decoding the dna of sound - professional monitoring · 2014-10-26 · linear distortion creates new...

K + H Vertriebs- und Entwicklungsgesellschaft mbHAuf dem Kessellande 4 a, 30900 Wedemark, GermanyPhone: +49 (5130) 58 48 - 0, Fax: +49 (5130) 58 48 - 11www.klein-hummel.com

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Klein + Hummel Studio Monitors 2008

Decodingthe DNA of Sound

The Measureof All Sound

Klein + Hummel studio monitors have been setting global standards in professional sound reproduction for decades. Conceived as acoustically uncompromising tools for the evaluation and fine-tuning of sound material, Klein + Hummel studio monitors provide studio engineers across the world with authentic reproductions of even the smallest recording details. Klein + Hummel do not just make studio monitors. Rather we develop precise measuring instruments – tools that analyze sound and detect the tiniest of aural nuances.

Progress built on tradition. Since 1945, Klein + Hummel have shown an unwavering pioneer spirit in achieving perfect sound reproduction. Fuelled by passion and commitment, Horst Klein and Walter Hummel assembled a small team of specialists near Stuttgart: a team which has developed premium studio products for sixty years. Today, they represent the gold standard in audio reproduction. In 1958, Klein + Hummel introduced the first stereo amplifier with high fidelity (hi-fi) quality. Within two years, the Klein + Hummel product palette encompassed an entire range of professional studio equipment. Many of these products have become legendary classics of contemporary studio technology. Today, Klein + Hummel is one of the world’s leading designers and manufacturers of innovative studio products, and remains deeply committed to continuing a tradition of innovation with the design and launch of the next generation of high quality products. The new millennium began in style with the O 500 C, the world‘s first fully digital, FIR-controlled main monitor.

2 | 3

Measuring Instrumentsfor Unparalleled

Reproduction

Excellent Sound Quality—High PrecisionThe aim of Klein + Hummel is to use technology advances to enhance product quality, thereby perpetuating the proverbial “Klein + Hummel Sound Experience”. Audio quality is never compromised – nothing added, nothing taken away:

Superior 3-way design—even for smaller monitors. A 3-way design is superior to a 2-way design for achieving a perfectly neutral sound pattern. Klein + Hummel offers 3-way designs, even in near-field monitors: •Thewooferisnotusedformidrangefrequencies,thusavoidingcolorationinthewooferduetoconebreakupmodes•Themid-rangedriverimprovesthelinearityofthefrequencyresponseandalowermidbanddistortion•Thehermeticallysealedmidrangedriverpreventsexcitationofthecabinetstandingwavesandthusundesirable midband resonances are avoided in the cumulative spectral decay.•Intermodulationdistortionismeasurablyandaudiblylowerin3-waydesigns.Thisresultsinacleanermidrange with a more transparent sound quality.The above technology benefits lead to an improved accuracy and sound quality for the listener.

Ideal waveguides for treble and midrange drivers. To allow for a precise evaluation of the program material, a controlled dispersion pattern is essential. In addition, Klein + Hummel’s theoretically modeled and exten- sively measured waveguides ensure precise imaging. The use of extremely low-resonance materials enables the integration of the waveguide(s) into the loudspeaker. An elliptically shaped high frequency horn offers increased control of the dispersion on the vertical plane. This substantially reduces the reflection off the console, which would otherwise cause comb filtering and a lack of high frequency transparency. The elliptical shape also broadens the useful horizontal listening area, thereby providing the engineer with more freedom of movement along the mixing console.

Advanced electronics design. Each active studio monitor model features the most advanced high-efficiency amplifiers and equalizers, fine-tuned for the loudspeaker drivers and cabinet. The sophisticated onboard frequency- compensation electronics ensure that each monitor’s frequency response has an extremely tight tolerance and matching to the factory calibration standard. Special circuitry protects the transducers from overload and damage, to ensure reliable operation, even in the most demanding of applications.

Versatile applications and adaptable design. The Klein + Hummel range has a modular design, so that when a system needs to be expanded, new Klein + Hummel products may be seamlessly adapted or added. In addition, an extensive set of accessories allow for a large range of mounting possibilities. The ability to tailor the response of the monitors to their environment increases the range of possibilities still further.

Digital filter concepts—Finite Impulse Response (FIR). Klein + Hummel’s digital controllers include FIR filters. These filters allow for independent adjustment of the magnitude and phase response of an active monitor. Complex loudspeaker corrections are therefore possible, which would not otherwise be possible with conventional parametric analog or digital equalizers. This means that the monitor’s anechoic response is close to ideal. This leads to a more precise audio reproduction and a corresponding increase in confidence when taking sound engineering decisions.

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Acoustic Parametersin a Nutshell

Amplitude modulation, directivity, group delay time, total harmonic distortion, cumulative spectral decay, and maxi-mum sound pressure level are the measures that describe a monitor’s objective quality. Appropriate interpretation of these parameters helps to define a monitor’s audio sound quality. This enables the choice of the most suitable monitor for the application. The measurements below are based on the Klein + Hummel O 300 D monitor (red curve) and are compared against a similar sized 2-way monitor (gray curve).

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Frequency response is the most frequently used measurement to describe loudspeakers. As it is complex, it has two components: magnitude and phase. The ideal monitor has a flat magnitude (frequency) response and linear phase (frequency) response.â Shallow low frequency roll-off (12 dB/octave for a sealed enclosure) ^b Extreme equalization required to control bass overshoot ^c Steep low frequency roll off (24 dB/octave for a vented enclosure) ^d High linearity with maximum deviation of ≤2.5 dB ê Nonlinearities caused by two-way design, and enclosure standing waves ^f Nonlinear phase modulation due to cabinet edge diffraction

Total harmonic distortion (THD). Non- linear distortion creates new harmonic and inharmonic sound energy in the reproduced signal. This gives an aggressive quality to the sound and should be minimized. Linear and intermodulation distortion should also be minimized. THD is quoted as the amount of additional sound energy relative to the undistorted signal, and is often normalized to 0 dB at a distance of 1 m. Nonlinear distortion is level dependent, so the test signal’s SPL should be quoted.^g Strong increase in third harmonic (clipping) distortion in upper frequency region of the woofer ^h 0.1 % distortion in subjectively important midrange frequencies î Low distortion maintained in high frequency region due efficient loading of the treble driver

Peak SPL is the maximum short-term sound pressure that may be generated by the monitor without exceeding a given total percentage harmonic distortion value (3 % in the diagram). The higher the value, the louder the monitor can play without sounding distorted.^j Direct radiators show similar performance in the mid-range ^k Higher peak levels are achieved due to the higher midrange-treble crossover frequency and waveguide loading on the treble driver

Group delay time is the negative slope of the phase of the frequency response and is the frequency dependent time that the signal takes to proceed through the monitor. Ideally, it is constant, i.e. linear, otherwise there is temporal smearing. Analog electrical or digital Infinite Impulse Filters (IIR), acoustic filters and mechanical faults of the loudspeaker can cause a non-linear group delay time.^l High group delay time of 25 ms at 50 Hz from a vented cabinet with 24 dB / octave slope combined with an electronic high pass equalization of 12 dB / octave at 40 Hz ^m Low group delay time of 10 ms at 50 Hz from a sealed enclosure with 12 dB / octave slope com-bined with an electronic high pass equalization at 20 Hz

The cumulative spectral decay visualizes the time it takes for the system to stop making any sound when the input has been turned off. Ideally, the sound radiation stops immediately at all frequencies. ^n Very long bass temporal decay due to a vented cabinet and high order electronic high-frequency equalization ô Strong resonance due to standing waves in the enclosure, or organ pipe resonances in the vent(s) ^p A woofer cone break-up mode

Directivity. As important as a loudspeaker’s on-axis frequency response may be, equally important is its directivity, both in horizontal and vertical planes. Off-axis sound energy is reflected off all the surfaces in a room and returns to the listening position in the form of discrete early energy reflections, reverberation, or discrete echoes. There, it combines with the direct sound and contributes to the perceived sound quality of the system. This is why a smooth, off-axis response is desirable.^q Woofer becomes increasing directional as frequency increases ^r Sudden increase in directivity due to lack of, or badly designed, waveguide ^s Directivity is uncontrolled and not constant

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K + H O 300 D K + H O 300 D

Other 2-way studio-monitor


K + H O 300 D

K + H O 300 D

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Near-Field Monitors p. 20–27O 300 D | O 300 | 0 110 D | O 110 | P 110

Mid-Field Monitors p. 16–19O 410

Subwoofers p. 32–43O 900 | O 870 | O 810 | O 800

Controller p. 48–51Pro M 1012

Monitor Manager p. 52–55Pro C 28

8 | 9

Main Monitors p. 10–15O 500 C

Control Monitors p. 28–31M 52 D | M 52

In the O 500 C studio monitor, Klein + Hummel have developed a comprehensive and innovative approach to the design of large studio monitors. This approach integrates the latest DSP technology and sets new standards for authentic, uncolored, and accurate audio reproduction. The O 500 C is one of a new class of large reference monitors employing an integrated digital controller. Digital signal processing combined with FIR (Finite Impulse Response) filters make it possible to independently control the frequency response’s magnitude and phase. Other features include the use of the resonance-free material (LRIM), innovative driver designs with optimal reproduction quality, high-performance power amplifiers with a wide dynamic range and a modern enclosure concept.

M Active 3-way main monitorM Fully digital crossovers and system correction using integrated controller with FIR filtersM Linear frequency and phase response from 30 Hz to 20 kHz gives a transparent and analytical reproductionM Modeled waveguide gives precise directivity control in the mid and high frequenciesM Increased maximum SPL due to generous amplification (low: 400 W; mid: 230 W; high: 290 W)M Magnetic protection fitted as standardM Smaller Klein + Hummel monitors aspire to the same sound character

O 500 CDigital Active Main Monitor

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O 500 C Digital Active Main Monitor

Up-to-date driver designsUncompromising wooferQ 12“ cone woofer with cast aluminum basketQ Patented construction with rear-ventilated voice coil leading to A Greatly increased load capacity and minimized power compression Q Double insulated membrane offering A Minimal distortion, good self-damping and environmental robustness A Long excursion driver with minimal distortion A Optimized outer to inner radius relationshipHigh resolution mid-range A 3“ membrane/voice coil diameter A Minimal distortion A Rear-sealed chassis eliminates cumulative spectral decay irregularitiesPrecise high-frequency system A Low-distortion high-frequency reproduction from stiff 1” titanium fabric dome

Solid cabinet designQ Low-compression bass reproduction from high capacity bass reflex portsQ Smooth matte enameled baffle design minimizes edge diffractionQ Flexible mounting and setup possibilitiesQ Available in different colors

Optimized directivity controlQ Broad horizontal dispersion widens the usable listening areaQ Narrow vertical dispersion reduces the effects of the console reflectionQ Rotatable waveguide for vertical and horizontal installationQ Digital compensation of time alignment and amplitude responseQ High order digital crossovers reduce driver interaction

Advanced integrated digital controllerQ AD crossover-technology with 130 dB dynamic rangeQ Extremely low distortion due to the latest 24 bit converter technologyQ AES / EBU and S / P-DIF digital inputQ System correction and phase frequency equalization by individually tuned FIR filtersQ Numerous correction modes available (linear phase, minimal phase, FIR, and IIR)Q Pre-emptive protection limiters: A Peak limiter to avoid transient damage of amplifiers and drivers A Regulated power amplifier overloading A Thermo-limiter to protect the power output of the driversQ Large and attractive blue vacuum fluorescent display (VFD) shows all settingsQ Infrared remote control for convenient control from the listening positionQ Loudspeakers can be connected together to form a network and be controlled by one remote

New patented output conceptQ Intelligent power supply for minimal power lossQ Very high performance outputs: 400 W for bass, 230 W for midrange, and 290 W for trebleQ Extremely high dynamics: 129 dB(lin) / 132 dB(A)Q Very low nonlinear distortion (THD+N): bass: <110 dB (0.0003 %), midrange: <100 dB (0.001 %),

and treble <90 dB (0.003 %)

IR remote control

Attractive Blue Vacuum Fluorescent Display (VFD) shows all settings

Large integrated waveguides for optimal directivity control

Rotatable waveguide for horizontal and vertical installation

High-quality amplifiers can be remote mounted when flush mounting cabinets

Subwoofer output connects to O 900

Digital FIR controller for exact equalization

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Frequency response

Group delay linear phase min. phase

Cumulative spectral decay

Horizontal directivity Vertical directivity

Max. SPL in 1 m at 1 % THD

THD at 106 dB SPL at 1 m total 2nd 3rd

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Individual room adaptation with extensive and flexible filters. The O 500 C is designed to adapt to the requirements of almost any critical listening space. This is possible using integral FIR-based controller technology. The frequency and phase of the FIR filters can be adjusted independently during the design phase to give an optimal response from the loudspeaker. Measurements across the listening area take into account the interplay of the acoustic space, monitor, and its location. The parametric filter is then tuned to match the desired target response, resulting in a significant sound quality improvement. This acoustic optimization demands a certain level of experience and equipment, however it results in an effective means of addressing acoustic imbalances.

^1 Low Cut for adjustment of the lower cut-off frequency ^2 Low EQ for compensation of wall-, edge- and corner- positioning ^3 Mid EQ for broadband response shaping ^4 High EQ for compensation of different reverberation times

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Easy and flexible adaptation with extensive equalization. In each O 500 C, an FIR filter allows for precise and independent control of the amplitude and phase responses during design. The digital controller also features a fully parametric 10-band IIR digital filter bank. This offers flexible, real-time control for further adaptation of the frequency response. Finally, simple, wideband, discrete controls allow for fast, yet effective, integration of the monitors to their environment.

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NEWO 410

Active Mid-Field Monitor

Back in 1967, Klein + Hummel launched the world’s first active studio monitor, the OY. The O 410 represents the latest incarnation of the many technologies pioneered by Klein + Hummel during the intervening 40 years. Engineering excellence applied to all aspects of the O 410 design brings a new benchmark in audio reproduction quality. A waveguide featuring Mathematic ally Modeled Dispersion™ (MMD™), flexible acoustical controls, various input options and an extensive mounting hardware range allow the O 410 to be used in diverse acoustical conditions, with any source equipment, and in a wide variety of physical locations.

The O 410 has been designed for use as a mid-field or main monitor. It is particularly well-suited for use in music, broadcast and post production studios for tracking, mixing and mastering. The O 410 can be used free-standing or flush-mounted into a wall, and, in multichannel systems, can be mixed freely with other loudspeakers in the Klein + Hummel range.

O 410 Mid-Field Monitor

Mid Sized 3-way SystemQ The most important part of the frequency spectrum is reproduced by a separate midrange driverQ Extremely low harmonic and intermodulation distortion results in clean sounding audio reproductionQ Exceptionally neutral sound stage from 30 Hz to 24 kHz (– 3 dB)Q Ideal cabinet materials with excellent self-damping propertiesQ Structural resonances avoided using LRIM™ (Low Resonance Integral Molding™)Q Vented enclosure extends bass response, even at very high outputQ Modern-looking design with optional grilleQ Extensive accessories allow for a multitude of installation possibilitiesQ Magnetically shielded for use next to CRT screens

Mathematically Modeled Dispersion™ (MMD™)Q Three stage design process: AWaveguide is mathematically modeled before physical prototypes are realized APhysical prototypes are measured under anechoic conditions to verify theoretical performance AExtensive listening tests correlate objective measurements and subjective perceptionQ Wide horizontal directivity gives increased freedom of movement along the mixing consoleQ Narrow vertical directivity reduces the effect of early reflections off the console surfaceQ MMD™ is easily rotated in the field when horizontal mounting the cabinetQ Perfect directivity pattern leads to a smooth power response

Advanced ElectronicsQ Transformer balanced input stage (TIM 1) equipped with special distortion reduction crossover functionQ 16...24-Bit, 20...216 kHz digital input stage (DIM 1) for AES3, AES 3id and S/P-DIF signalsQ Electronics can be remotely accessed when the cabinet is flush mounted (REK 1 and CP 2, 5, 10, 15, 20, 25, or 30)Q Integrated electronic limiter for each driverQ Hybrid class A-B amplifiers, employed for their best overall performance, are also protectedQ Active three-way crossover with 24 dB/oct. slopesQ Input options give flexibility without burdening basic product: ATransformer balanced input stage equipped with special distortion reduction crossover function A16…24-bit, 20…216 kHz digital input stage for AES3, AES 3id and S/P-DIF signals AXLR and BNC inputs, and a BNC output for flexible and robust interconnectivity Q Display for signal type, protect and digital status is integrated into the MMD™, together with a K+H logoQ Controls adapt the monitor’s response to compensate for the loudspeaker’s environment: ABass, mid and treble controls for specific and common acoustical issues AParametric EQ for low-frequency correctionsQ Accelerated Heat Tunneling™ (AHT™) ensures effective amplifier cooling whether the cabinet is mounted vertically or horizontallyQ Electronics can be remotely accessed when the cabinet is flush mountedQ Electronics can be remotely powered on with two modes of operation (0 V and 12 V trigger)Q Attention to detail in design results in low self-generated noise

Horizontal directivity 90

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Multitone distortion O 410 at 95 dB SPL at 1 m

Frequency response

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Acoustical controls Parametric equalizer

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large user-rotatable waveguide

informative display can be dimmed for low ambient light and behind the screen applications

large ports minimize turbulence, resulting in reduced bass compression and chuffing noises

hybrid class A-B / H amplifiers

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O 300 O 300 D

Active Near-Field Monitors

When developing the O 300 product category, the goal was to achieve the most accurate, uncolored sound, combined with ideally shaped waveguides, in a compact size. Complex computer simula-tions and extensive listening tests were conducted. The result is unique in its class: an unbeatably neutral and even sound stage. A precise bass response, perfect dispersion pattern, and a stunningly real reproduction with remarkable imaging and depth leave nothing to be desired. The O 300 is available with an analogue input (O 300) or with additional digital inputs (O 300 D).

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O 300 / O 300 D Active Studio Monitors

3-way system designQ The most important part of the frequency spectrum is reproduced by a separate midrange driverQ Extremely low-distortion reproductionQ Exceptionally neutral sound stage from 35 Hz to 20 kHzQ No standing waves in the enclosure and no bass driver cone break-up

Unconventional enclosure conceptQ Very compact enclosure constructed using ideal materials with excellent self-damping propertiesQ Structural resonances avoided using LRIM (Low Resonance Integral Molding)Q Very accurate bass reproduction due to sealed enclosureQ Acoustic centers of loudspeaker positioned on one planeQ Homogenous front baffle with no diffraction or acoustical discontinuitiesQ Wider effective listening area for main monitor when horizontally installedQ Modern-looking design with optional baffle cover/grillQ Extensive accessories allow for a multitude of installation possibilitiesQ Magnetically shielded for use next to CRT screens

Functional waveguideQ Wide horizontal directivity gives increased freedom of movement along the mixing consoleQ Narrow vertical directivity reduces the effect of early reflections off the console surfaceQ Perfect directivity pattern leads to a smooth power response

Advanced ElectronicsQ Integrated electronic limiter for each driverQ Active three-way crossover with 24 dB/oct. slopesQ Transformer balanced input equipped with special distortion reduction crossover functionQ Power and overload/limiter-display integrated into the front panel K+H logoQ Controls adapt the monitor’s response to compensate for the room location

O 300 DQ Additional 24-bit and 32-96 kHz digital input for AES/EBU, AES 3id and S/P-DIFQ Input connector for external Pro C 28 FIR digital controllerQ Transformer balanced analog input

High-quality digital input integrated as standard

Direct input for external Pro C 28 digital FIR controller

Elliptical waveguide for very wide horizontal and narrow vertical dispersion patterns

Maximally compact driver layout

O 300 / O 300 D

Room compensation EQ:bass, mid, treble

Electronically balancedanalog input

O 300 D

O 300

Frequency response

Group delay

Acoustical controls EQ: bass, mid, high Cumulative spectral decay


Max. SPL at 1 m at 1 % and 3 % THD


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Design: silver-colored



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P 110 Passive studio monitor. This compact, passive 2-way near-field studio monitor is best suited to small spaces. The P 110 provides precise bass reproduction for its size down to 72 Hz (-3 dB point). The homogenous LRIM enclosure features an optimal waveguide and perfect dispersion pattern. The high quality components and the specially-constructed interior prevent standing waves, and coloration is almost completely eliminated. The result is extremely low-distortion leading to an absolutely natural sound reproduction. Additionally, there are four mounting options available, allowing the P 110 to be placed in a wide variety of locations. It is also excellent value-for-money for surround-sound applications.

O 110 Active studio monitor. The O 110 near-field monitor brings a superior flat-frequency response into smaller listening environments and studios – ideal for acoustically compromised rooms too. The acoustical controls contribute to the system’s ability to accurately reproduce audio at the listening position. Other features include specially designed loudspeaker chassis, high-performance amplifiers with active crossovers, as well as a modern enclosure made of the resonance-damping composite material, LRIM.

O 110 D Active studio monitor for digital audio workstations. The O 110 D meets the requirements of the digital age. Offering AES/EBU and S/P-DIF formatted digital inputs, it eliminates the need for external D/A converters when connecting to audio workstations or mixing consoles. The integrated D/A converter has a 24-bit resolution and accepts sampling rates from 32 to 96 kHz. Its analog input is electronically balanced, while the AES/EBU input features a high-quality transformer. This professional nearfield monitor is the perfect solution for small digital studios, offering unbeatable neutral reproduction and accuracy across the entire sound spectrum, and a precision of bass reproduction down to 56 Hz, which compares favorably with much larger systems.

P 110O 110

O 110 DNear-Field Monitors

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O 110 and O 110 D Active Studio Monitors

Q Active 24 dB/oct. slope crossoverQ Power and overload display integrated into logoQ Controls adapt the monitor’s response to compensate for the room locationQ Optional high-quality transformer-balanced floating input (O 110 only)Q Excellent immunity from EMI interference

O 110 DQ Integrated D/A converter with 24-bit resolution and 32-96 kHz

sampling rate

O 110 D O 110

Frequency response O 110

Group delay O 110

Acoustical controls O 110 EQ: mid, bass Cumulative spectral decay O 110

Horizontal directivity O 110 Vertical directivity O 110

Max. SPL O 110 at 1 m at 1 % and 3 % THD

THD O 110 at 95 dB SPL at 1 m total 2nd 3rd

0.05 0.2 0.5 1 2 5 10 kHz 0.05 0.2 0.5 1 2 5 kHz

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The following features apply to all three monitor types:

Use of high-quality driversQ Composite sandwich woofer cone eliminates colorationsQ Low-distortion bass reproduction from long excursion wooferQ Flux-compensation reduces distortion in the midrangeQ Low-distortion high-output reproduction from 1“ titanium fabric dome tweeter

Unconventional enclosureQ Compact homogenous enclosure made from LRIM (Low Resonance Integral Molding)

minimizes resonant colorations Q Low-compression bass reproduction from generously proportioned bass reflex portsQ Acoustic centers of the loudspeaker lie on the same planeQ Non-parallel cabinet shape reduces internal standing wavesQ Homogenous front baffle reduces acoustical diffractionQ Magnetically shielded and modern cabinet designQ Numerous placement options and mounting accessoriesQ Removable woofer grilleQ Various color options available

P 110 Passive Studio Monitor

Q High-frequency cut switchQ 18 dB/oct passive crossoverQ Speakon and standard terminal connection options

26 | 27

100 Hz 1,000 Hz 10 kHz

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M 52M 52 D

Active Control Monitors

The M 52 / M 52 D are the reference monitors of choice for many small studios and OB vans across the world. Where space is at a premium, the M 52 and M 52 D offers the distinct advantage of being extremely compact, taking up a volume of only 1.8 liters (4 3/4” x 6 7/8” x 4 5/8” / 120 x 173 x 116 mm). It offers a flat frequency response, making it ideal as either a control monitor in live broadcast or as a mix monitor in the smaller recording studio. The monitor can be powered from a 12 V to 20 V battery thereby opening up many new applications in small broadcast vans or video editing stations. As a multimedia monitor, the versatile M 52 is ideal for both permanent and mobile applications. The driver is magnetically shielded so it can be installed next to TV screens and hard-disk drives.

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Switchable input setting analog, digital left, mono, right

Volume adjustment on front panel

12 V DC power input

Robust aluminumcabinet

Transformer balanced XLR input

Professionalconnection options

analog: transformer-balanced (XLR) digital: AES/EBU (XLR)digital: AES-3id (BNC)digital: S/P-DIF (BNC)

M 52 Active Control Monitor

Q Director’s control monitorQ “TV speaker” reference monitor in studioQ Reference monitor for broadcast vansQ High quality and robust line checkerQ Low-distortion bass reproduction from long excursion driverQ Clear high-frequency reproductionQ Compact size with convenient controls located on the front panelQ Transformer-balanced XLR connectorQ Connector for use with 12 V to 20 V DC batteriesQ Switched-mode power supply for 80 – 250 V AC mains power input

M 52 D Digital Active Control Monitor

Acoustic and mechanical properties same as the M 52.

Q Analog and digital inputsQ Measuring monitor for evaluating digital inputsQ Additional XLR and BNC connectors for AES/EBU or AES-3id signalsQ Convenient channel-assignment switch on front panelQ Easy daisy chaining using the BNC or XLR connectors

Frequency response

Group delay

Cumulative spectral decay




0.05 0.2 0.5 1 2 5 10 kHz 0.05 0.2 0.5 1 2 5 kHz

0.05 0.2 0.5 1 2 5 kHz 0.05 0.2 0.5 1 2 5 10 kHz

dB

110

100

90

80

70

dB

– 10

– 20

– 30

– 40

– 50

– 60

– 70

– 80

– 90

90

60

30

0 Grad

– 30

– 60

– 90

dB

100

90

80

70

60

ms

20

0

– 20

125 250 500 1,000 2,000 4,000 8,000 16,000 f[Hz]

90

60

30

0 Grad

– 30

– 60

– 90125 250 500 1,000 2,000 4,000 8,000 16,000

f[Hz]

100 Hz 1,000 Hz 10 kHz

+ 50

– 5– 10– 15– 20– 25

0,0

2.3 ms

4.5 ms

6.8 ms

9.1 ms

0– 5– 10– 15– 20– 25



Move up to

7.1 High Definition

As consumer technology advances at ever faster rates, professional technology increasingly finds itself trying to keep up. An example of this is the advent of HD-DVD and Blu-ray High Definition formats that has increased the audio channel count to 7.1. There are currently no monitoring systems on the market with built-in 7.1 signal handling.

The O 870 and O 810 are an answer to the most recent evolution oftransmission formats. Klein + Hummel’s two new subwoofer packages offer a new 7.1 High Definition Bass Manager™. This is compatible with all standard consumer formats from mono through to the latest 7.1 HD 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 guarantees compatibility across all formats and industries. Forth-order crossovers and flexible acoustical controls allow for seamless system integration. Built-in volume control and a hardware remote control allows for centralized system control independent of the source, and the electronics can be remote located to reduce cabling.

The latest amplifier technology and acoustical components have been used to ensure the most accurate sound reproduction possible. Robust drivers, a rock-solid cabinet, and carefully designed ports guarantee a tight, articulate, and distortion-free low frequency reproduction, even at high replay levels. Using the sum output, Plane Wave Bass Array™ (PWBA™) techniques acoustically improves lateral consistency in the listening area. The bass of both models extends down to 18 Hz.

The O 900 and O 800 continue to be offered in addition to the new O 810 and O 870 subwoofers. These two subwoofers take a slightly different approach. The O 900 is designed to be added to the O 500 C to make a 4-way column system: the subwoofer output signal of the O 500 C is connected to an external amplifier which can be remote located. The O 800 is a very cost effective solution for bass managing three channels to extend the response of the front loudspeaker. Both the O 900 and O 800 can be used to only reproduce the LFE channel in multichannel systems. Alternatively a Pro M 1012 can be used to provide flexible external bass management and system control of up to 10 audio channels and 12 loudspeakers: subwoofer signals are generated and then connected directly to the subwoofer.

All of Klein + Hummel’s subwoofers are designed to complement Klein + Hummel’s extensive range of monitors. Subwoofers can be used on their own, or daisy- chained to make larger systems capable of higher SPL. They can be used in music, broadcast, and post production studios for tracking, mixing, and mastering. They can be positioned next to a wall or flush mounted into a wall due to the front mounted port, and can be mixed freely in multichannel systems with other loudspeakers from the Klein + Hummel range.

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32 | 33


Frequency response O 500 C with O 900Frequency response in LFE-Mode

0.02 0.1 0.5 1 2 5 10 kHz 0.02 0.1 0.5 1 2 5 10 kHz

dB

90

80

70

60

50

20 30 40 50 70 90 Hz

The high-performance O 900 studio subwoofer is the ideal complement for the O 500 C studio monitor. Precise bass reproduction is achieved down to 15 Hz. The 120 liter cabinet gives a high maximum sound pressure output with a flat frequency response. This is due to the ingenious enclosure design, as well as the use of uncompromisingly well-constructed drivers.

FeaturesM Extremely powerful studio subwoofer with two extra long excursion 12“ driversM Bass reproduction down to 15 HzM Expressive, precise, accurate bassM High maximum output levelM Bass extension and increased SPL output for the O 500 C studio monitorM Used with the subwoofer output of an O 500 C and a KPA 172 power amplifier

dB

90

80

70

60

50

dB120

110

100

90

80

O 900 High Output

Studio Subwoofer

34 | 35

Klein + Hummel KPA 172 Stereo High Performance Amplifi er. The technical superiority of this amplifi er ensures that the KPA 172 is especially suited to the O 900. The KPA 172 is normally remotely located to avoid cooling fan noise and heat dissipation in the control room—see www.klein-hummel.com for details.

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Switchable mains voltage and remote power on

7.1 High Definition Bass Management on the O 870 and O 810

FeaturesM 7.1 Channel High Definition Bass Management™ compatible with all formats from mono to 7.1M Bypassable 4th order 80 Hz active crossover for maximum compatibility with consumer reproductionM 0 and +10 dB LFE gain and 4-mode LFE processing: A LFE to subwoofer and left/right A LFE to subwoofer only up to 80 Hz A LFE to subwoofer only up to 120 Hz A LFE to subwoofer with no filtering – for daisy chaining subwoofers and external signal processing systemsM Independent control of bass management for front and back channelsM System wide volume control via optional hardware remote controls (SRC 1 and SRC 2) or RS-232M Acoustical controls adapt the subwoofer’s response to the environment A Output level A Low cut A Parametric equalizer A 45° step phase control with a built-in test signalM Larger systems and Plane Wave Bass Arrays™ maybe constructed using the Sum output M Electronics can be remotely powered on with two modes of operation (0 V and 12 V trigger)M Integrated electronic limiter for amplifier and driver protectionM Low heat dissipation amplifiersM Optional 8-channel (4 x AES3 / AES3id / S/P-DIF) digital input card, supporting IEC 60958-1 user bit volume controlM Remote Electronics Kit (REK 2) and Subwoofer Cables (SC nn) for less cabling and convenience of use

36 | 37

Built-in 7.1 multichannel remote volume control

8 inputswith ground lift, 7 main outputs and a sum out

Extensive acoustical controls including a parametric equalizer

Low cut Parametric Equalizer

0.005 0.02 0.1 0.5 1 kHz

dB

0

– 5

– 10

– 15

dB

0

– 5

– 10

– 15 0.005 0.02 0.1 0.5 1 kHz

Flexible bass management modes

Four LFE modes for all format types and system configurations

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Frequency Response XXX

Group delay XXX Max. SPL in 1 m at 1 % and 3 % THD

THD at XXX dB/SPL in X,X m

0.05 0.2 0.5 1 2 5 10 kHz 0.05 0.2 0.5 1 2 5 kHz

0.05 0.2 0.5 1 2 5 kHz 0.05 0.2 0.5 1 2 5 10 kHz

dB

110

100

90

80

70

dB

– 10

– 20

– 30

– 40

– 50

– 60

– 70

– 80

– 90

dB100

90

80

70

60

ms

20

0

– 20

MAX. SPL O 870 at 1 m at 1 % and 3 % THD

O 870High Definition Active

Studio Subwoofer

38 | 39

The O 870 active studio subwoofer, with built-in 7.1 High Definition Bass Management™, offers all the features required in today’s modern studios. Extensive signal processing and extended low-frequency output at high SPL presents the opportunity to make very large multi-channel audio systems.

FeaturesM Low frequency extension for main loudspeakers down to 18 HzM Low distortion magnetically shielded long-throw driversM Reduced bass compression at high SPL from generously proportioned bass reflex portsM A main loudspeaker can be mounted onto an O 870 to make a large 4-way column systemM Allows main loudspeakers to play louder and with lower distortionM Large system with 6 dB higher output than O 810M Wooden cabinet with a tough painted finish (anthracite or silver) and high density rubber isolating feetM Excellent self-damping properties leading to minimal cabinet resonancesM Cabinet look conforms to the family design M Accessories: Digital input card, Remote controls and cables, Remote electronics kit and cables, Flight case and Various mounting accessories

Frequency response O 410 C with O 870 Group delay O 410 C with O 870


0.05 0.2 0.5 1 2 5 10 kHz

50 100 200 Hz

0.05 0.2 0.5 1 2 5 10 kHz

dB

– 10

– 20

– 30

– 40

– 50

– 60

– 70

– 80

– 90

dB

100

90

80

70

60

ms

20

0

– 20

200 Hz 50 100

dB

110

100

90

80

70

60

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Frequency Response XXX

Group delay XXX Max. SPL in 1 m at 1 % and 3 % THD

THD at XXX dB/SPL in X,X m

0.05 0.2 0.5 1 2 5 10 kHz 0.05 0.2 0.5 1 2 5 kHz

0.05 0.2 0.5 1 2 5 kHz 0.05 0.2 0.5 1 2 5 10 kHz

dB

110

100

90

80

70

dB

– 10

– 20

– 30

– 40

– 50

– 60

– 70

– 80

– 90

dB100

90

80

70

60

ms

20

0

– 20

O 810High Definition Active

Studio Subwoofer

40 | 41

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The O 810 active studio subwoofer, with built-in 7.1 High Definition Bass Management™, offers all the features required in today’s modern studios in a compact package. Extensive signal processing and extended low-frequency output give bass extension and increased output in small to medium sized multi-channel audio systems.

FeaturesM Low frequency extension for main loudspeakers down to 18 HzM Low distortion magnetically shielded long-throw driversM Reduced bass compression at high SPL from generously proportioned bass reflex portsM Allows main loudspeakers to play louder and with lower distortionM Compact system offering more flexible placement opportunitiesM Wooden cabinet with a tough painted finish (anthracite or silver) and high density rubber isolating feetM Excellent self-damping properties leading to minimal cabinet resonancesM Cabinet look conforms to the family designM Accessories: Digital input card, Remote controls and cables, Remote electronics kit and cables, Flight case and Various mounting accessories

MAX. SPL O 810 at 1 m at 1 % and 3 % THD

Frequency response O 300 with O 810 Group delay O 300 with O 810


0.05 0.2 0.5 1 2 5 10 kHz

50 100 200 Hz

0.05 0.2 0.5 1 2 5 10 kHz

dB

– 10

– 20

– 30

– 40

– 50

– 60

– 70

– 80

– 90

dB

100

90

80

70

60

ms

20

0

– 20

50 100 200 Hz

dB

110

100

90

80

70

60

The O 800 active studio subwoofer offers bass extension for smaller loudspeakers down to 27 Hz and significantly raises the maximum possible acoustical output of the main loudspeakers. The O 800 can also be used to reproduce the LFE channel in multichannel systems. The exceptional dynamics and precise reproduction gives the listener confidence when making critical judgments of the audio material’s lowest frequencies.

FeaturesM Compact and cost effective low frequency system with extension down to 27 HzM Allows main loudspeakers to play louder and with lower distortionM Bypassable, 3-channel, fourth-order active bass managerM Low-cut, phase and output controls for seamless integration with the main loudspeakersM Low distortion amplifier with integrated electronic limiterM Low distortion magnetically shielded long-throw driversM Reduced bass compression at high SPL from a single generously proportioned bass reflex portM Wooden cabinet with a tough painted finish (anthracite or silver) and high density rubber isolating feetM Excellent self-damping properties leading to minimal cabinet resonances

42 | 43

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O 800Active

Studio Subwoofer

Frequency response O 110 + O 800

dB

100

90

80

70

60 0.05 0.2 0.5 1 2 5 10 kHz

Max. SPL O 800 at 1 m at 1 % and 3 % THD

50 100 200 kHz

dB

110

100

90

80

70

60

THD O 110 + O 800 at 95 dB SPL at 1 m total 2nd 3rd

dB

– 10

– 20

– 30

– 40

– 50

– 60

– 70

– 80

– 90

Group delay O 110 + O 800

0.05 0.2 0.5 1 2 5 10 kHz

ms

20

0

– 20

50 100 200 Hz

Technical Data

Main Mid-Field/Main Near-Field Near-Field Control Subwoofer

O 500 C O 410 O 300 D O 300 O 110 D O 110 P 110 M 52 D M 52 O 900 O 870 O 810 O 800

-3 dB free field frequency response 27 Hz … 20 kHz, ± 3 dB 30 Hz … 24 kHz, ± 3 dB 35 Hz … 24 kHz, ± 3 dB 35 Hz … 24 kHz, ± 3 dB 56 Hz … 24 kHz, ± 3 dB 56 Hz … 24 kHz, ± 3 dB 72 Hz … 24 kHz, ± 3 dB – – 15 Hz … 220 Hz, ± 3 dB 18 Hz ... 300 Hz, ±3 dB 18 Hz ... 300 Hz, ±3 dB 27 Hz … 100 Hz, ± 3 dB

Pass band free field frequency response 30 Hz … 20 kHz, ± 1.5 dB 32 Hz … 20 kHz, ± 2 dB 40 Hz … 20 kHz, ± 2 dB 40 Hz … 20 kHz, ± 2 dB 58 Hz … 20 kHz, ± 2 dB 58 Hz … 20 kHz, ± 2 dB 85 Hz … 20 kHz, ± 2 dB 90 Hz … 20 kHz, ± 5 dB 90 Hz … 20 kHz, ± 5 dB 17 Hz … 200 Hz, ± 1.5 dB 19 Hz ... 300 Hz, ±2 dB 19 Hz ... 300 Hz, ±2 dB 30 Hz … 90 Hz, ± 2 dB

Self-generated noise < 25 dB(A) at 10 cm < 25 dB(A) at 10 cm < 20 dB(A) at 10 cm < 20 dB(A) at 10 cm < 20 dB(A) at 10 cm < 20 dB(A) at 10 cm – ≤ 20 dB(A) at 10 cm ≤ 20 dB(A) at 10 cm < 20 dB(A) at 10 cm < 20 dB (A) at 10 cm < 20 dB (A) at 10 cm < 20 dB(A) at 10 cm

Max. SPL in half space at 3% THD at 1 m

Averaged between

123.4 dB SPL

100 Hz and 6 kHz

120.0 dB SPL

100 Hz and 6 kHz

112.8 dB SPL

100 Hz and 6 kHz

112.8 dB SPL

100 Hz and 6 kHz

107.7 dB SPL

100 Hz and 6 kHz

107.7 dB SPL

100 Hz and 6 kHz

111.5 dB SPL

100 Hz and 6 kHz

103.0 dB SPL

100 Hz and 6 kHz

103.0 dB SPL

100 Hz and 6 kHz

116.4 dB SPL

40 Hz and 90 Hz

116.7 dB SPL

40 Hz and 90 Hz

110.7 dB SPL

40 Hz and 90 Hz

111.8 dB SPL

40 Hz and 90 Hz

Sine wave output with a THD < 0.5 % at 1 m 101 dB SPL (>100 Hz) 95 dB SPL (> 100 Hz) 95 dB SPL (>100 Hz) 95 dB SPL (>100 Hz) 90 dB SPL (>150 Hz) 90 dB SPL (>150 Hz) 90 dB SPL (>150 Hz) – – 101 dB SPL (>30 Hz) 95 db SPL (>40 Hz) 95 db SPL (>45 Hz) 95 dB SPL (>30 Hz)

ElectronicsWoofer amplifier, continuous output power* 400 W 340 W 150 W 150 W 50 W 50 W – 24 W 24 W 1,700 W 2 x 160 W 160 W 120 W

Woofer amplifier, peak output power* 500 W 400 W 250 W 250 W 80 W 80 W – 40 W 40 W 2,200 W 2 x 200 W 200 W 185 W

Midrange amplifier, continuous output power* 230 W 160 W 65 W 65 W – – – – – – – – –

Midrange amplifier, peak output power* 280 W 190 W 75 W 75 W – – – – – – – – –

Tweeter amplifier, continuous output power* 290 W 180 W 65 W 65 W 50 W 50 W – – – – – – –

Tweeter amplifier, peak output power* 360 W 210 W 110 W 110 W 80 W 80 W – – – – – – –

Controller design

Crossover Frequency

Crossover Slope (dB/oct.)

digital, FIR filter

520 Hz/2.8 kHz

48

analog, active

600 Hz/2.2 kHz

24

analog, active

650 Hz/3.3 kHz

24

analog, active

650 Hz/3.3 kHz

24

analog, active

2.5 kHz

24

analog, active

2.5 kHz

24

analog, passive

3.0 kHz

TT 12/HT 18

analog, active

–

–

analog, active

–

–

digital, FIR filter

80 Hz (O 500 C)

48

analog, active

80 Hz

24

analog, active

80 Hz

24

analog, active

90 Hz

24

Equalization: Low cut

Bass

Mid

High

40; 50; 60; 70; 80 Hz

0; -2; -4; -6; -8; -10 dB

0; -1; -2; -3; -4; -5 dB

+1; 0; -1; -2; -3; -4 dB

–

0; -2.5; -5; -7.5 dB

0; -1.5; -3; -4.5 dB

1; 0; -1; -2 dB

–

0; -3; -6; -9 dB

+2; 0; -2; -4 dB

+2; +1; 0; -1 dB

–

0; -3; -6; -9 dB

+2; 0; -2; -4 dB

+2; +1; 0; -1 dB

–

0; -2.5; -5; -7.5 dB

0; -1.5; -3; -5 dB

–

–

0; -2.5; -5; -7.5 dB

0; -1.5; -3; -5 dB

–

–

–

0; -2; -4; -6 dB

–

–

–

–

–

–

–

–

–

40; 50; 60; 70; 80 Hz

0; -2; -4; -6; -8; -10 dB

–

–

40 Hz; 0 ... -12 dB

–

–

–

40 Hz; 0 ... -12 dB

–

–

–

30; 40; 50; 60 Hz

–

–

–

Time of Flight adjustment delay 8 … 1,000 ms – – – – – – – – 5.6 … 1,000 ms 0 ... 4.69 ms @80Hz (4-step 0, 45, 90, 135°), -180° Switch 0 … 180°, cont. variable

Protection circuitry Limiter: low, mid, high Limiter: low, mid, high Limiter: low, mid, high Limiter: low, mid, high Limiter: low, high Limiter: low, high Multifuse: high – – Limiter Peak + Thermo Limiter Peak + Thermo Limiter Limiter

Infrasonic filter frequency; slope 20 Hz; 12 dB/oct. 15 Hz; 12 dB/oct. 30 Hz; 6 dB/oct. 30 Hz; 6 dB/oct. – – – – – 12 Hz; 12 dB/oct. 6.5 Hz; 12 dB/oct. 6.5 Hz; 12 dB/oct. 25 Hz; 12 dB/oct.

Analog Input

Impedance, electrically balanced

Impedance, transformer balanced

Input sensitivity

Attenuator

CMRR

10 kO

14 kO

- 6 dBu

0 … -128 dB

> 80 dB @ 15 kHz

XLR, 13 kO

XLR, 4.7 kO**

- 8 dBu / + 6 dBu

- 9 ... + 6 dB

> 60 dB @ 15 kHz

–

XLR, 14 kO

+ 6 dBu

0 … -28 dB (24)

> 60 dB @ 15 kHz

XLR, 14 kO, optional

–

+ 6 dBu

0 … -28 dB

> 60 dB @ 15 kHz

XLR, 14 kO

–

+ 6 dBu

0 … -24 dB

> 60 dB @ 15 kHz



+ 6 dBu

0 … -24 dB

> 60 dB @ 15 kHz

8 O

–

87 dB SPL at 1 m

–

–

–

XLR, 10 kO

+ 6 dBu

0 … -∞

> 50 dB @ 15 kHz

–

XLR, 10 kO

+ 6 dBu

0 … -∞

> 50 dB @ 15 kHz

10 kO

10 kO

- 6 dBu

0 … -128 dB

> 80 dB @ 15 kHz

8 x 13 kΩ

–

-8 dBu / +6 dBu (switchable)

-12 ... +2 dB

> 60 dB @ 15 kHz

8 x 13 kΩ

–

-8 dBu / +6 dBu (switchable)

-12 ... +2 dB

> 60 dB @ 15 kHz

3 x XLR, 20 kO

–

- 6 dBu

0 … -18 dB

> 50 dB @ 15 kHz

Analog Output XLR, subwoofer – – – – – – – 3 x XLR for monitor 8 x XLR

(7 Ch + Sum Out)

8 x XLR

(7 Ch + Sum Out)

3 x XLR for monitor

Digital Input/Output

Format XLR (Format BNC)

Impedance XLR

Impedance BNC

AES/EBU (AES 3id, S/P-DIF)

110 O, balanced floating

75 O, non symmetrical

AES3 (AES3id, S/P-DIF)**

110 O, balanced floating**

75 O, non symmetrical**




–

–

–




–

–

–

–

–

–




–

–

–

–

–

–


110 Ohm, balanced floating**

75 Ohm, non symmetrical**


110 Ohm, balanced floating**

75 Ohm, non symmetrical**

–

–

–

Input switching analog/digital

left/mono/right

digital/analog**

left/mono/right**

analog/digital

left/mono/right

–

–

analog/digital

left/mono/right

–

–

–

–

Analog/digital

left/mono/right

–

–

–

–

–

–

–

–

–

–

Digital converter: resolution, design

sampling rate

24 bit stacked AD, ∆∑

44.1 kHz, 48 kHz

16 ... 24 bit DA, ∆∑**

20 kHz ... 216 kHz (SRC)**

24 bit DA, ∆∑

32 kHz … 96 kHz

–

–

24 bit DA, ∆∑

32 kHz … 96 kHz

–

–

–

–

24 bit DA, ∆∑

32 kHz … 96 kHz

–

–

24 bit stacked AD, ∆∑

44.1 kHz, 48 kHz

16 ... 24 bit DA, Delta Sigma**

20 kHz ... 216 kHz (SRC)**

–

–

Displays and indicators: power on

limit/clip

display

K + H logo “red”

Display “Limit”

2 x 24 digits VFD, blue


Protect / digital / analog

–


K + H logo “blinking”

–



–



–



–

–

–

–

Standby LED red, On green

–

–

Standby LED red, On green

–

–

See Pro C 28 or O 500 C

See Pro C 28 or O 500 C

2 x 24 digits VFD, blue

Red LED

Flash red LED

–

Red LED

Flash red LED

–

LED green (power switch)

–

–

Mains power 230, 120, 100 V AC 230, 120, 100 V AC swichable 230, 120, 100 V AC 230, 120, 100 V AC 230, 120, 100 V AC 230, 120, 100 V AC – 80 … 250 V AC;

12 … 20 V DC

80 … 250 V AC;

12 … 20 V DC

100 … 240 V AC 220-240/100-120 V AC (switchable) 230, 120, 100 V AC

Power consumption

Idle

Full output AC; DC

50 W

1,500 W

36 W

1,300 W

18 W

240 W

18 W

240 W

13 W

73 W

10 W

70 W

–

–

7 W; 125 mA

50 W; 1.8 A

5 W; 90 mA

50 W; 1.7 A

100 W (KPA 172)

3,400 W (KPA 172)

45 W

550 W

35 W

290 W

15 W

200 W

Mechanical SpecsHeight x width x depth 750 x 400 x 447 mm

(29.5 x 15.8 x 17.6“)

645 x 330 x 444 mm

(25 3/8 x 13 x 17 1/2“)

253 x 383 x 290 mm

(10 x 15.1 x 11.4“)

253 x 383 x 290 mm

(10 x 15.1 x 11.4“)

267 x 170 x 190 mm

(10.5 x 6.7 x 7.5“)

267 x 170 x 190 mm

(10.5 x 6.7 x 7.5“)

267 x 170 x 190 mm

(10.5 x 6.7 x 7.5“)

173 x 120 x 116 mm

(6.8 x 4.7 x 4.6“)

173 x 120 x 116 mm

(6.8 x 4.7 x 4.6“)

950 x 400 x 512 mm

(37.4 x 15.8 x 20.2“)

735 x 330 x 645 mm

(28.9 x 13 x 25.4“)

360 x 330 x 645 mm

(14.2 x 13 x 25.4“)

360 x 320 x 510 mm

(14.2 x 12.6 x 20.1“)

Internal net volume 80.0 liters 42 liters 18.3 liters 18.3 liters 6.5 liters 6.5 liters 6.5 liters 1.8 liters 1.8 liters 120.0 liters 86 liters 41.5 liters 32.3 liters

Weight 65.0 kg (143.2 lb) 36 kg (79.4 lb) 14.0 kg (30.8 lb) 14.0 kg (30.8 lb) 5.0 kg (11.0 lb) 5.0 kg (11.0 lb) 5.0 kg (11.0 lb) 2.3 kg (5.0 lb) 2.1 kg (4.6 lb) 52 kg, w/o electronics (114.5 lb) 47.1 kg (103.6 lb) 26.0 kg (57.2 lb) 25.0 kg (55.1 lb)

Drivers

Woofer

Midrange

Tweeter

Magnetically shielded

12“, 300 mm

3“, 76 mm

1“, 25 mm


10“ /250 mm

3“ / 76 mm

1“ / 25 mm


8“, 210 mm

3“, 76 mm

1“, 25 mm


8“, 210 mm

3“, 76 mm

1“, 25 mm


5.5“, 145 mm

–

1“, 25 mm


5.5“, 145 mm

–

1“, 25 mm


5.5“, 145 mm

–

1“, 25 mm


3“, 75 mm

–

–


3“, 75 mm

–

–


12“, 2 x 300 mm

–

–


10“, 2 x 265 mm

–

–


10“, 265 mm

–

–


10“, 265 mm

–

–

Mounting points 2 x M20 on sides

1 x M20 on bottom

8 x M5 on rear

–

2 x M8 on sides

Rear panel bracket

2 x M8 on sides

Rear panel bracket

2 x M8 on rear

–

2 x M8 on rear

–

2 x M8 on rear

–

3/8“ thread on bottom

2 x M6 on sides

3/8“ thread on bottom

2 x M6 on sides

Supporting stand socket

–

Top plate flange

–

–

–

–

–

Mounting hardware LH 28, LH 29, LH 35,

LH 37

LH 28, LH 29, LH 36,

LH 37, LH 41, LH 42,

LH 43, LH 44, LH 45

LH 25, LH 28, LH 29,

LH 37, C 15

LH 25, LH 28, LH 29,

LH 37, C 15

LH 7, LH 8, LH 27, LH 28,

LH 29, LH 31, LH 32,

LH 33, LH 38, KG 30, C 15

LH 7, LH 8, LH 27, LH 28,

LH 29, LH 31, LH 32,

LH 33, LH 38, KG 30, C 15

LH 7, LH 8, LH 27, LH 28,

LH 29, LH 31, LH 32,

LH 33, LH 38, KG 30, C 15

LH 11, MA 19 LH 11, MA 19 Depends on main

loudspeaker selection

Depends on main


Depends on main


Depends on main


Cabinet surface finish Painted Painted Painted Painted Painted Painted Painted Painted Painted Painted Painted Painted Painted

Color: standard

custom extra cost

Anthracite

–

Anthracite, silver

–

Anthracite, silver

Customer specified RAL color

Anthracite, silver


Anthracite, silver


Anthracite, silver


Anthracite, silver


Anthracite

–

Anthracite

–

Anthracite

–

Anthracite, silver

–

Anthracite, silver

–

Anthracite, silver

–

Baffle cover Optional removable metal grille Optional removable metal grille Optional removable metal grille Optional removable metal grille Fixed metal grille Fixed metal grille Fixed metal grille Fixed metal grille Fixed metal grille Optional removable metal grille Fixed metal grille Fixed metal grille Fixed metal grille

*THD+N < 0,1 %; limiter deactivated **Optional **Optional **Optional

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Mounting fixtures KG 30 Ball clamp bracket with

M8 external thread for direct mounting onto loudspeaker. Colors: black or white.

LH 7/LH 8 Mic stand adaptor with 1/2“ / 3/8“ internal thread and M8 external to mount loudspeaker onto standard tripod threads. Color: metal.

LH 11 Mounting bracket used to give vertical angle adjustment for the loudspeaker. Can be used on a meter bridge, microphone stand, or other flat surface such as a wall. Color: black.

LH 25 ‘U’ bracket for wall, ceiling, tripod, truss bar, and subwoofer mounting of loudspeakers. Colors: black or white.

LH 27 Ball clamp mount for wall or ceiling mounting and omnidirectional adjustment. Color: black.

LH 28 Tripod stand adaptor for mounting loudspeakers onto standard 35mm (1.4”) diameter tube tripods. External fit with screw thread. Colors: black or white.

LH 29 TV spigot adapter for mount-ing loudspeakers onto a standard TV spigot used in broadcast studios. Color: metal.

LH 31 ‘L’ bracket for stand and tripod mounting of loudspeakers. Colors: black or white.

LH 32 Wall bracket offering horizontal and vertical loudspeaker tilting. Colors: black or white.

LH 33 Tilt connector to vertically angle (0-15°) the loudspeaker on standard 35mm (1.4”) diameter tube tripods. Color: black.

LH 35 ‘U’ bracket for ceiling, tripod, truss bar, and subwoofer mounting of loud-speakers. Colors: black or white.

LH 36 Tilting adaptor for vertically tilting the loudspeaker when mounted on a subwoofer. Color: black.

LH 37 Tripod stand adapter for mounting onto standard 35mm (1.4”) diameter tube tripods or flange. Color: black.

LH 38 Mounting bracket for suspending the loudspeaker off a ceiling. Colors: black or white.

LH 41 Base plate adaptor to fi t the loudspeaker onto subwoofers and fl oor stands. Color: black.

LH 42 / LH 44 Ceiling system (vertical / horizontal cabinet orientation) used to suspend the loudspeaker off a ceiling, truss bar, or wall. Color: black.

LH 43 Surface mounting plate used to spread the weight of a ceiling mounted loudspeaker. Color: black.

LH 45 ‘L‘ bracket for wall mounting of loudspeakers. Color: black.

MA 19 frame used to mount a pair of M 52 (D) into a 19” rack. Color: black.

REK 1 Remote electronics kit used to locate an O 410 electronics panel up to 30 m (90’) from a fl ush mounted loudspeaker cabinet. A Cable Pack (CP nn) is also required.

REK 2 Remote electronics kit used to locate the subwoofer electronics panel up to 30 m (90’) from a fl ush mounted loudspeaker cabinet. A Speaker Cable (SC nn) is also required.

C 15 Eyebolt with M8 external thread for screwing in the appropiate speaker threads. Color: metal.

O 500 C O 410 O 300 / O 300 D O 110 / O 110 DP 110

M52 / M 52 D

Flush Mounted WMK O 500 C for electronics

REK 1 and CP for electronics

– – M6 threaded inserts in side of cabinet

On a Floor Stand (tripod, TV spigot, or with a 5/8" thread)

LH35LH35 + LH28LH35 + LH29

LH41 + LH28LH41 + LH36 + LH28

LH41 + LH29LH41 + LH36 + LH29

LH25LH25 + LH28LH25 + LH29

LH31LH31 + LH28LH31 + LH29

LH31 + LH28 + LH33

LH11

On a Stand(table or mic with a 5/8“ thread)

– – – LH31 + LH7LH31 + LH8

LH113/8“ thread in base of cabinet

On a Subwoofer(fi tted with a fl ange)

LH36 + LH37LH35 + LH36 + LH37

LH41 + LH37LH41 + LH36 + LH37

LH25+LH37 – –

On a Meter Bridge

– – No hardware required

KG 30 LH11

In 19“ Racking – – – – MA19

On a Wall – LH42 + LH45LH44 + LH45

LH25Included rear

panel brackets

LH32KG30

LH11

Off a Ceiling LH35 LH42LH42 + LH43

LH44LH44 + LH43

LH25 LH38LH38 + LH27

LH11

Off a Lighting or Truss Bar

LH35 + LH29 LH42 + LH29LH44 + LH29

LH25 + LH29 LH38 + LH29 –

Safety connection

C15 C15

Pro M 1012 is a completely configurable surround multi-channel pre-amp system providing the highest quality analog sound technology. Developed for the rigorous requirements of modern studios, it features a powerful routing matrix and a multi-purpose bass-management system, allowing any combination of configurations with 10 inputs and 12 outputs. The Pro M 1012 is a fully configurable control monitor matrix with incredible audio performance, which can be adapted for many applications.

M Completely configurable analog multi-channel pre-amplifier loudspeaker management systemM Powerful routing matrix and bass-management systemM Any combination of the 10 inputs and 12 outputs to suit any surround system or other

loudspeaker configurationM 8 additional analog or digital inputs when using an optional 8-channel extension moduleM Bass management with 24 dB/oct. crossover and independent or linked phase adjustment

for each channelM Accessible Mute / Solo control feature allowing “Solo in Center” and “Solo in Place”M Programmable downmixing with definable gain coefficientsM Synchronized volume control with user-defined gain offsetsM Optional hardwired and IR-remote control for all functionsM Simple, intuitive operation using illuminated single-function keysM Settings can be saved in presets with instant recall using dedicated setup keysM Link function for cascading multiple unitsM Digitally controlled pure analog signal path featuring high-performance components and no VCAsM Simple system setup with the included Configuration Manager software

Pro M 1012Monitor

Management System

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Configuration Manager. The included Windows application allows complete configuration of the Pro M 1012’s settings to the user’s needs. The screenshot below shows one of (up to 80 possible) the basic configurations.

The flexible modular concept of the Pro M 1012 allows further expansion with additional inputs and outputs

Mono/Mute/Solo can be separately programmed for each basic configuration

12-channel volume control, configurable for each channel

Subwoofer-matrix for outputs 1 – 4 with filter and phase groups as well

as programmable input gains

Matrix structure for outputs 5 to 12

(main loudspeakers) with adjustable input

gains

HP- and LP-modules with 24 db/oct. frequency phasing and switchable peak frequency

User selectable crossover frequency

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Pro M 1012 Monitor Management System

Surround control and bass managementQ All setups and configurations are possible between the main loudspeakers, subwoofers, surround and ancillary loudspeakers: A Up to 7.1 with additional near-field systems, switchable between different surround setups (e.g. cinema or music)Q Rerouting of bass signals, e.g. small rear monitor, smaller center speaker, etc., to subwoofers or front L/R loudspeakersQ Individual HP/LP frequencies for subwoofer/satellite use, individually controllable for each channelQ Fully variable bass routing is configurable for each channel: A Bass routing to up to four different subwoofers A Bass redirection to any other channel, e.g. low frequency part from rear to frontQ Fully variable LFE routing, e.g. to subwoofer or LFE redirection to satelliteQ 4-step phase adjustment from 0° to 180° for accurate alignment of the subwoofer to the main loudspeakersQ Downmixes are freely configurable, e.g. 7.1 to 5.1, 5.1 to LCRS, 7.1 to mono, etc.Q Total configurability of all functions allows wide variety of applications

Mute/Solo controlQ Muting of individual channels as well as “All Mute”Q Solo- and Solo-in-Center function

Volume controlQ Volume control for all 12 outputsQ Latest MDAC technology instead of performance-inhibiting VCAsQ User definable LFE channel gainQ All monitor output levels adjustable in 0.5 dB steps

Upgradeable with extension modulesQ Optional input boards featuring additional channels: A Electronic or transformer-balanced analog inputsQ Output board for 8 additional electronically balanced outputsQ HP and LP module with 24 dB/oct. crossover and switchable corner frequencies

Setup keys for easy switching between different applications

REF- and DIM-levels on dedicated keys

IR sensor for K + H remote control RC 55

Mute/Solo keys with international standard functions and “Solo-in-Center” function

Plug-in for remote control cable WRC 1012 and RS-232

Flexible modular concept for separate frequency adaptation

The Pro C 28 digital stereo 4-way controller was developed especially as a studio controller. It is superbly flexible, and features audio technology of the highest standard. The equipment’s overall concept, featuring FIR filter technology for phase frequency equalization and distortion correction, allows for perfectly linear phase reproduction in the listening environment. Its excellent audio qualities make the Pro C 28 an exceptional universal EQ and delay, for use in, for example, mastering purposes.

M Two-channel 4-way digital loudspeaker controllerM FIR filters for independent amplitude and phase equalizationM 10 full parametric stereo EQ bands with IIR digital filter sectionM Room EQ with IIR filter technologyM 32 separate limiters for peak, RMS, thermo and excursion controlM 19“ 2U rack mount unitM Important settings are set automatically using stored parameter setupM All settings, including parameter setup, can be stored

Wide range of applications:Studio controller with speaker-specific parameter setupsM Upgrade for analog Klein + Hummel monitors (e.g. O 300 D)M “Speaker specific”: parameter setup is individually optimized for each monitorM Previously unattainable loudspeaker equalizationM Room and positioning equalization can also be incorporatedM Simple connection between monitors using multicore cables (CMK 5)M System extension with additional subwoofer(s)M Subwoofer incorporated into parameter setupM Comfortable setting options for delay and phase alignment

Room equalizationM Simple linearization of magnitude response using parametric IIR-EQ

One-way full range operationM High-end digital EQ with delay and limiters in one unit A Equalization of non Klein + Hummel monitors A Linear-phased equalization using FIR filter

Extensive limiter concept with 32 limitersM Digital peak limiter with look-ahead technology for each channel A Power amplifier clipping preventedM Digital thermo-limiter with long attack time constant for each channel A Attack time adjusted to thermal conditions A Prevention of thermal loudspeaker damage

M Limiter settings are included in parameter setup

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Pro C 28Digital FIR Controller

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Distortion control using FIR filters offers numerous advantages compared to conventional analog and typical digital loudspeaker controllers. The Pro C 28 offers FIR filters that allow for the independent adjustment of the magnitude and phase of the loudspeaker’s frequency response. This also permits crossover parameter adjustment which would otherwise be impossible to achieve without introducing significant distortions and phase shifts in the audio signal. In addition to conventional phase non-linear IIR filters, the Pro C 28 is equipped with phase linear FIR filter designs which correct the magnitude and phase of each driver signal. This provides a linear phase response throughout the entire signal chain, from the input signal to the acoustical reproduction.

The advantages of FIR filtering versus conventional systems:Q Significantly more precise and distortion-free frequency correction A Improved pair matching of stereo loudspeaker systems leading to vastly improved stereo imagingQ Improvement of phase responseQ Excellent impulse reproduction with improved attack and decay timeQ Significantly improved crossover slope, up to 92 dB/oct., leading to reduced driver interaction

and lower distortion

The Pro C 28 opens up totally new possibilities to adapt the loudspeaker system to its environment. In contrast to parametric or graphic equalizers, which lead to linear phasing irregularities, the installation of a Pro C 28 is a different process. After the loudspeaker system has been installed and connected in the listening room, measurements are taken at the console and around the listening area. This information is then processed to make a curve, which is used to design appropriate equalization. After this new “room-specific” setup is activated, the Pro C 28’s FIR and IIR filters take over the loudspeaker‘s equalization.

O 300 D + Subwoofer O 800 equalized by Pro C 28: Individual 3-way and combined responses

Frequency response of a studio monitor at the console

Spatially averaged 3 front channel responses taken from 10 separate measurement points in the room

Frequency response of the 3 front monitors after activation of the room specific FIR filtering

0.05 0.2 0.5 1 2 5 10 kHz

dB

– 30

– 40

– 50

– 60

– 70 0.05 0.2 0.5 1 2 5 10 kHz

dB– 30

– 40

– 50

– 60

– 70

0.05 0.2 0.5 1 2 5 10 kHz

dB– 30

– 40

– 50

– 60

– 70

0.05 0.2 0.5 1 2 5 10 kHz

dB– 40

– 50

– 60

– 70

– 80

0.05 0.2 0.5 1 2 5 10 kHz

dB

– 40

– 50

– 60

– 70

– 80

O 300 D equalized by Pro C 28: Individual 3-way and combined responses

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Pro C 28 Digital FIR-Controller

Cutting-edge audio technologyQ Low distortion electronic or transformer balanced analog inputsQ 2 stacked Delta-Sigma A/D converters per channel providing more than 130 dB dynamic rangeQ 48-bit digital signal processingQ High-quality Delta-Sigma D/A convertersQ Moderate low pass filtering after DA conversion guarantees a “musical” sound stageQ Comprehensive power supply with double voltage regulation for each channelQ Numerous connection options for analog and digital signalsQ High-quality input channel can be switched to analog

Comfortable operationQ Attractive Blue Vacuum Fluorescent Display (VFD) shows all settingsQ Simple 3-level shallow menu structure accessible from the front panelQ Optional Klein + Hummel RC 55 remote controlQ PC compatible RS-232 portQ Connection of several units for synchronized operation using internal MIDI port (in, out, thru)Q Internal memory can store over 70 different parameter setupsQ Switch between parameter setups during useQ All settings can be stored inside the hardware memoryQ Switching between setups possible using remote control

XLR 7 pin outputs to add digital control to analog K + H studio monitors (high/mid/low)

LED bar graph precisely displays input signal

Limiter and status LED’s

IR sensor for K + H remote control RC 55

Analog inputs with separate channel switch: electronically- balanced/transformer-balanced

Digital inputs/outputs (AES/EBU and S/P-DIF)

Editing connection (RS-232, MIDI)

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decoding the dna of sound - professional monitoring · 2014-10-26 · linear distortion creates new...

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