Product Selection Guide
PRODUCT SELECTION GUIDE STUDIO PRODUCTS
GEORG NEUMANN GMBH · OLLENHAUERSTR. 98 · 13403 BERLIN · GERMANY
FON +49 (0)30 / 41 77 24-0 · F A X -50 · H E A D O F F I C E @ N E U M A N N . C O M · W W W . N E U M A N N . C O M
Introduction
The choice of a loudspeaker or subwoofer from the Studio Systems range depends on a number of factors:
•
•
•
•
•
System configuration
Listening distance / room volume
Required low frequency cut-off / replay level
Available space
Budget
Furthermore, the system should be balanced, i.e. one component in the system is not weaker than the rest of the system. For example, a system with under-specified
subwoofer(s) will have limited low-frequency headroom. Or a system with small rear loudspeakers will struggle with high level sound panned to the rear channels.
It is possible to deliberately under-specify the entire system whilst keeping it balanced: the cost of this is limited maximum SPL and/or LF cut-off, but the system will
be smaller and cheaper. Alternatively, one can deliberately over-specify the entire system whilst keeping it balanced: the advantage is that the system’s distortion will
be lower for a given replay level, however the cost is higher and more space is required.
One exception to this is over-specified subwoofer(s), which will have reduced low-frequency distortion resulting in a cleaner sounding bass.
Bass Management
Bass management redirects the LF energy of the main channels and some, or all, of the LFE channel energy to the subwoofer(s) in the reproduction system.
The advantages of bass management are:
•
•
•
•
•
•
Subwoofer extends the LF cut-off of the system downwards
Higher maximum system SPL
Lower distortion
Same phase, level, and frequency response of low frequency energy of the main and LFE channels
Same coupling of the low frequency energy to the room on all main channels
More flexibility in coupling the low frequency energy to the room as the subwoofer can be moved.
A block diagram of the 7.1 Channel High Definition Bass Manager™, as fitted to the KH 810 and O 870 subwoofers, is shown on the next page.
Note that the O 800 has a 3-Channel bass manager, no volume control, and a reduced acoustical control set.
Product Selection Guide
1
7.1 High Definition Bass Manager™
Product Selection Guide
2
Listening Distance
To choose the appropriate front loudspeakers for your system, first use the listening distance to the front loudspeakers to find a model in the table below that fits
within the recommended listening distance range column. Do not select a model where the listening distance is less than the minimum or greater than the maximum
values shown. In all cases, the front loudspeakers (including the center) should be the same as each other.
Listening Distances
Product
O 500 C
O 410
O 300 (D)
KH 120
Most Common Application
Minimum
Recommended
Maximum
Farfield Monitoring
Midfield Monitoring
Nearfield Monitoring
Nearfield Monitoring
1.5 m (5’)
1.25 m (4’)
0.75 m (2.5’)
0.75 m (2.5’)
2.0 - 3.0 m (6’ - 9’)
1.5 - 3.0 m (5’ - 9’)
1.0 - 2.5 m (3’ - 8’)
1.0 - 2.0 m (3’ - 6’)
15 m (45’)
11 m (33’)
6 m (18’)
4 m (12’)
In a studio application, the loudspeakers should be placed according to the ITU-R BS.775-1 recommendations so there is consistency of reproduction when compared
to other listening environments. For movie applications, ANSI/SMPTE 202M is the preferred standard for system setup. For home use, as materials are mixed in
ITU style rooms, one should get as close as possible to this configuration to maximize replay authenticity.
Loudspeaker Name
Left
Center
Right
Left Surround
Right Surround
ITU-R BS.775-1 Angel
ANSI/SMPTE 202M Angel
-30°
0°
30°
-110°±10°
110°±10°
-22.5°
0°
22.5°
An array to the left
An array to the right
For two-channel stereo, ±30° should be used. There are currently no internationally agreed standards for 6.1 or 7.1 formats. However common practice is to use one or
two loudspeakers in the centre back location of a 6.1 system. In a 7.1 system common practice is to place side loudspeakers at ±90° and to push the surround
loudspeakers back
to ±150°.
The loudspeaker should be placed on a circle to ensure equal time of arrival of the audio from all loudspeakers. Failing this, appropriate electronic time delays should
be added between the subwoofer and each loudspeaker to compensate for time of flight differences.
Product Selection Guide
3
Balancing the System
Next, the other loudspeakers in the system (if required) should be chosen to match the main loudspeakers chosen.
Rear loudspeakers are typically the same model as the front loudspeakers, although it is possible to reduce the specification if space or budget is limited.
The subwoofer(s) should have sufficient output to keep up with the main loudspeakers, but can be over-specified for improved low-frequency system performance.
Over-specifying the subwoofer section of system leads to lower LF distortion (cleaner audio), as each subwoofer does not have to work as hard.
Multiple smaller subwoofers (2 - 4 depending on the width of the room) distributed along the front wall create a plane wave that propagates from the front to the back
of the room. This has the effect of reducing the interaction of the plane wave with the side wall. The consequence is less excitation of the side-to-side room modes and
a better time-domain response. From a sound quality point of view, the low frequency reproduction will be tighter and cleaner. This is called a Plane Wave Bass
Array™ (PWBA™).
The table on the next page ensures a well balanced system.
Table Notes:
• The “Recommended” column specifies the minimum recommended subwoofer solution to balance the entire system. Selecting a smaller subwoofer will limit the
maximum output of the system.
• The “High Performance” column gives +6 dB of headroom over the recommended minimum subwoofer solution. The lower required replay level from the
subwoofer(s) results in a substantially reduced low-frequency distortion. This specification is recommended for reproducing bass-heavy material in large and welldamped rooms.
• The “Plane Wave Bass Array™” column specifies two to four subwoofers (three to four for larger systems) that should be positioned along the front wall to
generate a plane wave down the room. This reduces the side wall interaction thereby improving the side-to-side bass reproduction. The number of subwoofers
arranged in a bass array depends on the width of the room: wider rooms, more subwoofers.
• If the system will eventually be upgraded for a larger channel count, select the loudspeakers and subwoofer(s) from the subwoofer(s) from that section.
• The same subwoofer specification is appropriate for 5.1 to 7.1 multichannel systems, even if the main channels are run full range, i.e. not bass managed.
• If space is insufficient for large cabinets, two KH 810 subwoofers may be substituted in place of one O 870.
• An O 800 can be used in place of a KH 810. It has the same maximum output level, the bass extends to 27 Hz, and there is a 3 channel bass manager. This is
reflected in the lower retail price.
Product Selection Guide
4
• Products written with “(D)” after the number signifies that the digital input version (e.g. O 300 D) or non-digital input version (e.g. O 300) can be used. Be
careful to ensure that desired interconnectivity (source-to-subwoofer AND subwoofer-to-main loudspeakers) of the system is possible.
• The O 500 C has a 20 Hz mode, but the extra bass extension comes at the expense of maximum SPL.
Fronts
2- Channel Stereo
(2.0)
O500C
O410
O300(D)
KH120
Matrix Multichannel
Dolby Surround
(3/1.0)
O500C
O410
O300(D)
Discrete Multichannel
5.1 (3/2.1)
6.1 (3/3.1)
7.1 (3/4.1)
Recommended
High
Performance
-
-
2 x O900
4 x O900
-
-
O870
KH810
O800
KH810
2 x O870
O870
27 Hz (123.4 dB)
3-4 x O800
2-4 x KH810
2-4 x O800
O800
3-4 x O900
O500 C
O410,
O300(D),
KH120
2 x O900
4 x O900
O410
O300(D),
KH120
O870
2 x O870
KH120
3-4 x O900
3-4 x KH810
2-4 x KH810
-
KH120
Without Sub
KH810,
O800
-
O300(D)
- 3 dB LF Cut-off (Max SPL at 3% THD)
Plane Wave
Bass Array™
2-4 x O800
3-4 x KH810
3-4 x O800
KH810
O800
KH810
KH810
2-4 x KH810
2-4 x O800
2-4 x KH810
O800
O800
2-4 x O800
O870
30 Hz (120.0 dB)
35 Hz (112.8 dB)
56 Hz (107.7 dB)
27 Hz (123.4 dB)
30 Hz (120.0 dB)
35 Hz (112.8 dB)
With Sub
17 Hz (123.4 dB)
18 Hz (120.0 dB)
27 Hz (120.0 dB)
18 Hz (112.8 dB)
27 Hz (112.8 dB)
18 Hz (107.7 dB)
27 Hz (107.7 dB)
17 Hz (123.4 dB)
18 Hz (120.0 dB)
27 Hz (120.0 dB)
18 Hz (112.8 dB)
27 Hz (112.8 dB)
18 Hz (107.7 dB)
KH120
O500 C
O500 C
O410,
O300(D),
KH120
3 x O900
6 x O900
3-4 x O900
27 Hz (123.4 dB)
17 Hz (123.4 dB)
O410
O300(D),
KH120
2 x O870
3 x O870
3-4 x KH810
3-4 x O800
30 Hz (120.0 dB)
18 Hz (120.0 dB)
27 Hz (120.0 dB)
O300(D)
KH120
O870
2 x O870
O410
KH120
Product Selection Guide
Subwoofer
Smaller
KH120
O300(D)
Larger Systems
Rears
Recommended
KH120
KH120
KH810
O800
O870
2-4 x KH810
2-4 x O800
2-4 x KH810
2-4 x O800
56 Hz (107.7 dB)
35 Hz (112.8 dB)
56 Hz (107.7 dB)
27 Hz (107.7 dB)
18 Hz (112.8 dB)
27 Hz (112.8 dB)
18 Hz (107.7 dB)
27 Hz (107.7 dB)
Please contact your local distributor or Neumann for guidance as we have much experience with custom designed solutions for
special applications.
5
Checking the System Solution
Finally, using the table, check that the chosen system fulfills the requirements for LF cut-off and maximum SPL. If the chosen system does not satisfy the specification,
a larger system will be required.
Also check interconnectivity:
• If you have analog outputs, choose “not D” versions of the products (e.g. KH 120 A and O 300). If you have digital outputs, choose “D” versions of the
products
(e.g. KH 120 D and O 300 D).
• The O 410 is fitted with an analog input as standard, but also has a digital input option (DIM 1).
• The O 500 C has analog and digital inputs fitted as standard.
• The KH 810 and O 870 subwoofers have an optional digital input card (DIM 4) that replaces the standard analog input card. The outputs of the bass manager
are always analog, so “D” main loudspeakers are not necessarily required.
• The O 800 has analog inputs and outputs only.
• The O 900 can use the analog subwoofer output of the O 500 C and an external amplifier (KPA 2220 recommended).
Systems for Movie Mixing
The above table assumes that all the channels in the system are bass managed – typical in the broadcast and music industries. In the movie industry, the main
channels are produced entirely by the main loudspeakers, and only the LFE channel is reproduced by the subwoofer(s). In addition, each rear channel is often
reproduced using multiple loudspeakers over, typically, half the listening distance. Each channel should reproduce long-term pink noise at a level of 85 dB(C) at the
listening position. Use the table below for this type of system:
Number of surround loudspeakers and type per channel
Front Loudspeakers
Subwoofer (s) for LFE only
1
2
3
4
O 500C
O 410
O 300(D)
KH 120
2 x O 900
O 870
KH 810
KH 810
O 410
O 410
KH 120
KH 120
O 410
O 300(D)
KH 120
KH 120
O 300(D)
KH 120
KH 120
KH 120
KH 120
KH 120
KH 120
KH 120
Product Selection Guide
6
Mounting Hardware Selection Matrix
Our mounting hardware range philosophy is to supply the parts required to mount our loudspeakers onto commonly available third-party mounting products. For each
product is listed in the table below the hardware that may be used to mount the loudspeaker in the specified way. Note that the hardware combinations are listed in
the order in which they are attached to the product: starting with the cabinet and ending with the stand or surface to which it will be mounted.
Location of Loudspeaker
O 500 C
O 410
Flush Mounted
WMK O 500 C for
electronics
LH35+LH28
LH35+LH29
LH35+LH48+K&M26790
LH35+LH48+K&M26795
LH36+LH28
LH36+LH29
LH36+LH48+K&M26790
LH36+LH48+K&M26795
REK 1 and CP nn for
electronics
LH41+LH28
LH41+LH36+LH28
LH41+LH29
LH41+LH36+LH29
LH41+K&M26790
LH41+K&M26795
On a Floor Stand
(tripod, TV spigot, or with a 5/8" thread)
On a Stand
(table or mic with a 5/8" thread)
On a Subwoofer
(fitted with a flange)
On a Meter Bridge or Table Top
In 19" Racking
On a Wall
Product Selection Guide
(O 900)
LH35+LH37
LH35+LH28+pole
LH36+LH37
LH36+LH28+pole
LH35+LH47+LH45
LH36+LH47+LH45
O 300 (D)
(O 870)
LH41+LH37
LH41+LH36+LH37
LH41+LH28+pole
LH41+LH36+LH28+pole
LH42+LH45
KH 120
-
-
LH25+LH28
LH25+LH29
LH41+LH28
LH41+LH29
LH25+LH48+K&M26790
LH25+LH48+K&M26795
LH41+K&M26790
LH41+K&M26795
LH61
LH61+LH28
LH61+LH29
LH31+LH48+K&M26790
LH31+LH48+K&M26795
(O 870)
LH25+LH37
LH41+LH37
LH25+LH28+pole
LH41+LH28+pole
No hardware required
LH25
LH25+LH47+LH45
Included rear panel
brackets
LH61
-
LH65
LH32
LH45+LH47+LH61
7
Off a Ceiling
Off a Lighting or Truss Bar
On an Omnimount bracket
On a VESA mount bracket
LH35
LH35+LH47+LH43
LH35+LH47+LH46
LH36+LH47+LH43
LH36+LH47+LH46
LH35+LH29
LH36+LH29
-
LH42+LH29
LH42+LH43
LH42+LH45
LH42+LH46
LH25
LH25+LH47+LH43
LH25+LH47+LH46
LH61
LH46+LH47+LH61
LH43+LH47+LH61
LH42+LH29
LH25+LH29
LH29+LH61
-
-
LH64
LH64
The description “pole” in the table means a customer supplied pole (outside diameter = 35mm, 1.4”) to lift the main loudspeaker above the subwoofer. For stability
reasons, the recommended maximum distance between the subwoofer and the loudspeaker 65 cm (2’).
Recommended König & Meyer (www.k-m.de) Stands and Accessories
Loudspeaker Stands
21435 (max 35 kg)
21436 (max 35 kg)
21450 (max 50 kg)
21485 (max 35 kg)
21455 (max 40 kg)
21460 (max 50 kg)
26720 (max 35 kg)
26740 (max 35 kg)
26750 (max 35 kg)
21300 (max 50 kg)
21302 (max 30 kg)
26790
20120
20130
24110 (max 50 kg)
24150 (max 50 kg)
24471 (max 15 kg)
24481 (max 25 kg)
26795
Microphone Stands
19900
20000
Table Stands
22110
23200
Wall mounts
24100 (max 50 kg)
24102 (max 50 kg)
29305 (max 50 kg)
Safety Wires
68120
Truss Clamp
68610
Product Selection Guide
68160
8
Product Selection Guide
9
LH 25
LH 28
LH 29
LH 32
LH 35
LH 36
LH 37
LH 41
LH 42
LH 43
LH 45
LH 46
LH 47
LH 48
LH 61
LH 64
LH 65
REK 1
REK 2
Product Selection Guide
10
Version: 07
Date: 8-Dec-2010
Features and specifications are subject to change • Errors excepted, subject to changes
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertising