Emotiva Airmotiv 5 Specifications

Emotiva Airmotiv 5 Specifications
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Important Safety Precautions and Explanation of Symbols
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The exclamation point within an equilateral triangle is intended to alert the user to the
presence of important installation, operation, and service instructions in this manual.
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert
the user to the presence of uninsulated dangerous voltages within the enclosure that may be
of sufficient magnitude to constitute a risk of electrical shock to the user.
Please read this manual thoroughly before attempting to install, configure, or operate the
Airmotiv™ 5s precision bi-amplified monitor. After successful installation and configuration of
the Airmotiv 5s, be sure to retain this manual in a safe place for future reference.
Safety is a key component to a long lasting and trouble free installation. Please read and
follow all instructions and heed all warnings on the Airmotiv 5s and in this manual. The vast
majority of the subsequent safety precautions are common sense. If you are not comfortable
with the installation of audio/video entertainment equipment, you should seek the services of
a qualified installation professional or call us for help.
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WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT USE THE
AIRMOTIV 5S NEAR WATER OR IN WET LOCATIONS, DO NOT EXPOSE IT TO RAIN OR
MOISTURE, DO NOT EXPOSE IT TO DRIPPING OR SPLASHING FROM OTHER SOURCES,
AND ENSURE THAT NO OBJECTS FILLED WITH LIQUIDS (SUCH AS VASES) ARE PLACED ON
IT. DOING SO MAY RESULT IN DAMAGE TO THE UNIT AND THE RISK OF ELECTRIC SHOCK,
WHICH MAY RESULT IN BODILY INJURY OR DEATH.
WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT DISASSEMBLE THE
AIRMOTIV 5S. THERE ARE NO USER-SERVICEABLE PARTS INSIDE THE UNIT. REFER ALL
SERVICE TO QUALIFIED SERVICE PERSONNEL.
Do not install the Airmotiv 5s near or above any heat sources such as radiators, heating vents,
or other apparatus that produces heat. Do not block any ventilation openings or heat sinks.
Avoid installing the unit directly above other heat-producing equipment unless sufficient
ventilation or forced-air cooling is provided.
Do not install the Airmotiv 5s in locations without proper ventilation. The Airmotiv 5s should
not be operated on a bed, sofa, rug, or similar surface that may block air flow to the heat
sinks. The unit should not be mounted against a surface or in an enclosed location such as a
bookcase, cabinet, or closed equipment rack unless sufficient ventilation is provided.
Always install your Airmotiv 5s according to the manufacturer’s instructions and only use
attachments or accessories specified by the manufacturer.
Do not install the Airmotiv 5s on any stand, shelf, or other piece of furniture that is unable to
support its weight. If a cart is used to move the unit, use caution to avoid injury from tip-over.
Connect the Airmotiv 5s only to power sources of the correct voltage (as shown in this manual
and on the Airmotiv 5s unit).
Protect power supply cables from being pinched, walked on, or otherwise damaged. Be
especially careful where the power cable enters the power outlet and the unit.
Only connect the Airmotiv 5s to an electrical outlet or extension cord of appropriate type and
rating.
DO NOT defeat the safety purpose of a grounding or polarized plug by removing ground
pins or using unsafe adapters. A polarized plug has two blades - one wider than the other. A
grounding plug has a third ground prong in addition to the two main conductors. The wide
blade or third groundling prong is provided for your safety. If the provided plug does not fit
your outlet, consult an electrician to replace your obsolete outlet. If you replace the power
cord, only use one of similar type and equal or greater current rating.
The power cable for the Airmotiv 5s should be unplugged from the outlet during severe
electrical storms, or when unused for a long period of time.
Only replace the fuse(s) in the Airmotiv 5s with a fuse(s) of proper value and voltage rating.
The Airmotiv 5s should only be cleaned as directed in the Manual. Avoid spraying liquids
directly onto the unit and NEVER spray liquids into the port, drivers, or controls. Care should
be taken so that small objects do not fall into the inside of the unit.
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You should seek service for your Airmotiv 5s by qualified service personnel if any of the
following occur:
1. The power-supply cord or the plug has been damaged.
2. Objects or liquid have fallen or spilled into the vents.
3. The unit has been exposed to rain.
4. The unit exhibits a marked change in performance.
5. The unit has been dropped, or its enclosure or chassis is damaged.
NOTE: TO COMPLETELY DISCONNECT THE AIRMOTIV 5S FROM THE AC POWER MAINS,
DISCONNECT THE AC POWER CORD FROM THE AC RECEPTACLE.
NOTE: THE POWER CORD ON THE AIRMOTIV 5S MUST REMAIN READILY ACCESSIBLE AT ALL
TIMES.
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WARNING: BEFORE TURNING ON THE AIRMOTIV 5S, VERIFY THAT THE AC LINE VOLTAGE
SWITCH ON THE REAR PANEL IS SET FOR THE CORRECT VOLTAGE FOR YOUR LOCATION.
IF NOT, SET THE SWITCH TO THE CORRECT VOLTAGE AND REPLACE THE FUSE WITH ONE OF
THE CORRECT VALUE FOR THAT VOLTAGE.
CAUTION
CAUTION: TO REDUCE THE RISK
OF ELECTRICAL SHOCK, DO
NOT REMOVE COVER. NO USER
SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL.
Powered Bi-Amplified Monitors
Contents
Important Safety Precautions and Explanation of Symbols
Introduction........................................................................................................................3
About This Manual............................................................................................................4
Features................................................................................................................................5
Unpacking............................................................................................................................6
The Emotiva Pro airmotiv™ 5s Powered Monitor..................................................7
Quick Start...........................................................................................................................8
About Near-Field Monitors............................................................................................9
Speaker Placement........................................................................................................ 10
Connections..................................................................................................................... 17
Operation.......................................................................................................................... 20
Adjustments..................................................................................................................... 21
Care and Maintenance................................................................................................. 22
Specifications................................................................................................................... 23
Troubleshooting............................................................................................................. 24
Accessories....................................................................................................................... 26
Emotiva Audio Corporation Limited Warranty.................................................... 27
Notes................................................................................................................................... 29
Page 1
Page 2
Introduction
Thank you for purchasing Emotiva airmotiv™ 5s bi-amplified powered monitors.
The powerful discrete internal amplifiers, coupled with our advanced input processing circuitry, deliver
exceptional performance and stunning sound quality from a moderately sized system. The airmotiv™
high-frequency transducer produces crystal clear highs with vanishingly low distortion, excellent
detail, and impressive dynamics. The 5.25 inch airmotiv™ low-frequency transducer delivers a fast,
natural, extended low end and a beautifully integrated and cohesive midrange. The airmotiv 5s is flat
within +/- 3 dB from 50 Hz to 27 kHz; amazing for a speaker that occupies less than 1/2 of a cubic foot
of volume. The specially designed cabinet keeps room interactions to a minimum, and a soft rubber
bottom pad protects both the monitor and the surface it is resting on, and ensures that the
airmotiv™ 5s remains securely positioned on any console, desk, or monitor stand.
The exceptional performance of the airmotiv 5s monitors ensures that they will work seamlessly in a
wide variety of critical listening applications.
Happy listening!
The Emotiva Professional Team
Page 3
About This Manual
This manual will provide you with all the information you need to get great performance, accurate
sound, and many years of reliable service from your
Emotiva airmotiv™ 5 powered monitors.
Many of you are experienced studio professionals and are very familiar with powered near-field
monitors. Since the airmotiv 5 is intended for several different applications, you may find that
some of the sections of the manual don’t apply to you.
We suggest that you read through the entire manual as we kept things as short and direct as
possible. Even if you’re an expert user, you might find some interesting information and useful
suggestions.
If you’re really in a hurry to get started, please glance at the safety instructions, and read the
Quick Start section (on page 8); you may then read the remainder of the manual at your leisure.
You may wish to record serial numbers or other purchase information on the Notes page at the
back of this manual.
Page 4
Features
Each Emotiva airmotiv™ 5s is a fully self-contained bi-amplified powered studio monitor.
The airmotiv 5s is a two-way design that features quality construction and engineering
throughout and incorporates discrete power amplifiers, precision active crossovers, effective yet
unobtrusive overload protection, and a wide array of professional features.
Some of the more important features of the Emotiva airmotiv 5s include:
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Accuracy and consistency. The gain and frequency balance of each airmotiv 5s is factory
calibrated to be within 1 dB of our reference standard.
Emotiva’s exclusive airmotiv™ high-frequency transducer, which delivers flat frequency
response, low distortion, virtually nonexistent signal compression, smooth off-axis response,
superb transparency, and uncanny imaging.
Emotiva’s airmotiv™ low-frequency transducer which, with its advanced Curv® cone material
and synthetic butyl rubber surround, delivers clean accurate bass and is immune to moisture.
Perfectly balanced sound. Together, both transducers deliver balanced full-range sound at
moderate listening levels.
High-frequency and low-frequency trim controls for accurate response in any location.
An advanced cabinet made from 18 mm MDF, with computer optimized bracing, and a 3
mm layer of acoustic panel damping material to suppress vibration. The computer-designed
cabinet contour, borrowed from our Stealth™ monitors, minimizes the acoustic signature
and reduces room interactions, and a soft rubber bottom pad protects the airmotiv 5s and
whatever it is resting on, and ensures secure slip-free positioning on any surface or stand.
A tough exterior. The front baffle sports our attractive black lacquer finish, while the sides
and back are covered with a durable heavy-duty textured vinyl laminate that resists scuffs,
water, and fingerprints.
Plenty of clean power. The airmotiv 5s is fully bi-amplified. The high-frequency transducer
is powered by a 50 watt RMS amplifier, while the low-frequency transducer sports its own 50
watt RMS amplifier; both of which are fed by a precision multi-pole active crossover.
Effective yet unobtrusive protection, which individually protects each amplifier and
transducer and prevents dangerous overdrive conditions, but doesn’t limit normal music
peaks, or produce artifacts under normal listening conditions.
Maximum application flexibility, with both unbalanced (RCA) and balanced (XLR) inputs,
and both high frequency and low frequency equalization adjustments.
High quality construction throughout, including all double-sided FR4 circuit boards, all
precision resistors and precision film capacitors in the signal path, extensive use of surface
mount technology, and an efficient low noise toroidal power transformer.
Full magnetic shielding. The airmotiv low-frequency transducer features full-coverage
traditional magnetic shielding while the airmotiv high-frequency transducer is inherently
shielded by its advanced design.
You can find a more detailed list of features and more information about Emotiva’s exclusive
airmotiv™ technology on our website at http://www.emotivapro.com
Page 5
Unpacking
Your Emotiva airmotiv™ 5s powered monitors were carefully packed and should reach you in
perfect condition. If you notice any shipping damage or other issues when you unpack them,
please contact Emotiva immediately.
Gently remove your airmotiv 5s powered monitors from their packing cartons and remove all
wrappings and shipping material. Avoid pressing directly on the front of the low-frequency
transducer or dropping any bits of packing material into the high-frequency transducer or rear
port opening.
It is important to save the box and all packing materials in case your airmotiv 5s monitors ever
need to be moved or shipped back to the factory for service.
Please keep your sales receipt in a safe place. It is the easiest way to verify your purchase date for
warranty purposes, and may also be required if you ever have to file an insurance claim.
We truly value customer feedback and would like to hear from you.
Package Contents
Each airmotiv 5s powered monitor package includes the following:
(1) Emotiva Pro airmotiv 5s powered monitor.
(1) IEC standard line cord.
(2) Spare fuses.
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The Emotiva Pro airmotiv™ 5s Powered Monitor
1. Emotiva’s exclusive airmotiv™
high-frequency transducer.
2. Emotiva’s exclusive airmotiv™
low-frequency transducer.
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3. Power indicator.
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4. Linear taper tuned port.
5. Balanced input (XLR).
6. Unbalanced input (RCA).
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7. Level trim.
8. Low-frequency Equalization
adjustment.
9. High-frequency Equalization
adjustment.
10. AC Line Voltage selector.
11. IEC power cable receptacle.
12. Fuse holder.
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115V
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13. AC Power switch.
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Page 7
Quick Start
To get the most from your Emotiva airmotiv™ 5s powered monitors, we strongly urge you to read
the entire manual. If you just can’t wait to hear how great your airmotiv 5s powered monitors
sound, this section will cover the basics you need to get started.
Find a secure location for your airmotiv 5s powered monitors.
Verify that the airmotiv 5s monitors you received are set for the correct operating voltage for
your location (The AC line voltage that is currently selected is visible in the window on the
AC Line Voltage switch. If necessary, use a pointed object or small screwdriver to move the
switch to the correct setting.)
NOTE: If you change the voltage setting, you will also have to replace the fuse with one of the
correct value. Correct values are: 120 VAC - 1A Time Delay / 230 VAC - 0.5A Time Delay.
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Plug your airmotiv 5s powered monitors into grounded AC electrical outlets. If you use a
different power cord or extension cord, use only a three-prong grounded type.
Connect a signal source to either the unbalanced (RCA) or balanced (XLR) input on the rear
panel of each airmotiv 5s monitor. (We recommend using a signal source with a variable
output level.)
Turn on the Power switch on the rear panel of each airmotiv 5s.
Turn up the volume on your source and enjoy the music.
While you’re enjoying your airmotiv 5s monitors, it would be a great time to read the rest of the
manual to learn more about them.
Page 8
About Near-Field Monitors
In the past most recording studios used huge monitor loudspeakers, elaborate acoustic
treatments, and large power amplifiers, in a large control room. Although a control room like
that sounded great (usually), and made a big impression on customers, it also required large
investments of space, time, and money. Ironically, many recording engineers preferred to be
able to listen to their mix on a system that sounded more or less like what it would eventually be
played on by the customer. A control room that sounded more like a concert hall than a living
room didn’t work very well for them. Also, even though many of those impressive studio control
rooms had a very nice sound, it was a very distinctive sound, so a mix might sound different when
played in a different studio (or even a different room at the same studio). This made it difficult for
the engineer to judge what a mix would actually sound like - which is, after all, the whole point of
monitoring. All of this led to the current revolution in near-field monitors.
A near-field monitor is simply a small accurate monitor loudspeaker that is positioned close to the
console so that it is “playing directly to the engineer”. This location helps to reduce contributions
from control room acoustics, especially those due to room reflections. In addition, the human
brain tends to focus its attention on the sounds that arrive earliest, so the reflected sound that
does arrive later has minimal influence on the overall sound. The result is a more accurate,
and more repeatable, presentation of the music. By eliminating most of the control room’s
contribution to the sound, near-field monitors allow the recording engineer to hear what the
music really sounds like. Many large studios, while they still have their big control rooms that
allow large groups to listen at levels approaching a live performance, do a lot of their serious
work on near-field monitors, and many recording engineers prefer them. The fact that near-field
monitors work very well in small rooms with minimal acoustic treatment, and so reduce cost and
space requirements, is also a major benefit for smaller studios and serious home recordists.
The most significant requirement for near-field monitors is sound quality. Unlike a big speaker
intended to play loud in a huge room, a near-field monitor must sound perfect at moderate
listening levels, when located very close to the listener. It must deliver every nuance and detail of
the music with perfect clarity, near-perfect accuracy, and extremely low residual noise. Because it
may be located only a few feet from the recording engineer’s ears, it can’t make a lot of hiss, and
the cabinet and drivers can’t contribute significant noise or distortion to the sound.
In short, because the near-field monitor is almost a direct pipeline between the music and the
engineer’s ears, it must do a superb job of delivering the music with virtually no coloration or
distortion. Emotiva’s airmotiv™ monitors are your direct link to the music.
Page 9
Speaker Placement
Speaker placement is often a compromise between optimum performance, personal preference,
and site requirements. The following guidelines will serve as a starting point to help you decide
where to place your airmotiv™ 5s powered monitors to achieve the best possible performance.
Positioning your airmotiv™ 5s monitors as near-field monitors
The Emotiva airmotiv 5s was designed primarily as a superlative near-field monitor. When
choosing optimum locations for near-field monitors, the goal is to locate them close to the
recording console, and far from any walls or other reflective surfaces, to maximize direct sound
while minimizing reflected sound.
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Mount your airmotiv 5s powered monitors on separate stands, or mounts, if possible. If you
place them directly on the meter bridge or the same table as your console, vibrations may
be coupled to the console. You should consider using a decoupling platform beneath each
monitor. Mounting points for brackets are provided on the bottom surface of each monitor.
Locate your monitors close to the recording console, and away from walls or other
large reflective surfaces. If there are large reflective surfaces nearby, covering them with
commercial sound absorbing materials (or felt, or a tapestry) may improve frequency
response and imaging.
Listener
Typical near-field monitor placement
Page 10
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If possible, mount your airmotiv 5s monitors upright (with the high-frequency transducer
on top), vertically (not angled upwards or downwards), with the middle of the front baffle at
approximately the same height as the engineer’s seated head height, and toe in each speaker
so the front is directly facing towards the engineer’s head.
Locate your airmotiv 5s monitors so that the distance between them is approximately the
same as the distance between each monitor and the engineer’s head (the monitors and the
engineer should form an equilateral triangle).
If your monitors must be mounted above head height, tilting them down to directly face
the engineer’s seated head position is suggested, and mounting them upside down (highfrequency transducer towards the floor) will produce better results in many cases. The goal
is to maximize direct sound reaching the engineer and minimize reflected sound. If possible,
avoid mounting your monitors in the upper or lower corners of the room (doing so will
enhance bass output, but will often produce muddy bass and adversely affect imaging.)
If conditions require that your monitors be placed on a table or other horizontal surface,
or with other large reflective surfaces between them and the console, you can minimize
reflections by covering the surface with sound absorbing material.
Always leave several inches of clearance behind your airmotiv 5s powered monitors to
avoid blocking the rear-positioned port and to allow the amplifiers to dissipate heat via the
aluminum back plate, which will get warm in normal operation.
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Positioning your airmotiv™ 5s monitors as stereo speakers
The Emotiva airmotiv 5s works beautifully as a full-range speaker in a small audiophile twochannel system, and as a satellite speaker in a larger two-channel system with the addition of a
sub-woofer. When choosing optimum locations for speakers in an audiophile home stereo system,
the goal is usually to optimize the frequency response and imaging.
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Mount your airmotiv 5s speakers on separate stands, or using brackets if possible. Locating
your speakers away from the front wall will usually result in better imaging and frequency
response. Placing them directly on a (sturdy) wall-mounted shelf may also produce
satisfactory results. If possible, mount your airmotiv 5s speakers upright (with the highfrequency transducer on top), vertically (not angled upwards or downwards), with the middle
of the front baffle at approximately the same height as the listener’s seated head height, and
toe in each speaker so the front is directly facing towards the listener’s head.
Locate your airmotiv 5s speakers so that the distance between them is approximately the
same as the distance between each speaker and the listener’s head (the speakers and the
listener should form an equilateral triangle).
In larger rooms, or if you wish to optimize speaker performance for several listeners or a wide
listening area, mounting the speakers with no toe-in will result in a wider sweet spot with a
slightly wider soundstage.
Listener
Typical stereo speaker placement
Page 12
Listener
Listener
Listener
Typical placement of stereo speakers to cover a
wide listening area
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Avoid locating your airmotiv 5s speakers close to side walls if possible. If you have large
reflective or sound-absorbing surfaces on the side walls, try to make them as symmetrical
as possible. (If there is a large glass window on one side wall, balance it by hanging a large
glass picture on the other, or by covering it with a material which more closely matches the
acoustic properties of the opposite wall. If there is a large couch on one side of the room, try
balancing it with a tapestry on the other side.)
If you prefer to mount your airmotiv 5s speakers above head height, tilting them down to
directly face the listener’s seated position is suggested, and mounting them upside down
(high-frequency transducer towards the floor) will produce better results in many cases.
The goal is to maximize direct sound reaching the listener. If possible, avoid mounting your
speakers in the upper or lower corners of the room (doing so will enhance bass output, but
will often produce muddy bass and adversely affect imaging.)
If you place your speakers on a table, wide shelf, or other horizontal surface, covering the
surface in front of the speakers with a felt pad or other similar material will reduce reflections
and improve the sound.
Always leave several inches of clearance behind your airmotiv 5s powered monitors to
avoid blocking the rear-positioned port and to allow the amplifiers to dissipate heat via the
aluminum back plate, which will get warm in normal operation.
If your system includes a sub-woofer, position and configure it according to the
manufacturer’s instructions.
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Positioning your airmotiv™ 5s monitors as satellite speakers in a
multi-channel mastering or surround sound system
Emotiva’s airmotiv 5s powered monitors work great as satellite speakers in a high-quality multichannel playback or mastering system. When choosing optimum locations for speakers in a
multi-channel system, the goal is to optimize the frequency response and imaging. However,
because more speakers are required, you are more likely to encounter practical constraints on
where they can be located. Various surround-sound systems and standards also recommend
slightly different speaker placement for optimum performance.
When listening to most music, the surround speakers are primarily used for ambience
information. In most movies, important and highly localized information is present in the front
and side channels. It is therefore more critical that those speakers be placed in their optimum
locations.
A typical surround sound system may also use a mix of different models and types of satellite
speakers (possibly including bipole or dipole speakers for surrounds). For example, a superb
system could be built by using Emotiva’s airmotiv 6s powered monitors for front speakers and
airmotiv 5s (or airmotiv 4s) powered monitors for surrounds. Since all airmotiv monitors share the
same basic technology, and are voiced similarly, they will work exceptionally well together in any
combination in a surround or multi-channel playback system.
Some systems may also use a mix of airmotiv powered monitors and traditional speakers and
amplifiers. For example, if you already own passive monitors and a stereo power amplifier,
you could upgrade to surround-sound by adding a pre-processor and three airmotiv powered
monitors (one front center and two surrounds). This way you would avoid the need for more
amplifier channels and minimize the number of additional connections.
Sound is subjective, and both room acoustics and personal preference play a big part in the
listening experience, so use these guidelines as a starting point, but feel free to experiment until
you achieve the sound you like best.
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If possible, for best imaging and soundstage, mount all of your airmotiv 5s speakers upright
(with the high-frequency transducer on top), vertically (not angled upwards or downwards),
with the middle of the front baffle at approximately the same height as the listener’s seated
head height.
Place your left-front and right-front speakers flanking the video display (TV). The distance
between left-front and right-front speakers is a matter of preference; placing them close to
the display will tend to focus attention on the picture (especially with smaller displays), while
moving them further apart will tend to widen the soundstage. Whether to apply toe-in or not
is also a matter of preference.
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Sub-woofer
Display
Center
Left Front
Right Front
Right Side
Surround
Left Side
Surround
Listener
Listener
Left Rear
Surround
Right Rear
Surround
One example of placement for surround-sound
speakers
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Place your front-center speaker either directly above or directly below the display. If you
have a large display and the front-center speaker must be placed above head height, better
results may be achieved if it is mounted upside down (high-frequency transducer towards
the floor) and slanted slightly downwards toward the listener. Next in order of preference
would be to place the center speaker on its side in either location. If both of these locations
are impractical, and especially if the left-front and right-front speakers are located far from
the display, the front-center speaker can be located directly to one side of the display (this
location isn’t optimal, but may work reasonably well in some situations).
If your location permits it, the ideal arrangement is to place your left-front and right-front
speakers on stands away from both the front and side walls. They should be placed such
that the left-front, center-front, and right-front speakers form an arc equally distant from the
central listening position.
Side surrounds are typically mounted above head height and approximately even with the
center of the listening position.
Rear surrounds are located, as you might guess, at the rear of the listening position, and are
typically mounted on brackets on the rear wall above the listening position.
Page 15
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Because surround speakers carry mostly ambience information and are influenced by the
listening room, and because they are also used differently by different surround-sound
decoding standards, you should experiment to find the best locations and orientations
for your particular installation. We suggest you try them at various angles, and in various
orientations (vertical, upside down, and even sideways) to identify the location and
orientation that work best with your room. Some installations locate the surrounds facing
sideways along the side or rear wall. The best way is whatever works well for you in your room.
Surrounds should always, however, be positioned symmetrically (so, for example, if you locate
your left side surround on its side with the high-frequency transducer towards the rear of the
room, you should also locate it’s counterpart, your right-side surround, on its side with the
high-frequency transducer towards the rear of the room.
While you should avoid mounting front speakers in the corner angles of a room, corners are
acceptable locations for surround speakers, but you may need to adjust the Low-frequency
Equalization for best results.
Always leave several inches clearance behind your airmotiv 5s powered monitors to avoid
blocking the rear-positioned port and to allow the amplifiers to dissipate heat via the
aluminum back plate, which will get warm in normal operation.
Positioning your airmotiv 5s monitors as computer speakers
The Emotiva airmotiv 5s also makes an incredible computer speaker. When choosing optimum
locations for computer speakers, most people prefer to position them as they would near-field
monitors. If your computer also provides music for your entire living room or office, you may wish
instead to position your airmotiv powered monitors as you would for a small high-end home
stereo system.
Positioning your airmotiv 5s monitors for use with a music client or
portable music player
The Emotiva airmotiv 5s will deliver beautiful high-quality sound when connected to a music
client or portable music player. Depending on your specific requirements you may choose to
position them as you would near-field monitors or as you would normal stereo speakers. Please
refer to the appropriate section for more details.
NOTE: Virtually all computers and hardware music clients use a digital volume control, which
can adversely affect sound quality at some settings. If this is the case, you will improve sound
quality, especially at lower settings, if you use a passive volume control (like our Control Freak)
between your source and your airmotiv 5s monitors.
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Connections
NOTE: Normally, the volume level on powered monitors should be controlled by your source
equipment. If you only have fixed-level outputs available, or if it is simply inconvenient to
control your levels from your source equipment, you may add a passive volume control
(like our Control Freak) between your source component and the inputs of your airmotiv 5s
monitors.
Connecting your airmotiv 5s monitors to a studio console
Virtually all studio equipment offers balanced outputs, which are the preferred method of
connecting your airmotiv 5s powered monitors. Connect your airmotiv 5s monitors to a variablelevel output on your console - or whatever equipment you plan to use them with.
Connecting your airmotiv 5s monitors to a home stereo
or surround sound system
Connect your airmotiv 5s speakers to the same type of variable line-level output to which you
would normally connect a power amplifier, such as the output of a console, preamp, or surroundsound processor.
NOTE: DO NOT connect your airmotiv 5s monitors to the speaker outputs of an amplifier or
receiver or damage to your airmotiv 5s speakers and your equipment may result.
Balanced (XLR) outputs offer several benefits, and are the preferred method for connecting
your airmotiv 5s monitors; connect a high quality balanced cable between each airmotiv 5s and
your signal source. If your source equipment offers only unbalanced (RCA) outputs; connect a
high quality unbalanced cable between each airmotiv 5s and your signal source. (If your source
equipment offers only unbalanced outputs, there is no sonic benefit to using converters to
connect them to the balanced inputs on the airmotiv 5s speakers unless you are experiencing
hum or line noise problems.)
When used as satellites or surrounds in a home-theater or stereo system with a sub-woofer, your
airmotiv 5s speakers should be set as “small” speakers in your surround-processor or preamp’s
configuration.
Connecting your airmotiv 5s monitors to a music client
Connect your airmotiv 5s speakers to the same type of variable line-level output to which you
would normally connect a power amplifier. Some music clients offer both variable and fixed
outputs, and some require that you enable variable control of the output from a menu setting.
NOTE: DO NOT connect your airmotiv 5s monitors to any digital outputs on your music client or
damage to your airmotiv 5s speakers and your music client may result.
Page 17
Connecting your airmotiv™ 5s monitors to a portable player
Most portable music players offer only unbalanced outputs, usually via a 1/8” jack. Connect your
airmotiv™ 5s speakers to a variable output (which is often also the headphone output). Use a
high quality, well shielded adapter cable to connect the output to the unbalanced (RCA) inputs
of your airmotiv 5s speakers. A single “long Y-cable” is preferable to multiple separate adapters
and extension cables. If you have an iPod® dock or other similar device, connect your airmotiv 5s
speakers to the same output you would connect to the input of an amplifier or receiver; if the line
output on the dock doesn’t offer level control, then connect the cable to the headphone output
of the device.
Connecting your airmotiv 5s monitors to a computer
Connect your Airmotiv 5s speakers to the same line-level output intended for powered computer
speakers. Depending on your computer or sound card, this may be labeled as “line out” or
“speaker out”. Make sure to choose outputs whose volume is controlled by your computer’s
operating system. Try to avoid outputs intended to drive small unpowered speakers directly
as these often have unacceptable sound quality. If no other options are available, headphone
outputs should be OK. Most computers offer only unbalanced outputs, usually via one or more
1/8” jacks. Use a high quality, well shielded adapter to connect the output to the unbalanced
(RCA) inputs of your airmotiv 5s speakers. A single “long Y-cable” is preferable to multiple separate
adapters and extension cables.
Balanced and unbalanced connections
The airmotiv 5s powered monitor offers both unbalanced (RCA) and balanced (XLR) input
connections. The main reason balanced connections are favored on professional equipment is
that they are very resistant to outside noise and interference, especially with low-level signal
sources (like microphones), and in difficult situations (a need to run signal cables near power
cables or in otherwise noisy environments). Balanced connections also offer a slight improvement
in the S/N ratio of the signal itself under certain conditions (but only if the equipment at both
ends is designed to do so). In general, using a balanced connection and cables is the best option
if the equipment at both ends offers it. If that option isn’t available, however, good quality
unbalanced cables usually work quite satisfactorily. To correct a common misunderstanding, if no
hum or noise is audible with an unbalanced connection, there is no specific technical reason to
expect a balanced connection to sound better. (However, in a given piece of equipment, one or
the other output may sound audibly better because of how the output circuitry was designed. In
that case, however, it isn’t necessarily the balanced output that will be superior.)
Page 18
Avoiding Hum and Noise
The following guidelines should help you avoid or eliminate hum and noise. These aren’t rules,
and may not apply in all situations, but the more closely you follow the guidelines, the more likely
you are to avoid hum and noise problems. Hum and noise are most often caused by ground issues
such as ground loops, non-optimal cabling or cable placement, or faulty equipment. Hum may
also arise due to how equipment is arranged and connected. If, after following these guidelines,
you still have hum or noise problems, please call Emotiva Technical Support.
Equipment
•
•
•
•
Make sure that all equipment and outlets are properly grounded.
Some equipment (especially turntables and phono and microphone preamps) have special
grounding requirements.
Some audio equipment (especially vacuum tube equipment) has a high output impedance,
which may render it especially sensitive to hum and noise pickup. If so, it is essential that
signal cables be kept short, of good quality, and not run near power cables.
With some older equipment that lacks a grounded power connector, you may experience
more or less hum depending on which way the plug is inserted.
Cables
•
•
•
•
Always use high quality, fully shielded cables.
Balanced connections and cables are more resistant to hum and noise than unbalanced
cables.
Always ensure that all cables are plugged fully in, that the connectors fit firmly, and that the
cables and connectors are in good condition, with no bent pins or corrosion.
Verify that the cables themselves are wired properly according to standards.
(You may encounter custom or modified cables, especially in studios.)
Cable Topology (runs)
•
•
•
•
Always run cables as directly as possible, and use the shortest cables that fit your
requirements. Avoid using excessively long cables and coiling up the excess, especially with
unbalanced connections.
If long cable runs are required, then using a balanced connection is more important, and is
strongly suggested.
Avoid running signal cables next to power cables. If this is unavoidable, then using balanced
cables is virtually a necessity to avoid hum problems.
If you cannot avoid using unbalanced cables in close proximity to power cables, try not to run
them parallel to each other, and try to ensure that, if and when they cross each other, they do
so at right angles.
Page 19
Operation
Once you have decided upon a location for your airmotiv™ 5s powered monitors and connected
them, operation is very simple.
Plug your airmotiv 5s powered monitors into a grounded electrical outlet of appropriate
voltage.
• Verify that the airmotiv 5s monitors you received are set for the correct operating voltage for
your location (The AC line voltage that is currently selected is visible in the window on the
AC Line Voltage switch. If necessary, use a pointed object or small screwdriver to move the
switch to the correct setting.)
NOTE: If you change the voltage setting, you will also have to replace the fuse with one of the
correct value. Correct values are: 120 VAC - 1A Time Delay / 230 VAC - 0.5A Time Delay.
•
•
•
•
Connect a signal source to either the unbalanced (RCA) or balanced (XLR) input on the rear
panel of each Airmotiv 5s.
Place the Power switch on the rear panel of each airmotiv 5s in the ON position.
Immerse yourself in the music!
Level Control
With a powered monitor, listening level is usually controlled by the source equipment.
While the airmotiv 5s includes a Level Trim (on the rear panel; see page 7), this is normally only
used if necessary to adjust the gain of your monitors to match the requirements of certain source
equipment. (You may require a sound level meter or other measurement equipment to set this
accurately.)
If your source component only offers fixed-level outputs, or if it uses a digital volume control
(which may impact sound quality, especially at lower settings), or if it is simply not conveniently
located, you may wish to consider connecting a passive volume control (like our Control Freak)
between your source equipment and your monitors. (The Control Freak is available in both
balanced and unbalanced versions.)
Power and Status Indicator
A Power indicator (LED) is located in the top of the low-frequency driver frame (in the center of
the front panel). A cool blue glow indicates that your airmotiv 5s is powered on and operating
normally.
Page 20
Adjustments
The airmotiv™ 5s powered monitor is calibrated at the factory to ensure that its
low-frequency gain, high-frequency gain, and overall gain are within 1 dB of our reference
standard.
Equalization controls are provided to compensate for various room acoustics and speaker
placement issues. In most situations it is strongly recommended that equalization adjustments be
applied equally to symmetrical pairs of airmotiv 5s monitors. Failure to do so will adversely affect
imaging and soundstage.
Low-frequency Equalization
The Low-frequency Equalization control is intended mainly to compensate for the “boundary
effect” that increases bass output when a speaker is placed near one or more surfaces or corners.
On the airmotiv 5s, this control affects mainly frequencies below 150 Hz and offers a maximum
reduction of -2 dB or -4 dB at 20 Hz
If you notice excessive or “muddy” bass, especially if your airmotiv 5s monitors are placed near
large surfaces or room corners, try setting the Low-frequency Equalization to
-2 dB or -4 dB.
High-frequency equalization
The High-frequency Equalization control is intended to compensate for room acoustics (“bright”
or “dull” rooms).
On the airmotiv 5s, this control affects mainly frequencies above 4 kHz and offers a gain or
reduction in high-frequency output of +2 dB or -2 dB at 4 kHz
If you notice excessive brightness or harshness, especially if your room contains a lot of reflective
surfaces, try setting this control to the -2 dB position. If your room contains lots of sound
absorbing surfaces, and your music sounds dull, try setting this control to the +2 dB position.
Setting this control to -2 dB may also improve the overall sound when playing highly compressed
music from a portable music system (MP3 files and files heavily compressed using other lossy
formats tend to have artifacts and distortion which are most noticeable at higher frequencies).
Page 21
Care and Maintenance
Periodic Maintenance
Your Emotiva airmotiv™ 5s powered monitors are factory calibrated and require no periodic
maintenance or calibration.
Cleaning the Cabinet and Baffle
•
•
•
The cabinet of the airmotiv 5s powered monitor should normally be cleaned with a
rag dampened with plain water. DO NOT spray water directly onto or into the monitor,
transducers or connectors, and DO NOT use abrasive or chemical cleaners. Gently dry the
surface with a clean soft rag after cleaning.
If necessary, use a mild detergent, wipe the surface with a rag dampened with plain water
afterwards to rinse it, and then gently dry the surface with a clean soft rag.
If something nasty does get on the sides or top of your airmotiv 5s, use a rag dampened with
a weak solution of dish detergent or other mild cleaning liquid, followed by a rag dampened
with plain water, and then dry with a clean rag. Avoid applying cleaning liquid to the front
baffle.
Cleaning the Low-frequency Transducer
•
Is something gets spattered on the cone or surround of the low-frequency transducer, it may
be carefully cleaned with a dampened rag. Be careful to avoid excessive pressure.
Cleaning the High-frequency Transducer
•
•
•
•
If dust or fuzz finds its way into the front of the high-frequency transducer, you can try to
dislodge it by blowing gently into the front of the transducer at an angle.
DO NOT reach into the front of the transducer with foreign objects (like tweezers) to remove
lint or dust as you may easily damage the transducer.
DO NOT use high pressure air for cleaning! This may damage the membrane.
If foreign objects or dirt become lodged in the transducer, contact Emotiva Technical Support
for assistance.
Changing a Fuse
•
•
•
If the fuse blows, ALWAYS REPLACE IT WITH ONE OF THE SAME SIZE, RATING, AND TYPE;
NEVER USE A FUSE OF HIGHER RATING.
If the fuse blows repeatedly CONTACT EMOTIVA TECHNICAL SUPPORT.
(If there is any doubt, first verify that your AC power source is the correct voltage.)
To change the fuse, use a screwdriver to release the fuse holder. The fuse holder is the
little plate with the picture of a fuse on it (which is part of the IEC power cord receptacle).
First remove the power cord. Then pry up on the edge of the plate nearest the power cord
opening, and the fuse holder will slide out like a drawer. Replace the fuse with one of the
same size, rating, and type and carefully replace the fuse holder (be sure to press firmly so it
locks into place).
Page 22
Specifications
Frequency Response:
50 Hz to 27 kHz +/- 3 dB.
Input Connectors:
One unbalanced (RCA).
One professional balanced (XLR).
Driver complement:
One 26 x 32 mm airmotiv™ high-frequency transducer.
One 135 mm (5.25 inch) airmotiv™ low-frequency transducer.
Bass Alignment: Single rear-oriented port with linear taper .
Amplification:
High-frequency amplifier: 50 watts RMS; S/N > 95 dB; THD+N < 0.05% @ 15W, 10 kHz.
Low-frequency amplifier: 50 watts RMS; S/N > 95 dB; THD+N < 0.05% @ 40W, 100 Hz.
Crossover:
Precision multi-pole phase compensated fully active crossover.
Crossover frequency: 2700 Hz.
Adjustments and Calibrations:
HF gain, LF gain, and overall gain calibrated to standard within 1.0 dB.
High frequency adjustment: 4 kHz turnover frequency; 0 (calibrated), +2 dB, -2 dB @ 20 kHz.
Low frequency adjustment: 150 Hz turnover frequency; 0 (calibrated), -2 dB, -4 dB @ 20 Hz.
Power Source:
120 VAC 50/60 Hz +/- 10% or 230 VAC 50/60 Hz +/- 10%.
IEC standard removable power cord.
Fuses:
120 VAC 50/60 Hz: 5mm x 20mm; 1A Time Delay.
230 VAC 50/60 Hz: 5mm x 20mm; 0.5A Time Delay.
Size and Weight:
Size (each): 10.9” high x 7.125” wide x 8.375” deep (277 mm x 181 mm x 213 mm).
Size (boxed): 12” high x 12.5” wide x 16” deep (305 mm x 318 mm x 407 mm).
Weight (packaged): 17 pounds (7.7 kg).
Weight (net): 13 pounds (6 kg).
Mounting:
Bottom mounting points for use with our (optional) mounting brackets;
(two holes with threaded metal inserts; 6 mm x 1.0 thread;
spaced 1.375” apart; 2.5” from the front panel.)
Page 23
Troubleshooting
Emotiva’s airmotiv™ 5s powered monitors are carefully designed and manufactured from highquality precision components to ensure years of trouble free operation.
The troubleshooting section describes some common problems and how to eliminate them. If
this doesn’t solve your problem, please contact Emotiva Technical Support, where a real person
will be glad to help you get up and running.
Please remember to power down your airmotiv 5s monitors and all connected equipment before
changing or disconnecting cables.
The following three procedures will address the vast majority of problems that you may
encounter:
Check the power connections:
The blue power indicator on the front of the airmotiv 5s should remain illuminated when the unit
is on. If you don’t have power, verify that the rear panel power switch is on, that the removable
power cord is fully inserted into its back panel receptacle, that you’re plugged into an active AC
outlet of correct voltage, and that the fuse (in the power receptacle) is not blown.
Check the signal source:
It’s a good idea to verify that your signal source is working, that all cabling is correct and intact,
and that signal is present on the input of your airmotiv 5s monitors. First, check the source itself by
trying different media (like a different CD), or a different source component. Next, make sure that
your source is properly configured, that its output level is set correctly, and that your interconnect
cables are properly connected and in good condition. If the problem is common to both channels,
verify that all switches are in their proper positions, and that the output you are using is enabled.
If the problem is occurring in only one channel, test each channel by disconnecting each cable at
the monitor and swapping them. By swapping the left and right connections at different points,
you can easily narrow the problem down to a particular cable or piece of equipment.
Problem: No output at all
•
•
Verify that you have power.
Check your signal source.
Page 24
Problem: Excessive hum or noise
•
•
•
•
•
•
•
•
•
Read the chapter titled Avoiding Hum and Noise in the Connections section of this manual.
Check your signal source.
Verify that all cables are plugged fully in, that the connectors fit tightly, and that the cables
and connectors are in good condition.
Try repositioning cables. If you have signal cables running near power cables, try moving
them further apart. (This is especially important with unbalanced cables.)
If you are using unbalanced connections, try higher-quality cables with better shielding. If
that reduced but fails to eliminate the hum, consider trying balanced cabling (especially for
long runs or where runs next to power cables are unavoidable).
If you’re already using a balanced connection, the balanced outputs on some equipment
may offer various options including “ground lift”. While none of these options is specifically
recommended, some may produce good results in some situations.
Some audio equipment (especially vacuum tube type) has a high output impedance, which
makes it inherently sensitive to picking up hum and noise, especially if only unbalanced
connections are provided. It is essential that signal cables used with such equipment be kept
short, of good quality, and not run near power cables.
In a new installation, especially in a studio environment, verify that your cables are wired
properly. (In studios, pros often customize cables for various reasons, which may include
removing ground connections from one or both ends.) If you suspect that your cables are
non-standard, either check them with an ohmmeter or try another cable.
Some difficult installations may require a balanced connection to completely eliminate hum
and noise.
Problem: Unbalanced sound or poor imaging
•
Verify that the rear panel equalization controls, which are used to compensate for speaker
position and room acoustics, are set in the same position for each monitor. In general,
although some situations may demand unusual settings, the best performance will be
achieved if the equalization controls on symmetrical pairs of monitors, such as a single pair of
monitors or a pair of surrounds, are set the same. If not, uneven frequency response and poor
imaging may result.
Problem: No sound from only one transducer
•
•
Check your signal source.
Try swapping monitors. If the problem is definitely associated with one unit, then contact
Emotiva Technical Support.
Page 25
Accessories
Interconnect cables
Using high-quality interconnect cables will ensure that you get the best sound quality and
maximum reliability from your airmotiv™ powered monitors. It is especially important to select
good-quality well-shielded cables if you are using unbalanced cables, or very long cables, or have
an especially noisy environment. (We do not, however, recommend or endorse fancy “boutique”
audiophile cables.)
Emotiva Audio offers both balanced and unbalanced cables that combine solid engineering,
premium build quality, excellent performance, and reasonable cost.
If you choose to use third-party cables, avoid those that have excessively thin and flexible
insulation or that fail to provide full-coverage shielding. Cables with insufficient mechanical
integrity may fail prematurely, and cables with poor shielding will be more subject to hum and
noise.
Mounting brackets
Emotiva Professional offers optional brackets especially designed to mount your
airmotiv 5s monitors securely and conveniently. See our website for details.
Control Freak
If your source device lacks a variable level output, or uses a low quality digital volume control, you
may consider using a passive volume control between your source and your airmotiv™ powered
monitors. The Emotiva Pro Control Freak™ is a high-quality passive volume control which connects
between your source component and powered monitors, and provides a large, easy to adjust,
volume control knob which can be located wherever it is most convenient. See our website for
details.
Page 26
Emotiva Audio Corporation Limited Warranty
What does this warranty cover?
Emotiva Audio Corporation (“Warrantor”) warrants its products against defects in materials and
workmanship.
How long does this coverage last?
This warranty commences on the date of retail purchase by the original retail purchaser and
runs for a period of five years thereafter, with the exception of products in the Fusion Series,
which are warranted for a period of three years from the date of retail purchase by the original
retail purchaser. This warranty is transferable to any person that owns the warranted product
during the Term. Warrantor warrants any replacement product or part furnished hereunder
against defects in materials and workmanship for the longer of the following: (i) the amount of
time remaining under the original warranty, or (ii) 120 days from your receipt of the repaired or
replaced product. The duration described in this paragraph is hereinafter referred to as the “Term”.
TO THE FULLEST EXTENT PERMITTED BY LAW, ALL IMPLIED WARRANTIES RELATED TO
THE ORIGINAL PRODUCT AND ANY REPLACEMENT PRODUCT OR PARTS (INCLUDING
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE) ARE EXPRESSLY LIMITED TO THE TERM OF THIS LIMITED WARRANTY. SOME
STATES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS,
SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
A claim under this warranty must be made by you within the Term. A claim shall not be valid (and
Warrantor has no obligation related to the claim) if it is not made within the Term and if it is not
made in strict compliance with the requirements of the “How do you get service?” section.
What will Warrantor do?
Warrantor will, at its option, either: (i) repair the product, or (ii) replace the product with a new
consumer product which is identical or reasonably equivalent (in Warrantor’s sole discretion) to
the product. In the event Warrantor is unable to provide replacement and repair is (in Warrantor’s
sole discretion) not commercially practicable or cannot (in Warrantor’s sole discretion) be timely
made, then: (i) if the claim was submitted during the first 365 days of the Term, Warrantor shall
refund to you the purchase price that you paid for the product; and (ii) if the claim was submitted
after the first 365 days of the Term, Warrantor shall issue you a credit equal to the purchase price
that you paid for the product. The credit can only be used for the purchase of merchandise and
cannot be used for freight / shipping.
When a product or part is repaired or replaced, any replacement item becomes your property and
the replaced item becomes Warrantor’s property. When a refund or credit is given, the product for
which the refund or credit is provided must be returned to Warrantor and becomes Warrantor’s
property.
Page 27
What is not covered by this warranty?
This warranty does not apply: (i) to damage caused by use with products not manufactured by
Warrantor, where the non-Warrantor product is the cause of the damage; (ii) to damage caused
by service or maintenance performed by anyone who is not a representative of Warrantor; (iii)
to damage caused by accident, abuse, misuse, flood, fire, earthquake or other external causes;
(iv) to a product or part that has been modified after its retail purchase, where the modification
caused or contributed to the damage; (v) to consumable parts, such as batteries; or (vi) if any
Warrantor serial number has been removed or defaced on the product. WARRANTOR SHALL NOT
BE LIABLE FOR ANY INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING FROM OR RELATED TO
ANY DEFECTS IN OR DAMAGES TO ITS PRODUCTS. SOME STATES DO NOT ALLOW THE EXCLUSION
OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION OR
EXCLUSION MAY NOT APPLY TO YOU.
How do you get service?
In order to make a claim under the warranty, you must:
1. Call or email a customer service representative at 1-877-EMO-TECH (1-877-366-8324) or
[email protected] Provide a description of your problem and the serial number of the
product for which the warranty claim is being made.
2. You will be provided with a returned material authorization number (“RMA”).
3. Ship the product to the following address, with the RMA written in large, bold numbers on the
outside of the box, and with the letters “RMA” written before the number. Parcels arriving without
a RMA number on the outside of the box will be refused. The customer pays for the shipping to
Warrantor and Warrantor pays for the shipping back to the customer, as applicable.
Emotiva Audio Corporation
Attn: Repair Department
135 Southeast Parkway Court
Franklin, TN 37064
How does state law apply?
This warranty gives you specific legal rights, and you may also have other rights, which vary from
state to state.
Page 28
Notes
All information contained in this manual is accurate to the best of our knowledge at the
time of publication. In keeping with our policy of ongoing product improvement, we reserve the
right to make changes to the design and features of our products without prior notice.
Owners Manual Revision 1.0 March 2014
Page 29
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