Sound Performance Lab Area 5.1 Stereo Amplifier User Manual
Contents
1. any theory of liability This limitation will apply even if SPL or an authorized dealer has been advised of the possibility of such damage Sound Performance Lab P O Box 12 27 D 41368 Niederkr chten Germany Phone 49 21 63 98 34 0 Fax 49 21 63 98 34 20 eMail info soundperformancelab com C www soundperformancelab com Area 5 1 INEFODUCTION Sica Ea d eas Cs anna hated ohliaenienatiee 3 Feature List nerne n a 7 Installation sstesczceetceceeteteestectte AE E TO ates TEO 4 Standard Recording Setup ss ssssssssssssssseessesssssssssssseereesssssssssssseereesssrsss 4 SPL MICA IT AY ionannas nanaii 6 Operation Preamplifier scsacesccdsceczsatstetecstanclccatasescsctandshatetasshesieselecedudtacnaasiaiaiss 6 SUB LFE CHANNE o wiceicstscsnsassavelacsnetesascieasatansiaaslarecantlectiarenebiaates 7 Stereo COWNMIX Stages ssssssssseeceessecsscsseseceseescerssenseneseeeees 8 St reo OUTPUT wince grenades ccrssthanusieniescteowsis delanessodiaucachathesdeeseesdennies 8 M nitor g essien nn a NN RN 8 Output PPM Meter uu ssssssscssescctserstsetsosecscnsorenssesorsensetseerees 8 Power Supply cescseeniinnnincinnnenn 9 Specification S iena ig nA EA E a ER e 9 Wa rr nty Pesszimista e i a 10 NOLES AEA EEE EAE EAE E A 11 Dear customer congratulations on choosing the Area 5 1 for producing your 5 1 recordings We are sure you have as much pleasure using it as we had making it The complete Area 5 1 system contains2. tube microphones can be operated with phantom power switched on The following procedure is to be adhered to Firstly connect the microphones to the Area 5 1 then switch on the phantom power you can now commence work When recor ding has been completed firstly switch off the phantom power then wait 30 seconds before disconnecting the microphone from the Area 5 1 This allows residual voltages to be discharged and improves operational safety Phantom powering is only used with condenser microphones With any other type of micro phone it is to be switched off An unbalanced microphone is not to be used with phantom power switched on Sub LFE channel In the Sub LFE channel the Sub signal can be composited from any combination of L R C or SL SR inputs The gain control allows to adjust the Sub LFE channel output level between 26 dB and 6 dB Area 5 1 Operation Preamplifier Operation Sub LFE channel L 7 Operation Stereo downmix stages Operation Stereo output Operation Monitoring Operation Output PPM meter 8 L To separate those frequencies that are not localisable a 24 dB Butterworth low pass filter can be activated at 130 Hz Dolby AC 3 If the low pass filter is not activated the output can be fed to any other LFE processor to generate the Sub LFE signal for other encodings such as DTS Stereo downmix stages The Area 5 1 allows to record 5 1 and stereo signals in parallel For each of the five cha
3. BR Beasoung g Mute DOWNMIX g mute DOWNMIX OuT PAN VORIME as 5 6 ae 7 a o 4 a gt 7 ae J bd UR SUB SL SR h r n 2 ay m Ga OOO i S RIGHT PHONES je sas ouT PAN 232 ele jaja u y w 2 u E STEREO POWER CENTER MONITOR HC MODEL 2047 See chapter Operation Monitoring page 8 for further information on stereo headphone monitoring 4 L Area 5 1 The Standard Recording Setup is the basic configuration for Standard Recording recordings with the Area 5 1 Generally any digital or analog Setup recording system can be connected to the analog 1 4 unba lanced jack or balanced XLR outputs of the Area 5 1 If for example an eight track DTRS is used the first five tracks can be used for the L C R SL and SR channels the sub bass signal should be routed to the sixth track track seven and eight can be used to record the stereo downmix We recommend to connect the five microphones with the optionally available multicore lead to exclude differences between the particular channels caused by varying tolerances of single wires Microphone Input via multicore lead SUB LFE MICROPHONE MICROPHONE MICROPHONE MICROPHONE RO PHONE OUTPUT olin INPUT 2 iw VOLTAGE C Cas are ure C P lt L CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL OUTPUT OUTPUT OUT
4. D soundperformancelab com MIC GAIN Area 5 1 gt 5 1 Surround Microphone Preamplifier amp Stereo Downmix System wn STEREO OUTPUT Our LJ O nem Beauound Beaucund Beauound BE Besuound STEREO mute DOWNMIX OUT PAN ER 26 W STEREO mute DOWNMIX OUT PAN 52 C mute DOWNMIX ouT PAN a STEREO PEAK AOOUCUCUUCCO00O00004 PHONES aooaa OQUCOOAONCOOOOOCOY e lb amp eS 2 COQOU000000000000004 Be kee bs sk SRS J fo CODOOCOICOOOOOCOO00q COO R STEREO POWER v oa Ul MONITOR MODEL 2047 Area 5 1 5 1 Surround Microphone Preamplifier amp Stereo Downmix System Manual Area 5 1 Model 2047 2 L Manual Version 1 0 5 2000 The information in this document has been carefully verified and is assumed to be correct However Sound Performance Lab SPL reserves the right to modify the product described at any time Changes without notice This document is the property of SPL and may not be copied or reproduced in any manner in part or full without the authorization of SPL Limitations of Liability In no event will SPL be liable for any damages including loss of data lost profits cost of cover or other special incidental conse quential or indirect damages arising from the use of the unit however caused and on
5. PUT OUTPUT OUTPUT RE IN eeu Area 5 1 w STEREO oe i ee Lhe Py od Laren nee OUT H LEFT gt i 3 CONNECTOR WIRING Stereo Mix Output 12345 DTRS or any other digital or analog multitrack recor ding system a CAOC J Area 5 1 L SPL Mic Array Operation Preamplifier 6 L The SPL Mic Array was designed to arrange any suitable micro phones in the setup based on the ASM 5 design of SPL s Atmos 5 1 system The outstanding quality of its 5 1 surround reproduction has been proven in many occasions With large double membrane microphones in use excellent tonal results are combined with minimum efforts Basic advantages of the combi nation with the SPL Mic Array are First proven standard setup to capture three dimensional sound images in all recording situations Only one mic stand to mount the array Easy to move fast and easy positioning Suited for all microphone types matched mics recommended First discrete 5 1 system for motion recordings To get the most out of the Area 5 1 system it is essential to use appropriate microphones Most important for best results is to use matched microphones at least for the L R and SR SL channel pairs however we recommend to employ five matched micro phones with large double membranes To start choose cardioid micro
6. array is right on the crossing between the direct sound field and the diffuse sound field BEFORE switching on power make sure that the microphones are connected with the Area 5 1 unit optional multicore lead recommended Check that the voltage details quoted on the back panel are the same as your local mains electricity supply Use a minus screwdriver to set the voltage selector to the required voltage NOW switch on the Area 5 1 Chassis ground and AC ground can be disconnected by the Ground Lift switch GND LIFT on the back panel if hum problems occur An AC power cord is included to feed the IEC spec 3 prong connector After switching on the Area 5 1 proceed as follows 1 Press the Ch 1 4 Lock button of channel 5 2 Turn the Mic Gain control of channel 5 clockwise until sufficient recording level is indicated at the PPM output meters all other mic gain controls follow precisely MIC GAIN 36 34 Fe 40 MIC GAIN MIC GAIN MICGAIN 36 3429 28 38 4o MIC GAIN 5 1 Surround Microphone Preamplifier amp Stereo Downmix System O STEREO OUTPUT Our O new ara r lock _ ev BE Reaceund ev mute DOWNMIX OUT PAN 333 a o ie DN mure DOWNMIX ouT PAN OUT PAN 6332 wg a STEREO Mute DOWNMIX PEAK ponon oonan k S RS Beasoung poou OOOO DO00O0000000000000N k BE Beasoung DOOU Uuu be ese Jb F
7. ce of the room sound phasing effects occur already at minimum differences Area 5 1 Ch 1 4 Lock To activate the master mic gain control press the Ch 1 4 lock button in the channel 5 section Now the mic gain control of channel 5 is the master control for all five channels The mic gain controls allow amplfications from 24 dB up to 60 dB Pad The Pad switch long life gold plated relais attenuates the input signal by 25 dB allowing high level signals to be preamplified This may apply to loud drum or brass recordings Line level signals like keyboards or other preamplified signals may be processed as well Rev The phase reverse switch long life gold plated relais reverses the polarity of the microphone signal If the switch is pressed the phase is rotated through 180 Incorrect polarity leads to an unna tural tone and to drastic tonal changes if the distance to the microphone is varied We recommend that you check the polarity and correct it if necessary before commencing recording 48V The 48 V phantom power button serves to supply condenser microphones which are equipped with in built preamplifiers A precise construction and disturbance free electrical supply are the main requirements for their trouble free operation The vol tage is maintained precisely at 48V and delivers a maximum current of 14 mA sufficient for all types of microphones WARNING All microphones with balanced ground free output including
8. electronics GmbH hereafter called SPL products are warranted only in the country where purchased through the authorized SPL distributor in that country against defects in material or workmanship The specific period of this limited warranty shall be that which is described to the original retail purchaser by the authorized SPL dealer or distributor at the time of purchase SPL does not however warrant its products against any and all defects 1 arising out of materials or workmanship not provided or furnished by SPL or 2 resulting from abnormal use of the product or use in violation of instructions or 3 in products repaired or serviced by other than authorized SPL repair facilities or 4 in products with removed or defaced serial numbers or 5 in components or parts or products expressly warranted by another manufacturer SPL agrees through the applicable authorized distributor to repair or replace defects covered by this limited warranty with parts or products of original or improved design at its option in each respect if the defective product is shipped prior to the end of the warranty period to the designated authorized SPL warranty repair facility in the country where purchased or to the SPL factory in Germany in the original packaging or a replacement supplied by SPL with all transportation costs and full insurance paid each way by the purchaser or owner All remedies and the measure of damages are limited to the abo
9. nnels a stereo downmix stage allows to control the particular level and panorama in the stereo image Each channel is muted when the Mute switch is not pressed Dual concentric volume pan controls The inner ring of the dual concentric controls determines the output level for the concerning channel The control range covers values from 65 dB to 12 dB The outer ring of the dual concentric controls allows to adjust the panorama of the channel s signal in the stereo image The pan control is center detended Gain control To determine the output gain of the stereo downmix use the gain control in the stereo output section It covers values from 80 dB up to 6 dB Two peak LEDs illuminate 6 dB before clipping for the left and right channel of the stereo signal Monitoring section In the Monitor section a plug is installed on the front panel to connect any stereo headphone A volume control serves to adjust the monitoring volume The L R SUB SL SR C and Stereo buttons are used to select the channels to be monitored This way any channel or channel combination of the preamp output signal can be monitored Output PPM meter The preamplifier output gain values for all 6 channels L C R SL SR Sub are displayed on the PPM output meters The PPM meter shows the peak levels and ranges from 48 dB up to 9 dB Area 5 1 Built around a torroidal transformer the power supply allows fora minimal electromagnetic field with no hum o
10. phone characteristics for all five microphones The microphones should point in the direc tions shown in the graphic to the left Many variations of this setup depending on the microphones and recording situa tions can be tested to find the best solution High precision gain preamplifiers The Area 5 1 is equipped with five matched high precision micro phone preamps to capture the sound sources in the most trans parent noiseless and uncolored way The mic gain controls cover a range from 24 dB up to 60 dB Lundahl microphone transfor mers optionally available The microphone preamps employ SPLs unique ServoDrive Technology which detects voltage differences DC offset between the positive and negative paths of the amplifying stages Any offset increases noise and distortion which compro mizes signal quality ServoDrive minimizes DC offsets to values between OmV and 2 mV The signal contains less noise and distor tion and improved tonal transparency Motorized master slave mic gain controls An important feature of the Area 5 1 are its motorized mic gain controls A switch enables motorized control over all five micro phone preamplifiers by just turning one control This is important when readjustment of the preamplification becomes necessary while recording Readjusting the preamplification manually is impossible since only 2 channels can be adjusted at once The motorized mic gain controls also ensure not to influence the coheren
11. r mechanical noise The power supply s output side is filtered by an RC circuit to extract noise and hums caused by your power service 30 000 uf capacitors smooth out the positive and negative half waves The phantom power is derived from a separate winding in the transformer a precise current regulator delivers a clean phantom power of 48 volts High quality 0 1 6 81 kOhm resistors ensure the pristine quality of the phantom power supply The supply voltage can be set to 230 V 50 Hz or 115 V 60 Hz Check your country s power requirements for the appropriate setting An AC power cord is included to feed the IEC spec 3 prong connector Transformer AC cord and IEC receptacle are VDE UL and CSA approved Chassis ground and AC ground can be physically disconnected by the Ground Lift switch GND LIFT This helps to eliminate hums Frequency Response eeeseee 10 Hz 50 kHz 50 kHz 3 dB Common Mode Rejection 1 kHz 80 dB 10 kHz gt 60 dB 20 dBu TAD amp N ianei Amplification A weighted 20 qB 97 1 dBu 40 dB 91 1 dBu 60 dB 71 0 dBu Dynamic Response ssssssssssssesesese 119 dB Max Output Level XLR Jack 20 dBu Output Impedance ceesceee lt 75 Ohm HOUSING ssssssssconchiesectocsnvctenscanseataseetes Standard EIA 19 3U 482 x 132 x 237 mm Weight sninn annsin insistos 7 3kg Subject to change without notice Area 5 1 Power Supply Specifications Warranty SPL
12. the Area 5 1 unit and optionally the SPL mic array and a multicore cable Though the Area 5 1 unit could be used with any microphone setup the combination with the SPL mic array is recommended since it is the first proven standard setup to capture three dimensional sound images in all recording situations This authentic approach in terms of human perception also minimizes the efforts to set up an 5 1 microphone installation Another essential feature is the stereo downmix stage that allows to record both stereo and 5 1 simultaneously Since the Area 5 1 constitutes an electroacoustical system in highest degrees of complexity there are a few things to mention This manual contains basic informations regarding setup connec tions first placing in operation and control elements Area 5 1 Contents Introduction pl Installation Connect all devices BEFORE switching on the Area 5 1 Standard Recording Setup The Area 5 1 unit should not be installed near units which produce strong magnetic fields or extreme heat Do not install the unit directly above or below power amplifiers Generally choose a place with sufficient air circulation The mic array has to be placed the way that the LCR heads those closer to the microphone center 90 angle are facing the sound source Be aware that placing the mic array close to the ground may result in ground reflections and comb filtering effects The best horizontal position for the mic
13. ve services It is possible that economic loss or injury to person or property may result from the failure of the product however even if SPL has been advised of this possibility this limited warranty does not cover any such consequential or inci dental damages Some states or countries do not allow the limita tions or exclusion of incidental or consequential damages so the above limitation may not apply to you Any and all warranties express or implied arising by law course of dealing course of performance usage of trade or otherwise including but not limited to implied warranties of merchantabi lity and fitness for particular are limited to a period of 1 one year from either the date of manufacture Some states or countries do not allow limitations on how long an implied warranty lasts so the above limitations may not apply to you This limited warranty gives you specific legal rights and you may also have other rights which vary from state to state country to country SPL electronics GmbH 41372 Niederkruechten Germany 10 L Area 5 1 Notes L 11 Area 5 1 Preliminary Manual 5 2000 Sound Performance Lab Sohlweg 55 D 41372 Niederkr chten Germany Phone 49 2163 98340 Fax 49 2163 983420 Website www soundperformancelab com Mail to info soundperformancelab com NEVER let it be said that SPL is a dull company Dave Foister Studio Sound DP soundperformancelab com
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