Klein + Hummel O 810 Mode d'emploi

Marque: Klein + Hummel

Modèle: O 810

Taper: Mode d'emploi

Operating Manual

Operating ManualOperating Manual

Operating Manual

O 810

O 870

Part Number

Part NumberPart Number

Part Number: 526393

Version

VersionVersion

Version: Version 01

Date

DateDate

Date: 19-May-2008

Active Subwoofer

with 7.1 High Definition

Bass Management™

Table of Contents

Table of ContentsTable of Contents

Table of Contents

Introduction................................................................................................................................................................4

Package Contents......................................................................................................................................................4

Subwoofer Selection.................................................................................................................................................4

System Block Diagrams............................................................................................................................................5

Electronics Panel Picture..........................................................................................................................................6

Crossover.....................................................................................................................................................................6

Mains Section .............................................................................................................................................................7

Analog Input Card .....................................................................................................................................................7

Optional Digital Input Card (DIM 4) ......................................................................................................................8

Output Card ............................................................................................................................................................. 10

Filter Card................................................................................................................................................................. 10

Amplifier Module(s)............................................................................................................................................... 12

Driver(s) and Acoustical Response .................................................................................................................... 12

Cabinet...................................................................................................................................................................... 13

Remote Mounting the Electronics ...................................................................................................................... 13

System Use .............................................................................................................................................................. 13

Acoustical Controls................................................................................................................................................. 18

Calibrating the Acoustical Controls .................................................................................................................... 19

Volume Control ....................................................................................................................................................... 21

Cleaning.................................................................................................................................................................... 23

Technical Specifications........................................................................................................................................ 24

Acoustical Measurements .................................................................................................................................... 25

Accessories and Options....................................................................................................................................... 27

Safety and Warnings............................................................................................................................................. 29

Maintenance and Servicing.................................................................................................................................. 30

Guarantee................................................................................................................................................................. 30

Recycling .................................................................................................................................................................. 30

EC Declaration of Conformity............................................................................................................................... 31

Klein + Hummel

O 810 / O 870 Operating Manual Page 4 of 96 Version 01

Introduction

IntroductionIntroduction

Introduction

Thank-you for purchasing a Klein + Hummel subwoofer. Klein + Hummel’s subwoofers are designed to

compliment Klein + Hummel’s extensive range of monitors. They can be used in music, broadcast, and post

production studios for tracking, mixing, and mastering. They may be positioned next to a wall or flush mounted

into a wall, and can be mixed freely in multichannel systems with other loudspeakers from the Klein + Hummel

range.

The built-in 7.1 Channel High Definition Bass Manager™ is compatible with all formats from mono through to the

latest 7.1 High Definition systems. Eight channels of analog, or an optional 8-channel, 24-bit, 192 kHz digital

input card, ensures flexible interconnectivity for modern studios. Four-mode LFE channel processing ensures

maximum compatibility across all formats. 4

order crossovers and flexible acoustical controls allow for seamless

system integration. Built-in volume control allows for centralized system adjustment independent of the source.

The latest D-class amplifiers and acoustical components have been used to ensure the most accurate sound

reproduction possible. Klein + Hummel products are designed for longevity so we hope you enjoy many happy

years of using this product.

Before reading the rest of this operating manual, review the safety and warnings section towards the back of this

book. Note that imperial dimensions are approximate.

Package Contents

Package ContentsPackage Contents

Package Contents

The shipping carton contains:

• This operating manual

• The subwoofer

• Production calibration certificate

• Product guarantee

• 3 mains power cables (Euro, UK and USA)

• Trimmer and switch screwdriver

• Angles chart

Signal cables are not included. Options and accessories are listed at the end of this operating manual.

Subwo

SubwoSubwo

Subwoofer Selection

ofer Selectionofer Selection

ofer Selection

The recommended subwoofer for a particular system can be found in the document entitled, “K+H Product

Selection Guide”. The latest version can be downloaded from www.klein-hummel.com. In general, one should

ensure that the complete system is balanced and appropriate for a particular application, listening distance, and

room size. Larger main loudspeakers, larger rooms, longer listening distances, multichannel systems, and higher

listening levels each require larger subwoofers. In addition, larger or more subwoofers can be run at lower levels

resulting in lower distortion and a cleaner low frequency reproduction.

The 7.1 High Definition Bass Manager™ is compatible with the following formats:

• 7.1, 7.0 HD (Blu-ray, video gaming)

• 7.1 Theatrical (5 front channels)

• 6.1, 6.0 (DVD, DVD Audio, SACD)

• 5.1, with an additional 2.0 two-channel stereo system

• 5.1, 5.0 (DVD, multichannel CD, HDTV, video gaming)

• 3/1.0 (LCRS)

• 2.0 (two-channel stereo reproduced with or without a subwoofer)

• 1.0 (mono)

Multichannel audio systems with more channels can be constructed using multiple subwoofers.

Klein + Hummel

O 810 / O 870 Operating Manual Page 5 of 96 Version 01

System Block Diagrams

System Block DiagramsSystem Block Diagrams

System Block Diagrams

Left Back

Right Back

Center

LFE / Sum

Left

Right

Left

Surround

Right

Surround

Power

on Mute

Low Cut PhaseParametric

Left Back

Right Back

Center

Left

Right

Left

Surround

Right

Surround

Sum

0 45

90 135

0 … -12 + 4 20 1

-12 120 8

180

Output

Level

P ro te ct

VOL

Coarse

Limiter /

S oft Clip

P ow er

120

Power

Amps

Fine

VOL

Signal

Generator

LFE Rou ting

and Gain

7.1 High Defini

7.1 High Defini7.1 High Defini

7.1 High Definition Bass Manager™ Block Diagram

tion Bass Manager™ Block Diagramtion Bass Manager™ Block Diagram

tion Bass Manager™ Block Diagram

XLR 4

BNC 4

XLR 2

BNC 2

XLR 1

BNC 1

XLR 3

BNC 3

Power

on Mute

Low Cut PhaseParametric

Output 4,

Subframe A

Output 4,

Subframe B

Output 2,

Subframe A

Output 1,

Subframe A

Output 1,

Subframe B

Output 3,

Subframe A

Output 3,

Subframe B

Sum

0 45

90 135

0 … -12 + 4 20 1

-12 120 8

180

Output

Level

P ro te ct

VOL

Coarse

Limiter /

S oft Clip

P ow er

120

Power

Amps

Fine

VOL

Signal

Generator

LFE Rou ting

and Gain

Digital A udio Error

RX / SRC /

Delay / DAC

RX / SRC /

Delay / DAC

RX / SRC /

Delay / DAC

RX / SRC /

Delay / DAC

The LFE channel mus t b e

placed on Input 2, S ubframe B

7.1 High Definition Bass Manager™ Block Diagram, with DIM 4 fitted

7.1 High Definition Bass Manager™ Block Diagram, with DIM 4 fitted7.1 High Definition Bass Manager™ Block Diagram, with DIM 4 fitted

7.1 High Definition Bass Manager™ Block Diagram, with DIM 4 fitted

The 7.1 High Definition Bass Manager™ is organized in to an Input Card (analog or digital), Output Card, Filter

Card, Amplifier Module(s), and Mains Card. There is 1 power amplifier and driver in the O 810 and 2 power

amplifiers and 2 drivers in the O 870. Refer to the detailed product specifications section for information on

amplifier power and driver types.

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O 810 / O 870 Operating Manual Page 6 of 96 Version 01

Electronics Panel Picture

Electronics Panel PictureElectronics Panel Picture

Electronics Panel Picture

7.1 High Def

7.1 High Def7.1 High Def

7.1 High Definition Bass Manager™ Electronics Panel (O 810 shown)

inition Bass Manager™ Electronics Panel (O 810 shown)inition Bass Manager™ Electronics Panel (O 810 shown)

inition Bass Manager™ Electronics Panel (O 810 shown)

Crossover

CrossoverCrossover

Crossover

Using 4

order filters, the crossover divides each input signal into two bands for reproduction by the subwoofer

or the main loudspeakers. The crossover frequency is fixed at 80 Hz for all the main channels and can be

bypassed when required. This frequency was chosen to balance the conflicting requirements of having a high

crossover frequency to relieve the main loudspeakers of their low frequency duties thereby reducing distortion,

and of the need to have a low crossover frequency to minimize the chances of localizing the subwoofer thereby

giving greater flexibility when placing the subwoofer in the room. In addition by choosing 80 Hz, there is a

compatibility with the replay conditions commonly found in the home.

The gain for all main channels passing though the subwoofer is 0 dB unless some attenuation has been applied

by the volume control function. The LFE channel is processed independently (see the Filter Card…LFE Mode

section for details). In addition to this an extensive protection system ensures that the loudspeaker is not

damaged if a large signal is applied to the input. The Power On light on the electronics panel flashes when the

protection system is active. If this happens, reduce the input signal level. If this happens regularly, use a larger

subwoofer with a higher SPL output or add more subwoofers to the system to increase the LF headroom.

The protection system consists of: thermal and peak limiters for the amplifier(s), thermal modeling of the

driver(s), and an excursion limiter for the driver(s). The protection system is not a compressor, it is designed to

protect the subwoofer from damage, and the flashing light tells the user it is active. The protection system

cannot protect against sustained abuse of the loudspeaker, i.e. consistently playing the loudspeaker for long

periods of time with the protect light on, so avoid this to ensure a long life from this product.

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O 810 / O 870 Operating Manual Page 7 of 96 Version 01

Mains Section

Mains SectionMains Section

Mains Section

The power On/Off

power On/Offpower On/Off

power On/Off switch turns the mains power completely on and off. The applied mains power voltage should

be within -15% and +10% of the selected value. The internal mains fuse value depends on the mains voltage and

is specified on the electronics panel.

The voltage selector

voltage selectorvoltage selector

voltage selector switch selects between 220/240 V, and 100/120 V. Set this to the correct value BEFORE

applying mains power to the subwoofer. The internal mains fuse is a suitable value for both voltage settings.

The 12 V trigger

12 V trigger12 V trigger

12 V trigger is used to turn the subwoofer on and off remotely without having the use the mains power

switch. This may be useful in a large facility where the whole room is powered-up using a single switch.

Equipment can be time-delayed using simple low-voltage circuitry so there is not a mains power surge. Note that

subwoofer’s electronics are fully powered on and off with this control, so the startup time is subject to the same

on/off anti-popping muting delays as if the subwoofer had been turned off and on using the main power switch.

There are two modes of operation, which are selected using an internal switch (see picture below):

Remote Power

Remote Power Remote Power

Remote Power

Mode

ModeMode

Mode

Switch Position

Switch PositionSwitch Position

Switch Position

Function

FunctionFunction

Function

“12 V TURNS OFF”

Away from

backplate

Applying 12 V across the remote terminals turns OFF the subwoofer

Removing the 12 V from the remote terminals turns ON the subwoofer

“12 V TURNS ON” Towards

backplate

Applying 12 V across the remote terminals turns ON the subwoofer

Removing the 12 V from the remote terminals turns OFF the subwoofer

The factory default mode setting is “12 V TURNS OFF”. In both modes and with either applied voltage levels at

the terminals, switching the mains power switch to “OFF” will turn off the subwoofer.

To change the remote power mode to “12V TURNS ON”:

• Turn off the subwoofer and disconnect the mains power and signal cables.

• Open the electronics panel (located in the cabinet or remote electronics kit).

• Locate the large switch on the mains power circuit board and move the switch towards the backplate.

• Close the electronics panel and reattach the mains power and signal cables.

• Power up the subwoofer, apply 12V to the remote control terminals, and check that the appropriate lights are

illuminated.

Analog Input Card

Analog Input CardAnalog Input Card

Analog Input Card

The analog input stages

analog input stagesanalog input stages

analog input stages are all 13 kΩ electronically balanced types on female XLR sockets. An input ground lift

input ground liftinput ground lift

input ground lift

switch disconnects pin 1 of all eight input audio grounds from the internal signal ground (note that pin 1 of all

eight input connectors remain connected to each other for both positions of the ground lift switch).

Klein + Hummel

O 810 / O 870 Operating Manual Page 8 of 96 Version 01

PinPin

Signal

SignalSignal

Signal

1 Audio Ground

2 Positive

3 Negative

If there is a humming or buzzing sound coming from the subwoofer(s) or loudspeakers in the system, first check

it is not the subwoofer(s) or loudspeakers by disconnection the input and output signal cables. If the noise goes

away it is not the subwoofer(s) or loudspeakers, so the noises must be coming from the source or source cabling.

There are various ways to increase the loudspeaker’s immunity from these external noises:

• Use the input ground lift switch on the subwoofer(s) and/or loudspeakers to disconnect the audio ground

from the electronics’ chassis ground. For safety reasons, the electronics’ chassis ground is always connected to

the mains power earth pin.

• Use loudspeakers fitted with a transformer balanced input stage

transformer balanced input stagetransformer balanced input stage

transformer balanced input stage. This is especially effective when combined

with the ground lift switch. This is not an option on these subwoofers.

• If unbalanced source signal cables are used, they can be specially wired – see picture below. Disconnect the

cable screen from the RCA sleeve if there are still humming or buzzing sounds, and/or use the ground lift

switch on the loudspeaker. Always use balanced connections from the subwoofer to the main loudspeakers.

Source (RCA) Loudspeaker

(XLR-M)

Unbalanced RCA to Balanced XLR Connections

Signal cable for unbalanced sources

Signal cable for unbalanced sourcesSignal cable for unbalanced sources

Signal cable for unbalanced sources

In addition, the 7 main channels are summed and the LFE input has a 0 / +10 dB gain stage. Finally, the test

signal is routed onto the left input for reproduction by the subwoofer and left loudspeaker (see Calibrating Phase

section).

Optional Digital Input Card (DIM 4)

Optional Digital Input Card (DIM 4)Optional Digital Input Card (DIM 4)

Optional Digital Input Card (DIM 4)

The DIM 4 is an optional card with four 24-bit, 192 kHz digital input stages that can accept AES3-2003

(commonly known as AES/EBU), AES3id-2001, and S/P-DIF (with a suitable connector converter) signals 4 x XLR

and 4 x BNC connectors ensure good interconnectivity options, however only one of the sockets of an input stage

should be used at a time. The DIM 4 card converts up 4 digital audio signals into 8 channels of analog audio,

which are then routed to the channel summers and high pass filters, or the LFE routing and gain stage. Generally

the channel ordering will be as shown in the table below. With the exception of the LFE channel, the seven main

channels may be used for any broadband signal, however the output channel ordering will depend on the input

signal order.

Input Stage

Input StageInput Stage

Input Stage

Subframe A

Subframe ASubframe A

Subframe A

Subframe B

Subframe BSubframe B

Subframe B

1 Left Right

2 Center LFE *

3 Surround Left Surround Right

4 Back Left Back Right

* The LFE channel must be placed on AES or BNC input socket 2, subframe B to have access to the appropriate LFE

processing facilities.

Uncompressed PCM AES3, AES3id, and S/P-DIF digital signals generally contain two audio channels (called

“subframe A” and “subframe B”) on one cable (single-wire mode). A clock input is not required because

loudspeakers are not audio sources and the clock signal is locally regenerated from data contained in the bit

stream. Always use good quality cables with the correct impedance and appropriate termination to achieve these

maximum cable lengths:

Klein + Hummel

O 810 / O 870 Operating Manual Page 9 of 96 Version 01

Format

Format Format

Format

(Connector)

(Connector)(Connector)

(Connector)

Impedance

ImpedanceImpedance

Impedance

Cable Length

Cable LengthCable Length

Cable Length

S/P-DIF (RCA) 75 Ω up to 10 m (30’)

AES3 (XLR) 110 Ω up to 100 m (300’)

AES3id (BNC) 75 Ω up to 1000 m (3000’)

An AES3 signal (applied to an XLR connector) is point-to-point and may not be looped. An AES3id or S/P-DIF

signal can be applied to a BNC connector. The BNC input stage has an internal 75 Ω termination so T-pieces and

terminators are not required. A consequence of this is that it is not recommended to loop the signal to other

equipment using T-pieces. Digital audio errors on any one of the inputs are indicated by a flashing POWER ON

light. If this happens check the cables and connectors, and the source equipment.

User-bit volume control (IEC 60958-1) may be used for muting input channels: set gain to -∞. Channel soloing is

also possible by muting the other input channels (must be handled by the source). Channel volume control is not

supported. The source must support the IEC 60958-1 standard for muting and soloing to work – see information

provided by the manufacturer of the source to see how it has been implemented. System volume is still possible

by the using the remote control socket (SRC n or RS-232) to control the analog output VOL control blocks without

having to scale the digital signal.

A common problem in television broadcast facilities is audio-video synchronization. The video signal must be

delayed if the video leads the audio, however normally the video lags the audio so the audio should be delayed.

This can be accomplished using the built-in 8-channel digital delay which is located just before the DACs. A time

delay can be applied equally to all eight input channels to compensate for delayed video signals. This facility is

not designed for compensation of loudspeaker time-of-flight differences as this should be inserted at each

loudspeaker output, not at the input channels to the bass manager. The time length of a frame depends on the

picture frame rate frequency: 50 Hz → 20 ms or 60 Hz → 16.5 ms. The sample rate is automatically detected and

affects the maximum possible delay – higher sample rates lead to a lower maximum delay. The maximum delay

on a 48 kHz signal is 507 ms, which can compensate over 12 x 50 Hz frames or 15 x 60 Hz frames. To set the

delay on the DIM 4, use the free “DIM 4 Setup” software (available for PC and Mac - downloadable from

www.klein-hummel.com), and the “Remote Control and RS-232” socket (USB-to-RS232 and RS232-to-CAT5

interface cables may be required). Alternatively, user-bits (IEC 60958-1) may be used for setting system delay by

sending appropriate commands to input stage 1 subframe A (left channel). User-bit data on other channels

relating to loudspeaker delay is ignored.

DIM 4 setup software

DIM 4 setup softwareDIM 4 setup software

DIM 4 setup software

In addition on the DIM 4, the 7 main channels are summed and the LFE input has a 0 / +10 dB gain stage. Finally,

the test signal is routed onto the left input for reproduction by the subwoofer and left loudspeaker (see

Calibrating Phase section).

Warning:

Warning:Warning:

Warning: The digital input option’s BNC connectors protrude from the cabinet’s back panel. The circuit board will

be damaged if the cabinet is placed vertically on a flat hard surface with the driver(s) facing upwards (only

recommended when servicing the driver(s)). Find a soft surface, such as bubble wrap, packing foam, or a folded

blanket, or angle the cabinet slightly to avoid applying pressure to the BNC connectors.

Loudspeaker

LoudspeakerLoudspeaker

Loudspeaker

Level

LevelLevel

Level

System Delay

System DelaySystem Delay

System Delay

Left 00.0

00.000.0

00.0 dB Delay 200.0

200.0200.0

200.0 ms

Center 00.0

00.000.0

00.0 dB Sample Rate 48

4848

48 kHz

Right 00.0

00.000.0

00.0 dB Frame Rate Frequency 50

5050

50 Hz

Left Surround 00.0

00.000.0

00.0 dB Delay per frame 20.0

20.020.0

20.0 ms

Right Surround 00.0

00.000.0

00.0 dB Frames 10.0

10.010.0

10.0

Left Back 00.0

00.000.0

00.0 dB

Right Back 00.0

00.000.0

00.0 dB Communication Port

Subwoofer 00.0

00.000.0

00.0 dB

K+H

K+HK+H

K+H

DIM 4 Set

DIM 4 Set DIM 4 Set

DIM 4 Set

upup

Upload New Settings

Upload New SettingsUpload New Settings

Upload New Settings

COM 1

COM 1COM 1

COM 1

▼

Read Current Settings

Read Current SettingsRead Current Settings

Read Current Settings

Klein + Hummel

O 810 / O 870 Operating Manual Page 10 of 96 Version 01

Output Card

Output CardOutput Card

Output Card

The output card has seven channels of 4

order 80 Hz high pass filtering, and a volume control for each of these

channels. Following this, there are 7 x XLR electronic

7 x XLR electronic7 x XLR electronic

7 x XLR electronic-

-balanced output stages

balanced output stagesbalanced output stages

balanced output stages. All outputs (main channels and

sum) have protection to avoid power on/off noises: the outputs turn on after a short delay when mains power is

applied and mute instantaneously when the mains power is removed. The content of each output channel

depends on the content placed on each of analog inputs, or the optional digital input’s two subframes (channels).

There is also 80 Hz high pass filtering and summing of the LFE channel to the left and right outputs (more details

of how this is used can be found in the Filter Card section).

Finally, there is a Sum

SumSum

Sum output socket for connecting additional subwoofers into the system. There is no volume

control on this output as volume control is performed locally in each subwoofer. As the output is a filtered sum of

the input channels, it should be connected to the LFE/Sum input on subsequent subwoofers in the system (see

example system diagrams in the System Use section). These should have their LFE mode switch set to “SUB ONLY

(WIDE)” so that double filtering is not applied. As the Sum output is always analog, subwoofers after the first

one in a daisy chain should not have the optional DIM 4 digital input card fitted.

Filter Card

Filter CardFilter Card

Filter Card

The filter card contains bass management processing, subwoofer filtering, acoustical controls and a remote

control input socket:

The Power On

Power On Power On

Power On light (red) is illuminated when power is applied to the subwoofer, the mains power switch is on,

and the 12 V DC remote control are in a state to turn on the subwoofer. This light blinks during the power-up

phase of the internal microcontroller, and flashes if the protection system is activated. If the latter happens, turn

down the input signal, use a bigger subwoofer, or add additional subwoofer(s) to the system.

The Bass Management

Bass Management Bass Management

Bass Management light (green) is illuminated when bass management is on.

The Bass Management

Bass ManagementBass Management

Bass Management switch turns on the bass management. This inserts a 4

order 80 Hz high pass filter into

the signal path of each main channel output and routes content below 80 Hz to the subwoofer. Reproduction of

the LFE channel is unaffected by the setting of this bass management switch.

The Rear Channel Bass Management

Rear Channel Bass ManagementRear Channel Bass Management

Rear Channel Bass Management switch define whether the rear channels (left surround, right surround, left

back and right back) are included in the bass management processing. Some sound engineers prefer to bass

manage the rear channels, others do not. The use of this switch avoids having to unplug the XLR connectors for

these channels. Reproduction of the LFE channel is unaffected by the setting of this bass management switch.

The Volume Control

Volume ControlVolume Control

Volume Control switch defines whether the remote volume control facility is activated or not. There is no

attenuation of the input signals when the remote volume control is deactivated, so care should be taken when

adjusting this switch. If a remote control device (SRC 1, SRC 2, or RS-232) is disconnected from the subwoofer,

remote volume control is automatically disabled (gain through the bass management defaults to 0 dB).

The Signal Generator

Signal GeneratorSignal Generator

Signal Generator switch applies an 80 Hz sine wave signal to the left channel input (on the DIM 4 it is digital

input 1, subframe A). This low frequency tone will be audible through the subwoofer and the loudspeaker

connected to the left output socket. It is used for setting the phase control (see Calibrating Phase section).

The Subwoofer Gain

Subwoofer GainSubwoofer Gain

Subwoofer Gain, Subwoofer Phase

Subwoofer PhaseSubwoofer Phase

Subwoofer Phase, Parametric Equalizer

Parametric EqualizerParametric Equalizer

Parametric Equalizer, and Low Cut

Low CutLow Cut

Low Cut controls are described in the Acoustical

Controls section below.

LFE channel reproduction depends on the LFE mode

LFE modeLFE mode

LFE mode settings (see LFE Mode description below) and is unaffected

by the setting of either of the bass management switches.

The LFE Gain

LFE GainLFE Gain

LFE Gain switch applies 0 or +10 dB gain to the LFE channel. For Dolby Digital and DTS formats only, one 10

dB boost is required in the monitoring system somewhere between the LFE channel fader on the mixing console

and the listener’s ear. This boost can be performed in the monitoring matrix (console or external), in a decoder

output stage (surround sound processor or DVD/Blue-ray disk player), or in the 7.1 High Definition Bass

Management System™. Before using this switch, check that it has not been applied somewhere else in the signal

path. Too much LFE channel gain results in less LFE channel level in the mix, and vice versa.

Klein + Hummel

O 810 / O 870 Operating Manual Page 11 of 96 Version 01

The LFE Mode

LFE ModeLFE Mode

LFE Mode switch has four settings (the default is LFE → SUB + L/R (>80)) designed to process the LFE

channel in different ways for different system configurations and source equipment. The LFE channel must be

applied to the dedicated LFE input channel for this processing to work (“LFE” on the analog input card, or input 2,

subframe B on the digital input card). Reproduction of the LFE channel is unaffected by the setting of the bass

management switches. The modes and their use are:

1.1.

LFE

LFE LFE

LFE →

→→

→ SUB + L/R (>80)

SUB + L/R (>80) SUB + L/R (>80)

SUB + L/R (>80)

Up to 80 Hz, the LFE channel is reproduced by the subwoofer. Above 80 Hz, the LFE channel is re-routed to

the left and right outputs. A 6 dB electrical attenuation is applied to compensate for a 6 dB acoustical gain

seen when reproducing one signal using two loudspeakers. This mode works with all formats and is

consistent with the standard downmix coefficients seen in consumer decoders. Additionally, this mode is

useful for detecting higher frequency signals (up to the upper cut-off frequency of the left/right

loudspeakers) in the LFE channel that should otherwise be avoided.

2.2.

LFE

LFE LFE

LFE →

→→

→ SUB ONLY (<80)

SUB ONLY (<80) SUB ONLY (<80)

SUB ONLY (<80)

The LFE channel is reproduced up to 80 Hz in the subwoofer only. This comes from a recommendation by

Dolby and THX to “pre-filter” the LFE channel and is used to simulate consumer decoders that do not

reproduce the upper part of the LFE bandwidth.

3.3.

LFE

LFE LFE

LFE →

→→

→ SUB ONLY (<120)

SUB ONLY (<120) SUB ONLY (<120)

SUB ONLY (<120)

The LFE channel is reproduced up to 120 Hz in the subwoofer only. This is the norm for the movie industry.

4.4.

LFE

LFE LFE

LFE →

→→

→ SUB ONLY (WIDE)

SUB ONLY (WIDE) SUB ONLY (WIDE)

SUB ONLY (WIDE)

The LFE channel is reproduced by the subwoofer only. There is no filtering of the LFE channel. This is an

appropriate setting when the input comes from the Sum output of another K+H subwoofer, or from

equipment with its own bass management, such a surround sound processor or DVD/Blue-ray disk player

(usually the “Subwoofer” output). Additionally, this mode is useful for detecting higher frequency signals

(up to 300 Hz) in the LFE channel that should otherwise be avoided.

1. LFE → SUB + L/R (>80)

2. LFE → SUB ONLY (<80)

3. LFE → SUB ONLY (<120)

4. LFE → SUB ONLY (WIDE)

80 Hz20 Hz 120 Hz

L/R at

-6 dB

LFLF

LFE Channel Mode Settings

E Channel Mode SettingsE Channel Mode Settings

E Channel Mode Settings

Klein + Hummel

O 810 / O 870 Operating Manual Page 12 of 96 Version 01

LFE Channel Electrical Response

LFE Channel Electrical ResponseLFE Channel Electrical Response

LFE Channel Electrical Response

The Remote Control and RS

Remote Control and RSRemote Control and RS

Remote Control and RS-

-232

232232

232 EtherCon connector is used to connect hardware or RS-232 remote controlers to

the subwoofer. No audio passes down the CAT5 type cable, only control signals. The CAT-5 cable should not be

plugged into an IP or network output socket otherwise damage may occur to the source equipment. Furthermore,

the CAT cable should not carry an IP signal.

Two hardware remote controls (SRC 1 and SRC 2) are available from Klein + Hummel together with various

lengths of high-quality CAT-5 cable with EtherCon connectors (RC nn). The signals on the cable are as follows:

Remote Control Function

Remote Control FunctionRemote Control Function

Remote Control Function

RJRJ

RJ-

-45 Pins

45 Pins45 Pins

45 Pins

Volume Control 1

LOGO Voltage 2

GND *

* 3

RS 232 TX *

* 4

RS 232 RX *

* 5

Supply Voltage +3.3 V 6

Bypass Bass Management 7

+10 dB LFE Gain 8

For connection options see Volume Control section. A *

* indicates RS-232 data connections.

Finally, there is a VOL

VOLVOL

VOL stage to control the output level of the subwoofer.

Amplifier Module(s)

Amplifier Module(s)Amplifier Module(s)

Amplifier Module(s)

The O 810 has one amplifier module. The O 870 has two amplifier modules – one for each driver. The amplifier(s)

use D-class technology to minimize heat dissipation and are run in bridged mode to minimize distortion. Even so

some space (5 cm, 2”) is required around the electronics panel. In other technical aspects, such as harmonic

distortion, intermodulation distortion, and noise, the performance is as good class AB designs.

Driver(s) and Acoustical Response

Driver(s) and Acoustical ResponseDriver(s) and Acoustical Response

Driver(s) and Acoustical Response

The driver(s) are the best available for their application. Long throw, efficient, low distortion drivers ensure a

clean sound quality even at high replay levels. The driver(s) is/are loaded by the internal volume of the cabinet

and is/are magnetically shielded for use next to CRT screens and magnetic storage media. The system’s SPL

output and the cabinet volume can be seen in the Specifications section below.

Klein + Hummel subwoofers are designed to have a flat pass band magnitude response in anechoic conditions

when all the acoustical controls are set to 0 dB. When a subwoofer is installed into a listening environment the

response changes and thus should be corrected back to a flat response. It is therefore expected that the

acoustical controls will need adjustment to improve the in-situ response of the subwoofer. The acoustical

controls’ settings depend on the subwoofer’s location and will probably be different for the same subwoofer type

installed in different locations in the same room. Moving the cabinet small distances, 50 cm (20”), can

dramatically change the response therefore resulting in different acoustical control settings.

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O 810 / O 870 Operating Manual Page 13 of 96 Version 01

Cabinet

CabinetCabinet

Cabinet

The wooden cabinet is painted using a standard RAL color. An appropriately colored pen can be used to touch up

the paintwork if it is scratched during transport or use. The following RAL numbers correspond to K+H standard

cabinet colors.

K+H Color Name

K+H Color NameK+H Color Name

K+H Color Name

RAL Number

RAL NumberRAL Number

RAL Number

Anthracite 7021

Silver 9006

Rubber feet reduce the risk of scratching the cabinet and provide some mechanical isolation from the floor.

The acoustical axis is a line normal to the subwoofer’s front panel along which the microphone was placed when

tuning the subwoofer’s crossover during design. For subwoofers in the Klein + Hummel range, the acoustical axis

is located on the mid-point of the driver(s).

Product

roductroduct

roduct

x dimension

x dimensionx dimension

x dimension

y dimension

y dimensiony dimension

y dimension

O 810 16.5 cm (6 1/2“) 17.0 cm (7 1/2“)

O 870 16.5 cm (6 1/2“) 36.0 cm (14 1/8“)

Acoustical Axis

Acoustical AxisAcoustical Axis

Acoustical Axis

However, subwoofer’s can be considered to be omni-directional in their typical pass band as the generated

wavelength is long compared to the object producing the sound, therefore it does not matter in which direction

the subwoofer is pointing when placed in the listening environment.

Remote Mounting the Electronics

Remote Mounting the ElectronicsRemote Mounting the Electronics

Remote Mounting the Electronics

As the electronics back panel does not seal the enclosure, it can be remote mounted using the REK 2 and DC nn

accessories. If the cabinet is to be flush mounted, care should be taken to ensure that there is adequate

ventilation for the electronics. Although no damage will result, insufficient cooling will cause the amplifier

protection to activate prematurely thereby limiting the system’s maximum output level.

System Use

System UseSystem Use

System Use

Klein + Hummel loudspeakers should only be used indoors and in these ambient conditions:

• +10° C to +40° C (+50° F to +104° F), <90% relative humidity, non-condensing

During transport or storage the ambient conditions can be:

• -25° C to +70° C (-13° F to 158° F), <90% relative humidity, non-condensing

Before connecting the mains power cable, ensure that the correct mains voltage is indicated on the electronics

panel (220-240V or 100-120 V) and that the mains power switch is off. Next connect the input signal cables

(analog or digital as appropriate) and output cables, then power up the loudspeaker. There is a three second

delay before sound can be heard from subwoofer(s) and loudspeakers so as to avoid noises (pops) from

Klein + Hummel

O 810 / O 870 Operating Manual Page 14 of 96 Version 01

preceding equipment turned on at the same time. During this period the POWER ON light flashes, then it turns

solid indicating that audio can be heard. If there are no lights, check the mains power supply. Conversely, turning

off the subwoofer immediately mutes the audio from the subwoofer and loudspeakers connected to it.

Positioning

PositioningPositioning

Positioning

In a studio application, the loudspeakers should be placed according to the ITU-R BS.775-1 recommendations so

there is consistency of reproduction when compared to other listening environments. For movie applications,

ANSI/SMPTE 202M is the preferred standard for system setup. For home use, as materials are mixed in ITU style

rooms, one should get as close as possible to this configuration to maximize replay authenticity.

Loudspeaker Name

Loudspeaker Name Loudspeaker Name

Loudspeaker Name

ITU

ITUITU

ITU-

-R BS.775

R BS.775R BS.775

R BS.775-

-1 Angle

1 Angle1 Angle

1 Angle

ANSI/SMPTE 202M

ANSI/SMPTE 202MANSI/SMPTE 202M

ANSI/SMPTE 202M

Angle

AngleAngle

Angle

Left -30° -22.5°

Center 0° 0°

Right 30° 22.5°

Left Surround -110°±10° An array to the left

Right Surround 110°±10° An array to the right

For two-channel stereo, ±30° should be used. There are currently no internationally agreed standards for 6.1 or

7.1 formats. However common practice is to use one or two loudspeakers in the centre back location of a 6.1

system. In a 7.1 system common practice is to place side loudspeakers at ±90° and to push the surround

loudspeakers back to ±150°.

For the best stereo imaging the loudspeakers should be placed symmetrical in a symmetrical room where objects

have been placed symmetrically. This ensures the same response from each loudspeaker at the listening position

and thus good imaging. Sound reflected back to the listening position should also be minimized using surface

angling or acoustical treatment. The acoustical axis should point towards the listening position or centre of the

listening area in both the horizontal and vertical planes.

The loudspeakers should be placed on a circle to ensure equal time of arrival of the audio from all loudspeakers.

Failing this, appropriate electronic time delays should be added between the subwoofer and each loudspeaker to

compensate for time of flight differences. This can either be a Pro C 28 inserted into the signal chain before the

loudspeaker, or a Pro C 28 attached to the power amplifier direct input on an O 300 D.

An angles chart

angles chartangles chart

angles chart has been included in the package to help position the loudspeakers at the correct angle. Simple

locate the center of the angles chart at the listening position, and then use a XLR cable or piece of string

stretched tightly between the center of the angles chart and the acoustical axis of each loudspeaker to ensure

that each loudspeaker is positioned at the correct angle. A document defining the acoustical axis of K+H

loudspeakers can be found at www.klien-hummel.com.

Ports located on the front panel all allows Klein + Hummel loudspeakers and subwoofers to be easily flush

mounted. The principle benefits are that it gets the cabinet out of the room (less space taken up in the room),

increased driver loading (reduced distortion), and elimination of rear wall cancellations (smoother response). It is

a good idea to employ an experienced acoustic engineer to design an effective flush mounting wall. If the

loudspeakers and subwoofers must be covered, use a thin open weave cloth. Two layers of very thin material will

improve opacity.

The 80 Hz crossover is low enough to give good flexibility when placing the subwoofer(s) in the room. Placement

depends on whether one or multiple subwoofers are used (see next section).

SiSi

Single and Multiple Subwoofer Systems

ngle and Multiple Subwoofer Systemsngle and Multiple Subwoofer Systems

ngle and Multiple Subwoofer Systems

One subwoofer

One subwooferOne subwoofer

One subwoofer can be used in a system if space or budget is limited. However, it should be checked that the

output capacity is sufficient to match the main loudspeakers otherwise the subwoofer will be the limiting

component in the system. Please refer to the “Product Selection Guide” for building balanced systems. In a single

subwoofer system, the subwoofer should be located against the front wall, and positioned slightly left or right of

the middle of the front wall. Calibration and positional adjustments can be made from this starting point.

Multiple subwoofers

Multiple subwoofersMultiple subwoofers

Multiple subwoofers can be used in a system to increase the low frequency SPL capacity of the system. Mutual

coupling between subwoofers occurs when they are placed within a quarter-wavelength of each other. This is

approximately 1 m (3’) for frequencies up to 80 Hz. If the LFE mode is set to “LFE → SUB ONLY (<120)”, the

Klein + Hummel

O 810 / O 870 Operating Manual Page 15 of 96 Version 01

subwoofer spacing should be reduced to less than 70 cm (2.5’). The acoustical gain when mutual coupling occurs

is shown in the table below:

Number of

Number of Number of

Number of

Subwoofers

SubwoofersSubwoofers

Subwoofers

Acoustical Gain

Acoustical GainAcoustical Gain

Acoustical Gain

[dB]

[dB][dB]

[dB]

1 0.0

2 6.0

3 9.5

4 12.0

An additional benefit of multiple subwoofer systems is the possibility to reduce the side wall interaction thereby

improving the side-to-side low frequency reproduction. This is important in studio applications where the sound

engineer needs to move left and right along the mixing console, or where there are multiple listening positions

along a large format mixing consol, for example in the movie industry. The subwoofer should be positioned along

the front wall to generate a plane wave down the room. This is called a “Plane Wave Bass Array™” (PWBA™). The

required number of subwoofers depends on the width of the room: wider rooms, more subwoofers. Two to four

are recommended for small rooms and three to four for larger rooms. The subwoofers should be positioned along

the front wall with a suitable spacing (see comments above) to generate a plane wave down the room. Please

refer to the “Product Selection Guide” for suggest system solutions.

A summary of the advantages and disadvantages of a single and multiple subwoofer systems is shown in the

table below:

Advantages

AdvantagesAdvantages

Advantages

Disadvantages

DisadvantagesDisadvantages

Disadvantages

Single subwoofer

Single subwoofer Single subwoofer

Single subwoofer

systems

systemssystems

systems

Lower cost

Less total space required

Might be easier to setup

Consistent acoustic summing in the

listening area

One large cabinet may be hard to position

No suppression of side wall interactions

No suppression of room resonances

Multiple subwoofer

Multiple subwoofer Multiple subwoofer

Multiple subwoofer

systems

systemssystems

systems

Multiple smaller cabinets may be easier to

position in the room

Suppression of side wall interactions

(PWBA™)

Suppression of room resonances (PWBA™)

Higher cost

More total space required

Might be harder to set up

Possible inconsistent acoustical summing in

the listening area

See the Volume Control section for details on how to control multiple subwoofer systems.

Interconnection Examples

Interconnection ExamplesInterconnection Examples

Interconnection Examples

In the following interconnection diagrams, O 300 and O 810 have been shown as examples. Other products from

the Klein + Hummel range can be substituted, for example O 410 and O 870. Please refer to the “K+H Product

Selection Guide” for building balanced systems.

Klein + Hummel

O 810 / O 870 Operating Manual Page 16 of 96 Version 01

Right

Center

Right Surround

LFE

Left Back

Right Back

Left

Left Surround

Sum Output

Right

Center

Right Surround

Left Back

Right Back

Left

Left Surround

7.1 High Definition

Bass Manager

Internal Subwoofer Signal or

Driver Cable (DC nn) when Remote

Electronics Kit (REK 2) is used

Optional additional subwoofersΣ

Analog connections to the 7.1 High Definition Bass Manager™

Analog connections to the 7.1 High Definition Bass Manager™Analog connections to the 7.1 High Definition Bass Manager™

Analog connections to the 7.1 High Definition Bass Manager™

From the above wiring diagram it is easy to see that the 7.1 High Definition Bass Manager™ can also be used for

1.0, 2.0, 3/1.0, 5.0, 5.1, 6.0, 6.1, and 7.1 (theatrical) signals.

A less obvious but very useful configuration is also possible. A 5.1 signal can be connected as shown in the

diagram below. In addition, the two unused back channels can be connected to a separate 2.0 signal and the

subwoofer used to give bass extension to a second pair of loudspeakers. Note that the additional pair of

loudspeakers should be placed the same distance as the 5.1 system’s main loudspeakers so that the phase

setting on the subwoofer remains valid for both systems. Different listening distances will require different phase

settings.

Right

Center

Right Surround

LFE

Right Back

Left Surround

Left

Left Back

Sum Output

Right

Center

Right Surround

Right Back

Left Surround

Left

Left Back

7.1 High Definition

Bass Manager

Internal Subwoofer Signal or

Driver Cable (DC nn) when Remote

Electronics Kit (REK 2) is used

Optional additional subwoofers

Simultaneous connection of 5.1 and 2.0 signals to the 7.1 High Definition Bass Manager™

Simultaneous connection of 5.1 and 2.0 signals to the 7.1 High Definition Bass Manager™Simultaneous connection of 5.1 and 2.0 signals to the 7.1 High Definition Bass Manager™

Simultaneous connection of 5.1 and 2.0 signals to the 7.1 High Definition Bass Manager™

Klein + Hummel

O 810 / O 870 Operating Manual Page 17 of 96 Version 01

An interconnection example for digital signals is shown below. Note that the subwoofer-to-loudspeaker

interconnections are analog so digital inputs are not required on the main loudspeakers.

Left /

Right

Left Back /

Right Back

Left Surround /

Right Surround

Center /

LFE

Sum Output

Right

Left

Right Back

Right Surround

Left Back

Center

Left Surround

7.1 High Definition

Bass Manager

Internal Subwoofer Signal or

Driver Cable (DC nn) when Remote

Electronics Kit (REK 2) is used

Optional additional subwoofersΣ

Digital connections to the 7.1 High Definition Bass Manager™

Digital connections to the 7.1 High Definition Bass Manager™Digital connections to the 7.1 High Definition Bass Manager™

Digital connections to the 7.1 High Definition Bass Manager™

To increase the number of subwoofers in a system to make a Plane Wave Bass Array™, the subwoofers should be

set up as shown below. Analog or digital input cards can be used. The subwoofers should be calibrated for their

in-room response (see Acoustical Controls and Calibration section). The LFE channel should be connected to the

first subwoofer only so that the reproduction level (at 0 or +10 dB) is consistent with the main channels.

Right

Center

Right Surround

LFE

Left Back

Right Back

Left

Left Surround

Sum Output

Internal Subwoofer Signal or

Driver Cable (DC nn) when Remote

Electronics Kit (REK 2) is used

Sum

Output

Sum

Input

Sum

Output

Sum

Input

Right

Center

Right Surround

Left Back

Right Back

Left

Left Surround

7.1 High Definition

Bass Manager

LFE Mode =

LFE → SUB + L/R (>80) or

LFE → SUB ONLY (<80) or

LFE → SUB ONLY (<120) or

LFE → SUB ONLY (WIDE)

Sum

Input

LFE Mode = LFE → SUB ONLY (WIDE)

Sum

Output

Connecting multiple subwoofers to make a Plane Wave Bass Array™

Connecting multiple subwoofers to make a Plane Wave Bass Array™Connecting multiple subwoofers to make a Plane Wave Bass Array™

Connecting multiple subwoofers to make a Plane Wave Bass Array™

A 4-way column loudspeaker installation is possible for large systems, for example O 410 and O 870. Hardware is

available for the main loudspeaker to be mounted on top of the subwoofer with a tilting function. The

subwoofers should be calibrated so that they smoothly extend the bass response of their respective main

loudspeaker (see Acoustical Controls and Calibration section). The LFE channel should be connected to all of the

Klein + Hummel

O 810 / O 870 Operating Manual Page 18 of 96 Version 01

subwoofers, using XLR “Y” cables, and the signal level adjusted at the source by -9.5 dB or +0.5 dB so that the

reproduction level (at 0 or +10 dB) is consistent with the main channels.

Left

Right

Center

LFE

Large system mounting to make a 4

Large system mounting to make a 4Large system mounting to make a 4

Large system mounting to make a 4-

-way column system

way column systemway column system

way column system

Acoustical Controls

Acoustical ControlsAcoustical Controls

Acoustical Controls

The acoustical controls are low-order analog filters designed to compensate for some of the acoustical issues

commonly found in listening environments. The acoustical controls’ settings will depend on the subwoofer’s

location and will probably be different for the same subwoofer type positioned in different locations in the same

room. When calibrating subwoofers there are three areas requiring attention: in-room response, level relative the

main loudspeakers, and phase relative to main loudspeakers.

For systems containing subwoofers, it is highly recommended to use an acoustical measurement system to set

the acoustical controls (gain, parametric and low cut filters, and phase) in the most appropriate way to

compensate for the subwoofer’s location. This is especially true of the parametric equalizer’s controls which are

very hard to set by listening.

The acoustical control set consists of the following:

• The Low Cut

Low CutLow Cut

Low Cut control reduces the output level of the subwoofer in ranges of 30 Hz using a peak filter centered

on 30 Hz and with a Q of 1.5 – see graph below. This is used to compensate for a rise in level seen at very low

frequencies due to a lack of LF damping.

Low Cut acoustical control

Low Cut acoustical controlLow Cut acoustical control

Low Cut acoustical control

Parametric Equalizer acoustical controls

Parametric Equalizer acoustical controlsParametric Equalizer acoustical controls

Parametric Equalizer acoustical controls

Klein + Hummel

O 810 / O 870 Operating Manual Page 19 of 96 Version 01

• The Parametric

ParametricParametric

Parametric Equalizer

EqualizerEqualizer

Equalizer is a single stage PEQ filter with gain

gaingain

gain (+4…-12 dB), frequency

frequencyfrequency

frequency (20…120 Hz) and Q

(1…8) controls designed to control nonlinearities seen below 120 Hz – see graph above. These nonlinearities

can come from boosts caused by constructive interference or strong room modes. It is possible to bypass the

parametric equalizer using the bypass

bypassbypass

bypass switch.

• The Subwoofer Phase

Subwoofer PhaseSubwoofer Phase

Subwoofer Phase controls consist of a 0°

0°0°

0° / -

-180°

180°180°

180° switch and 0°

0°0°

0° / -

-45°

45°45°

45° / -

-90°

90°90°

90° / -

-135°

135°135°

135° switch. This applies a

very short delay (45° at 80 Hz = 1.56 ms) to the subwoofer output, and gives a positional resolution of 0.54

m (1’ 9”). These controls are used to acoustically realign the subwoofer with the main loudspeakers when

they are positioned at different distances from the listening position.

• The subwoofer’s output level is controlled using the Subwoofer Gain

Subwoofer GainSubwoofer Gain

Subwoofer Gain controls. This consist of a finely

graduated Input Gain

Input GainInput Gain

Input Gain (+2 to -12 dB) potentiometer and a coarse Output Level

Output LevelOutput Level

Output Level (100 or 114 dB SPL at 1 m)

switch. This allows the subwoofer to be matched to a wide range of equipment outputs whilst maintaining

the desired acoustical output. It can also compensate for level differences due to acoustical loading and the

distance of the subwoofer from the listening position compared to the main loudspeakers. The default

settings are “0 dB” and “100 dB SPL at 1m”. This gives an output level of 100 dB SPL at 1m when the input

signal is 0 dBu (0.775 V). The most sensitive setting (most acoustical output for a given input voltage) is “2

dB” and “114 dB SPL at 1m”, and the least sensitive setting is “-12 dB” and “100 dB SPL at 1m”.

Acoustic output level [dB SPL] of the loudspeaker at 1m

Acoustic output level [dB SPL] of the loudspeaker at 1mAcoustic output level [dB SPL] of the loudspeaker at 1m

Acoustic output level [dB SPL] of the loudspeaker at 1m

when input signal is 0 dBu

when input signal is 0 dBuwhen input signal is 0 dBu

when input signal is 0 dBu

Input Gain

Input Gain Input Gain

Input Gain

Potentiometer [dB]

Potentiometer [dB]Potentiometer [dB]

Potentiometer [dB]

Output Level switch = “100 dB”

Output Level switch = “100 dB”Output Level switch = “100 dB”

Output Level switch = “100 dB”

Output Level switch = “114 dB”

Output Level switch = “114 dB”Output Level switch = “114 dB”

Output Level switch = “114 dB”

-12 dB 88 102

-10 dB 90 104

-8 dB 92 106

-6 dB 94 108

-4 dB 96 110

-2 dB 98 112

0 dB 100 (default)

114

2 dB 102 116

Below are some examples of how to calculate the output level:

Input signal [dBu] 0 (0.775 V) +4 (1.23 V) +6 (1.55 V) +16 (4.89 V)

Input gain setting [dB] 0 0 0 0

Output level setting [dB SPL] 100 100 100 100

Sound Output of Loudspeaker

[dB SPL at 1m] 100 104 106 116

In Europe, 0 dBu is -18 dBFS (EBU standard R68). In the US, +4 dBu is -20 dBFS (SMPTE standard RP155).

These dBu values should equate to 85 dB SPL at the listening position. It is typical in the broadcast industry

to use a reference level of 79 dB SPL at the listening position. Near field loudspeakers can be as close as 1 m

from the listening position, whereas loudspeakers in a Dolby certified movie mixing room should be at least 5

m from the listening position. In the examples below, it is assumed that the listener is inside the room radius

and thus the sound field decays according to 20 log

(r), however this may not always be the case.

Input signal [dBu] 0 (0.775 V) +4 (1.23 V)

Input level setting [dB] -1 -5

Output level setting [dB SPL] 100 100

Listening distance [m] (dB change) 5 m (-14 dB) 5 m (-14 dB)

Loudspeaker Output Level [dB SPL] 85 85

Maximum input signal before clipping 17 dBu 17 dBu

The maximum input level that the input stage can accept is +17 dBu (5.5 V).

Calibrating the Acoustical Controls

Calibrating the Acoustical ControlsCalibrating the Acoustical Controls

Calibrating the Acoustical Controls

Calibrating Main Loudspeakers

Calibrating Main LoudspeakersCalibrating Main Loudspeakers

Calibrating Main Loudspeakers

Firstly, calibrate each main loudspeaker’s response (preferably using an acoustical measurement system) to the

one of the following target responses:

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O 810 / O 870 Operating Manual Page 20 of 96 Version 01

• In studio applications, the response of each loudspeaker at the listening position should be flat.

• In movie applications, the response of each loudspeaker should be one of the X-curve shapes, depending on

the size of the room (see ANSI/SMPTE 202M).

• In home applications, the response of each loudspeaker should be set for subjective audio quality. This is not

necessarily a flat response, but generally, with time, a gently downward sloping response with increasing

frequency is often preferred.

Next, all the loudspeakers in the system should have the same level at the listening position. This is often

measured using a pink noise signal and a sound level meter set to “C-weighted” and “slow”, although it is

possible to do this by careful listening.

Calibrating Subwoofer In

Calibrating Subwoofer InCalibrating Subwoofer In

Calibrating Subwoofer In-

-room Response

room Responseroom Response

room Response

For each subwoofer the following settings are recommended as a good starting point for further adjustment:

Acoustical Controls

Acoustical ControlsAcoustical Controls

Acoustical Controls

Loudspeaker Location

Loudspeaker LocationLoudspeaker Location

Loudspeaker Location

Level *

Level *Level *

Level *

Low Cut

Low CutLow Cut

Low Cut Parametric

ParametricParametric

Parametric

In a corner -8 dB -4 dB **

****

Next to or flush mounted in a solid wall -4 dB -2 dB **

****

Next to or flush mounted in a soft wall -2 dB 0 dB **

****

Free standing in an untreated room -2 dB 0 dB **

****

Free standing in a well-treated room 0 dB 0 dB **

****

* The level setting depends on the level settings of the main loudspeakers. The value show assumes that the

main loudspeakers are set to “0 dB” and “100 dB SPL at 1 m”, or equivalent in loudspeakers with differently

labeled controls.

****

** The use of the parametric equalizer very much depends on the acoustical conditions of the room so no

standard recommendation can be made here.

Calibrating Phase

Calibrating PhaseCalibrating Phase

Calibrating Phase

One way to calibrate the phase control is by simple physical measurements in the room. For example, if the

loudspeakers are positioned 1.5 m closer to the listening position than the subwoofer, the loudspeakers should

be delayed by 4.36 ms which is approximately the same as -135° at 80 Hz. Delaying a single subwoofer signal is

more practical than delaying all the main loudspeakers so us a -225° setting (achievable using the -180° and -

45° settings). It is recommended to keep the listening distance difference between the subwoofer’s and the main

loudspeakers’ within 2 m (6’) of each other.

0.5 m 1.0 m 1.5 m0.5 m1.0 m1.5 m 2.0 m0 m

-315°-270°-225°-45°-90°-135°-180°0°

Loudspeaker closer

than subwoofer

Subwoofer closer

than loudspeaker

2.0 m

-180°

Distance

Phase

Calibrating the Phase Control

Calibrating the Phase ControlCalibrating the Phase Control

Calibrating the Phase Control

Another way easy way to calibrate the phase control is to use the built in signal generator. Connect a loudspeaker

to the left output of the subwoofer, and turn on the signal generator. An 80 Hz tone will be heard from the

subwoofer and the loudspeaker connected to the left output. Now systematically use the two phase controls to

give values of 0°, 45°, 90°, 135° 180°, 225°, 270°, and 315°. Find setting that gives the lowest

lowestlowest

lowest sound level at the

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