Sonodyne SM 100Ak Manual de usuario

SM100Ak

2 way nearfield active monitor owners manual

www.sonodyne.com

SM 100Ak

Introduction •Safety •Unpacking •Fig 1 & 2

INTRODUCTION

Congratulations on your purchase of the SM 100Ak near field active studio monitor. The SM 100Ak has all the makings of a truthful

reference device. The high grade transducers, the aluminium die cast rigid enclosure, the active amplification, the on board EQ, among

others, result in sound that is neutral and transparent. You may thus depend on the SM 100Ak to accurately meet your professional

monitoring needs.

SAFETY

•Please ensure proper earthing.

•Please keep away from moisture.

•The equipment is capable of producing SPL in excess of 100 dB. Long term exposure may cause permanent hearing damage.

•Ensure that the speakers are not covered while in use. Restricted airflow at the rear of the unit will cause it to heat up.

UNPACKING

While removing the units from the carton, please do not hold the speaker’s front. The high frequency transducer is located near the top of

the cabinet, on the front baffle; you may accidentally damage the transducer.

The best way to safely unpack the monitors is to open the top of the carton, keep the EP filler piece on, turn the entire box upside down

and pull off the carton box. Then remove the filler pieces, the protective cloth and moulded baffle cover.

Page 1

FIG. 2: REAR PANELFIG. 1: FRONT PANEL

GAIN 1 32 4

1. TRS Input

2. XLR input

3. 3 pin IEC mains inlet

Treble Tilt -2 dB

Bass Tilt -4 dB

Bass Tilt -2 dB

Bass Roll-Off

Controls and Features

Page 2

SM 100Ak

FRONT PANEL (refer to Fig. 1 on page 1)

1. Power Switch: This switch is used to turn power ON/OFF

2. Power Indicator: This lights up when power is ON

3. Master Level Control: This control increases or decreases the overall level. Full master level corresponds to 0 dB.

REAR PANEL (refer to Fig. 2 on page 1)

•GAIN: The SM 100Ak has a variable gain control. The gain is factory set to 0 dB. With the level control on the front panel set to

maximum position (fully clockwise) and an input signal of -6 dBu, the SM 100Ak will typically produce an output of 109 dB SPL

at 1 meter in an anechoic environment.

The variable gain setting allows the user to get a good sensitivity match when using either professional or semi-professional

equipment. Using the gain control, the monitor can be set for inputs of -6 dBu to +6 dBu.

•LF SWITCH (BASS ROLL-OFF): Switch 1 when ON introduces a low frequency roll-off into the response curve. The effect of the

roll-off (6 dB per octave @ 100 Hz) is shown in Fig. 6 on page 6.

For many applications, removal of deep bass content allows you to raise the overall output level, permitting LOUD mixing. But,

keep in mind that removing deep bass content from monitors may actually result in an inaccurate bass reproduction.

•ROOM COMPENSATION (LF) (BASS TILTS): Switches 2 & 3 when ON activates a filter @ 80 Hz, to reduce the low frequency

output by 2 dB & 4 dB respectively. Engaging both switches produces a 6 dB roll-off. These functions can be used to compensate

for the build-up of low frequencies that occur when the speakers are placed near walls or corners, or on the workbench surfaces.

When the monitors are at a free standing position, away from walls and workbenches turn these switches OFF. The changes in

low frequency response using switches 2 & 3 are shown in Fig. 7 on page 6.

•ROOM COMPENSATION (HF) (HF TILTS): Switch 4 introduces a high frequency response shelf cut of 2 dB above 4 kHz. This

feature can be used if the testing room is 'fairly live' or the listening position is close to the speakers. But generally not used for

applications in 'dead' rooms. The change in the frequency response when switch 4 is ON can be seen in Fig. 8 on page 6.

After you've studied the SM 100Ak's rear panel switches, do not hesitate to experiment with the settings and also monitor placement to

get the best results.

Page 3

SM 100Ak

INSTALLATION

ROOM PLACEMENT: The SM 100Ak has a wide variety of placement options. Shown in Fig. 4 on page 4 is a typical stereo setup for near

to mid-field monitoring. Shown in Fig. 3 is a typical 5 channel setup.

The monitors should be angled to directly face the listener. The center of the high frequency transducer should be on-axis with the ear

level of the listener.

The low frequency compensation settings can be used when speakers are placed in close proximity to walls, corners and work surfaces.

LISTENING DISTANCE: The common listening position at mixing positions is generally 1 to 1.5 m for near field applications. For mid-field

applications, 2-3 m is more likely. The stereo listening angle is more a matter of personal preference, but we recommend the angle should

be around 60° as shown in Fig. 4 on page 4

MOUNTING OPTIONS: The SM 100Ak may be wall or floor mounted. (Optional) accessories are available.

CONNECTORS

•Audio: The SM 100Ak has one balanced TRS and one 3 pin balanced XLR input. (refer to Fig. 2: rear panel on page 1) The pin

configuration is shown in Fig. 5 on page 4. The wiring configuration for using unbalanced sources is also shown. (Please note that

we strongly recommend against using unbalanced inputs.)

•AC Power: This is a 3 pin IEC type socket (see Fig. 2: rear panel on page 1) with integral fuse holder. The fuse is rated as 0.6A SB.

Replace only with exact type and rating.

Installation •Fig. 3

FIG. 3

FL / FR : Front Left & Front Right Speakers

C : Center Speaker (on top of TV)

SL / SR : Surround Left & Right Speakers

6060

120120

FL FR

SL SR

1 to 1.5 m 1 to 1.5 m

The figure shows ideal seating arrangement..

Practically however, actual placement distances may differ.

Typical 5 Channel Set-up

Page 4

SM 100Ak

OPERATION

•Connect the line level monitor signal from your mixer (or any other source) to the signal input on the SM 100Ak studio monitor using

balanced cables (¼” TRS / 3 pin XLR).

•Connect the supplied AC power cord to the IEC socket at rear panel.

•Keep the power switch at OFF position and turn down the master level on the front panel to minimum position.

•Switch on your mixer, but keep the master level control at minimum.

•Switch ON SM 100Ak. The blue power LED will light up. Ensure that the Input Sensitivity (Gain control at the rear panel) is set to 0dB

•Slowly turn up the Master level control of the SM 100Ak.

•Now, adjust the master volume on your mixer to a comfortably loud listening position.

Note

•Your SM 100Aks’ achieve their best bass response in a room that is optimized for bass reproduction. Factors such as room shape

and volume, absence of acoustical treatment can prove to be a bane for optimal sound reproduction from the SM 100Aks. Therefore

we have provided some compensation controls which you can use to optimize the frequency response of the speakers for any

particular room. For the effect of these 'tilts' please refer to Fig: 6-8 on page 6.

MAINTENANCE

No user serviceable parts inside the unit. All maintenance and repair work to be undertaken by qualified personnel only.

Fig. 4 & 5 •Operation •Maintenance

60°

SMA

10k

S00

2. o 15t m

FIG. 4

Wiring configuration for use with unbalanced sources

1 2

3 pin XLR male

RCA

1 2

33 pin XLR male

R/ ” S

14T

1/4” TRS

Pin Signal

3 -

2 +

1 GND

3 pin XLR

FIG. 5

Page 5

SM 100Ak

Troubleshooting

Symptom: Device remains 'OFF'

•Make sure that the power cord is securely seated in the IEC socket and plugged all the way into the AC outlet.

•Make sure that the AC outlet is live (check with tester).

•Remove power cord and check the Fuse. If blown, then replace with exact type and rating.

Symptom: Device is 'ON' but no audio output

•Is the master level control on the front panel turned up? The gain control on the rear panel may be at minimum position.

•Is the signal source turned up? Make sure that the signal level from the device preceding the SM 100Ak is high enough to

match the Input sensitivity (Gain control on rear panel).

•If either of the stereo pair is not producing sound, then switch the signal around. If the problem also switches sides, the

problem is not the monitor. It could be a bad signal cable, or no signal from the mixer.

Symptom: Distorted sound

•Ensure secure connectivity of the TRS / XLR.

•Reduce signal level at mixer or reduce gain control of SM 100Ak at rear panel.

•Please monitor the signal with headphones. Distorted sound in headphones indicate that the problem lies in the signal

source.

Symptom: Noise / Hum / Line interference

•Proper signal wiring between the mixer and the monitor eliminates the hum, buzz and all sorts of crackling noises. Make sure

all connections are secure.

•If unbalanced sources are used, wire the connectors such that the unbalanced ground of the source is connected to the

inverting pin (pin 3 for XLR, ring for TRS jack) and ground (pin 1 for XLR, sleeve for TRS jack). Improper cabling will result in

unsatisfactory audio reproduction. (please refer to Fig. 5 on page 4)

•If a CATV cable is connected to the system, and a persistent mains hum occurs, disconnect it. If the hum goes away call the

cable operator to check for proper cable grounding methods. Using BALUN transformers (1:1, isolated type) might solve the

problem.

•Make sure that the signal cable is not routed near AC cables.

•If a light dimmer or triac-based device exists on the same AC circuit as the monitor, buzzing noises may occur. AC Line filters

may eliminate the problem.

SM 100Ak Page 6

Fig. 6, 7 & 8

FIG. 6

Effect of Switch:1

FIG. 7

Effect of Switch 2

Effect of Switch 3

Effect of Switches 2 & 3

FIG. 8

Effect of Switch:4

Specifications

105 dB at 1m

80°(averaged between 5 ~ 14 kHz)

80 Hz ~ 200 Hz <3%

LF: 45 W HF: 45 W

< 0.04 %

2 way nearfield active monitor

composite poly-frame

HF : Magnetically shielded 26mm silk – dome ferrofluid cooled

tweeter with integral waveguide

(at 95 dB SPL) >200 Hz <1%

TRANSDUCER COMPLEMENTS

USABLE FREQUENCY RANGE

MAX. LONG TERM SPL, HALF SPACE

HORIZONTAL BEAM WIDTH

VERTICAL BEAM WIDTH

TOTAL HARMONIC DISTORTION

S/N RATIO (AT UNITY GAIN)

AMPLIFIER THD AT RATED POWER

INPUT LEVEL FOR 109 DB SPL AT 1M

GAIN CONTROL RANGE

VOLUME CONTROL RANGE

CMRR

SUBSONIC FILTER

CROSSOVER

BASS TILT

BASS ROLL-OFF

TREBLE TILT

CONTROLS : FRONT

CONTROLS : REAR

INDICATOR

PROTECTION

POWER REQUIREMENT

FINISH

MECHANICAL DIMENSION (W x H x D)

INTERNAL VOLUME/ NET WEIGHT

DESCRIPTION

LF : Magnetically shielded 6.5” Kevlar cone woofer in

Vented, through twin front-firing aerodynamic port

60 Hz ~ 22 kHz, (± 3 dB)

50 Hz ~ 30 kHz, (±10 dB)

109 dB at 1m

90°(averaged between 5 ~ 14 kHz)

85°(averaged between 5 ~ 14 kHz)

65 Hz ~ 200 Hz <3%

LF: 80 W HF: 40 W

> 90 dB, referred to full output

< 0.04 %

- 6 dBU

± 6 dB, with respect to U position

> 70 dB

> 65 dB

40 Hz, 12 dB/ octave

4th order, Linkwitz Riley, 1.5 kHz crossover freq.

- 2 dB , - 4 dB , - 6 dB @ 80 Hz

80 Hz, 6 dB/ octave

- 2 dB @15 kHz

Power Switch and Volume Control

Gain control, 4 DIP switches for bass/treble tilts & bass roll-off

Power ON /OFF

Over current, Overheat , RFI, Switch on/ off transients

230 V AC,± 10 % , 50 Hz

200 VA Max.

Die-cast aluminum

Black texture

230 mm x 335 mm x 300mm

13 Litre / 10.5 Kg

MECHANICAL

POWER CONSUMPTION

CABINET MATERIAL

INPUT

AMPLIFIER AND CROSSOVER

AMPLIFIER POWER BEFORE CLIPPING

SYSTEM

ENCLOSURE TYPE

OVERALL FREQUENCY RESPONSE

Manufactured by Sonodyne Technologies Pvt. Ltd, H.O.: 98 NB Block E New Alipore, Kolkata 700053, INDIA

Tel: +91 33 24570418, 24583406; Fax: +91 33 24787243; E-mail: [email protected]

Please visit us at www.sonodyne.com

A product of the Mukherjee Innovation Centre

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