Decoding the DNA of Sound

Transcription

1 K + H Vertriebs- und Entwicklungsgesellschaft mbh Auf dem Kessellande 4 a, 39 Wedemark, Germany Phone: +49 (513) , Fax: +49 (513) Copyright 28 K + H Vertriebs- und Entwicklungsgesellschaft mbh. All rights reserved. Subject to change without notice. Dolby and Pro Logic are registered trademarks of Dolby Laboratories. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. Last revised: 2/28 Klein + Hummel Studio Monitors 28 Decoding the DNA of Sound Klein + Hummel Studio Monitors 28

2 The Measure of 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 5 C, the world s first fully digital, FIR-controlled main monitor. 2 3

3 Excellent Sound Quality High Precision The 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: Measuring Instruments for Unparalleled Reproduction 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: The woofer is not used for midrange frequencies, thus avoiding coloration in the woofer due to cone breakup modes The mid-range driver improves the linearity of the frequency response and a lower midband distortion The hermetically sealed midrange driver prevents excitation of the cabinet standing waves and thus undesirable midband resonances are avoided in the cumulative spectral decay. Intermodulation distortion is measurably and audibly lower in 3-way designs. This results in a cleaner midrange 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 extensively 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 frequencycompensation 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. 4 5

4 Acoustic Parameters in a Nutshell Amplitude modulation, directivity, group delay time, total harmonic distortion, cumulative spectral decay, and maximum 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 3 D monitor (red curve) and are compared against a similar sized 2-way monitor (gray curve). ^a ^b ^c ^d ^e ^f 1 1 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. ^a Shallow low frequency roll-off (12 /octave for a sealed enclosure) ^b Extreme equalization required to control bass overshoot ^c Steep low frequency roll off (24 /octave for a vented enclosure) ^d High 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 5 Hz from a vented cabinet with 24 / octave slope combined with an electronic high pass equalization 2 2 linearity with maximum deviation of 2.5 ^e Nonlinearities caused of 12 / octave at 4 Hz ^m Low group delay time of K + H O 3 D 3 by two-way design, and enclosure standing waves ^f Nonlinear phase 1 ms at 5 Hz from a sealed enclosure with 12 / octave slope combined with an electronic high pass equalization at 2 K + H O 3 D Other 2-way studio-monitor Other 2-way studio-monitor modulation due to cabinet edge diffraction Hz ms 2 ^l ^m ^g ^h ^i K + H O 3 D Other 2-way studio-monitor Total harmonic distortion (THD). Nonlinear 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 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.1 % distortion in subjectively important midrange frequencies ^i Low distortion maintained in high frequency region due efficient loading of the treble driver 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 ^o Strong resonance due to standing waves in the enclosure, or organ pipe resonances in the vent(s) ^p A woofer cone break-up mode ^n ^o ^p Other 2-way studio-monitor 1 Hz 1, Hz 1 khz ^k ^j ^s K + H O 3 D Other 2-way studio-monitor 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 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 ^q ^r degree 3 6 Other 2-way studio-monitor , 2, 4, 8, f[hz] 6 7

5 Monitor Manager p Pro C 28 Controller p Pro M 112 Control Monitors p M 52 D M 52 Subwoofers p O 9 O 87 O 81 O 8 Mid-Field Monitors p O 41 Main Monitors p. 115 O 5 C Near-Field Monitors p. 227 O 3 D O 3 11 D O 11 P

6 Main Monitors O 5 C Digital Active Main Monitor In the O 5 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 5 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 monitor M Fully digital crossovers and system correction using integrated controller with FIR filters M Linear frequency and phase response from 3 Hz to 2 khz gives a transparent and analytical reproduction M Modeled waveguide gives precise directivity control in the mid and high frequencies M Increased maximum SPL due to generous amplification (low: 4 W; mid: 23 W; high: 29 W) M Magnetic protection fitted as standard M Smaller Klein + Hummel monitors aspire to the same sound character 1 11

7 Attractive Blue Vacuum Fluorescent Display (VFD) shows all settings Large integrated waveguides for optimal directivity control IR remote control Rotatable waveguide for horizontal and vertical installation High-quality amplifiers can be remote mounted when flush mounting cabinets O 5 C Digital Active Main Monitor Up-to-date driver designs Uncompromising woofer Q 12 cone woofer with cast aluminum basket Q 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 relationship High resolution mid-range A 3 membrane/voice coil diameter A Minimal distortion A Rear-sealed chassis eliminates cumulative spectral decay irregularities Precise high-frequency system A Low-distortion high-frequency reproduction from stiff 1 titanium fabric dome Solid cabinet design Q Low-compression bass reproduction from high capacity bass reflex ports Q Smooth matte enameled baffle design minimizes edge diffraction Q Flexible mounting and setup possibilities Q Available in different colors Optimized directivity control Q Broad horizontal dispersion widens the usable listening area Q Narrow vertical dispersion reduces the effects of the console reflection Q Rotatable waveguide for vertical and horizontal installation Q Digital compensation of time alignment and amplitude response Q High order digital crossovers reduce driver interaction Advanced integrated digital controller Q AD crossover-technology with 13 dynamic range Q Extremely low distortion due to the latest 24 bit converter technology Q AES / EBU and S / P-DIF digital input Q System correction and phase frequency equalization by individually tuned FIR filters Q 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 drivers Q Large and attractive blue vacuum fluorescent display (VFD) shows all settings Q Infrared remote control for convenient control from the listening position Q Loudspeakers can be connected together to form a network and be controlled by one remote Main Monitors Subwoofer output connects to O 9 New patented output concept Q Intelligent power supply for minimal power loss Q Very high performance outputs: 4 W for bass, 23 W for midrange, and 29 W for treble Q Extremely high dynamics: 129 (lin) / 132 (A) Q Very low nonlinear distortion (THD+N): bass: <11 (.3 %), midrange: <1 (.1 %), and treble <9 (.3 %) Digital FIR controller for exact equalization 12 13

8 Easy and flexible adaptation with extensive equalization. In each O 5 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 1-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 Frequency response THD at 16 SPL at 1 m total 2 nd 3 rd ^1 ^2 ^3 ^ Group delay linear phase min. phase Max. SPL in 1 m at 1 % THD ms khz 8 Cumulative spectral decay ^1 Low Cut for adjustment of the lower cut-off frequency ^2 Low EQ for compensation of wall-, edge- and cornerpositioning ^3 Mid EQ for broadband response shaping ^4 High EQ for compensation of different reverberation times Hz 1, Hz 1 khz , 2.3 ms 4.5 ms 6.8 ms 9.1 ms Horizontal directivity Vertical directivity Individual room adaptation with extensive and flexible filters. The O 5 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 , 2, 4, 8, 16, f[hz] 3 degree , 2, 4, 8, 16, f[hz] 3 degree to 3 3 to 6 to 3 9 to 6 12 to 9 15 to to to 18 Decrease of SPL () 14 15

9 Mid-Field Monitors NEW O 41 Active Mid-Field Monitor Back in 1967, Klein + Hummel launched the world s first active studio monitor, the OY. The O 41 represents the latest incarnation of the many technologies pioneered by Klein + Hummel during the intervening 4 years. Engineering excellence applied to all aspects of the O 41 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 41 to be used in diverse acoustical conditions, with any source equipment, and in a wide variety of physical locations. The O 41 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 41 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

10 Frequency response THD at 95 SPL at 1 m 2 nd 3 rd large user-rotatable waveguide hybrid class A-B / H amplifiers informative display can be dimmed for low ambient light and behind the screen applications O 41 Mid-Field Monitor large ports minimize turbulence, resulting in reduced bass compression and chuffing noises Mid Sized 3-way System Q The most important part of the frequency spectrum is reproduced by a separate midrange driver Q Extremely low harmonic and intermodulation distortion results in clean sounding audio reproduction Q Exceptionally neutral sound stage from 3 Hz to 24 khz ( 3 ) Q Ideal cabinet materials with excellent self-damping properties Q Structural resonances avoided using LRIM (Low Resonance Integral Molding ) Q Vented enclosure extends bass response, even at very high output Q Modern-looking design with optional grille Q Extensive accessories allow for a multitude of installation possibilities Q Magnetically shielded for use next to CRT screens Mathematically Modeled Dispersion (MMD ) Q Three stage design process: A Waveguide is mathematically modeled before physical prototypes are realized A Physical prototypes are measured under anechoic conditions to verify theoretical performance A Extensive listening tests correlate objective measurements and subjective perception Q Wide horizontal directivity gives increased freedom of movement along the mixing console Q Narrow vertical directivity reduces the effect of early reflections off the console surface Q MMD is easily rotated in the field when horizontal mounting the cabinet Q Perfect directivity pattern leads to a smooth power response Advanced Electronics Q Transformer balanced input stage (TIM 1) equipped with special distortion reduction crossover function Q Bit, khz digital input stage (DIM 1) for AES3, AES 3id and S/P-DIF signals Q Electronics can be remotely accessed when the cabinet is flush mounted (REK 1 and CP 2, 5, 1, 15, 2, 25, or 3) Q Integrated electronic limiter for each driver Q Hybrid class A-B amplifiers, employed for their best overall performance, are also protected Q Active three-way crossover with 24 /oct. slopes Q Input options give flexibility without burdening basic product: A Transformer balanced input stage equipped with special distortion reduction crossover function A bit, khz digital input stage for AES3, AES 3id and S/P-DIF signals A XLR 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 logo Q Controls adapt the monitor s response to compensate for the loudspeaker s environment: A Bass, mid and treble controls for specific and common acoustical issues A Parametric EQ for low-frequency corrections Q Accelerated Heat Tunneling (AHT ) ensures effective amplifier cooling whether the cabinet is mounted vertically or horizontally Q Electronics can be remotely accessed when the cabinet is flush mounted Q Electronics can be remotely powered on with two modes of operation ( V and 12 V trigger) Q Attention to detail in design results in low self-generated noise Group delay Horizontal directivity , 2, 4, 8, 16, f[hz] 6 5 ms degree khz Multitone distortion O 41 at 95 SPL at 1 m Acoustical controls Parametric equalizer Vertical directivity , 2, 4, 8, 16, f[hz] khz degree to 3 3 to 6 to 3 9 to 6 12 to 9 15 to to to 18 Decrease of SPL () 18 19

11 Near-Field Monitors O 3 O 3 D Active Near-Field Monitors When developing the O 3 product category, the goal was to achieve the most accurate, uncolored sound, combined with ideally shaped waveguides, in a compact size. Complex computer simulations 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 3 is available with an analogue input (O 3) or with additional digital inputs (O 3 D). 2 21

12 Elliptical waveguide for very wide horizontal and narrow vertical dispersion patterns Electronically balanced analog input Room compensation EQ: bass, mid, treble Frequency response 1 THD at 95 SPL at 1 m total 2 nd 3 rd 1 Maximally compact driver layout Design: silver-colored O 3 High-quality digital input integrated as standard Direct input for external Pro C 28 digital FIR controller khz Group delay Max. SPL at 1 m at 1 % and 3 % THD ms O 3 / O 3 D O 3 D 2 11 O 3 / O 3 D Active Studio Monitors 3-way system design Q The most important part of the frequency spectrum is reproduced by a separate midrange driver Q Extremely low-distortion reproduction Q Exceptionally neutral sound stage from 35 Hz to 2 khz Q No standing waves in the enclosure and no bass driver cone break-up khz Unconventional enclosure concept Q Very compact enclosure constructed using ideal materials with excellent self-damping properties Q Structural resonances avoided using LRIM (Low Resonance Integral Molding) Q Very accurate bass reproduction due to sealed enclosure Q Acoustic centers of loudspeaker positioned on one plane Q Homogenous front baffle with no diffraction or acoustical discontinuities Q Wider effective listening area for main monitor when horizontally installed Q Modern-looking design with optional baffle cover/grill Q Extensive accessories allow for a multitude of installation possibilities Q Magnetically shielded for use next to CRT screens Functional waveguide Q Wide horizontal directivity gives increased freedom of movement along the mixing console Q Narrow vertical directivity reduces the effect of early reflections off the console surface Q Perfect directivity pattern leads to a smooth power response Acoustical controls EQ: bass, mid, high Cumulative spectral decay Hz 1, Hz 1 khz , 2.3 ms 4.5 ms 6.8 ms 9.1 ms Advanced Electronics Q Integrated electronic limiter for each driver Q Active three-way crossover with 24 /oct. slopes Q Transformer balanced input equipped with special distortion reduction crossover function Q Power and overload/limiter-display integrated into the front panel K+H logo Q Controls adapt the monitor s response to compensate for the room location O 3 D Q Additional 24-bit and khz digital input for AES/EBU, AES 3id and S/P-DIF Q Input connector for external Pro C 28 FIR digital controller Q Transformer balanced analog input Horizontal directivity , 2, 4, 8, 16, f[hz] degree Vertical directivity , 2, 4, 8, 16, f[hz] degree to 3 3 to 6 to 3 9 to 6 12 to 9 15 to to to 18 Decrease of SPL () 22 23

13 Near-Field Monitors P 11 O 11 O 11 D Near-Field Monitors P 11 Passive studio monitor. This compact, passive 2-way near-field studio monitor is best suited to small spaces. The P 11 provides precise bass reproduction for its size down to 72 Hz (-3 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 11 to be placed in a wide variety of locations. It is also excellent value-for-money for surround-sound applications. O 11 Active studio monitor. The O 11 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 11 D Active studio monitor for digital audio workstations. The O 11 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

14 The following features apply to all three monitor types: Use of high-quality drivers Q Composite sandwich woofer cone eliminates colorations Q Low-distortion bass reproduction from long excursion woofer Q Flux-compensation reduces distortion in the midrange Q Low-distortion high-output reproduction from 1 titanium fabric dome tweeter Unconventional enclosure Q Compact homogenous enclosure made from LRIM (Low Resonance Integral Molding) minimizes resonant colorations Q Low-compression bass reproduction from generously proportioned bass reflex ports Q Acoustic centers of the loudspeaker lie on the same plane Q Non-parallel cabinet shape reduces internal standing waves Q Homogenous front baffle reduces acoustical diffraction Q Magnetically shielded and modern cabinet design Q Numerous placement options and mounting accessories Q Removable woofer grille Q Various color options available Frequency response O 11 Group delay O THD O 11 at 95 SPL at 1 m total 2 nd 3 rd khz ms 2 Max. SPL O 11 at 1 m at 1 % and 3 % THD khz 7 Acoustical controls O 11 EQ: mid, bass Cumulative spectral decay O 11 P 11 Passive Studio Monitor , Q High-frequency cut switch Q 18 /oct passive crossover Q Speakon and standard terminal connection options Hz 1, Hz 1 khz 2.3 ms 4.5 ms 6.8 ms 9.1 ms O 11 and O 11 D Active Studio Monitors Q Active 24 /oct. slope crossover Q Power and overload display integrated into logo Q Controls adapt the monitor s response to compensate for the room location Q Optional high-quality transformer-balanced floating input (O 11 only) Q Excellent immunity from EMI interference O 11 D Q Integrated D/A converter with 24-bit resolution and khz sampling rate O 11 D O 11 Horizontal directivity O 11 Vertical directivity O , 2, 4, 8, 16, f[hz] degree , 2, 4, 8, 16, f[hz] to 3 3 to 6 to 3 9 to 6 12 to 9 15 to to to 18 Decrease of SPL () degree

15 Control Monitors M 52 M 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 / 12 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 2 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

16 Frequency response THD at 9 SPL at 1 m total 2 nd 3 rd Transformer balanced XLR input Robust aluminum cabinet V DC power input Volume adjustment on front panel khz Group delay Max. SPL at 1 m at 1 % and 3 % THD 9 M 52 Active Control Monitor Q Director s control monitor Q TV speaker reference monitor in studio Q Reference monitor for broadcast vans Q High quality and robust line checker Q Low-distortion bass reproduction from long excursion driver Q Clear high-frequency reproduction Q Compact size with convenient controls located on the front panel Q Transformer-balanced XLR connector Q Connector for use with 12 V to 2 V DC batteries Q Switched-mode power supply for 8 25 V AC mains power input ms khz Professional connection options analog: transformer-balanced (XLR) digital: AES/EBU (XLR) digital: AES-3id (BNC) digital: S/P-DIF (BNC) Cumulative spectral decay , Switchable input setting analog, digital left, mono, right Hz 1, Hz 1 khz 2.3 ms 4.5 ms 6.8 ms 9.1 ms M 52 D Digital Active Control Monitor Horizontal directivity Vertical directivity Acoustic and mechanical properties same as the M 52. Q Analog and digital inputs Q Measuring monitor for evaluating digital inputs Q Additional XLR and BNC connectors for AES/EBU or AES-3id signals Q Convenient channel-assignment switch on front panel Q Easy daisy chaining using the BNC or XLR connectors , 2, 4, 8, 16, f[hz] 3 Grad , 2, 4, 8, 16, f[hz] 3 Grad to 3 3 to 6 to 3 9 to 6 12 to 9 15 to to to 18 Decrease of SPL () 3 31

17 Studio Subwoofer 7.1 Move up to 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 87 and O 81 are an answer to the most recent evolution of transmission 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 9 and O 8 continue to be offered in addition to the new O 81 and O 87 subwoofers. These two subwoofers take a slightly different approach. The O 9 is designed to be added to the O 5 C to make a 4-way column system: the subwoofer output signal of the O 5 C is connected to an external amplifier which can be remote located. The O 8 is a very cost effective solution for bass managing three channels to extend the response of the front loudspeaker. Both the O 9 and O 8 can be used to only reproduce the LFE channel in multichannel systems. Alternatively a Pro M 112 can be used to provide flexible external bass management and system control of up to 1 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 daisychained 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

18 Studio Subwoofer The high-performance O 9 studio subwoofer is the ideal complement for the O 5 C studio monitor. Precise bass reproduction is achieved down to 15 Hz. The 12 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. Features M Extremely powerful studio subwoofer with two extra long excursion 12 drivers M Bass reproduction down to 15 Hz M Expressive, precise, accurate bass M High maximum output level M Bass extension and increased SPL output for the O 5 C studio monitor M Used with the subwoofer output of an O 5 C and a KPA 172 power amplifier Frequency response in LFE-Mode Frequency response O 5 C with O O 9 High Output Studio Subwoofer khz khz 5 Max. SPL at 1 m at 1 % and 3 % THD Hz 9 8 Klein + Hummel KPA 172 Stereo High Performance Amplifier. The technical superiority of this amplifier ensures that the KPA 172 is especially suited to the O 9. The KPA 172 is normally remotely located to avoid cooling fan noise and heat dissipation in the control room see for details

19 Studio Subwoofer Flexible bass management modes 8 inputs with ground lift, 7 main outputs and a sum out Extensive acoustical controls including a parametric equalizer Switchable mains voltage and remote power on 7.1 High Definition Bass Management on the O 87 and O 81 Features M 7.1 Channel High Definition Bass Management compatible with all formats from mono to 7.1 M Bypassable 4th order 8 Hz active crossover for maximum compatibility with consumer reproduction M and +1 LFE gain and 4-mode LFE processing: A LFE to subwoofer and left/right A LFE to subwoofer only up to 8 Hz A LFE to subwoofer only up to 12 Hz A LFE to subwoofer with no filtering for daisy chaining subwoofers and external signal processing systems M Independent control of bass management for front and back channels M System wide volume control via optional hardware remote controls (SRC 1 and SRC 2) or RS-232 M 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 signal M 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 ( V and 12 V trigger) M Integrated electronic limiter for amplifier and driver protection M Low heat dissipation amplifiers M Optional 8-channel (4 x AES3 / AES3id / S/P-DIF) digital input card, supporting IEC user bit volume control M Remote Electronics Kit (REK 2) and Subwoofer Cables (SC nn) for less cabling and convenience of use Built-in 7.1 multichannel remote volume control Four LFE modes for all format types and system configurations Low cut Parametric Equalizer khz khz 36 37

20 Frequency Response XXX THD at XXX /SPL in X,X m Studio Subwoofer O 87 High Definition Active Studio Subwoofer 6 The O 87 active studio subwoofer, with built-in khz 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 Group delay XXX Max. SPL in 1 m at 1 % and 3 % THD make very large multi-channel audio systems. Features ms M Low frequency extension for main loudspeakers down to 18 Hz M Low distortion magnetically shielded long-throw 2 drivers M Reduced bass compression at high SPL from generously proportioned bass reflex ports M A main loudspeaker can be mounted onto an O 87 to make a large 4-way column system M Allows main loudspeakers to play louder and with lower distortion M Large system with 6 higher output than O 81 M Wooden cabinet with a tough painted finish (anthracite or silver) and high density rubber isolating feet M Excellent self-damping properties leading 2to minimal cabinet resonances M Cabinet look conforms to the family design M Accessories: Digital input card, Remote controls and cables, Remote electronics kit and cables,.5 Flight.2 case and.5 Various 1 2 mounting 5 1 accessories khz khz Frequency response O 41 C with O 87 Group delay O 41 C with O ms THD at 95 SPL at 1 m total 2 nd 3 rd MAX. SPL O 87 at 1 m at 1 % and 3 % THD Hz Hz

21 Frequency Response XXX THD at XXX /SPL in X,X m The O 81 active studio subwoofer, with built-in khz High Definition Bass Management, offers all the features required in today s modern studios Group delay XXX Max. SPL in 1 m at 1 % and 3 % THD in a compact package. Extensive signal processing and extended low-frequency output give bass extension and increased output in small to medium sized ms multi-channel audio systems Studio Subwoofer O 81 High Definition Active Studio Subwoofer Features M Low frequency extension for main loudspeakers 2 down to 18 Hz M Low distortion magnetically shielded long-throw drivers M Reduced bass compression at high SPL from generously proportioned bass reflex ports M Allows main loudspeakers to play louder and with lower distortion M Compact system offering more flexible placement opportunities M Wooden cabinet with a tough painted finish (anthracite or silver) and high density rubber isolating feet M Excellent self-damping properties leading 2to minimal cabinet resonances M Cabinet look conforms to the family design M Accessories: Digital input card, Remote controls and cables, Remote electronics kit and cables,.5 Flight.2 case and.5 Various 1 2 mounting 5 1 accessories khz khz Frequency response O 3 with O 81 Group delay O 3 with O 81 ms THD at 95 SPL at 1 m total 2 nd 3 rd Hz MAX. SPL O 81 at 1 m at 1 % and 3 % THD Hz 4 41

22 Studio Subwoofer O 8 Active Studio Subwoofer The O 8 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 8 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. Features M Compact and cost effective low frequency system with extension down to 27 Hz M Allows main loudspeakers to play louder and with lower distortion M Bypassable, 3-channel, fourth-order active bass manager M Low-cut, phase and output controls for seamless integration with the main loudspeakers M Low distortion amplifier with integrated electronic limiter M Low distortion magnetically shielded long-throw drivers M Reduced bass compression at high SPL from a single generously proportioned bass reflex port M Wooden cabinet with a tough painted finish (anthracite or silver) and high density rubber isolating feet M Excellent self-damping properties leading to minimal cabinet resonances Frequency response O 11 + O 8 Group delay O 11 + O 8 ms THD O 11 + O 8 at 95 SPL at 1 m total 2 nd 3 rd Max. SPL O 8 at 1 m at 1 % and 3 % THD Hz khz

23 Main Mid-Field/Main Near-Field Near-Field Control Subwoofer Technical Data O 5 C O 41 O 3 D O 3 O 11 D O 11 P 11 M 52 D M 52 O 9 O 87 O 81 O 8-3 free field frequency response 27 Hz 2 khz, ± 3 3 Hz 24 khz, ± 3 35 Hz 24 khz, ± 3 35 Hz 24 khz, ± 3 56 Hz 24 khz, ± 3 56 Hz 24 khz, ± 3 72 Hz 24 khz, ± 3 15 Hz 22 Hz, ± 3 18 Hz... 3 Hz, ±3 18 Hz... 3 Hz, ±3 27 Hz 1 Hz, ± 3 Pass band free field frequency response 3 Hz 2 khz, ± Hz 2 khz, ± 2 4 Hz 2 khz, ± 2 4 Hz 2 khz, ± 2 58 Hz 2 khz, ± 2 58 Hz 2 khz, ± 2 85 Hz 2 khz, ± 2 9 Hz 2 khz, ± 5 9 Hz 2 khz, ± 5 17 Hz 2 Hz, ± Hz... 3 Hz, ±2 19 Hz... 3 Hz, ±2 3 Hz 9 Hz, ± 2 Self-generated noise < 25 (A) at 1 cm < 25 (A) at 1 cm < 2 (A) at 1 cm < 2 (A) at 1 cm < 2 (A) at 1 cm < 2 (A) at 1 cm 2 (A) at 1 cm 2 (A) at 1 cm < 2 (A) at 1 cm < 2 (A) at 1 cm < 2 (A) at 1 cm < 2 (A) at 1 cm Max. SPL in half space at 3% THD at 1 m Averaged between SPL 1 Hz and 6 khz 12. SPL 1 Hz and 6 khz SPL 1 Hz and 6 khz SPL 1 Hz and 6 khz 17.7 SPL 1 Hz and 6 khz 17.7 SPL 1 Hz and 6 khz SPL 1 Hz and 6 khz 13. SPL 1 Hz and 6 khz 13. SPL 1 Hz and 6 khz SPL 4 Hz and 9 Hz SPL 4 Hz and 9 Hz 11.7 SPL 4 Hz and 9 Hz SPL 4 Hz and 9 Hz Sine wave output with a THD <.5 % at 1 m 11 SPL (>1 Hz) 95 SPL (> 1 Hz) 95 SPL (>1 Hz) 95 SPL (>1 Hz) 9 SPL (>15 Hz) 9 SPL (>15 Hz) 9 SPL (>15 Hz) 11 SPL (>3 Hz) 95 db SPL (>4 Hz) 95 db SPL (>45 Hz) 95 SPL (>3 Hz) Electronics Woofer amplifier, continuous output power* 4 W 34 W 15 W 15 W 5 W 5 W 24 W 24 W 1,7 W 2 x 16 W 16 W 12 W Woofer amplifier, peak output power* 5 W 4 W 25 W 25 W 8 W 8 W 4 W 4 W 2,2 W 2 x 2 W 2 W 185 W Midrange amplifier, continuous output power* 23 W 16 W 65 W 65 W Midrange amplifier, peak output power* 28 W 19 W 75 W 75 W Tweeter amplifier, continuous output power* 29 W 18 W 65 W 65 W 5 W 5 W Tweeter amplifier, peak output power* 36 W 21 W 11 W 11 W 8 W 8 W Controller design Crossover Frequency Crossover Slope (/oct.) digital, FIR filter 52 Hz/2.8 khz 48 analog, active 6 Hz/2.2 khz 24 analog, active 65 Hz/3.3 khz 24 analog, active 65 Hz/3.3 khz 24 analog, active 2.5 khz 24 analog, active 2.5 khz 24 analog, passive 3. khz TT 12/HT 18 analog, active analog, active digital, FIR filter 8 Hz (O 5 C) 48 analog, active 8 Hz 24 analog, active 8 Hz 24 analog, active 9 Hz 24 Equalization: Low cut Bass Mid High 4; 5; 6; 7; 8 Hz ; -2; -4; -6; -8; -1 ; -1; -2; -3; -4; -5 +1; ; -1; -2; -3; -4 ; -2.5; -5; -7.5 ; -1.5; -3; ; ; -1; -2 ; -3; -6; -9 +2; ; -2; -4 +2; +1; ; -1 ; -3; -6; -9 +2; ; -2; -4 +2; +1; ; -1 ; -2.5; -5; -7.5 ; -1.5; -3; -5 ; -2.5; -5; -7.5 ; -1.5; -3; -5 ; -2; -4; -6 4; 5; 6; 7; 8 Hz ; -2; -4; -6; -8; -1 4 Hz; Hz; ; 4; 5; 6 Hz Time of Flight adjustment delay 8 1, ms 5.6 1, ms (4-step, 45, 9, 135 ), -18 Switch 18, 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 2 Hz; 12 /oct. 15 Hz; 12 /oct. 3 Hz; 6 /oct. 3 Hz; 6 /oct. 12 Hz; 12 /oct. 6.5 Hz; 12 /oct. 6.5 Hz; 12 /oct. 25 Hz; 12 /oct. Analog Input Impedance, electrically balanced Impedance, transformer balanced Input sensitivity Attenuator CMRR 1 ko 14 ko - 6 u -128 > 15 khz XLR, 13 ko XLR, 4.7 ko** - 8 u / + 6 u > 15 khz XLR, 14 ko + 6 u -28 (24) > 15 khz XLR, 14 ko, optional + 6 u -28 > 15 khz XLR, 14 ko + 6 u -24 > 15 khz XLR, 14 ko, optional XLR, 14 ko, optional + 6 u -24 > 15 khz 8 O 87 SPL at 1 m XLR, 1 ko + 6 u - > 15 khz XLR, 1 ko + 6 u - > 15 khz 1 ko 1 ko - 6 u -128 > 15 khz 8 x 13 kω -8 u / +6 u (switchable) > 15 khz 8 x 13 kω -8 u / +6 u (switchable) > 15 khz 3 x XLR, 2 ko - 6 u -18 > 15 khz Analog Output XLR, subwoofer 3 x XLR for monitor 8 x XLR 8 x XLR 3 x XLR for monitor (7 Ch + Sum Out) (7 Ch + Sum Out) Digital Input/Output Format XLR (Format BNC) Impedance XLR Impedance BNC AES/EBU (AES 3id, S/P-DIF) 11 O, balanced floating 75 O, non symmetrical AES3 (AES3id, S/P-DIF)** 11 O, balanced floating** 75 O, non symmetrical** AES/EBU (AES 3id, S/P-DIF) 11 O, balanced floating 75 O, non symmetrical AES/EBU (AES 3id, S/P-DIF) 11 O, balanced floating 75 O, non symmetrical AES/EBU (AES 3id, S/P-DIF) 11 O, balanced floating 75 O, non symmetrical Input switching analog/digital digital/analog** analog/digital analog/digital Analog/digital left/mono/right left/mono/right** left/mono/right left/mono/right left/mono/right Digital converter: resolution, design 24 bit stacked AD, bit DA, ** 24 bit DA, 24 bit DA, 24 bit DA, sampling rate 44.1 khz, 48 khz 2 khz khz (SRC)** 32 khz 96 khz 32 khz 96 khz 32 khz 96 khz Displays and indicators: power on K + H logo red K + H logo red K + H logo red K + H logo red K + H logo red K + H logo red Standby LED red, On green Standby LED red, On green limit/clip Display Limit Protect / digital / analog K + H logo blinking K + H logo blinking K + H logo blinking K + H logo blinking display 2 x 24 digits VFD, blue Mains power 23, 12, 1 V AC 23, 12, 1 V AC swichable 23, 12, 1 V AC 23, 12, 1 V AC 23, 12, 1 V AC 23, 12, 1 V AC 8 25 V AC; 8 25 V AC; 12 2 V DC 12 2 V DC Power consumption Idle 5 W 36 W 18 W 18 W 13 W 1 W 7 W; 125 ma 5 W; 9 ma Full output AC; DC 1,5 W 1,3 W 24 W 24 W 73 W 7 W 5 W; 1.8 A 5 W; 1.7 A Mechanical Specs Height x width x depth 75 x 4 x 447 mm 645 x 33 x 444 mm 253 x 383 x 29 mm 253 x 383 x 29 mm 267 x 17 x 19 mm 267 x 17 x 19 mm 267 x 17 x 19 mm 173 x 12 x 116 mm 173 x 12 x 116 mm (29.5 x 15.8 x 17.6 ) (25 3/8 x 13 x 17 1/2 ) (1 x 15.1 x 11.4 ) (1 x 15.1 x 11.4 ) (1.5 x 6.7 x 7.5 ) (1.5 x 6.7 x 7.5 ) (1.5 x 6.7 x 7.5 ) (6.8 x 4.7 x 4.6 ) (6.8 x 4.7 x 4.6 ) 24 bit stacked AD, 44.1 khz, 48 khz See Pro C 28 or O 5 C See Pro C 28 or O 5 C 2 x 24 digits VFD, blue AES3 (AES3id, S/P-DIF)** 11 Ohm, balanced floating** 75 Ohm, non symmetrical** AES3 (AES3id, S/P-DIF)** 11 Ohm, balanced floating** 75 Ohm, non symmetrical** bit DA, Delta Sigma** 2 khz khz (SRC)** Red LED Red LED LED green (power switch) Flash red LED Flash red LED 1 24 V AC 22-24/1-12 V AC (switchable) 23, 12, 1 V AC 1 W (KPA 172) 3,4 W (KPA 172) 45 W 55 W 35 W 29 W 95 x 4 x 512 mm 735 x 33 x 645 mm 36 x 33 x 645 mm (37.4 x 15.8 x 2.2 ) (28.9 x 13 x 25.4 ) (14.2 x 13 x 25.4 ) Internal net volume 8. liters 42 liters 18.3 liters 18.3 liters 6.5 liters 6.5 liters 6.5 liters 1.8 liters 1.8 liters 12. liters 86 liters 41.5 liters 32.3 liters Weight 65. kg (143.2 lb) 36 kg (79.4 lb) 14. kg (3.8 lb) 14. kg (3.8 lb) 5. kg (11. lb) 5. kg (11. lb) 5. kg (11. lb) 2.3 kg (5. lb) 2.1 kg (4.6 lb) 52 kg, w/o electronics (114.5 lb) 47.1 kg (13.6 lb) 26. kg (57.2 lb) 25. kg (55.1 lb) Drivers Woofer Midrange Tweeter Magnetically shielded 12, 3 mm 3, 76 mm 1, 25 mm Magnetically shielded 1 /25 mm 3 / 76 mm 1 / 25 mm Magnetically shielded 8, 21 mm 3, 76 mm 1, 25 mm Magnetically shielded 8, 21 mm 3, 76 mm 1, 25 mm Magnetically shielded 5.5, 145 mm 1, 25 mm Magnetically shielded 5.5, 145 mm 1, 25 mm Magnetically shielded 5.5, 145 mm 1, 25 mm Magnetically shielded 3, 75 mm Magnetically shielded 3, 75 mm Magnetically shielded 12, 2 x 3 mm Magnetically shielded 1, 2 x 265 mm Magnetically shielded 1, 265 mm Magnetically shielded 1, 265 mm Mounting points 2 x M2 on sides 1 x M2 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 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 7, LH 8, LH 27, LH 28, LH 29, LH 31, LH 32, LH 7, LH 8, LH 27, LH 28, LH 29, LH 31, LH 32, LH 11, MA 19 LH 11, MA 19 Depends on main loudspeaker selection Depends on main loudspeaker selection Depends on main loudspeaker selection Depends on main loudspeaker selection LH 43, LH 44, LH 45 LH 33, LH 38, KG 3, C 15 LH 33, LH 38, KG 3, C 15 LH 33, LH 38, KG 3, C 15 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 Customer specified RAL color Anthracite, silver Customer specified RAL color Anthracite, silver Customer specified RAL color Anthracite, silver Customer specified RAL color 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 15 W 2 W 36 x 32 x 51 mm (14.2 x 12.6 x 2.1 ) *THD+N <,1 %; limiter deactivated **Optional **Optional **Optional 44 45

24 O 5 C O 41 O 3 / O 3 D O 11 / O 11 D P 11 M52 / M 52 D Mounting fixtures KG 3 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. Flush Mounted WMK O 5 C for electronics REK 1 and CP for electronics M6 threaded inserts in side of cabinet 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 mounting loudspeakers onto a standard TV spigot used in broadcast studios. Color: metal. On a Floor Stand (tripod, TV spigot, or with a 5/8" thread) On a Stand (table or mic with a 5/8 thread) LH35 LH35 + LH28 LH35 + LH29 LH41 + LH28 LH41 + LH36 + LH28 LH41 + LH29 LH41 + LH36 + LH29 LH25 LH25 + LH28 LH25 + LH29 LH31 LH31 + LH28 LH31 + LH29 LH31 + LH28 + LH33 LH31 + LH7 LH31 + LH8 LH11 LH11 3/8 thread in base of cabinet 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 (-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 loudspeakers. Colors: black or white. On a Subwoofer (fitted with a flange) On a Meter Bridge LH36 + LH37 LH35 + LH36 + LH37 LH41 + LH37 LH41 + LH36 + LH37 No hardware required LH25+LH37 KG 3 LH11 In 19 Racking MA19 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 fit the loudspeaker onto subwoofers and floor stands. Color: black. On a Wall LH42 + LH45 LH44 + LH45 LH25 Included rear panel brackets LH32 KG3 LH11 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. Off a Ceiling LH35 LH42 LH42 + LH43 LH44 LH44 + LH43 LH25 LH38 LH38 + LH27 LH11 Off a Lighting or Truss Bar LH35 + LH29 LH42 + LH29 LH44 + LH29 LH25 + LH29 LH38 + LH29 REK 1 Remote electronics kit used to locate an O 41 electronics panel up to 3 m (9 ) from a flush 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 3 m (9 ) from a flush 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. Safety connection C15 C

25 Electronics Pro M 112 Monitor Management System Pro M 112 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 1 inputs and 12 outputs. The Pro M 112 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 system M Powerful routing matrix and bass-management system M Any combination of the 1 inputs and 12 outputs to suit any surround system or other loudspeaker configuration M 8 additional analog or digital inputs when using an optional 8-channel extension module M Bass management with 24 /oct. crossover and independent or linked phase adjustment for each channel M Accessible Mute / Solo control feature allowing Solo in Center and Solo in Place M Programmable downmixing with definable gain coefficients M Synchronized volume control with user-defined gain offsets M Optional hardwired and IR-remote control for all functions M Simple, intuitive operation using illuminated single-function keys M Settings can be saved in presets with instant recall using dedicated setup keys M Link function for cascading multiple units M Digitally controlled pure analog signal path featuring high-performance components and no VCAs M Simple system setup with the included Configuration Manager software 48 49

26 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 Configuration Manager. The included Windows application allows complete configuration of the Pro M 112 s settings to the user s needs. The screenshot below shows one of (up to 8 possible) the basic configurations. Mono/Mute/Solo can be separately programmed for each basic configuration Matrix structure for outputs 5 to 12 (main loudspeakers) with adjustable input gains 12-channel volume control, configurable for each channel Plug-in for remote control cable WRC 112 and RS-232 Flexible modular concept for separate frequency adaptation Pro M 112 Monitor Management System Surround control and bass management Q 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 loudspeakers Q Individual HP/LP frequencies for subwoofer/satellite use, individually controllable for each channel Q 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 front Q Fully variable LFE routing, e.g. to subwoofer or LFE redirection to satellite Q 4-step phase adjustment from to 18 for accurate alignment of the subwoofer to the main loudspeakers Q 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 control Q Muting of individual channels as well as All Mute Q Solo- and Solo-in-Center function Subwoofer-matrix for outputs 1 4 with filter and phase groups as well as programmable input gains User selectable crossover frequency The flexible modular concept of the Pro M 112 allows further expansion with additional inputs and outputs Volume control Q Volume control for all 12 outputs Q Latest MDAC technology instead of performance-inhibiting VCAs Q User definable LFE channel gain Q All monitor output levels adjustable in.5 steps Upgradeable with extension modules Q Optional input boards featuring additional channels: A Electronic or transformer-balanced analog inputs Q Output board for 8 additional electronically balanced outputs Q HP and LP module with 24 /oct. crossover and switchable corner frequencies HP- and LP-modules with 24 db/oct. frequency phasing and switchable peak frequency 5 51

27 Electronics Pro C 28 Digital FIR Controller 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 controller M FIR filters for independent amplitude and phase equalization M 1 full parametric stereo EQ bands with IIR digital filter section M Room EQ with IIR filter technology M 32 separate limiters for peak, RMS, thermo and excursion control M 19 2U rack mount unit M Important settings are set automatically using stored parameter setup M All settings, including parameter setup, can be stored Wide range of applications: Studio controller with speaker-specific parameter setups M Upgrade for analog Klein + Hummel monitors (e.g. O 3 D) M Speaker specific : parameter setup is individually optimized for each monitor M Previously unattainable loudspeaker equalization M Room and positioning equalization can also be incorporated M Simple connection between monitors using multicore cables (CMK 5) M System extension with additional subwoofer(s) M Subwoofer incorporated into parameter setup M Comfortable setting options for delay and phase alignment Room equalization M Simple linearization of magnitude response using parametric IIR-EQ One-way full range operation M 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 limiters M Digital peak limiter with look-ahead technology for each channel A Power amplifier clipping prevented M 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 52 53

28 LED bar graph precisely displays input signal Limiter and status LED s IR sensor for K + H remote control RC 55 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. Electronics XXXXXXX Monitore 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 imaging Q Improvement of phase response Q Excellent impulse reproduction with improved attack and decay time Q Significantly improved crossover slope, up to 92 /oct., leading to reduced driver interaction and lower distortion XLR 7 pin outputs to add digital control to analog K + H studio monitors (high/ mid/low) Analog inputs with separate channel switch: electronicallybalanced/transformer-balanced Editing connection (RS-232, MIDI) Digital inputs/outputs (AES/EBU and S/P-DIF) O 3 D equalized by Pro C 28: Individual 3-way and combined responses O 3 D + Subwoofer O 8 equalized by Pro C 28: Individual 3-way and combined responses Pro C 28 Digital FIR-Controller Cutting-edge audio technology Q Low distortion electronic or transformer balanced analog inputs Q 2 stacked Delta-Sigma A/D converters per channel providing more than 13 dynamic range Q 48-bit digital signal processing Q High-quality Delta-Sigma D/A converters Q Moderate low pass filtering after DA conversion guarantees a musical sound stage Q Comprehensive power supply with double voltage regulation for each channel Q Numerous connection options for analog and digital signals Q High-quality input channel can be switched to analog 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. Comfortable operation Q Attractive Blue Vacuum Fluorescent Display (VFD) shows all settings Q Simple 3-level shallow menu structure accessible from the front panel Q Optional Klein + Hummel RC 55 remote control Q PC compatible RS-232 port Q Connection of several units for synchronized operation using internal MIDI port (in, out, thru) Q Internal memory can store over 7 different parameter setups Q Switch between parameter setups during use Q All settings can be stored inside the hardware memory Q Switching between setups possible using remote control 7 Frequency response of a studio monitor at the console Spatially averaged 3 front channel responses taken from 1 separate measurement points in the room Frequency response of the 3 front monitors after activation of the room specific FIR filtering