SV Sound
OWNERS’
GUIDE
SVS PB13-Ultra
Powered Box - Ultra 13” Woofer
Contents:
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Pages 2-3 Safety instructions
Page 4 SVS Welcome
Page 5 About your new SVS subwoofer
Pages 6-8 Setup, integration, and calibration
Pages 9-10 PB13-Ultra basic features
Pages 11-12 Variable tuning feature
Pages 13-15 Parametric equalizer (PEQ)
Pages 16 - 18 Room compensation control
Pages 19 - 20 Bass demos
Page 21 Home Theater Terms
Page 22 Specifications
Page 23-24 Authorized Dealers, Terms and Conditions
Last update: 13 August, 2007
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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.
15. WARNING: To reduce the risk of fire or electric shock, this apparatus
should not be exposed to rain or moisture and objects filled with liquids,
such as vases, should not be placed on this apparatus.
16. To completely disconnect this equipment from the mains, disconnect the
power supply cord plug from the receptacle.
17. The mains plug of the power supply cord shall remain readily operable.
The lightning flash with arrowhead symbol within an
equilateral triangle, is intended to alert the user to the
presence of un-insulated "dangerous voltage " within
the product's enclosure that may be of sufficient
magnitude to constitute a risk of electric shock to
persons.
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.
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Welcome.
From the entire SVS team, congratulations on your purchase of a
new standard in home theater and music bass!
Your sub isn’t some generic black box built someplace you can’t even
find on a map. It’s built in our Liberty, Ohio USA factory by engi-
neers, craftsmen, audio fans, some probably like you. Designed, and
tested using the latest state-of-the-art instruments, and assembled by
hand with the utmost care using imported and domestic components,
your SVS subwoofer is without a doubt one of the best investments
you’ll ever make in bringing music and theater home.
We’ll help set your sub up right, and in no time, you’ll be giving
“demos” of your favorite movie or music selections to all your friends
and neighbors (be kind if you live in an apartment!). This isn’t just a
subwoofer after all, it’s a carefully designed audio component care-
fully tuned in our labs, by the award winning SVS team.
You’re unlikely to have heard, or felt, bass like this before, unless it
was in a top-notch, commercial movie theater. High-fidelity sound in
your home will achieve new meaning. That’s a promise.
Already have a question about your sub? You might answer it by
reading this manual, we think you’ll find it easy to read and more
informative than most. Always feel free to call your authorized SVS
Dealer, or contact us directly. Someone who knows their stuff will
assist you with local expertise and in your native language (should it
not be English).
Maybe you just want to share a bit of bass news? Or perhaps you
have a story about your SVS subwoofer to share with us? Maybe
something we missed in our website? No matter, look to the back of
this manual for a full listing of our exclusive Dealers as of this man-
ual’s printing.
SVS Customer Service
Liberty, Ohio, USA
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About your SVS Subwoofer
There maybe be other subwoofers that look like them, but virtually
none work like them. SVS subwoofers are decidedly different in how they are
designed, produced, sold, and the exceptionally high quality components we
use. The best part? You could have spent much more and still not come close
to the performance our products provide. So, what makes a subwoofer an SVS?
Quality components, sane prices. You might be surprised at how
inexpensive the components in some not-so-inexpensive subwoofers are. At
SVS, performance is king... not shaving off a few dollars from our “cost to
build”. We meld the best and most suitable parts into carefully aligned audio
designs which define high performance home theater and music bass. If we
use it, you know “it” is satisfied some tough customers first… us.
Get “Boxed”. We try all our materials, and features in the real world, and test
size and even the enclosure shape, as you might, before any design is deemed
ready. Cabinet construction must ensure a rigid product both compact, and can
take the abuse your family and friends can dish out. SVS’s Ultra “Powered
Boxes” are no ordinary subwoofers: replete with internal reinforcement, CNC-
cut panels, t-nut fasteners, recessed components. Selling factory direct or
through select, exclusive regional dealers, means your sub, and not glossy ads,
get the priority at SVS. Tap the side of your sub, look at the solid construction
or remove your grill, and you’ll see (and hear) what we mean.
Sealed, or vented, down-firing and ultra compact “foot-print”. This SVS
hallmark design is not only built exceptionally well, but it fits in spots most
super-subs can’t come close to. While stability can be a problem with some
speakers, you’ll find this sub’s weight is low, and remains rock solid even at full
throttle. Compliant rubber feet or optional metal cones allow for stable
placement on a variety of surfaces. No rattling, or buzzing allowed!
Features and controls. A veritable Swiss Army knife, this subwoofer has
every useful control device and feature we’ve yet developed. Variable phase,
tuning, room-compensation, parametric EQ, defeatable crossovers and hi-pass
filters allow easy “daisy chaining” of dual subs too. Classic tools for power
users. Any or all these are easy to switch off for novices looking for basic setup
too.
World class power. Our Canadian assembled amps are designed and
manufactured with a level of fit and finish, and real power, practically unheard
of at this price. Loaded with comprehensive set of easy to use amp-mounted
controls, our tremendously efficient Ohio-built “Ultra” woofers achieve massive
amounts of excursion to get down exceptionally low, with impact and clarity
that will defy their size, and competitors alike. Extra thick anodized amp plates
add still more rigidity and even help shed heat from the likewise efficient BASH
amp chassis.
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Setup, calibrating and integration
What’s to know? Well, first of all, setting up an SVS subwoofer is
pretty darn easy. There are a few key things to give attention to if you
want to get the most out of your sub.
Unpacking. You’re probably eager to hear your sub, but take time to
carefully unpack everything. Save the box and shipping materials, just
in case you need to return the sub for any reason.
Location. They say it’s ALL about location right? It’s the same with
subwoofers. So, where to put it? Go for a corner if you can, and avoid
putting your sub where it might adjoin large open areas
.
Studies have
shown that the deepest and flattest bass response is typically attained
when a subwoofer is placed within a few feet of one of your room’s
corners (leave about 3” in the back for cable clearance with any wall or
other surface). A corner near your favorite seat is often the best location
of all. Whether you put the sub in front or to the rear of your seating
area makes surprisingly little difference. Deep home theater bass, like
that from “7.1 channel” movie or music is non-directional. You can’t
tell where it is coming from, even though you can hear, and feel it.
Hook-up (see Fig. 1). There are a variety of ways to configure your
new sub. Usually, a simple mono, shielded 75 Ohm A/V RCA type
cable (a.) is used to take the subwoofer output of your DD/DTS
surround sound receiver (b.) and feed one low-level input of the sub’s
amp. There is no need to “split” the signal going to the sub (c.). You
can feed either one of the two amp inputs, it doesn’t matter, right or
left.
NOTE: Stop now if you aren’t
TOTALLY familiar with your re-
ceiver’s manual. Ensure all power
to your equipment is off when
making these connections. Also, be certain
your power outlet can handle a minimum of
1000 watts. (Use of “convenience outlets” on
receivers are not recommended for your sub).
(a.)
(b.)
DD/DTS Processor/Receiver
(Subwoofer “Out”)
(c.)
Fig. 1
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Page 7
More Setup, calibrating and integration
If you are running a pair of SVS subwoofers (Fig. 2), you will need to use an inex-
pensive “Y” cable adapter (d.) From the “Y” cable you can run a standard 75 Ohm
RCA or XLR signal cable (e.) to each sub, thus “splitting” the Low Frequency Ef-
fects (LFE) and other bass from your receiver, and effectively feeding both subwoof-
ers with the same signal. Alternatively, you can switch off “Hi-Pass” RCA or XLR
output filters and “daisy chain” subs from one’s output to the other’s input. Always
calibrate dual subs one at a time, and adjust phase on one so as to achieve a com-
bined 6dB increase when both are set to the same levels measured individually.
NOTES: Now is a good time to
select if you want “ON” (always on)
or “AUTO ON” which turns your sub
on only when a bass signal is present.
Power off sub with main switch when changing
connections or moving the sub. High current amp
design requires two minutes of “OFF” time before
sub will resume “ON” status again.
(e.)
“Y” cable/splitter from
(d.)
DD/DTS Processor/Receiver
(Subwoofer “Out”)
Fig. 2
“Calibration” isn’t only for tech minded folks, it’s critical to a proper con-
figuration of your home theater sound system. Fortunately, adjusting channel
balance (essentially all “calibration” amounts to) is as simple to do as it is
important. The first order of business is making sure your DD/DTS sur-
round sound system is set up properly. We recommend you consult your
audio/video receiver (or processor) manual to refresh on the procedures to
do this. Generally, this requires ensuring the receiver’s test tones, or a spe-
cial test disk (like Ovation Software’s Avia) play back at the same volume
from each of your system’s speakers. That’s speakers at left, center, right,
left surround and right surround (and if equipped, center rear speakers), plus
the subwoofer . (More on sub level in a second). Skip to page 9 (“Powered
Box Features”) if you aren’t familiar with your sub’s amp, and come back to
calibration.
Some things to check as you get ready to calibrate:
•
Are your speakers set correct to the correct “size”? Your receiver/
processor should allow you to indicate if your speakers are “Small” or
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Page 8
“Large”. Selecting the size accordingly will ensure bass goes to most ap-
propriate speakers, and use the subwoofer correctly too. Also, is your sub-
woofer turned “ON”? We don’t mean “is your subwoofer amplifier
on?” (that’ll be important later too) but rather, is your receiver sending a
bass signal to your sub amp? This can only happen if you say “Yes” (or
“ON”) in the “Subwoofer” selection during the setup of any typical Dolby
Digital/DTS capable receiver (you’ll need to enter your receiver’s setup
“menu” to check these critical choices).
•
•
Is your receiver connected to the sub amp? Use a well-shielded “RCA”
cable (sometimes called a “patch cord”) to connect the subwoofer output of your
DD/DTS receiver to either input jack of your subwoofer’s dedicated amp. Again,
you’ll need to “split” the bass signal with a “Y Cable” if you have a pair of subs.
But you only need feed one of the two inputs (it doesn’t matter
either Right or Left) of any SVS Powered Box sub.
Is your Radio Shack
®
sound pressure level (SPL) me-
ter ready? This tool is absolutely essential to proper home
theater audio setup. It’s akin to a tire pressure gauge for your car
(you don’t set tires by “feel” right?). Set the meter to “Slow” and
“C-weighting” (and turn the dial to 70 or 80dB depending on your
test tone source). Haven’t got the meter yet? Order one from
your SVS Dealer. We prefer the analog instead of the digital
display model to ease visual notes of the levels being played.
Getting ready to start now: Make sure your receiver or processor’s master volume is
set to “00 dB” or some other easy to remember “reference level”. Then, ensure your
sub’s volume/gain control is set no more than 1/4 to 1/3rd up, for now, leaving plenty of
adjustment “up”. It’s also critical to check the subwoofer output level control of your
surround receiver before you begin the test tones. Set the receiver’s subwoofer output
to about 1/3rd up too. Your receiver’s LFE “trim” or “peak limiter”, if you have one,
should be set to 0dB (with the least effect). Turn off any sound-field processing schemes,
“Mid-night Mode”, “DRC” (dynamic range control), “Movie Mode” etc. If it is an op-
tion in your system, route your LFE to the “subwoofer only”, not “mains + sub”.
Now play your receiver's internal test noise “tones” so you have something to meas-
ure with your SPL meter. Or, better yet, buy a test DVD such as Ovation’s Avia. A
test disk’s tones ensure your entire signal path, from the DVD player to your speakers, is
set correctly. Whatever you use, when the tones start alternating from speaker to speaker
(watch your sound meter now), set each speaker’s volume to about 75 dB (or 85dB if
using Avia) by using the receiver’s dedicated channel level controls (leaving receiver’s
master volume the same). We recommend you turn down the receiver’s subwoofer
channel output level before you significantly lower your sub’s volume/gain control. This
helps keep distortion sent to your SVS at a minimum. Note: You should not set this
control much lower than the first 1/4th of the receiver’s control range however, since
some downward adjustment may be needed to fine tune levels later. If your subwoofer’s
SPL meter reading is still too high, then turn down the sub’s amp volume a little with
each run of the test noise signal, as it cycles from speaker to speaker and the subwoofer.
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But what’s “too high”?? Tastes vary, and so do movie soundtracks, but your SVS
subwoofer is capable of tremendous levels of low distortion, low frequency bass — far
more than most subs in this size or price class. Take advantage of this, especially if you
like action movies with lots of “.1” channel (LFE) bass action, and give the sub a bit
more “bump” during calibration. Keep in mind too that the human ear is relatively in-
sensitive to low frequencies. This, coupled with the fact most folks don’t watch movies
at Dolby Digital reference level (fairly loud), means raising the bass up a few decibels
(dBs) usually yields a more satisfying movie and music experience.
What bass levels do we recommend? If you watch movies at moderate sound
levels, a good start is a range of +1dB to +3dB above your other channels (as measured
with your sound meter). This means the test tone will waiver about 78 dB for the sub-
woofer portion of the calibration run using your receiver test tones, or 88dB with Avia.
(Note: You may want to rotate the sound meter dial to 80dB to get a good reading
with these higher levels.) Note too that many modern A/V receivers allow a variety of
subwoofer level settings, depending on the “listening mode” you are in. With “Dolby
Digital” as your “mode” use the above calibration routine. You may well find that CD
“Stereo” music calls for a lower bass settings. The above is a guide… experiment! The
louder your master volume though, the more you should back off the sub level to com-
pensate. You must avoid your driver “bottoming”, resulting in a loud “clack”!
Location and measurement. You should take the above measurements from your typi-
cal preferred seat for watching movies. Be advised, strong bass levels can vary tremen-
dously simply by moving your seat, or your subwoofer, just a few feet. Such is the na-
ture of long wave-length, low bass sound. Don’t hesitate to try different locations and
different levels for your subwoofer. Setting playback levels on the sub which are too
high (and often, too low) is the most common theater/music setup error.
Powered Box Basic Features. We looked the world over for the best sub-
woofer amp that’s still affordable. In the end we designed our own in partnership with
one of the best manufacturers in the business. The result? A custom, North American-
made amp with amazing build quality, durability and unbeatable features. “Advanced
Features” discussion begins on page 11.
Volume/Gain Use “gain” (in conjunction with your receiver’s subwoofer output level
control) to dial in a bass calibration to your liking. Start calibration with the sub’s vol-
ume/gain no more than 1/4 to 1/3 of the way up (turned clockwise from the left).
Crossover Frequency. If you use your DD/DTS receiver/processor’s internal cross-
over to manage bass frequencies (highly recommended), the setting of this knob on the
sub is irrelevant. (Note: Use the sub’s crossover “Enable/Disable” switch discussed
below to take advantage of this configuration.) Otherwise this knob is used to best blend
your subwoofer into your other speakers. Typically used in stereo only systems today.
Phase. Think of long bass waves as conflicting or enhancing each other, depending on
the timing of their arrival at your listening location (either together, or not). Since some
of your room’s bass might come from main, center and/or surround speakers, as well as
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Page 10
your sub, getting these bass wave forms to arrive in a complementary fashion is
the difficult job of the phase control. Essentially, “phase” varies the timing of the
bass waves coming from the sub. But don’t despair if you don’t hear much differ-
ence, especially if running a single subwoofer. Bass “cancellation” will vary by
room shape, volume, and the bass frequency. No one setting is likely to ever be
perfect. If your receiver is equipped with a distance setting for your subwoofer, set
the SVS’s phase to “0” or full counter-clockwise, and the sub’s distance to your
main seats accordingly.
Line In/Out. Use either of the sub’s “Line In” jacks (RCA or XLR type) to connect
the subwoofer to the output jack of your receiver/processor. Feeding just one input
is enough. If you are using a conventional amp and/or a stereo setup you can use the
“Line Out” jacks to send sound (filtered of deep bass information) back to your
system amp, or switch off this “Hi-pass” filter. A simple RCA or XLR cable is all
you need for either type configuration. See “Crossover Feature” discussion below
for more on Line Out options.
Auto-On. Your Powered Box allows itself to be in an “Auto-On” mode… or “On”
all the time. With the former setting (the switch in the “Auto” position) your sub-
woofer will “sense” that a DVD or CD etc. has begun and switch its audio circuits
on immediately (the “hard” power switch mentioned below must be on, naturally).
A few minutes after a movie, the Auto-On light will turn Red, switching portions of
the sub’s power supply back off. When running (and sensing a signal) the Auto-On
LED will be green. Sometimes, with very low listening levels, your subwoofer
might not get enough of a bass signal from your surround sound processor to “trip”
the Auto-On circuit. Should you ever find this to be the case you may leave this
switch to “On”, or turn up the receiver’s subwoofer level some (be sure to recali-
brate channels levels with your meter afterwards).
Crossover Feature Switches. If you allow your DD/DTS surround-sound receiver
or processor to manage bass frequencies (again, highly recommended), this switch
should be set to “Disabled”, eliminating the effects of the “Crossover Frequency”
knob and allowing your sub to reproduce just what it’s fed from the receiver. If you
use the sub in a two channel (stereo only) configuration, then “Enable” the crossover
and adjust the knob to best blend the sub into the output of your speakers. XLR and
RCA Hi-Pass filters can be switched “Off” if you desire to “daisy chain” the output
of one sub to the input of another without frequency response conflicts; or pass full-
range audio signals to an outboard stereo amp/receiver.
Power. This heavy-duty two-position switch next to the power cord will completely
cut the power to your sub amp. Flip this switch to off before you ever move the sub
or change inputs or outputs. Do not plug this sub into receiver convenience power
outlets. Allow two minutes of “off” time before switching back “on”.
Fuse. User replaceable, contact your dealer if you have trouble finding one. The
fuse can be accessed by a small door immediately next to the power cord fitting
(where you should also find a spare one for your use).
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Page 11
Advanced Features:
Subsonic Filter and Port Tuning
Your new SVS subwoofer not only comes with
our “Tri-Power” port flares, but custom port
plugs and variable subsonic filter which allow
your sub to be “tuned” to even lower frequen-
cies than its stock configuration. For most peo-
ple and most rooms, your SVS sub is already configured for the best blend of
extension (how deep/low your sub goes) and output (how loud it gets at a vari-
ety of bass frequencies). However, we know that bass is a very personal taste
and no two rooms will react exactly the same with any subwoofer. So we
includes custom “plugs” which, when inserted into a port, allows you the user
to experiment with a substantially lower “tune”.
As with all such devices, there are compromises when tuning a sub lower.
Installing one port block takes some capacity from upper reaches of bass, in-
stalling two port blocks naturally limits upper bass “headroom” even more. So
while deeper settings will indeed get more bass down low (where DVD and
music bass is more rare, but quite exciting!), you’ll sacrifice some total output
capacity above the stock tuning point of the sub (where bass is more common).
You should decide if the effect is pleasing on the sorts of movies and music
you enjoy.
How to do it? Remove your grill by prying up with our fingers along its metal
side. To insert a port plug, simply squeeze the foam on one end and press the
plug into a port flare until it is about 1” lower than the edge of the surface of
the sub. You can remove the plug by inserting your fingertips into the port
flare and squeezing and pulling on the foam plug at the same time. Be sure to
select the subsonic filter point on the back of your SVS amp which coincides
correctly with your new “tuning point”. NOTE: We strongly recommend
you do NOT run a lower subsonic filter point than your port plug configura-
tion would dictate — especially if you are running the subwoofer at high
sound pressure levels. Somewhat more moderate levels are doubly important
SVS Tuning Chart
Subsonic Filter Knob
Stock tune (no ports blocked)
With one port-blocked
With two ports-blocked *
With three ports-blocked
20Hz
15Hz
10Hz
Sealed
if you put the subsonic filter into the 10Hz mode (* contact SVS about details
on the use of this deepest mode). This simple table indicates the settings you
should use in setting up your sub blocks and the subsonic filter knob.
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Page 13
Advanced Features: Parametric Equalizer. “PEQ” allows you to tame
a “peak” in your room’s response. Peaks are quite common, especially in large rooms or
where your sub is far from your listening position. NOTE: A Sound Pressure Level me-
ter is a must for proper use of the PEQ, so get one before you tackle this control. TO
DISABLE THIS CONTROL: Set the “LEVEL” control in the Parametric EQ feature
“Counter-clockwise” until it stops on “MIN” — thus ensuring you do not inadvertently
cause poor frequency response until you desire to properly configure this feature.
First you might ask yourself, “why use a PEQ?” The reason is quite simple. Your room.
See, most times even a superlative subwoofer which measures very evenly (we say “flat”)
in an open domain (no reflective boundaries) will not measure the same in your home
theater or music room. Instead, colliding bass waves can build up and cause a “peak”.
This is where a parametric equalizer helps out. A PEQ is an electronic circuit which al-
lows the user to manipulate the input signal so the acoustical output is more desirable for
their environment, in many cases allowing the worst peak to be “flattened”. By manipu-
lating the input signal with your PEQ you can cut a wide or narrow peak in response lo-
cated somewhere in the frequency range of the equalizer. Importantly, the equalizer
found your sub only allows reduction of peaks, and is “cut only”, not a boost device.
Measure the room’s response. As indicated above, you must have a firm under-
standing of your room’s acoustical properties before you use a PEQ. To determine your
room’s natural response properties (and your subwoofer, in that room) you will need an
SPL meter shown on Page 6, and at least a pad of graph paper and a pencil for charting as
below. If you have graphing program similar to Microsoft Excel ® this will save some
time charting the response curves. NOTE: Use extreme caution with sine-waves and
only run very low SPLs in the 70dB-80dB region. Sine waves at high SPL’s will damage
your sub!
Freq 20 25 30 35 40 45 50 55 60 65 70 75
80 85
90 95 100
SPL 85 84 86 91.5 95 90 84 84 86 86 85 83.5 83 83.5 84.5 85
86
Room A Response
96
93
90
87
84
81
20
40
60
80
100
Figure 3
Frequency
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Page 14
Sine wave audio tools typically allow the user to play individual tones, say 10Hz
through 98Hz in one hertz increments allowing very good resolution over your
measurements. When measuring the room’s response use a minimum resolution of
5Hz. Figure 3 on the previous page shows a theoretical illustration of a room’s
response. Again, exercise extreme caution with the length of time and keep to very
moderate SPLs or damage to your subwoofer’s voice coil will occur!
Before you plot your results however, it’s important to note the Radio Shack sound
meter is not totally "linear" in its accuracy down low. All similar meters are off by
the similar amount depending on the frequency; so while its sensitivity below 20Hz
is not what it is at 50Hz, there is a simple way to compensate for this deficiency. It's
called a compensation chart.
Simply look to the below frequencies and add the required decibels (dBs) at the fre-
quency in question. So if your system seems to be measuring 70dBs with a 20Hz
tone, then really it's putting out 77.5dBs. This is a very substantial difference,
roughly TWICE the acoustical energy, requiring several times the amplifier power to
achieve. You can see then how critical the below chart is
if you are using your PEQ to even out or “flatten” the
room response of your bass (Note: control layout may
differ on your amplifier functions and labels are constant).
Add the following to your measurements:
10Hz add 20dBs
12Hz add 16.5db
16Hz add 11.5dB
20Hz add 7.5dB
25Hz add 5dB
31.5Hz add 3dB
40Hz add 2.5dB
50Hz add 1.5dB
63Hz add 1.5dB
80Hz add 1.5dB
100Hz add 2dB
125Hz add .5dB
SVS PEQ Controls
Explanation of the controls. Now that we have discussed how to measure the
room’s response, the next step is to correct the problem areas with the parametric
equalizer. Before we start turning the controls we need to understand what the ad-
justments are and how they work.
“Q”. This control determines how wide the correction will be. Each “hash mark” on
the amp’s front plate represents 0.1 octave adjustments. The “HI” mark is equal to
0.1 octave (narrow) and “LO” mark is equal to .9 octave (wide). In Figure 3 the
highest peak is located at 40Hz and becomes flat again at 50Hz (the Highest Fre-
quency of the peak). To determine the Q adjustment the following formula is
needed. More on “Q” in a moment.
Formula 1 (Highest Frequency [X] – Center Point [Y])
Center Point (Y)
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Page 15
The LEVEL control is the amount of attenuation on the signal located at the center
frequency. MIN is equal to 0dB and MAX is equal to -12dB “cut”. Each hash mark
reduces the Center Point in question by 1.5dB.
The “FREQ” control (short for frequency) is the adjustment for the center point of
the cut and should target the highest peak frequency in the room’s response. Each
hash mark for this control moves the center frequency for the desired cut 5Hz, within
a range of 20-80Hz.
Adjustments of the parametric equalizer. The first step to adjusting a PEQ is de-
termining the “Center Point” of the cut. Determining the Center Point allows us to
establish a target, or baseline, for further adjustments. In this example (again, looking
to the graph in Figure 3), the peak frequency is roughly 40Hz.
At this stage we’ll estimate the beginning (lowest frequency) and the end (highest
frequency) of the peak. In Figure 3 the beginning would be located somewhere near
25Hz and the end, or Highest Frequency, would be near 50Hz. This would be a
25Hz bandwidth, with a Center Point located at 37.5Hz (the midpoint between 25
and 50hz). Notice that the center point of 37.5Hz is not located precisely at the peak
frequency in the response curve, which was estimated at 40Hz. Why? If we used
40Hz as our center frequency and 50Hz as our high point cutoff we would only at-
tenuate the curve down to 30Hz. This will leave a small bump in response near 25Hz
because the correction would only be located between 30Hz to 50Hz.
Now that we determined the Center Point we can adjust the “FREQ” control knob to
37.5Hz, or between the fourth and fifth hash marks, clockwise from the left.
The next step will properly adjust the “Q” setting. We again need to use Formula 1
and calculate the Q setting from Figure 3 using Highest Frequency and Center Point
figures just determined above.
50Hz – 37.5Hz = 0.33
37.5Hz
.33 Q … or just past the third hash mark, clockwise from the left of this control.
Now that we have successfully adjusted the Q and Frequency controls, we need to
make the final Level adjustment. In Figure 3 the adjustment should be somewhere
near –10dB to –11dB, or on the 8th hash mark from the left (1.5dB cut per hash
mark), completing the adjustments for the parametric equalizer.
Measure room response for accuracy. After all the adjustments are made we rec-
ommend you measure the room again to make sure the adjustments are correct. If the
new response curve is not acceptable then fine-tune things some. For example, if the
response curve still shows a small peak you should adjust the Level control again to
compensate. Make sure your overall SPL calibration is set as described earlier in this
manual, and enjoy your optimized subwoofer!
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Page 16
Advanced Features: Room Compensation
Theory: In typical home theaters a phenomenon known as “room gain” can play a
major role in affecting the sound of the subwoofer in any given home. If you desire,
skip to “size” setting recommendations on the bottom of the next page. “Room
Comp” control (short for “room compensation”), is there for some interesting techni-
cal reasons, we need to discuss why this knob has been implemented.
In a typical home theater or music room, a subwoofer is sometimes called upon to
produce frequencies lower than the lowest “mode” in that space. For example, if a
room measures 21ft long by 16ft wide and 8ft high, the lowest mode will be about
27Hz. To calculate the lowest room mode use the following equation. Note: 565ft
(or 170 meters) in the formula is a “constant” representing the speed of sound.
÷
Lowest Mode = 565
Lowest Mode = 170
Longest Dimension (feet)
÷
Longest Dimension (meters)
When the subwoofer produces any sound below 27Hz, the output is different than its
“anechoic”* output. The difference is depicted in the graph below. The red trace
indicates the anechoic response and the blue trace indicates the same subwoofer’s
response in a 2800ft3 room. As you can see the output increases as the frequency
decreases when compared to the anechoic response.
SPL vs F req
d B SPL
115
110
105
100
95
90
85
80
75
70
65
60
55
10 H z
20
30
40
50
60
70
80
90
100
6: An e ch o ic
7: 2800ft^3
E n clo sure
S h o p
P erso n: Jim F arina
C o m p an y: S V S o un d , L L C
P ro ject: R o o m C o m p en satio n
F ile: R oo m C o m p en satio n .led
Ju l 18, 2006
T u e 4: 42 pm
5.2.0.350 Ju l/15/2005
*Anechoic: Meaning essentially, “without echo”. As measured in a special room, or
outdoors, without the reflective boundaries that any audio enthusiasts’ home present
to a speaker or subwoofer.
This resultant “in room” frequency response will over-exaggerate the low frequency
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Page 17
Application: Room gain relates primarily to two parameters of your room, its size
(physical dimensions and openings to other rooms) and its structural integrity. While
we can’t change the parameters of your room, we can adjust the output of the sub-
woofer to perform better based on the room’s size. We accomplish this by applying an
electronic filter to the input signal. The graph below depicts the results of the “Room
Comp” knob.
Voltage vs Freq
dBV
5
0
-5
-10
-15
-20
10 Hz
20
30
40
50
60
70
80
90
100
1: LARGE
2: M EDIUM
3: SM ALL
Crossover
Shop
Person: Jim Farina
Company: SV Sound, LLC
Project: Room Compensation
File: Room Compensation.lcd
Jul 17, 2006
Mon 5:14 pm
5.1.0.341 Jul/10/2006
The two parameters that you need to know when setting the room compensation
switch are the room’s size (or volume) and resulting classification into small, medium,
or large. The following explanation will help you determine both parameters.
Room Size Calculation: To determine the room size you will need to measure the
length, width and height of the room. Once you have that information you will need to
multiply those numbers together to equate the volume.
Room Volume = Length X Width X Height
Note: An increase in class may be needed if there are large openings to other rooms.
Approximate Room Size
Room Compensation Setting
LARGE
> 2400ft3 (68m3)
1400ft3 – 2400ft3 (40m3 – 68m3)
< 1400ft3 (40m3)
MEDIUM
SMALL
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Page 18
Example: The following example will help you set your subwoofer’s
room compensation switch properly.
Let’s say your theater room measures 16 feet wide, by 21 feet long, by 8 feet tall
with a small 10 feet by 7 feet wide opening.
Calculate Room Volume:
16ft X 21ft X 8ft = 2688ft3 (plus 5% for the opening)
Determine Room Compensation Location:
2822.4ft3 = >2400ft3 = LARGE
The below graph depicts the above example and the results that you would ex-
pect to achieve. The blue trace is with the Room Comp knob set to BYPASS and
the red trace is the Room Comp knob set to LARGE. As you can see the Room
Compensation knob allows the subwoofer to produce a more linear response.
SP L vs F req
d B S P L
11 5
11 0
10 5
10 0
95
90
85
80
75
70
65
60
55
1 0 H z
20
3 0
4 0
5 0
6 0
7 0
8 0
90
1 0 0
5 :
6 :
W
W
ith o u t C o m p e n s a tio n
ith C o m p e n s a tio n
C ro s s o v e r
S h o p
P e rso n : Jim F a rin a
C o m p a n y: S V S o u n d , L L C
P ro je c t: R o o m C o m p en s a tio n
F ile : R o o m C o m p e n sa tio n .lcd
J u
l
1 8 , 2 00 6
T
u e 4: 4 3 p m
5.1.0.341 Ju l/10/2006
The fine print: Because every home theater differs is size and integrity you
may not achieve the desired results based in the above example. If you are have
any trouble setting the Room Compensation knob please email us at techsup-
[email protected]. We will be happy to help you optimize your subwoofer.
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Page 19
Bassy demo scenes to die for.
So now what?? You’ve got one of the best theater and music bass sub-
systems on the planet, you’re calibrated...want to see what she’ll do?
But of course! Since finding those scenes can be a bit trying, we’ve
compiled a list of our classic favorites below. After all, calibration with
test tones is important, but it’s movies and music this sub is itching to
show off. Chapter stops for DVDs are shown, with movie time in hours:
minutes: seconds. What are you waiting for? Just hit PLAY!
•
“The Iron Giant” Great family animation with SERIOUS bass,
including strong peaks below 25 Hz. Jump to:
1. “Chase thru the forest” Scene 8 (20:00 into the movie)
2. “Robot Landing” (Train Impact) Scene 10 (25:40)
3. “Green Boom” Scene 27 (1:11:40)
•
•
“Antz” Another good family movie, though not perhaps for small
children. Extremely loud bass above 30 Hz.
“Terror from Above”, Scene 17 (51:48)
“The Matrix” Modern, violent, science fiction classic with plenty
of shoot-’em-up bass blasts. Here’s some subtle and not so subtle.
1. “Where we are grown”, Scene 12 (42:55)
2. “Landing in fight”, Scene 15 (50:51)
3. “Chopper shootout”, Scene 31 (1:47:15)
•
•
“Das Boot” Arguably one of the most compelling war pictures of
all time with bass approaching 20 Hz. Very loud, very deep.
1. “Depth charges”, Scene 21 (59:30)
2. “Storm surfing”, Scene 25 (1:15:15)
3. “Hitting bottom”, Scene 17 (53:15, Side “B”)
“Apollo 13” Moving story, with some surprisingly subtle but re-
vealing bass where it counts.
1. “Lift off”, Scene 13 (35:15)
2. “Coming home”, Scene 53 (2:05:43)
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Page 20
More Bassy demo scenes.
•
“Titanic” You love it...or you hate it. Regardless of which side
of the ship you sit on, this flick does some serious rumbling for
you:
1. “We can’t leave him” Scene 22 (2:21:50)
2. “Ship Splitting” (2:41:30)
3. “Last Gasp” (2:42:05)
•
•
“Blade” Not one for the kiddies, but loaded with deep bass.
1. “Footstep”, Scene 4 (7:15)
2. “Door blown” Scene 20 (50:05)
“Aliens” Not just another modern sci-fi horror classic, this one
rocks from intro to final scene.
1. “Ship drop”, Scene 9 (41:20)
2. “Awakenings”, Scene 15 (1:12:52)
•
"Apocalypse Now" Making This Vietnam war movie, Francis
Ford Copolla nearly went crazy...imagine what it'll do to your
subwoofer!
1. "Chopper ride" Scene 2 (0:19:47)
2. "ARC LIGHT" Scene 4 (0:26:02)
3. "Grenade launch" Scene 12 (1:27:58)
“Contact” SETI with a (bass) twist or two along the way.
1. “Bombing”, Scene 28 (1:36:30)
•
•
2. “Space truckin”, Scene 33 (1:55:56)
“Dark City” One of Roger Ebert’s favorites, think he likes bass
too?
1. “Let the tuning commence”, Scene 8 (34:30)
2. “City makeover”, Scene 15 (1:27:45)
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Page 21
SV Sound
A Glossary of Home Theater Terms
Don’t feel guilty if you want to skip over the below. But if you are curious
about what some of the terms and abbreviations stand for, read on:
CD - Compact Disc, the music standard and capable of great sound. Now joined
by other disk-based high-resolution music alternatives that can really make sub-
woofers great audio upgrades.
dB - Short for “deci-Bell” a unit of sound, a 3dB increase takes twice the acoustic
power to attain!
DD - “Dolby Digital”, the most popular form of digital surround sound, usually
found on DVD soundtracks. Actually a compression algorithm that can provide 1
to 7 channels of movie or music audio .
DPL - “Dolby Pro Logic”. The last generation of non-discreet channel surround
sound. Derived from 2 “matrixed” analog channels.
DTS - “Digital Theater System” similar to DD, but often with less compression.
Many feel it sounds better than DD, but you be the judge.
DVD - Amazing little video disk, “DVD”, technically doesn’t “mean” anything (but
practically, it changed the face of home entertainment)!
HD - High definition. Generally relating to the new generation of much improved
movie resolution, but often accompanied by new improved audio resolution for-
mats.
HT - “Home Theater”. What you make of it. But a home (theater) without a sub-
woofer, isn’t quite up to our definition!
Hz - Short for Hertz, the German scientist who came up with a scheme of measur-
ing the frequency of sound waves. 15-30 Hz is very low bass and very rare in any-
thing but movie soundtracks. 60-80 Hz is generally considered mid-bass above
which most large full range speakers can easily produce. The real fun (and most
common) deep bass, is in the middle of that range, call it 20-40 Hz.
LFE - “Low Frequency Effects” are the “.1” channel in 5.1 or 6.1 or even 7.1
channel soundtracks. If you have a sub selected in your system, any LFE signal
goes to the subwoofer. The sub may get bass from other channels as well however,
depending on the “size” of speakers in your set-up.
RMS - A common and accurate way to rate the power of an amplifier. Literally
“Root Means Squared”. Typically measured in “watts”.
SPL - “Sound Pressure Level”, a fancy way of saying “Volume”. Usually meas-
ured in dBs. SPL meters are critical to setting your surround sound. Doing so by
ear is nearly impossible.
Sub - Short for subwoofer
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Page 22
Specifications
Model Name:
Configuration:
Design:
PB13-Ultra
Powered Box, front-firing 13” woofer
Vented, Variable Tune with Sealed Mode
22” High x 20.5” Wide x 27” Deep
Dimensions:
H x W x D
56 cm H. x 52 cm W. x 68.6 cm D.
155lbs (70.5kg)
Weight:
110~120V/60hz (US/Canada/South America)
220~240V/50hz (Europe, Australia, other)
Voltage (fixed):
Driver:
13” SVS designed/built “Ultra” woofer with high
-excursion synthetic surround, foam/glass
cone with cast basket, high-temp US voice coil
and integral cooling vents
Frequency Response: 18Hz - 150Hz ± 3dB (typical in-room response
(quasi-anechoic)
3-5Hz deeper) with 20hz tuning
RCA and XLR (low level)
Inputs/Outputs:
Defeatable high-pass filters
Gain, continuously variable phase, crossover
(defeatable), auto on, PEQ, Room Compensa-
tion, variable tuning and high-pass filter
switches
Controls:
750 watt RMS
Power Handling:
Crossover:
High pass: 12dB/octave @ 80Hz
Variable low pass: 12dB/octave (40-120Hz)
1” Medium Density Fiber-board (MDF) with
internal CNC’d bracing, and wood, gloss or
textured black epoxy finishes
Enclosure Material:
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Page 23
Authorized International Dealers:
Australia/New Zealand
BENELUX
Deep Hz Audio
M-Pro BVBA
98 Nimblefoot Way
De Regengoog 3
Lilydale Vic. 3140, Australia
Phone: 0434-550782
Email: [email protected]
2800 Mechelen, Belgium
Phone: +32 (0)15-330980
Fax: +32 (0)15-330995
Email: [email protected]
Canada
Sonic Boom Audio
Scandinavia/Germany
L-Sound AS
Bedriftsveien 14
410 Denison street
Markham, Ontario
Email:
4841 Arendal, Norway
Phone: (+47) 377 11 333
Fax: (+47) 377 10 440
Email: [email protected]
UK
South America
Kent Home Cinema/AV-Sales
69 London Road, Southborough
Tunbridge Wells, Kent
TN4 0PA, England
Phone: 01892 535007
Fax: 01892 533334
Liquid Sound Ltda
Rua Dario Pompeu de
Camargo, 467
13089-080 Campinas, Brasil
Fone: +55 (0)19-9276-8820
Fax: +55 (0)19-3251-4482
Email: [email protected]
Email:
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Terms and Conditions
Terms and Conditions: These are available on request, con-
tact your Dealer listed on the previous page. Please note that
these terms and conditions do not affect your statutory rights.
Shipping: When you receive your new subwoofer, please
check to ensure there is no damage. If after unpacking you
discover any damage that may have been caused by transporta-
tion on your product, we request you contact your Dealer im-
mediately and if possible, provide a photo of damage in ques-
tion to them to ensure the fastest possible correction to the
situation.
Warranty: The product has a 3 year warranty against defects
in materials and workmanship. Upon return, the products will
be repaired and redelivered. Naturally, this warranty does not
cover any product subjected to misuse or accidental damage.
The bottom line: We’re proud of these subwoofers and want
you to be as happy owning one, as we are selling one (or more)
to you. E-mail your Dealer or SVS if you have any warranty
question.
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