Sound Performance Lab Stereo Amplifier Area 51 User Manual

Area 5.1  
5.1 Surround Microphone Preamplifier & Stereo Downmix System  
Manual  
 
Contents  
Introduction ............................................................................................... 3  
Feature List ................................................................................................. 7  
Installation ................................................................................................. 4  
Standard Recording Setup .................................................................... 4  
SPL Mic Array .............................................................................................. 6  
Operation  
Preamplifier .................................................................................... 6  
Sub/LFE channel ........................................................................... 7  
Stereo downmix stages .............................................................. 8  
Stereo output ................................................................................. 8  
Monitoring ...................................................................................... 8  
Output PPM meter ........................................................................ 8  
Power Supply ............................................................................................. 9  
Specifications ............................................................................................ 9  
Warranty ......................................................................................................10  
Notes ...........................................................................................................11  
Dear customer,  
Introduction  
congratulations on choosing the Area 5.1 for producing your 5.1  
recordings. We are sure you have as much pleasure using it as we  
had making it.  
The complete Area 5.1 system contains the Area 5.1 unit and  
optionally the SPL mic array and a multicore cable. Though the  
Area 5.1 unit could be used with any microphone setup, the  
combination with the SPL mic array is recommended since it is  
the first proven standard setup to capture three-dimensional sound  
images in all recording situations.  
This authentic approach in terms of human perception also  
minimizes the efforts to set up an 5.1 microphone installation.  
Another essential feature is the stereo downmix stage that allows  
to record both stereo and 5.1 simultaneously.  
Since the Area 5.1 constitutes an electroacoustical system in  
highest degrees of complexity, there are a few things to mention.  
This manual contains basic informations regarding setup, connec-  
tions, first placing in operation and control elements.  
Area 5.1  
3
 
Installation  
The Area 5.1 unit should not be installed near units which  
produce strong magnetic fields or extreme heat. Do not install  
the unit directly above or below power amplifiers. Generally  
choose a place with sufficient air circulation.  
The mic array has to be placed the way that the LCR heads  
(those closer to the microphone center/90° angle) are facing the  
sound source. Be aware that placing the mic array close to the  
ground may result in ground reflections and comb filtering  
effects. The best horizontal position for the mic array is right on  
the crossing between the direct sound field and the diffuse sound  
field.  
Connect all devices BEFORE  
BEFORE switching on power, make sure that the microphones  
are connected with the Area 5.1 unit. (optional multicore lead  
recommended). Check that the voltage details quoted on the  
back panel are the same as your local mains electricity supply. Use  
a minus (-) screwdriver to set the voltage selector to the required  
voltage.  
switching on the Area 5.1  
NOW switch on the Area 5.1. Chassis ground and AC ground can  
be disconnected by the “Ground Lift” switch (GND LIFT) on the  
back panel, if hum problems occur. An AC power cord is included  
to feed the IEC-spec, 3-prong connector.  
After switching on the Area 5.1, proceed as follows:  
1) Press the Ch. 1-4 Lock button of channel 5.  
2) Turn the Mic Gain control of channel 5 clockwise until sufficient  
recording level is indicated at the PPM output meters (all other  
mic gain controls follow precisely)  
Standard Recording  
Setup  
See chapter Operation/Monitoring,  
page 8, for further information on  
stereo headphone monitoring  
Area 5.1  
4
 
Standard Recording  
Setup  
The Standard Recording Setup is the basic configuration for  
recordings with the Area 5.1. Generally any digital or analog  
recording system can be connected to the analog 1/4" unba-  
lanced jack or balanced XLR outputs of the Area 5.1.  
If, for example, an eight-track DTRS is used, the first five tracks  
can be used for the L, C, R, SL and SR channels, the sub bass signal  
should be routed to the sixth track, track seven and eight can be  
used to record the stereo downmix.  
We recommend to connect the five microphones with the  
optionally available multicore lead to exclude differences  
between the particular channels caused by varying tolerances of  
single wires.  
Microphone Input (via multicore lead)  
Stereo Mix  
Output  
Sub Bass  
Output  
1 2 3 4 5  
L (1), C (2), R (3),  
SL (4), SR (5)  
Output  
DTRS or any other  
digital or analog  
multitrack recor-  
ding system  
Area 5.1  
5
 
SPL Mic Array  
The SPL Mic Array was designed to arrange any suitable micro-  
phones in the setup based on the ASM 5 design of SPL’s Atmos 5.1  
system. The outstanding quality of its 5.1 surround reproduction  
has been proven in many occasions. With large double  
membrane microphones in use, excellent tonal results are  
combined with minimum efforts. Basic advantages of the combi-  
nation with the SPL Mic Array are:  
• First proven standard setup to capture three-dimensional sound  
images in all recording situations  
• Only one mic stand to mount the array  
• Easy to move / fast and easy positioning  
• Suited for all microphone types (matched mics recommended)  
• First discrete 5.1 system for motion recordings  
To get the most out of the Area 5.1 system it is essential to use  
appropriate microphones. Most important for best results is to  
use matched microphones at least for the L/R and SR/SL channel  
pairs, however we recommend to employ five matched micro-  
phones with large double membranes.  
To start, choose cardioid microphone characteristics for all  
five microphones.The microphones should point in the direc-  
tions shown in the graphic to the left. Many variations of this  
setup, depending on the microphones and recording situa-  
tions, can be tested to find the best solution.  
Operation  
Preamplifier  
High precision gain preamplifiers  
The Area 5.1 is equipped with five matched high precision micro-  
phone preamps to capture the sound sources in the most trans-  
parent, noiseless and uncolored way. The mic gain controls cover  
a range from 24 dB up to 60 dB. Lundahl microphone transfor-  
mers optionally available.  
The microphone preamps employ SPLs unique ServoDrive-  
Technology® which detects voltage differences (DC-offset)  
between the positive and negative paths of the amplifying  
stages. Any offset increases noise and distortion which compro-  
mizes signal quality. ServoDrive minimizes DC-offsets to values  
between 0mV and 2 mV.The signal contains less noise and distor-  
tion and improved tonal transparency.  
Motorized master/slave mic gain controls  
An important feature of the Area 5.1 are its motorized mic gain  
controls. A switch enables motorized control over all five micro-  
phone preamplifiers by just turning one control.This is important  
when readjustment of the preamplification becomes necessary  
while recording. Readjusting the preamplification manually is  
impossible since only 2 channels can be adjusted at once. The  
motorized mic gain controls also ensure not to influence the  
coherence of the room sound (phasing effects occur already at  
minimum differences).  
Area 5.1  
6
 
Operation  
Ch. 1-4 Lock  
Preamplifier  
To activate the master mic gain control, press the Ch.1-4 lock  
button in the channel 5 section. Now the mic gain control of  
channel 5 is the master control for all five channels. The mic gain  
controls allow amplfications from 24 dB up to 60 dB.  
Pad  
The Pad switch (long life gold plated relais) attenuates the input  
signal by -25 dB, allowing high-level signals to be preamplified.  
This may apply to loud drum or brass recordings. Line-level  
signals (like keyboards or other preamplified signals) may be  
processed as well.  
Rev  
The phase reverse switch (long life gold plated relais) reverses the  
polarity of the microphone signal. If the switch is pressed the  
phase is rotated through 180º. Incorrect polarity leads to an unna-  
tural tone and to drastic tonal changes, if the distance to the  
microphone is varied. We recommend that you check the polarity  
and correct it if necessary before commencing recording.  
48 V  
The 48 V phantom power button serves to supply condenser  
microphones which are equipped with in-built preamplifiers. A  
precise construction and disturbance free electrical supply are  
the main requirements for their trouble free operation. The vol-  
tage is maintained precisely at 48 V and delivers a maximum  
current of 14 mA, sufficient for all types of microphones.  
WARNING: All microphones with balanced, ground free output  
(including tube microphones) can be operated with phantom  
power switched on. The following procedure is to be adhered to:  
Firstly connect the microphones to the Area 5.1, then switch on  
the phantom power – you can now commence work.When recor-  
ding has been completed firstly switch off the phantom power  
then wait 30 seconds before disconnecting the microphone from  
the Area 5.1. This allows residual voltages to be discharged and  
improves operational safety. Phantom powering is only used  
with condenser microphones. With any other type of micro-  
phone it is to be switched off! An unbalanced microphone is  
not to be used with phantom power switched on!  
Operation  
Sub/LFE channel  
Sub/LFE channel  
In the Sub/LFE channel the Sub signal can be composited from  
any combination of L/R, C or SL/SR inputs.The gain control allows  
to adjust the Sub/LFE channel output level between -26 dB and  
+6 dB.  
7
Area 5.1  
 
Sub/LFE channel  
To separate those frequencies that are not localisable, a 24 dB  
Butterworth low-pass filter can be activated at 130 Hz (Dolby  
AC 3). If the low-pass filter is not activated, the output can be fed  
to any other LFE processor to generate the Sub/LFE signal for  
other encodings such as DTS.  
Stereo downmix stages  
Operation  
Stereo downmix  
stages  
The Area 5.1 allows to record 5.1 and stereo signals in parallel. For  
each of the five channels a stereo downmix stage allows to control  
the particular level and panorama in the stereo image. Each  
channel is muted when the Mute switch is not pressed.  
Dual concentric volume/pan controls  
The inner ring of the dual concentric controls determines the  
output level for the concerning channel. The control range covers  
values from -65 dB to +12 dB.  
The outer ring of the dual concentric controls allows to adjust  
the panorama of the channel’s signal in the stereo image. The pan  
control is center detended.  
Operation  
Gain control  
To determine the output gain of the stereo downmix use the gain  
control in the stereo output section. It covers values from  
-80 dB up to +6 dB.Two peak LEDs illuminate 6 dB before clipping  
for the left and right channel of the stereo signal.  
Stereo output  
Monitoring section  
Operation  
In the Monitor section a plug is installed on the front panel to  
connect any stereo headphone. A volume control serves to adjust  
the monitoring volume.  
Monitoring  
The L/R, SUB, SL/SR, C and Stereo buttons are used to select the  
channels to be monitored. This way, any channel or channel  
combination of the preamp output signal can be monitored.  
Operation  
Output PPM meter  
The preamplifier output gain values for all 6 channels (L, C, R, SL,  
SR, Sub) are displayed on the PPM output meters. The PPM meter  
shows the peak levels and ranges from -48 dB up to +9 dB.  
Output PPM meter  
Area 5.1  
8
 
Power Supply  
Built around a torroidal transformer, the power supply allows for a  
minimal electromagnetic field with no hum or mechanical noise.  
The power supply's output side is filtered by an RC circuit to  
extract noise and hums caused by your power service. 30.000µf  
capacitors smooth out the positive and negative half waves.  
The phantom power is derived from a separate winding in the  
transformer, a precise current regulator delivers a clean phantom  
power of 48 volts. High quality 0.1%/6,81 kOhm resistors ensure  
the pristine quality of the phantom power supply.  
The supply voltage can be set to 230 V/50 Hz or 115 V/60 Hz.  
Check your country's power requirements for the appropriate  
setting. An AC power cord is included to feed the IEC-spec, 3-  
prong connector. Transformer, AC cord and IEC-receptacle are  
VDE, UL and CSA approved.  
Chassis ground and AC ground can be physically disconnected  
by the “Ground Lift” switch (GND LIFT). This helps to eliminate  
hums.  
Frequency Response: ................... 10 Hz-50 kHz  
(50 kHz = -3 dB)  
Specifications  
Common Mode Rejection: ......... 1 kHz:-80 dB / 10 kHz:>-60 dB  
(@ -20 dBu)  
THD & N: ........................................... Amplification:  
A weighted:  
-97,1 dBu  
-91,1 dBu  
-71,0 dBu  
20 dB  
40 dB  
60 dB  
Dynamic Response: ...................... 119 dB  
Max.Output Level XLR / Jack: .... +20 dBu  
Output Impedance: ...................... <75 Ohm  
Housing: .......................................... Standard EIA 19"/3U  
... 482 x 132 x 237 mm  
Weight: ............................................. 7.3 kg  
Subject to change without notice.  
Area 5.1  
9
 
Warranty  
SPL electronics GmbH (hereafter called SPL) products are  
warranted only in the country where purchased, through the  
authorized SPL distributor in that country, against defects in  
material or workmanship. The specific period of this limited  
warranty shall be that which is described to the original retail  
purchaser by the authorized SPL dealer or distributor at the time  
of purchase.  
SPL does not, however, warrant its products against any and all  
defects:  
1) arising out of materials or workmanship not provided or  
furnished by SPL, or 2) resulting from abnormal use of the  
product or use in violation of instructions, or 3) in products  
repaired or serviced by other than authorized SPL repair facilities,  
or 4) in products with removed or defaced serial numbers, or 5) in  
components or parts or products expressly warranted by another  
manufacturer.  
SPL agrees, through the applicable authorized distributor, to  
repair or replace defects covered by this limited warranty with  
parts or products of original or improved design, at its option in  
each respect, if the defective product is shipped prior to the end  
of the warranty period to the designated authorized SPL warranty  
repair facility in the country where purchased, or to the SPL  
factory in Germany, in the original packaging or a replacement  
supplied by SPL, with all transportation costs and full insurance  
paid each way by the purchaser or owner.  
All remedies and the measure of damages are limited to the  
above services. It is possible that economic loss or injury to  
person or property may result from the failure of the product;  
however, even if SPL has been advised of this possibility, this  
limited warranty does not cover any such consequential or inci-  
dental damages. Some states or countries do not allow the limita-  
tions or exclusion of incidental or consequential damages, so the  
above limitation may not apply to you.  
Any and all warranties, express or implied, arising by law, course  
of dealing, course of performance, usage of trade, or otherwise,  
including but not limited to implied warranties of merchantabi-  
lity and fitness for particular, are limited to a period of 1 (one) year  
from either the date of manufacture. Some states or countries do  
not allow limitations on how long an implied warranty lasts, so  
the above limitations may not apply to you.  
This limited warranty gives you specific legal rights, and you  
may also have other rights which vary from state to state, country  
to country.  
SPL electronics GmbH  
41372 Niederkruechten, Germany  
Area 5.1  
10  
 
Notes  
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Area 5.1  
11  
 
Sound Performance Lab  
Sohlweg 55  
D-41372 Niederkrüchten, Germany  
Phone: +49 · 2163 · 98340, Fax: +49 · 2163 · 983420  
Mail to: [email protected]  
„NEVER let it be said that SPL is a dull company.“  
Dave Foister, Studio Sound  
Area 5.1 Preliminary Manual 5/2000  
 

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