2.6 CONNECTING CABLE
The two connecting cables have different
types of connectors at each end, a loud-
speaker connector and an LED connec-
tor. The loudspeaker connector is larger
than the LED connector, therefore the
connectors cannot be inserted into the
wrong socket. Insert the connectors into
the appropriate sockets found on the rear
panel of the amplifier unit and the rear of
the loudspeaker.
To insert the connectors proceed as
follows:
• Insert the connectors into the sockets
and turn the connectors clockwise. The
connectors lock automatically.
• The electrical connections are only
made when the connectors are fully in-
serted.
To remove the connectors proceed as
follows:
• Pull the release lever on the connector
and turn the connector counterclockwise
simultaneously. The connector can now
be removed from the socket.
for suggested starting positions of the
tone controls in four different room types.
The table shows that the midrange and
treble controls should be left in their free
field positions, since these frequencies
are controlled by the speaker more than
the room. Acoustical measurements, and
precise listening tests should be com-
pleted by qualified personnel, to deter-
mine the optimum tuning of the speaker
to the room.
3.3 FREQUENCY RESPONSE MEA-
SUREMENT IN THE CONTROL ROOM
The overall sound balance experienced
at the listening position can, to a certain
extent, be measured with steady state
signals (e.g. pink noise, warble sine etc.)
and a corresponding frequency analyzer.
However, the results obtained are very
sensitive to the measuring methods and
the equipment used.
Recommended Measuring Equipment.
Recommended Measuring Equipment.
Recommended Measuring Equipment.
Recommended Measuring Equipment.
Recommended Measuring Equipment.
Microphone
• Always use a laboratory grade mea-
surement microphone.
• B&K 4134 (or similar) for far field, 4133
or 4165 (or similar) for near field below
8kHz.
• B&K 4004 and 4007 (or similar) up to
8kHz.
Do not
use a microphone having a polar
pattern other than omnidirectional, or one
not having an accurately known fre-
quency response.
3. ACOUSTICAL SETUP
3. ACOUSTICAL SETUP
3. ACOUSTICAL SETUP
3. ACOUSTICAL SETUP
3. ACOUSTICAL SETUP
3.1 INPUT SENSITIVITY ADJUSTMENT
The input sensitivity of the 1034BC can be
adjusted to match the output signal level
of the driving source . This is done by
turning the 'Input sensitivity' trimmer,
which is accessed through the front panel
of the amplifier unit. However, an accu-
rate left/right balance is obtained when
the trimmer is set to the fully clockwise
'cal' position. Leaving the input sensitivity
trimmer in the 'cal' position is therefore
recommended.
To obtain the maximum sound pressure
level of 123 dB SPL, with the input sensi-
tivity set to -6 dBu, a signal level of +20
dBu is required.
3.2 ADJUSTMENT OF THE TONE CON-
TROLS
The frequency response of the system
should be adjusted to match the listening
room's acoustic environment. This adjust-
ment is made using the tone controls,
'BASS TILT', 'BASS ROLL-OFF', 'BASS
LEVEL', 'MIDRANGE LEVEL', and
'TREBLE LEVEL'. These controls are ac-
cessed through the amplifier unit's front
panel. The default setting of these con-
trols is in the 'off' position, which yields a
flat frequency response when the speaker
is operated in an anechoic environment.
Note that only one switch in each control
group should be in the 'on' position.
The room normally boosts the low fre-
quencies compared with free field condi-
tions. To get a flat room response, adjust-
ments to the bass tone control switches
are usually required. See table 1 below
Table 1. Suggested starting positions for tone controls.
Table 1. Suggested starting positions for tone controls.
Table 1. Suggested starting positions for tone controls.
Table 1. Suggested starting positions for tone controls.
Table 1. Suggested starting positions for tone controls.
Fig 7. Speaker/LED connector
Fig 7. Speaker/LED connector
Fig 7. Speaker/LED connector
Fig 7. Speaker/LED connector
Fig 7. Speaker/LED connector
Fig 6. Amplifier unit connectors.
Fig 6. Amplifier unit connectors.
Fig 6. Amplifier unit connectors.
Fig 6. Amplifier unit connectors.
Fig 6. Amplifier unit connectors.
P U S H
2
1
3
S p e a k e r c o n n e c t o r
L E D c o n n e c t o r
I n p u t c o n n e c t o r
M a i n s c o n n e c t o r
S t r a i n r e l i e f
D O N O T L O O S E N !
T u r n c o n n e c t o r
c l o c k w i s e t o c o n n e c t .
T u r n c o n n e c t o r
c o u n t e r c l o c k w i s e t o
d i s c o n n e c t .
R e l e a s e l e v e r .
P u l l l e v e r t o u n l o c k
w h i l s t d i s c o n n e c t i n g .
Speaker Mounting Environment
Control
Bass roll off
Bass tilt
Bass level
Mid level Treble level
1. Flat anechoic response
(factory setting)
ALL OFF
ALL OFF
ALL OFF
ALL OFF
ALL OFF
2. Free standing in a heavily
damped room
ALL OFF
-2 dB
ON
ALL OFF
ALL OFF
ALL OFF
3. Free standing in a
reverberant room
ALL OFF
-2 dB
ON
-1 dB
ON
ALL OFF
ALL OFF
4. Flush mounted in a hard wall
ALL OFF
-4 dB
ON
-1 dB
ON
ALL OFF
ALL OFF
5. In a corner
-4 dB
ON
-6 dB
ON
-2 dB
ON
ALL OFF
ALL OFF
