IMPORTANT SAFETY INSTRUCTIONS The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
TABLE OF CONTENTS The AIR REMOTE Basics Important Safety Instructions . . . . . . . . . . . . . . .a Table of Contents . . . . . . . . . . . . . . . . . . . . . . . .3 Quick Setup Reference . . . . . . . . . . . . . . . . . . .4 Operational Overview . . . . . . . . . . . . . . . . . . . . .6 Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Introduction This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . .14 The Product Concept . . . . . . . . . . . . . . . . . . . .
QUICK SETUP REFERENCE This page is a quick guide on how to connect different setups. Connections must be made exactly as illustrated. Detailed descriptions of the setups can be found on pages 7-13.
QUICK SETUP REFERENCE Important ! • One specific Master monitor must be set as System Controller. (see setup illustrations above) • To set a Master monitor as System Controller the TC LINK button on the rear panel must be left out. • The TC LINK button on all other Master monitors must be set to In position.
OPERATIONAL OVERVIEW Parameter structure accessible via the AIR monitor set as System Controller Empty Custom Stereo analog Stereo digital 5.1 analog 5.1 digital 6.1 analog 6.1 digital 5.3 analog 5.3 digital 5.1 digital/6 Master Main Display “Serial No” L Front Volume -50.
SETUPS Stereo Setup To set a Master monitor as System Controller the TC Link button on the rear panel MUST be in out-position. This illustration shows how to connect a standard stereo setup. • Left monitor is set as System Controller by leaving out the TC Link button on the rear panel. • Left monitor receives both Left and Right Input signal. • Right monitor receives audio via the TC-LINK RJ-45 connection. • The Remote, AIR Soft and AIR PC-IP can be connected to any available TC LINK Out connection.
SETUPS To set a Master monitor as System Controller the TC Link button on the rear panel MUST be in out-position. 5.1 Digital Setup This illustration shows how to connect a 5.1 digital setup • Left monitor is set as System Controller by leaving out the TC Link button on the rear panel. • Left monitor receives both Left and Right Input signal. Right channel is fed via the TC -LINK RJ-45 connection from the Left to Right. • LS monitor receives both Left and Right Surround channels.
SETUPS 5.3 Digital Setup To set a Master monitor as System Controller the TC Link button on the rear panel MUST be in out-position. This illustration shows how to connect a 5.3 Digital setup • Center is set as System Controller by leaving out the TC Link button on the rear panel. • Left monitor receives both Left and LS signal. The LS monitor is fed via the TC LINK RJ-45 connection form Left to LS. • Center monitor receives both Center and LFE signal.
SETUPS 6.1 Analog Setup To set a Master monitor as System Controller the TC Link button on the rear panel MUST be in out-position. This illustration shows how to connect a 6.1 Analog setup • Left is set as System Controller by leaving out the TC Link button on the rear panel. • Left monitor receives both the Left and Right signal. The Right monitor is fed via the TC LINK RJ-45 connection form Left to Right. • Center monitor receives both Center and LFE signal.
SETUPS Stereo Setup With Chains on L & R To set a Master monitor as System Controller the TC Link button on the rear panel MUST be in out-position. This illustration shows how to connect a stereo setup with chains on Left and Right. The chained monitors are fed with the same signal as the front L&R monitors. This the type of setup you would use when you wiish to be able to alternate between a set of main- and nearfiels -monitors.
SETUPS 5.1 Digital - 192 kHz To set a Master monitor as System Controller the TC Link button on the rear panel MUST be in out-position. This is a 5.1 digital setup at 192kHz with Bass Management as an option. The setup requires three Master monitors with the optional Digital I/O card installed, two Slaves and one Sub. • Left monitor is set as System Controller by leaving out the TC Link button on the rear panel. • - Left monitor receives Left and Right Front channels.
SETUPS 5.3 Digital Setup To set a Master monitor as System Controller the TC Link button on rear panel MUST be in out-position. This illustration shows how to connect a 5.3 Digital setup with Bass management as an option. The setup requires three Master monitors with the optional Digital AES/EBU I/O card installed, two Slave monitors (or Masters set as Slave) and three Subs. • Center is set as System Controller by leaving out the TC Link button on the rear panel.
INTRODUCTION This Manual The latest manual revision is always available for download from www.dynaudioacoustics.com The revision number of this manual is located at the bottom of page 4. Please compare to the revision number of the manual available for download from our web-site and download if newer. Break in Your AIR monitors must be “run in” before optimal performance is achieved. It is essential that the monitors are not run at full level until after at least 24 hours of moderate operation.
INTRODUCTION The Master Unit The Master unit distributes Audio and control data to the respective Slave units connected. System Controller, Master or Slave To set up a Master unit to be either System Controller or Master/Slave the LINK switch on the rear panel must be set up correctly. Additional AIR Control units Any additional control units, such as the optional AIR Soft Remote or the AIR Remote, can be connected to any free "Link" connector in the system.
REAR PANEL DESCRIPTION - MASTER Master Unit - Analog I/O • System Controller/Slave switch Out-position :The monitor operates as a System Controller There can be only one System Controller in a setup. In -position: The monitor operates as either a regular Master or a Slave unit. • • • • • • RJ45 Link connections for downstream Slave units Option slot with analog I/O card installed.
THE AIR DISPLAY EXIT Overload Indication UP ENTER ENTER key The ENTER key has two main functions: • To enter the menus currently displayed. • To set the displayed parameter in Edit mode. When a parameter can be edited via the CURSOR keys a “*” is set as the first character in front of the parameter. EXIT key The EXIT key is used to exit the current display and go to previous menu level. DOWN CURSOR UP/DOWN keys These keys are used for navigating and adjusting parameter values.
PARAMETER DESCRIPTION Basic operation in all menus • Use ARROW keys to select value or submenu • Use ENTER to enter menus or for confirmation, and to activate • Use EXIT to step to a higher level or to decline an operation • Values are marked with an “ * “ when they can be altered via the ARROW keys Main Display The Main Display indicates the position of the monitor (when set up) and the set volume for the monitor.
PARAMETER DESCRIPTION Setup Menu • Press ENTER to access sub-menus Set Monitor Task For the System Controller - Master monitor to identify and operate all monitors in the setup, each monitor must be given one of the following tasks indicating function and position. • Press ENTER to access task options • Use ARROW keys to select task • Press ENTER to confirm selected task Setup • Press ENTER to enter select mode.
PARAMETER DESCRIPTION Parameters available for AIR 6 and AIR 15 Pink Noise: Range: On/Off Calibrate: Range: -6dB to +6dB Level calibration of the selected monitor. Rel. Lev: Range: -40dB to 0dB Relative preset volume for the selected monitor. Room Position: Neutral Wall Corner Console C. Wall - Console Wall C. Corn - Console Corner Bass: Range: -6dB to +6dB Bass adjustment for the selected monitor Treble: Range: -6dB to +6dB Treble adjustment for the selected monitor.
PLACING THE MONITORS This manual section is split into two. The first part is a direct guide on how to optimize your listening facilities to ensure optimal performance of your AIR monitor system. The second part contains In Depth explanations and background information of various acoustic phenomena and is referred to on several occasions in the first chapter. To dive into this chapter and start optimizing your setup, it is essential that you have made proper connections for your AIR System.
PLACING THE MONITORS Placement of monitors and acoustics do influence monitor sound. AIR series provides powerful tools to compensate for different placement. Below, please find a description of the most common monitor placements and appropriate compensation. Using material from the calibration CD together with the AIR placement compensation settings could help the interaction between the AIR monitor and acoustics the studio.
CHECKING - THE PLACEMENT OF THE MONITORS Overview 1 2 3 4 5 In the Setup menu: Select setup type (e.g. 5.
CHECKING - PLACEMENT OF THE MONITORS Equalizing The AIR System menu offers a two-band shelving type equalizer. This can be used individually on each monitor, and it is implemented for a fine adjustment of the tonal balance. Range: Adjustment step: Band I: Band II: Filter type: ±6 dB 0.5 dB 100 Hz - 1 kHz 1 kHz - 5 kHz Shelving You should be very careful using this tool if you are doing the adjustment by ear. In a room with good acoustics equalizing should not be necessary at all.
CALIBRATING Overview 1 2 X-CURVES MAIN MONITORS Select Setup menu from the Main menu - then Calibrate monitor Select each monitor and set calibration level using the CD Calibration procedure The calibration has to be made to ensure that all monitors produce the same sound pressure level in the listening position when fed with the same signal. The level of the input signal can be locked to a specific sound pressure produced by the monitors.
PLACING THE SUBWOOFER Overview Placement on the floor Advantages Disadvantages In the corner Gain of bass response Excitation of most standing waves in the room, hence very uneven sound distribution Adjacent to wall Gain of bass response Excitation of several standing waves in the room, hence very uneven sound distribution Free standing Position can be optimized with regard to standing waves It may take up space on the floor Floor standing The subwoofer is under normal conditions always placed d
CHECKING - SUBWOOFER PLACEMENT Do not place the subwoofer on these lines quarter or halfway between walls. Overview 1 2 3 4 5 Set the volume at -20 dB in the main menu Set Bass Management to 120 Hz Set Bass Management to “on” Check the monitor position using the CD, tracks 30-44 Go to: Calibrating the subwoofer with the main system. Test signals on CD With the monitors you received a CD containing a lot of test signals. These test signals are very handy when setting up the monitors.
CALIBRATING THE SUBWOOFER Bass Management Bass management (sometimes called bass redirection), is a very important and useful tool - and it is in general an absolute necessity if you want to make a 5-channel setup in a small room! There are several reasons for this. The bass management system is designed to subtract the bass contents of all main channels and reproduce this by the use of a subwoofer. The AIR-series provides a number of possible cross-over frequencies that can be determined by the user.
CALIBRATING THE SUBWOOFER LFE Gain Range: 0 to +14dB The LFE channel can be boosted up to 18dB using this parameter. Polarity Range: 0 or 180º If the Subwoofer is correctly placed, setting the Polarity parameter at 180º should result in a full Phase cancellation at the set Cross -over frequency. If this is not the case - the Phase parameter described below should be adjusted. with the main monitors Iteration You may need to iterate quite a bit, maybe readjust the level calibration a bit too.
ACOUSTICS - BACKGROUND INFO Acoustics When we talk about making a room "sound right", we are probably dealing with room acoustics as a science acoustics has been around for about hundred years. Until then good acoustics happened by experiment, by experience, or simply by accident. Today we know a lot about the parameters that influence the "sound" of a room. Talking about the control room we know that basically this room should act as neutral as possible. But this is not always the case.
ACOUSTICS - BACKGROUND INFO Sabines formula Sabine is the father of modern acoustics. He found that reverberation time is described by a relationship between the room size and the amount of absorption in the room. Larger rooms - longer reverberation. More absorption shorter reverberation. T = 0.161 * V / A where T: V: A: 0.
ACOUSTICS - BACKGROUND INFO Absorbers Diffusers All materials in the room act acoustically even if they are not so-called acoustical materials. Basically we have three kinds of absorbers. A diffuser provides diffuse reflection of the sound radiated against it. It can be a very useful solution in cases where reflections are disturbing the sound image and it is not advisory to ad further absorption. So in order to reduce flutter echoes, comb filtering etc.
BACKGROUND INFO - ACOUSTICS Standing Waves Standing waves exist in all kind of rooms. The shape of the room, the dimensions of the room, and the relationship between the dimensions of the room, are important parameters that will determine the frequencies around which the phenomenon exists as well as the distribution of these standing waves. But how do they occur? Imagine a sound source. When the sound is emitted the sound wave will propagate in all directions if no obstacles in sight.
ACOUSTICS - BACKGROUND INFO Room modes These special frequencies are also called room modes. Standing waves between parallel walls are called axial modes. Other modes exist. For instance tangential and radial modes. (See the illustration). Normally the axial modes are the strongest.
ACOUSTICS - BACKGROUND INFO The standing waves are characterized by having a maximum sound pressure at the boundaries of the room. Depending on the frequency there are one or more dips across the room. In a box shaped room the frequencies can be calculated as follows: f= where f = c = l = w= h= n= c n n n ( l )+ ( b )+ ( h ) 2 l w h frequency in Hz speed of sound (approx.
ACOUSTICS - BACKGROUND INFO At low frequencies a monitor can be considered as to radiate the sound energy in all directions. This is also called a 4 π radiation. When placing the monitor close to a solid boundary - for instance a wall - the sound energy that should have been radiated in the direction of the wall instead is radiated into the free half space. Hence the sound pressure is doubled in the half space, which yields +6 dB. This is also called a 2 π radiation.
ACOUSTICS - BACKGROUND INFO Comb Filtering The filtering function that arises when a signal is added to itself after having been delayed in time is called a comb filter. The resulting frequency response resembles a comb, hence the name. Two 500 Hz sinusoidal tones added. The second tone is delayed 1 ms hence the sum is zero Two 1 kHz sinusoidal tones added. The second tone is delayed 1 ms hence the sum is the double (+6 dB).
ACOUSTICS - BACKGROUND INFO or + Two typical situations in which comb filters arise, either acoustically or electrically. In general: All digital signal processing takes time. This means in practice that comb filter effects can arise if you loop a signal via, for example, a compressor and combine this signal with the original. An example of a comb filter created by the combining of two signals with the same amplitude, but with a time delay between them of just 1 ms.
ACOUSTICS - BACKGROUND INFO Rear wall cancellation When the monitor is set up at some distance in front of a wall, reflections from the wall may occur and influence the perceived frequency response. This could result in comb filtering if all frequencies produced by the monitor were radiated in all directions. But the monitors are typically only omni-directional at low frequencies. The result of the reflection is a single or few dips in the frequency response perceived in front of the monitor.
THE SUBWOOFER - BACKGROUND INFO The Subwoofer A subwoofer is a monitor that reproduces low frequencies. The purpose is to take over from the main monitor(s) as frequencies approach the lower end of the frequency range. I.e. approximately below 120 Hz. When used in professional monitor systems it is commonly preferred to use subwoofers below approximately 80 Hz. But of course it depends on the performance of the main monitors.
THE SUBWOOFER & LFE CHANNEL - BACKGROUND INFO Checking summing phase cancellation In a basic 2-channel setup or 5-channel setup (like the ITU775) a subwoofer is not specified and is not required. But making audio production to be played back on consumer equipment, one has to ensure that the mix will sound right in this situation. Many consumer setups provide a subwoofer. Hence it is very important to check what the summing of the bass is like.
DELAYING MONITORS ITU 775 When using a 5.x setup with monitors arranged on a circle line (as with ITU 775) the distance from the listener to each of the main monitors is the same. In case of limited space the three front monitors can be arranged on a straight line. To compensate the center monitor being closer to the listener than the left and right monitor, the center signal can be delayed. To obtain coincident arrival of the sound from all front monitors the delay ranges normally between 0 and 3ms.
LINE-UP & CALIBRATION - BACKGROUND INFO Calibration of 5.1 in an ITU-775 arrangement In a 5.1 system based on the ITU arrangement, all main channels have in principle the same conditions: there is one monitor per channel and each is placed the same distance from the listener. Internationally, there is however neither agreement on the level nor on the bandwidth for the noise signals that is used for acoustic calibration.
THE AIR REMOTE Introduction When perfect setup and calibrations is in place, optimal performance from the AIR system monitors is achieved by controlling level on the monitors themselves as opposed to controlling via the mixing console. Therefore a remote control is a natural extension to the AIR monitor system. Remote Control Features • Instant access of three different user defined Reference Level settings. • Instant Preset Recall function of up to 4 presets.
THE AIR REMOTE REF LEVEL 1-3 keys To recall Reference Level 1-3: Press relevant key shortly. The key LED indicates activated Reference Level. To set Reference Level 1-3: Set level using the large VOLUME dialer in the center of the remote. Press and hold relevant Reference level key for approx. 2 seconds. The LED will flash 3 times and then the new Reference level is set. VOLUME potentiometer If no REFERENCE LEVEL keys are activated this control sets the Master volume on all channels in the system.
AIR SOFT The AIR SOFT is a software editor for the AIR System monitors. All parameters controllable via the display locally on the System Controller, as well as the Reference Level features available via the AIR Remote can be controlled via the AIR Soft program. As your AIR monitors most likely are placed out of your immediate reach we are therefore convinced that you will benefit from having full control over your monitor system from your PC or Mac.
AIR SOFT Main Bass Mgt - Bass Management Indicates the selected Cross-over frequency for Bass Management. Tools When placing the cursor on top of a monitor, a few tools will appear: • • • Press this symbol to enter calibration pages Press to solo the monitor Press to mute the monitor This is the Main screen from where all other AIR SOFT screens are accessed. The (((•))) network icon (upper left corner) If steady: The computer running the AIR SOFT is not correctly connected to AIR monitors.
AIR SOFT Preset List Network Is accessed by clicking on the left side of the display frame. Accessing the Network Screen Press the (((•))) icon in the Main screen to access the Network facilities. In this screen various global network settings are handled. Presets include • Preset Volume • Mute status • Bass Management • X-curve setting • LFE Low Pass • LFE Gain • Parametric EQ (can be adjusted using the AIR PC IP only) All other settings can be considered “global” and are not stored with presets.
AIR SOFT During Software upload various messages could be displayed: Example: In a 5.1 AIR setup you are uploading monitor software to the entire system. As there are separate software files for monitors and subs the following message should appear. Monitor assignment Task • Press monitor symbol to activate pink noise test-tone. • Then select task for the monitor now playing the noise. Serial number and type will be indicated.
AIR SOFT Calibrated Level Level calibration of the selected monitor. Polarity Range: 0 or 180 deg. Mark to activate. Relative Level Preset volume for the selected monitor relative to the calibrated and global volume. Calibrated Level Level calibration of the selected monitor. Use Parametric EQ This will be marked if the Parametric EQ is activated via the AIR PC-IP. Bass and Treble settings will be disabled.
MISCELLANEOUS The AIR series are unquestionably high quality products. This section focuses on a few technical issues that adds to the perception of the high standard of the products. High efficiency compact Switched Mode Power Supply (SMPS) For saving overhead power consumption and to insure optimal performance disregarding the mains voltage, the unit is equipped with a high efficiency compact Switched Mode Power Supply (SMPS).
CABLES TC LINK Standard Cat-5 cables Maximum Cable Length : 15 meter. Cable type : Shielded Ethernet Cable Category 5. Connector type : RJ45 This connection is carrying Digital audio (24 bit) and network control information. Serial to Cat-5 cable P1 P1 1 2 3 4 5 6 7 8 P2 1 2 3 4 5 6 7 8 - included with the AIR SOFT and AIR PC-IP.
AIR TECHNICAL SPECIFICATIONS AIR 6 & AIR 15 (Master and Slave) Mains voltage Power consumption AIR 6 Two-way Active Nearfield Monitor 40 Hz – 22 kHz > 128 dB peak > 126 dB peak 104 dB RMS +/- 0.2 dB 45 Hz 12.1 liters Bass reflex 2150 Hz (DSP generated) 24 dB/oct (Linkwitz Riley, DSP generated) Esotec 28 mm / 1.1" soft dome, rear chamber, magnetic fluid, 4mm die-cast alu front, pure alu wire voice coil 175 mm / 6.
AIR TECHNICAL SPECIFICATIONS AIR-Base-1 & AIR-Base-2 System: Total frequency response: Max. SPL 1m, one (IEC Short Term) Max. SPL 2m, 5.1 (IEC Short Term) Precision of monitor matching: Port tuning frequency: Internal cabinet volume: Bass principle: Woofer: Mains voltage: Power consumption: Finish Amp: Cabinet: Dimensions (H x W x D): Weight: Amplifier Active Subwoofers 25 Hz – bssmng: 120 Hz, LFE: 2.5 kHz/ 23 Hz – bssmng: 120 Hz, LFE: 2.
AIR TECHNICAL SPECIFICATIONS Room & Distance Typical listening distance AIR 6 1.2-2 m / 4-7 ft Typical room size AIR 6 50-100 m3 / 1600-3500 ft AIR-Base-1 30-60 m3 / 1000-2000 ft3 AIR 15 1.5-2.5 m / 5-8,5 ft AIR 20 1.5-3 m / 5-10.
DELAY IN SYSTEM & ERROR MESSAGES ETC. Sample Rate Digital Input (AES or WC In) kHz Converter kHz 32.00 44.10 48.00 64.00 88.20 96.00 64.00 88.20 96.00 64.00 88.20 96.00 Samples @ Input Rate 93.00 68.00 40.00 34.00 34.00 34.00 msec 2.91 1.54 0.83 0.53 0.39 0.35 Analog Input *) centimeter 100 53 29 18 13 12 Samples @ Converter Rate 73.00 73.00 73.00 73.00 73.00 73.00 msec centimeter 1.14 0.83 0.76 1.14 0.83 0.
CERTIFICATE OF CONFORMITY Certificate Of Conformity TC Electronic A/S, Sindalsvej 34, 8240 Risskov, Denmark, hereby declares on own responsibility that following products: AIR 6 AIR 15 AIR 20 AIR 25 AIR-Base 1 AIR-Base 2 AIR-Base 12 AIR-Base 24 AIR REMOTE - that are covered by this certificate and marked with CE-label conforms with following standards: EN 60065 (IEC 60065) Safety requirements for mains operated electronic and related apparatus for household and similar general use EN 55103-1 Product fam
58 Name L 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Typical Applications All parameters neutral - a good starting point Music, video and post for domestic (Not Cinema) use - Stereo, 5.1, 5.3 and 6.1 Music, video and post for domestic (Not Cinema) use - Stereo, 5.1, 5.3 and 6.1 Music, video and post for domestic (Not Cinema) use - Stereo, 5.1, 5.3 and 6.1 Music, video and post for domestic (Not Cinema) use - Stereo, 5.1, 5.3 and 6.1 Music, video and post for domestic (Not Cinema) use - Stereo, 5.1, 5.3 and 6.
