signal, suitable  
for recording, from the selected source input. This output is disconnected when  
the Tape source input is selected; to prevent any potentially damaging feedback  
loops.  
Main Output 1  
This single-ended (RCA) output is commonly referred to as “Preamp Out”. It  
will provide the audio signal required to drive virtually any amplifier to full  
power.  
Main Output 2  
This single-ended (RCA) output is wired in parallel with Main Output 1 and is  
useful for supplying signal to another amplifier if bi-amping.  
Balanced Outputs  
This balanced (XLR) preamplifier output provides the signal required to drive  
virtually any power amplifier equipped with a balanced input. Connection  
should be made with high quality cables fitted with XLR connectors.  
Note:  
The position of the balanced CD input switch has no bearing on the  
balanced output; it only selects which CD input to use. It is not necessary  
to set this switch to ON when using the balanced outputs.  
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The pin assignments of the balanced XLR output connectors are as follows:  
Pin 1: Signal ground  
Pin 2: Signal + (non-inverting)  
Pin 3: Signal – (inverting)  
Shield ground: Chassis ground  
Caution!  
Please refer to the operating manual of your amplifier to verify that the  
pin assignments of the input connectors correspond to the SM6 balanced  
outputs. In the event that they are not compatible, the interconnecting  
cable will need to be altered to suit.  
Input Voltage and Fuse Rating  
Input Voltage  
It is important that the SM6 be operated from the correct AC mains voltage.  
This unit is factory set for the voltage applicable to the original country of  
destination.  
The SM6 will operate satisfactorily within a voltage variation of up to ±5% of  
that voltage at which the unit has been set.  
If you require the voltage setting to be altered, e.g. relocation to another area,  
city or country, or extraordinarily high or low voltages, please contact your  
Perreaux dealer. Qualified service personnel can only perform this modification.  
Caution!  
Caution!  
Never attempt to connect the unit to the incorrect voltage. Severe  
damage can result from applying incorrect voltage to the unit.  
Fuse Rating  
The fuse rating displayed here, refers to the rating of the mains inlet fuse.  
For more information on fuse ratings, please refer to Chapter 13  
“Specifications”.  
Never replace the fuse with any other ratings other than the one  
specified.  
Serial Number  
The serial number is unique to your SM6. Please record this number and store it  
in a safe place. For any service related enquiry, please be prepared to quote the  
product serial number to Perreaux personnel or their service representative.  
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AC Mains Input  
An IEC-standard mains input is provided at the rear of the unit. The AC cord set  
is removable, allowing you to upgrade to a cord set of your preference.  
Caution!  
Prior to connection to the AC mains, please check the voltage label on  
the rear panel to ensure that your unit conforms to the power supply in  
your area. Never attempt to connect the unit to the incorrect voltage.  
Severe damage can result from applying incorrect voltage to the unit.  
Power Switch  
Depress this switch to the right (I) to turn power ON. Mute relay circuitry is  
employed in the SM6 and output is muted for 1 to 2 second after the power  
switch is actuated. Depress this switch to the left (O) to turn the SM6 off at  
which time the outputs will be disconnected.  
The SM6 resets the volume to minimum and balance to centre at turn-on.  
AC Mains Fuse  
The SM6 is equipped with a user serviceable AC mains fuse. In the event of  
fuse failure, always replace with the same type and value fuse. Remember, fuses  
do not usually blow without a reason. Any doubts about fuse failure should be  
conveyed directly to your Perreaux dealer.  
For more information on fuse ratings, please refer to Chapter 13  
“Specifications”.  
Caution!  
This is the ONLY user accessible fuse.  
Never replace the fuses with any other ratings other than the one  
specified on the rear panel.  
Always ensure your SM6 is disconnected from the mains supply before  
attempting to change the mains fuse.  
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5
Remote Control Functions  
The SM6 comes supplied with a 29 button Perreaux Universal infrared remote  
control.  
The remote control uses 2 x AAA batteries and may be changed by sliding  
forward the plastic cover located on the bottom of the remote.  
Note:  
Press the red  
button on the remote to select the code-set required to  
control the SM6.  
The SM6 uses the following functions:  
Mute  
Depressing this control causes minimum volume to be selected. The display  
will indicate "MU" until any front panel or remote control button is actuated, or  
the mute button is depressed again at which stage volume will be returned to the  
previous setting.  
Note:  
After one minute, the SM6 will enter standby mode and volume will be  
set to zero. The display will revert to a red dot, indicating standby.  
The mute control has a ‘punch through’ function and will operate  
regardless of the code-set selected i.e. you can be operating the CD  
player remote functions and still use the mute control without selecting  
the  
button first.  
Display  
Pressing this button will cause the display to revert to the standby indication  
(one red dot) and is intended for use if the light of the display is distracting (for  
instance in a darkened room). Depressing any key will cause the display to  
revert to its normal operation.  
Balance Left /  
Balance Right  
The balance controls allow you to vary the level of either the Left or Right  
channel to obtain the correct stereo balance for your listening position. Pushing  
the Balance Left button will cause the level of the right channel to be attenuated  
(decreased in volume). Pushing the Balance Right button will cause the level of  
the left channel to be attenuated.  
During any balance adjustment the display will indicate the direction of  
adjustment, left or right, with an "L" or an "R" followed by a number indicating  
the level of adjustment. The range is L1-L9 and R1-R9. "LR" on the display  
indicates the balance is centred. Pushing either button will initially cause the  
display to indicate the current balance position.  
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Note:  
Balance settings are not stored, should the SM6 be turned off at the  
mains power switch.  
Tuner Source Select  
Depressing this control selects the Tuner source input and the relevant code-set.  
The Tuner input is indicated by “TU” on the display of the SM6.  
Compact Disc Source Select  
Depressing this control selects the Compact Disc source input and the relevant  
code-set. The Compact Disc input is indicated by “Cd” on the display of the  
SM6.  
Tape Source Select  
Depressing this control selects the Tape source input. The Tape input is  
indicated by “TA” on the display of the SM6.  
VCR Source Select  
Depressing this control selects the VCR source input. The VCR input is  
indicated by “VR” on the display of the SM6.  
Laser Disc Source Select  
Depressing this control selects the Laser Disc source input. The Laser Disc  
input is indicated by “Ld” on the display of the SM6.  
Auxiliary Source Select  
Depressing this control selects the Auxiliary source input. The Auxiliary input  
is indicated by “AX” on the display of the SM6.  
Volume Up  
Depressing this button increases the volume.  
Volume Down  
Depressing this button decreases the volume.  
Note:  
The Volume control has a ‘punch through’ function and will operate  
regardless of the code-set selected i.e. You can be operating the CD  
player remote functions and still use the volume controls without  
selecting the  
button first.  
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6
Special Design Philosophies  
Perreaux has been designing and manufacturing only the highest quality audio  
componentry for more than a quarter of a century. Technology has continued to  
evolve rapidly over that time and our knowledge and application of design,  
materials and manufacturing techniques has advanced in tandem with this.  
Today’s Perreaux range comes closer to fulfilling our shared vision than at any  
other time in the past.  
To follow is a discussion on some of Perreaux design philosophies that have  
been incorporated into the entire range.  
Minimalist Leading British architect, John Pawson, writes:  
Design  
The Minimum can be defined as the perfection that an object  
achieves when it is no longer possible to improve it by subtraction.  
This is the quality that an object has when every component, every  
detail, and every junction has been reduced or condensed to the  
essentials. It is the result of the omission of the inessentials”.  
Perreaux has historically embraced the minimalist ethic from an audio design  
perspective only. The concept of “less equating to more” has been at the heart  
of all Perreaux audio designs for more than a quarter of a century.  
Minimalist Electronics  
We wish to maximise the quality of your listening pleasure by keeping the  
componentry and signal path as uncluttered, short and clean possible. All  
components in the signal path, even those of the highest quality have an effect  
on the signal, thereby altering the quality of the reproduction in some way. Our  
aim is to recreate in its entirety, the original performance by not adding or  
subtracting anything, irrespective of the source.  
Minimalist User Interface  
We carefully study the user interface and par down the number of buttons and  
associated clutter leaving just the essential and no more. How tempting it has  
been over the years to loose sight of our core values as technology or trends  
have made it possible. That is one of the reasons why our older products still  
have such a high resale value today. The user interface has and always will  
remain simple, free from adornments, clean and uncluttered.  
Minimalist Aesthetics  
Our products appeal to those who seek the ultimate in audio exclusivity, namely  
the perfect blend of “form and function”.  
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“Form and function” are both tough masters. That is why our amplifier heat  
sinks are not hidden, but instead feature prominently in all our designs. We  
make no excuses for producing some of the most distinctive high-end audio  
products on the planet. We let “form and function” blend together in perfect  
harmony. This surely is the essence of true minimalist utilisation.  
Minimalism in a Wider Context  
John Pawson writes:  
“Clearly simplicity has dimensions to it that go beyond the purely  
aesthetic: it can be seen as the reflection of some innate, inner  
quality, or the pursuit of philosophical or literary insight into the  
nature of harmony, reason, and truth”.  
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7
Special Design Features  
Rugged Build Mechanical strength has been a hallmark of Perreaux products since the  
Quality company first started production back in 1974. The concept behind the physical  
design and construction is that each structural member should contribute to both  
rigidity and performance.  
Balanced The SM6 is a truly balanced preamplifier, from input to output. The positive  
Design and negative halves of the signal never touch, remaining balanced throughout all  
stages. This circuit topology offers the ultimate in performance, providing  
increased noise rejection and lower levels of distortion.  
Class A Four discrete output stages operating in Class A provide output buffering. This  
Output enables low impedance loads to be driven, over long cable lengths using any  
cable.  
Multiple There is a separate power supply for each section of the preamplifier. One for  
Power each of the volume control chips (two chips are used to keep the system fully  
Supplies  
balanced and therefore, to maintain separation, each chip is supplied with it’s  
own separate power supply), another one for each of the output buffering stages  
(once again because the SM6 utilises a fully balanced circuit topology), another  
for the digital logic and the final power supply looks after the input relays. The  
advantage of this is that there is complete isolation from stage to stage. The  
digital noise is kept completely out. This is further evidence of a thoroughly  
designed product offering.  
Wireless Many audiophile grade components are still provided with analogue controls  
Remote  
Control  
that are adjusted on the faceplate of the unit. While total control from the  
remote is common practice in standard products, and so it should be on all  
products, it is not yet widely utilised on many high-end systems. Obvious  
advantage is that you don’t have to get out of your chair to make an adjustment.  
Some of the functions available are: mute, volume up/down, display on/off,  
input select and balance.  
Earthing Perreaux engineers pay particular attention to designing the product to ensure  
maximum separation between internal signal and power earths, only meeting at a  
central starred point.  
Precision The SM6 uses two digitally controlled resistor ladder volume controls. This is  
Volume because we treat the positive and negative parts of the signal separately (true  
Control balanced topology). The advantages of using a digitally controlled analogue  
resistor ladder to adjust volume are precise control, no contacts to corrode  
creating wiper noise and no analogue component drift.  
Dual Outputs You do not need to purchase an RCA style splitter if you want to drive two  
separate power amps simultaneously, as there are dual parallel preamplifier  
outputs.  
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8
Maximising System Potential  
Interconnects An often-ignored area in high fidelity systems is the cabling connecting the  
and Speaker various components. Interconnect leads should be high quality cable with  
Cables substantial terminations. Gold plate is inherently resistant to corrosion, and an  
excellent conductor. The presence of corrosion induces distortion and poor  
conductivity will seriously interfere with sound quality. Terminations must plug  
snugly into sockets to maintain maximum conductivity and to avoid annoying  
earthing problems.  
Speaker cabling is equally critical. Use only solidly constructed cable of high  
purity copper or silver content.  
Again, gold plated terminations are  
recommended, of the spade or banana plug type. Use cables of equal length and  
as short as possible to maintain uniform electrical resistance at the lowest  
possible level. If your amplifier is closer to one of your speakers than the other,  
avoid coiling the longer lead as this can create inductance, with the potential of  
reduced high frequency performance. Keep all connections clean, firm and tight.  
The traditional adage that a chain is only as strong as its weakest link most  
certainly applies to audio systems.  
Bi-amping Bi-amping uses two similarly powered amplifiers, with exactly the same input  
sensitivity so that, when the same input signal is provided to each of them, the  
output level will be exactly the same. This can often be done with one power  
amplifier connected to the tweeters and another to the woofers, as it spreads the  
power requirement between the two amplifiers. Bi-amping can achieve greater  
control, dynamics and resolution than if you try to run everything from a single  
stereo amplifier.  
Balanced The use of the balanced signal inputs and outputs can have the effect of cleaning  
Interconnects  
up hums, buzzes, radio frequency interference (RFI) and general extraneous  
rubbish that can enter an audio system. A balanced signal input system operates  
on the principle of differential amplification. The positive and negative inputs  
are contrasted against one another and the difference between them is amplified.  
Noise entering the system is imposed equally on the positive and negative  
signals and therefore will not be amplified, as no differential voltage exists.  
The term used to describe the quality of the effect is called Common Mode  
Rejection Ratio (CMRR). CMRR is an equipment and system specification,  
which describes how well unwanted common mode signals are counteracted  
when used in conjunction with balanced connections. CMRR action prevents  
the egress and build up of extraneous hum; buzzes and RFI when analogue  
signals are conveyed down cables and between equipment powered from  
different locations and is widely used in professional audio applications.  
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The rejection ratio achieved is described in minus dB. The CMRR of a system  
follows the formula 20Log(Voutput/Vinput). In other words a CMRR of –40dB  
means that all garbage entering the unit will be made 100 times smaller. The  
piece of equipment with poorest CMRR will effectively determine the hum and  
RFI level of the system. Effectively the weakest link in the chain. Highest  
quality audio systems should quote a CMRR figure of –80dB or better.  
Positioning Positioning of your source equipment (tuner, video, disc, tape, record, decks) is  
Ancillary important. To avoid airborne frequency peaks, place them well away from your  
Equipment  
loudspeakers and not in the corners of your listening area.  
Loudspeaker Loudspeaker placement is a controversial issue; suffice to say that room corners  
Placement are generally the worst situation. Everything which constitutes your listening  
area, including the materials used in its construction, will affect the sound itself  
and the sound stage created. Equally, you have to live with your system and  
therefore compromises will have to be made in line with your particular  
priorities. The best advice we can give concerning the choice of loudspeakers is,  
establish clearly in your mind your requirements; listen to many makes and  
models, and if at all possible audition your preferred choice in your own  
listening area and trust your own ears.  
Matching When matching speakers to amplifier wattage – ordinarily, the amplifier should  
Amplifier and  
Speaker  
have a continuous RMS output power rating the same as or higher than the  
speakers at the same impedance rating. For example, 100WRMS, 8Ω speakers  
driven by a 100WRMS at 8Ω amplifier is not as ideal as 100WRMS, 8Ω speakers  
driven by a 160WRMS at 8Ω amplifier.  
Ratings  
Note:  
100 Watts is twice as loud as 10 Watts, not ten times as loud.  
Perreaux equipment is designed with substantial headroom built in – that is, the  
reserve necessary to reproduce musical peaks without clipping.  
Final High fidelity systems are an investment deserving of careful thought and  
Thoughts personal time. Your preferences, priorities and constraints will dictate the  
parameters of your purchase, your ears will tell you what is the right choice for  
you. Our experience tells us that the bitterness of dissatisfaction lingers long  
after the fragrance of cheap price is forgotten, hence our use of the term –  
investment.  
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9
Care and Maintenance  
The SM6 has been designed to provide many years of trouble free enjoyment. It  
is important to keep the exterior of the unit clean.  
Note:  
Please switch the unit off and remove the cord-set from the rear of the  
amplifier before attempting to clean your SM6 in the manner described  
below.  
Never apply liquid directly to the SM6.  
Never use abrasives.  
Never rub in a circular motion.  
Cover The cover features a durable, high quality powder-coat finish. To remove finger  
marks and dirt, lightly rub the surface with a soft cloth.  
If the dirt is not removed, dip your cloth in a mild solution of soap and water,  
squeeze excess moisture from it and then gently reapply to the surface.  
Stubborn dirt may be removed by the application of a small quantity of  
methylated spirits, applied directly to the cleaning cloth only and reworking the  
effected area.  
Front Panel The front panels differ between the Classic Series (SM6) and P Series (SM6P).  
The Classic Series front panel is finished in chrome electroplate, where as the  
P-Series is finished in the same durable powder coat as the cover.  
They both can be cleaned in a similar manner to the cover, as described above.  
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10  
Warranty Information  
and Obtaining Service  
1 Year The Perreaux SM6 is warranted to be free from defects in material and  
Limited workmanship under normal use to the original purchaser for a period of 1-year  
Warranty (365) days from the date of purchase from an authorised dealer or distributor.  
5 Year To extend the warranty on your Perreaux SM6 to five (5) years from date of  
Extended purchase, please return a fully completed warranty registration form along with a  
Warranty copy of the original receipt of purchase to:  
Perreaux Industries Ltd  
PO Box 47413  
Ponsonby  
Auckland  
New Zealand  
For the Extended Warranty Registration Form, please refer to Chapter 11.  
Warranty Perreaux Industries Ltd may, at its discretion, allow the warranty on this product  
Transfer to be transferred. Please contact Perreaux on [email protected] requesting a  
transfer.  
Information If during the warranty period the Perreaux SM6 exhibits defects in materials  
on the SM6  
Warranty  
and/or workmanship, it will be repaired or replaced, at our option, without  
charge for either parts or labour. The warranty does not apply to any unit that  
has been misused, abused or altered.  
Any unit that is not performing satisfactorily may be returned to the factory in  
Auckland, New Zealand for evaluation. Return authorisation must first be  
obtained by either calling or writing to Perreaux prior to shipping the unit.  
Perreaux Industries Ltd and it’s authorised distributors and dealers shall not be  
held liable for any freight or insurance charges. Freight and insurance charges to  
and from the Perreaux factory will be the sole responsibility of the owner of the  
unit.  
There is no other express warranty on the SM6. Neither this warranty nor any  
other warranty, express or implied, including any implied warranties of  
merchantability of fitness, shall extend beyond the warranty period. No  
responsibility is assumed for any incidental or consequential damages.  
Obtaining In the event that you are experiencing difficulty with the SM6, please as a first  
Service step, follow the faultfinding procedures in Chapter 12. If after following this  
procedure, you require further assistance, please contact your Perreaux dealer.  
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11  
Extended Warranty  
Registration Form  
Please complete this form and either fax, mail or scan and e-mail it to Perreaux  
Industries Ltd.  
Fax:  
+64 9 815 5981  
Mail: Perreaux Industries Ltd  
PO Box 47 413  
Ponsonby  
Auckland  
New Zealand  
Alternatively, complete the online Warranty Registration Form on our website  
5 Year Extended Warranty Form  
Name:  
Address:  
Suburb:  
City:  
Country:  
Telephone:  
E-mail:  
Website:  
Product Purchased: R E F E R E N C E S M 6  
Serial Number:  
Dealer:  
Purchase Date:  
/
/
d
d
m
m
y
y
y
y
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12  
Faultfinding Your System  
Cause and Hum is a particularly annoying form of noise in any high fidelity system and at  
Elimination some time has been experienced by many of us.  
of Hum  
Hum may result from a number of different situations and to make matters  
worse maybe caused by a seemingly illogical combination of circumstances.  
One or more of three specific causes creates hum in the system.  
Induced Hum  
Hum can be induced into the system from one or more sources and is generally  
associated with the radiation of noise from one system into another.  
Hum and noise can be radiated from any object or system involving AC voltage  
and current such as power supplies in amplifiers, motors, switching equipment  
etc. All of these may be found in your hi-fi system or within your own home.  
Hum may be induced into any part of the system, so there are no specific  
instructions that can be given which will offer a guaranteed cure. A good  
practice to adopt is to keep low-level signal equipment such as phono systems,  
tuners etc. well away from high-level signal equipment such as power  
amplifiers. Alternatively, careful designs must be employed to negate these  
effects on low-level signal equipment. Another good practice to adopt is to keep  
all signal leads away from power leads.  
The practice of neatly tying excess leads together for a tidy looking installation  
should be resisted, as this could be the cause of induced hum in the system.  
Earth Loops  
Earth loops are a particularly annoying cause of hum in the system. Earth loops  
are created by mains frequency current flowing in the screen of signal leads and  
becomes apparent with the lack of adequate earthing between the various pieces  
of equipment making up the hi-fi system. This is further compounded by the  
fact that the equipment earthing considerations vary between different  
manufacturers and countries.  
Perreaux products used with equipment manufactured by other manufacturers  
may cause an earth loop situation, but Perreaux products used with other  
Perreaux products will not cause an earth loop situation provided the following  
precautions are observed:  
àThe entire hi-fi system must be connected to the same mains/line power  
outlet. This will ensure that each piece of the system shares the same earth  
or ground. This rule applies to all installations of all brands of equipment.  
A preamplifier or power amplifier may be operated from an extension cord  
plugged into the same mains/line outlet.  
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àWhen a piece of equipment is supplied with a three pin mains/line supply  
lead all three pins must be connected in the correct fashion - see your  
dealer if in doubt.  
àCheck all interconnecting signal leads for good connections, both internal  
connections and firm contact with the sockets. While the centre pin may  
make firm contact, it is very important that the outer contact is also firm.  
àNever remove the earth/ground wire from the mains/line supply of any  
piece of equipment. This could be hazardous.  
Broken Earth Connections  
This is a common cause of hum and noise in the system. In many instances, the  
only way to eliminate the possibility of hum problems arising through a broken  
earth connection somewhere in the system is to physically check every  
connection.  
Identifying When experiencing a problem, such as one channel not working, or a noise in  
and Isolating one channel, it is good practice to adopt a method of isolating the problem to a  
Problems specific item or area. This practice will assist in diagnosing, curing, or at least  
advising your technician of the problem and result in a saving of time, money  
and perhaps frustration.  
A logical approach to isolating the probable cause of the problem is to start at  
the loudspeakers and work back to the music source, eliminating each piece of  
equipment in turn.  
Caution!  
Observe precautions regarding volume control settings. Please make all  
changes at minimum volume setting. Only increase the volume after the  
connections have been made.  
Check that the entire system is connected in the proper manner and that the  
mains/line supply is connected and switched on.  
For clarity during this section, we have labeled one loudspeaker ‘A’ and the  
other loudspeaker ‘B’. In this example, loudspeaker ‘A’ appears faulty.  
Initial system connections  
PREAMPLIFIER  
AMPLIFIER  
B
A
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Step 1 – Loudspeakers  
PREAMPLIFIER  
AMPLIFIER  
B
A
Change the loudspeaker leads from one loudspeaker to the other. If the fault  
remains in loudspeaker ‘A’, then loudspeaker ‘A’ is at fault, go no further.  
If the fault now appears in loudspeaker ‘B’ then the problem lies further up the  
line. Move on to step 2.  
Step 2 – Loudspeaker Leads  
PREAMPLIFIER  
AMPLIFIER  
B
A
Change the loudspeaker leads completely from left channel to right and from  
right channel to left by now swapping them at the amplifier output. If the fault  
now appears in loudspeaker ‘B’, then that loudspeaker lead is at fault, go no  
further.  
If the fault appears in loudspeaker ‘A’ then loudspeaker leads are OK. Move on  
to step 3.  
Caution!  
Restore the loudspeaker leads to their original connections at both ends.  
Step 3a – Inputs (Channels)  
PREAMPLIFIER  
AMPLIFIER  
B
A
Change the input plugs on the rear of your amplifier, as follows: Change each  
input source in turn by swapping the plugs left to right and right to left. If the  
fault changes to loudspeaker ‘B’ on any one of the selected inputs, then that  
particular input source is possibly at fault. Move on to step 3b.  
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If the fault stays in loudspeaker ‘A’, then it is probable that the fault may exist  
within the amplifier.  
Caution:  
Changing of any connectors must be carried out at a minimum volume  
setting. Only increase the volume after the connections have been  
changed.  
Step 3b – Inputs (Interconnects)  
PREAMPLIFIER  
AMPLIFIER  
B
A
Change the interconnect leads completely from left channel to right and from  
right channel to left by now swapping them at the source component’s output. If  
the fault stays in loudspeaker ‘B’, then the interconnect lead is at fault, go no  
further.  
If the fault appears in loudspeaker ‘A’, then the interconnect lead is OK.  
Caution!  
Changing of any connectors must be carried out at a minimum volume  
setting. Only increase the volume after the connections have been  
changed.  
Should the fault prove to be in the amplifier it will be necessary to determine  
where the fault actually lies. Most of this has been done, for instance, you now  
know what input/s and what channel is affected. This information will assist  
your Perreaux dealer or service person when or if any service is required.  
If the apparent fault is noise in one or both channels and has been localised to  
the amplifier, it will be necessary to determine whether or not the noise increases  
with the volume control; whether or not the noise exists when no input at all is  
connected to the amplifier; and what type of sound the noise is. For example,  
low frequency humming noise or high frequency hissing noise.  
This  
information will also assist your service person in making repairs or  
adjustments.  
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Faultfinding  
Flowchart  
Fault in  
loudspeaker A  
Swap loudspeaker  
connections  
Fault in  
loudspeaker  
A?  
Loudspeaker A  
at fault  
YES  
NO  
Swap amplifier  
outputs  
Fault in  
loudspeaker  
B?  
Loudspeaker  
cable at fault  
YES  
NO  
Restore speaker  
cables to original  
connections  
Swap amplifier  
source input  
channels  
Fault in  
loudspeaker  
A?  
Loudspeaker  
cable at fault  
NO  
YES  
Swap source  
output channels  
Fault in  
loudspeaker  
A?  
Input source  
at fault  
NO  
YES  
Amplifier  
at fault  
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13  
Specifications  
The SM6 specifications are detailed in brief and then subsequently in more  
detail. In the detailed version, we attempt to explain the significance of each  
specification.  
The correlation between published specifications and sonic quality can be  
unreliable. A list of numbers reveals virtually nothing. All technical  
measurements must be subject to qualitative as well as quantitative  
interpretation. Measurements of the SM6 reveal excellent results by any  
standards. Tested at 115V and 230V after a 10 minute warm up period.  
Specifications Rated Output  
In Brief  
Unbalanced:............................................................................................ 1.5VRMS  
Balanced:................................................................................................ 1.5VRMS  
Maximum Output  
Unbalanced:............................................................................................ 3.0VRMS  
Balanced:................................................................................................ 6.0VRMS  
Total Harmonic Distortion (THD+N)  
Rated Output: ...............................................................<0.004%, 20Hz – 20kHz  
Frequency Response:..............................................10Hz – 60kHz, +0dB –0.15dB  
Signal to Noise ratio (rated output)  
Unbalanced:...............................................................................................100dB  
Balanced:...................................................................................................100dB  
Dynamic Range: ...........................................................................................116dB  
Input Impedance  
Unbalanced:.................................................................................................10kΩ  
Balanced:.....................................................................................................20kΩ  
Input Sensitivity  
Unbalanced:..............................................................................................215mV  
Balanced:..................................................................................................215mV  
Input Overload  
Unbalanced:............................................................................................ 3.8VRMS  
Balanced:................................................................................................ 7.6VRMS  
Phase Accuracy: ....................................................................±0.5˚, 20Hz – 20kHz  
Power Consumption: .......................................................................................50W  
Audio Connections  
Audio Inputs  
Unbalanced:................................................................... 6 pairs RCA connectors  
Balanced:......................................................................... 1 pair XLR connectors  
Audio Outputs  
Unbalanced:................................................................2 pairs RCA preamp level  
........................................................................................2 pairs RCA line level  
Balanced:......................................................................1 pair XLR preamp level  
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Other Connections  
1 x IEC AC mains input receptacle  
Mains Input Voltage  
100V, 110V, 120V, 220V, 230V or 240V AC at 50Hz or 60Hz  
(Set within the SM6 at time of manufacture)  
Dimensions  
Width ..............................................................................................482mm (19.0”)  
Height .................................................................................................88mm (3.5”)  
Depth ..............................................................................................315mm (12.4”)  
(not including feet, terminals and handles)  
Fuse Ratings  
Mains input fuse  
100 – 125V:........................................................................ 2SB slow blow 0.5A  
200 – 250V:........................................................................ 2SB slow blow 0.5A  
(user serviceable)  
Internal DC rail fuses...................................................2 x 2AG normal blow 0.5A  
(NOT user serviceable)  
Weight  
Net: ...................................................................................................7.7kg (17.0lb)  
Gross:..............................................................................................10.7kg (23.6lb)  
Specifications Rated Output....................................................................................................1.5VRMS  
Explained  
The SM6 has been designed to drive any amplifier to it’s full potential. Even  
with an input level from a source component with a low level output, the SM6  
has enough gain to provide the amplifier with an optimum signal, utilising the  
full dynamic range and signal to noise specifications of the amplifier.  
Maximum Output............................................................................................3.0VRMS  
The maximum output level of the SM6 has been designed to provide substantial  
headroom allowing greater dynamics without clipping, handling any musical  
transients with finesse and ease.  
Total Harmonic Distortion (THD+N) ............................. <0.004%, 20Hz to 20kHz  
Total Harmonic Distortion + Noise is the percentage of output signal which is  
made up of frequencies added due to harmonics of the fundamental frequency  
and noise. By using a truly balanced circuit topology throughout the SM6 and  
maintaining Class A operation at all stages, Perreaux engineers have kept this  
figure to a minimum.  
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Frequency Response.......................................... 10Hz to 60kHz, +0dB –0.15dB  
This is the “standard” specification with which everyone is familiar. Actually,  
“frequency response” is a misnomer: technically, it should be called “amplitude  
response versus frequency” for it describes how uniform the amplitude or  
strength of signals of various frequencies is maintained. It is generally thought  
that a difference of 1dB is the least that can be perceived by ear, the SM6 is  
specified almost seven times higher, thus exceeding the audible range of the  
human ear.  
Signal to Noise Ratio (unweighted)....................................................................100dB  
The ratio of desired signal to noise signals present in the output. The balanced  
circuit topology of the SM6 provides the foundation for high noise rejection.  
This figure is referenced to the rated output of the SM6, taking into full account  
all potentially annoying hum components.  
Dynamic Range .................................................................................................116dB  
Dynamic Range is the difference between the loudest and quietest portions of a  
signal. Due to CD formats 96dB dynamic range limit, the SM6 provides more  
than enough dynamic range to cope with any musical transients the CD format  
can throw at it.  
Input Impedance................................................................................................. 10k  
The resistance “load” that is presented to the component that is driving it. The  
high value indicates that the preamplifier will not load down the output of most  
high quality source components.  
Input Sensitivity................................................................................................ 215mV  
Indicates the amount of input voltage required to drive the unit to its rated  
output. Due to the gain setup of the SM6, it is able to achieve its rated output  
even from the lowest of input levels.  
Input Overload.................................................................................................3.8VRMS  
Input Overload specifies the maximum signal level that each input circuit can  
handle without overloading the preamplifier circuitry and sending it into  
clipping.  
Phase Accuracy.......................................................................±0.5˚, 20Hz – 20kHz  
Shows the maximum amount of phase difference at any point across the  
frequency range 20Hz to 20kHz.  
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14  
Physical Dimensions  
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15  
Contact Details  
For more information please contact your Perreaux dealer, or contact:  
Perreaux Industries Ltd  
PO Box 47 413  
Ponsonby  
Auckland  
New Zealand  
Ph: +64 9 815-5452  
Fax: +64 9 815-5981  
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Installation Notes  
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