User manual FOCAL SM11

[. . . ] ⷠIn the unlikely case of damage to the dome, of any form, a wide piece of adhesive tape should be immediately used to seal the whole front surface of the tweeter. You should then inform the dealer from whom you purchased the product so that the tweeter can be removed by a professional and returned to the product distributor for replacement. ⷠIf the dome is broken in any way giving rise to loose particles of beryllium, these should be carefully collected with the use of an adhesive tape and sealed in a zip-top bag to be returned with the tweeter. [. . . ] Both use the standard cabling scheme, namely: Pin 1 = Ground (shield) Pin 2 = In phase voltage ("hot") Pin 3 = Out-of-phase voltage ("cold") Selection of one input or the other is done automatically by the SM11 internal programme, with highest priority to the incoming digital signal whenever it can be locked on. The analogue signal is to connect to the dedicated XLR input mentioned above (inside the ANALOGUE IN box) The sensitivity of this input can be adjusted using the two-position switch located within the same box: the +4dBu position is suitable for standard professional audio equipment, while ­10dBV position may be used for other types of sources providing a lesser output level. When this input is used the sampling rate of the internal A/D converter is 96kHz. As is known, the AES signal carry data for 2 separate audio channels -namely "Left" and "Right"- so it is necessary to select which one of the two is to be used (each SM11 deals with only one input channel): this is done by means of a two-position switch located above the XLR connector. When using the digital input, please bear in mind the usual recommendations applicable to digital connections, especially if long cable runs are required: choose an appropriate (110 Ohms) cable, use an AES compatible distributor to ensure impedance matching when several receivers are fed from a single source. Focal can supply an inexpensive passive splitter (please contact your dealer). Though the low frequency extension is already substantial when using a stereo pair of SM11's on their own, one might also want to add some extra low end and/or increase the overall max. The SM11-S is totally compatible with the rest of a SM11 system: similar inputs and connectors, same controls. The only functional difference is that it does not accept InfraRed control signals (it has no IR receiver). They are three different ways of remotely controlling a SM11 loudspeaker: · Through an Infra-Red receiver, located on the front of the cabinet, below the midrange driver. Selection between those three operation modes is achieved by operating the three-position switch (IR, PC, and MIDI marks respectively) located within the INTERFACE box of the rear panel. The principle of operation of a complete system, as far as remote control is concerned, is based on a "master/slave" scheme. One single loudspeaker is set to receive control information, becoming the master, and pass on the information to all the others (slaves). All the slave units must be set to the MIDI switch position, and linked together to the master, in a daisy chain scheme: MIDI cables will be used, going from the "MIDI OUT" connector of one speaker, to the "MIDI IN" connector of the next speaker. The master unit may use either IR or PC modes, depending on the control source. Please note that the CONTROL switch should be set before powering the speaker, proper operation is not guaranteed otherwise. Before starting to work with your SM11 system, you need to go through a quick initialisation procedure, in order to specify which loudspeaker will be allocated a specific channel: please note this is for control data only, you still need to properly set the Left/ Right switch for the audio data if you are to use the digital input (see previous section). Indeed, most controls can be set individually and independently for the various channels: this adds a great deal of flexibility when it comes to tailor the system to your listening environment, as described in the next sections. [. . . ] the 0dB reference gives a flat response in anechoic conditions , seldom met in real-life environments. Theory tells us that a -3dB attenuation in the bottom end should suit half-space conditions. Generally a few -2 to -4dBs of attenuation is therefore expected as desirable, but specific acoustic environment or other considerations might dictate other adjustments. [. . . ]